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Thread: New Publication of Splendor Solis

  1. #1
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    New Publication of Splendor Solis

    I just came across a new publication of Splendor Solis, brought to us by Dr. Stephen Skinner, Dr. Rafal Prinke and Georgiana Hedesan.

    Right now itís on amazon, hardcover, priced at $21.74

    Iíll review the edition once I receive it, but it looks like a fairly decent work.
    Last edited by Kiorionis; 08-06-2019 at 11:36 AM.
    Art is Nature in the flask; Nature is a vial thing.

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    I'd be interested in hearing how it compares to the one from 1920. I had this for a long time just for the images, before realizing it contains an english translation as well:

    http://www.archive.org/details/cu31924012366021

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    I can compare the two for ya . It should arrive in my mailbox on Thursday.

    First thing I noticed though is that this new publication is 1) in color and 2) is about 20 pages longer. Probably longer because of the introduction.
    Art is Nature in the flask; Nature is a vial thing.

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    So I received the new publication of Splendor Solis the other day, and it is very well put together. Compared to the text Greg Marcus linked, it is basically the same translation, with minor changes in language (changing out Ďold philosophersí for Ďancient sagesí, for example).

    The images themselves are very clear, quite large (covering a whole page) and in color.

    There are 3 introductory essays by the editors: an introduction to the text, the history and authorship of the text, and one on the text and the Paracelsus movement. After this there is a commentary on the text and images, and finally the translation of the text (based on the Harleian manuscript).

    Overall, I very much like it. Itís a good addition to my small alchemical library
    Art is Nature in the flask; Nature is a vial thing.

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    Thanks Kiorionis for sharing. I also enjoyed your review of Splendor Solis thank you. If anyone is interested in the color images and cannot afford, here is one:

    https://archive.org/details/Splendor......Including22

    Greg that is funny, I didn't even know there was text, going to have to read this one next.

    Does anyone have any favorite parts?
    Last edited by Seraphim; 08-15-2019 at 06:36 AM.

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    Ug.. My link was to a black and white version eh? I took the link from the "document properties" of that colour version. how strange.

    Thats what I said! I didn't even realize it had a translation of the text til very recently. I was looking for english of Splendor Solis, Aurora Consurges, and Scala Philosophorum and found out I already had Splendor Solis for some time.

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    Thanks Greg I will have to check those out also. You did say that my bad, should have said "I didn't even know there was text either". Splendor Solis is interesting so far, I've made it a few parables and got to a picture with some little gnomes? and huge hill. Well they look like gnomes but maybe not.

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    Quote Originally Posted by Seraphim View Post
    Does anyone have any favorite parts?

    Splendor Solis is interesting so far, I've made it a few parables and got to a picture with some little gnomes? and huge hill. Well they look like gnomes but maybe not.

    Hi Seraphim,

    I am no expert in medieval wardrobe, but it appears to me as if those individuals are wearing the equivalent to what we would call a "hoodie" today because they are concerned about what is overhead.

    This image in comparison to the whole Splendor Solis series is the only image in the series in which we see a completely enclosed frame as the focus of the plate. This is another huge clue as to the subject of this particular plate.

    Above the King is the word "Ahaueros". Above the Queen is the word "Esther".

    Notice that the human children are nourishing the birds up above and then bringing them back down to earth again...just like the rains in the background of the image are produced through the medium of heat by the water that the Moon sits in below at the bottom of the frame that nourishes the fertile earth which produces a mine in which we can extract gold with the proper tools.

    AND THIS IS THE FIRST PARABLE
    GOD created the Earth plain and coarse, and very productive of Gravel, Sand, Stones, Mountains and Valleys, but through the influence of the planets, and the working of nature, the Earth has been changed into many forms. Outside these are hard stones, high mountains and deep valleys, and strange things and colors are inside the Earth, as, for instance, Ores and their beginnings, and with such things earth has come from the original form, in the following manner: Where the Earth first began to grow large, or to expand and multiply, the constant operation of the Sun-Heat also formed in the interior of the Earth a sulphury vaporous and damp heat, penetrating her through and through. This penetrating work of the Sun’s heat caused in the cold and damp of the Earth, the formation of large quantities of vapor fumes, fog and gas, all of which grow with the length of time strong enough to follow their tendency to rise, thus causing on the Earth’s surface eruptions, forming hill and dale, etc. Where there are such hills and dales, there the Earth has matured and most perfectly mixed with heat and cold, moisture and dryness, and there the best ores may be found. But where the earth is flat there has been no accumulation of such fumes and vapors, and there no ores will be found, while the uplifted part of the soil, especially, such as has been slimy, loamy, and fat, and has been saturated with a moisture from on high; got soft again, forming dough-like layers one on top of the other, which in the course of time, under the influence of the Sun’s heat, become more and more firm, hard and baked; and other ground as gravel and sand, brittle and yet soft, hanging together like grapes, is too meager and dry, and has not received enough moisture, consequently it could not form itself into layers, but remained full of holes, like badly prepared pap, or like a mealy dough, which has not been watered enough; for no earth can become stone, unless it be rich and slimy and well mixed with moisture.







    According to Consiliator, the Whitening should take place in a mild heat, till the Black disappears. While Lucas, the Philosopher, says in the Turba: Beware of great heat, for if you make the fire too fierce in the beginning, then will it arise red before its time, which is useless.







    Miraldus, the Philosopher, says in the Turba: It turns black twice, yellow twice, and red twice, and therefore decoct it, for in the process of decoction appear many colours, and according to these is the heat changed. And although all colours appears so are there yet but three most noticeable amongst all. The principal colours are black, white and red; between these many others appears; a yellowish one after the white, or after the first red, said by Miraldus, to be a perfect Colour, while Consiliator calls it not perfect, and hardly remaining on matter long enough to be visible. But the other yellowish colour which ariseth after the perfect white, and before the first red, can be seen for some time, and is therefore a perfect colour.











    None of this can be achieved if first we do not Putrefy what we work with.

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    Thank you for sharing Schmuldvich. I didn't notice those things you shared in the image. Those are cool photos. Are they different volatile salts, or the same one? The first looks a little different than the rest. So first is Putrefaction and then Sublimation?
    Last edited by Seraphim; 08-23-2019 at 05:00 AM.

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    Here is another version of the same plate, from a different Splendor Solis manuscript.

    If the color plate posted above in the previous post depicts "formation of large quantities of vapor fumes, fog and gas, all of which grow with the length of time strong enough to follow their tendency to rise" giving us a "yellowish colour which ariseth after the perfect white, and before the first red, can be seen for some time, and is therefore a perfect colour"...

    Then let us choose to view this version of the woodcut below as a depiction of what is happening to our Earth at the bottom of our flask, specifically when "Earth has been changed into many forms; outside these are hard stones, high mountains and deep valleys, and strange things" where "whitening should take place in a mild heat, till the Black disappears".

    When we analyze this rendition of the plate, we can choose to interpret it as the other half of the whole.

    "Lift up your eyes to the heavens and look to the earth beneath, for the heavens will be torn to pieces like smoke, and the earth will be worn out like a garment." (Isaiah 51:6)

    After all, isn't our Matter just a single thing within our flask undergoing different states of development...?




    Quote Originally Posted by Seraphim View Post
    Thank you for sharing Schmuldvich. I didn't notice those things you shared in the image. Those are cool photos.

    Are they different volatile salts, or the same one? The first looks a little different than the rest.

    So first is Putrefaction and then Sublimation?
    To an Alchemist, it's all the same Salt.

    This is what is referred to in the Bible as "The salt of the erthe and the savour" (Matt. 5:13).

    You may have heard others referr to this as the 'agent' which acts upon the patient. Many, many, many different terms have been given to this 'motor' which drives our Work to higher perfection.


    Quote Originally Posted by Seraphim View Post
    So first is Putrefaction and then Sublimation?
    Yes, first comes Putrefaction and then Sublimation. In order to achieve a proper Sublimation, our Matter must first undergo Putrefaction.

    THE FIRST TREATISE
    The Philosopher’s Stone is produced by means of the Greening and Growing Nature. Hali the Philosopher, says thereof: “This Stone rises in growing, greening things’. Wherefore when the Green is reduced to its former nature whereby things sprout and come forth in ordained time, it must be decocted and putrefied in the way of our secret art. That by Art may be aided, what nature decocts and putrefies, until she gives it, in due time, the proper form, and our Art but adapts and prepares the matter as becomes Nature, for such work, and such work provides also, with premeditated Wisdom, a suitable vessel. For that reason can Art produce extraordinary things out of the aforesaid natural beginnings such as Nature of herself would never be able to create. For unaided Nature does not produce things whereby imperfect metals can in a moment be made perfect, but by the secrets of Our Art this can be done. Here Nature serves Art with Matter, and Art serves Nature with suitable instruments and method convenient for nature to produce such new forms; and although the before mentioned Stone can only be brought to its proper form by Art, yet the form is from Nature. Philosopher's Putrefaction is a moistening of dry bodies, that they may be restored to their former state of Greening and Growing. In this process of Putrefaction, moist and dry are joined together and are not destroyed, but the moisture is quite separated from the dryness, then it is necessary to separate the dry parts that turned to ashes. This Incineration the Philosophers will also not have, but they will have their Putrefaction, which is a drying, trituration and calcinations, to be done in such wise, that the natural moisture and dryness be united together, but separated and dried up from the superfluous moisture that is destructive.

    During the process of Putrefaction, our Matter undergoes a change on the molecular level. Without Putrefaction there can be no generation of life in our Work, as all Alchemists have taught us. It is a key that provides us the ability to open new doors and explore new realms of possibilities.

    THE THIRD PARABLE
    Avicenna says in the Chapter on the Moistures: — ‘When Heat operates upon a moist body, then is blackness the first result’. For that reason have the old Philosophers declared they saw a Fog rise, and pass over the whole face of the earth, they also saw the impetuosity of the Sea, and the streams over the face of the earth, and how the latter became foul and stinking in the darkness.

    The Sixth Parable of the Splendor Solis encourages us to visualize in our mind's eye what we should be seeing inside our flask.


    THE SIXTH PARABLE
    Rosinus relates of a vision he had of a man whose body was dead and yet beautiful and white like Salt. The Head had a fine Golden appearance, but was cut off the trunk, and so were all the limbs; next to him stood an ugly man of black and cruel countenance, with a bloodstained double-edged sword in his right hand, and he was the good man’s murderer. In his left hand was a paper on which the following was written: ‘I have killed thee, that thou mayest receive a superabundant life, but thy head I will carefully hide, that the worldly wantons may not find thee, and destroy the earth, and the body I will bury, that it may putrefy, and grow and bear innumerable fruit’.

    Remember, the content of our flask has separated itself into two opposing polarities, so we must not only focus on what is above, but also on that which is below.

    THE SIXTH TREATISE
    In this Work also takes place the true Ablution, or cleaning of blackness and stench, and the Dead will be made again to live by the introduction of a pure, indestructible heat and metallic moisture, supplying the tinging force, by means of which is also effected the Philosopher’s Putrefaction, spoken of at the beginning of this book, restoring what was before, and bringing to light that which was hidden. Therefore says Turba: ‘Putrefaction is the first and demands the utmost secrecy. It is the true separation of the elements, reversing them in this operation’.

    You ask about Sublimation. Later in the Splendor Solis we learn how important Sublimation is in our Work. If our Matter does not Sublime above, our Work will languish until the Artist chooses to give their Matter the proper impetus allowing it to proceed to its next level of being; just as Putrefaction was a key that opened doors to new possibilities so is Sublimation another key that opens many new doors.



    THE THIRD CHAPTER
    Sublimation is distilling the before-mentioned moisture of the earth, for if the water is reduced into the earth, it is evaporated into the lightness of the air, and rises above the earth, as an oblong cloudlet, like an egg, and this is the Spirit of the Fifth Essence, which is called the Tincture, Anima, Fermentum, or the Oil, and which is the very next matter to the Stone Of The Philosopher's. For from the Sublimation remain ashes, which by virtue of their own air, given to them by God, dissolve themselves by a moderate heat, after which earth of a fiery nature and property remains calcined at the bottom of the glass. This being the proper philosophical sublimation, by means of which the perfect method is carried out. And this is why this Art is compared to Woman’s Work, which consists in cooking and roasting until it is done.

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