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Thread: Volatile Fixed - Fixed Volatile

  1. #11
    Quote Originally Posted by elixirmixer View Post

    Interesting... Could you explain this image Schmernoff?
    The painting is a coded image, not painted to instruct one in our Art but to profess superior knowledge of the Arcane and to proclaim not a completion of their Work but a mastery of the occult. Simply put the painting is a display that proudly exhibits to future generations that the painter of the picture (or whomever had the painting commissioned) was no doubt in possession of the White Stone.

    What stands out to you in the picture, EM?

    Do you see any hidden symbols or anything noteworthy?


    Quote Originally Posted by Florius Frammel View Post
    I know what you try to say with that model, and experiments have been done by French (official) scientist in Cadarache (search for the vks experiment, or French washing machine). They successfully developed a method to create counter rotating electromagnetic fields with interesting results.

    But unfortunately not the creation of mass.

    How do you actually apply this theory in your lab work? I am especially interested how you solved the problems in creating the fields like those French scientists encountered.
    But do you know what I am trying to say though?

    How many things stand out to you in the image I posted revealing the bounds of NSWE?

    I employ the powers of Magnetism and Electricity to my advantage in my Work, but only if we are speaking Philosophically. The only electricity I use is that which is used to regulate external heat upon my flask and the only magnet I use is our Magnet, as described in the texts. I do work with Salt but not sodium as those in the French experiments did, nor do I use iron except our Iron which I bend to my will at the beginning of our Work.

    Fortunately creation of mass is nothing the Alchemists claim to do.

    'Transmutation' and 'Alchemy' go hand-in-hand; on one hand we have transmutation of lower things into higher things, and on the other hand we have Alchemy, which as has been poignantly pointed out on this forum it's not Alchemy unless you're working with our Mercury (the "Secret Solvent"). Without the herculean labors, the First Part of our Work, in which we prepare our Matter and over time transmute this Mass into our First Materia, we can never initiate ourselves into the practice of Alchemy unless given a sample of this divine Matter from someone who has accomplished such feats.

    Through counter-rotating elements we use the powers of Electricity and Magnets to create an all-consuming Fire which the image below abundantly reveals to all whose eyes are opened. Again, not common electricity or common magnets, but Philosophic Electricity (our Agent) and Philosophic Magnets (our Patient).




    Quote Originally Posted by Seraphim View Post
    Thanks for sharing everyone, the "make the hidden visible and the visible hidden" reminds me of this:

    Gospel of Thomas
    "22 Jesus saw some little ones nursing. He said to his disciples, "These little ones who are nursing resemble is those who enter the kingdom." They said to Him, "So shall we enter the kingdom by being little ones?" Jesus said to them, "When you make the two one and make the inside like the outside and the outside like the inside and the above like the below, and that you might make the male and the female be one and the same, so that the male might not be male nor the female be female, when you make eyes in place of an eye and a hand in place of a hand and a foot in place of a foot, an image in place of an image - then you will enter [the kingdom]."
    Nice quote, Seraphim.

    Where are eyes, hands, and feet located on our body?

    If we recognize eyes in place of an eye and a hand in place of a hand and a foot in place of a foot as referencing the First Part of our Work, then we can discern that an image in place of an image refers to our Magnet which certainly leads us to a kingdom of wonderful opportunities in which one reigns like a king on Earth.

    This all inspires further thought...

    What two things are we making One?

    How do we make the inside like the outside and the outside like the inside?

    How do we make the above like the below when the above naturally wants to ascend higher?

    Why do the little ones who are nursing resemble those who will enter the kingdom?

    I have accomplished nothing worthwhile. I do not possess the Philosopher's Stone so I have yet to see this kingdom spoken of with my own eyes. Perhaps in time I will obtain that which I seek. Until then I am nothing more than a Philosopher.



    We sophists, and the rhetoricians too,
    Are fortunate and lead a life most wise;
    We know the nature of created things,
    The kinds of elements, and understand
    How, by close union each to each, they tend
    To one new form, most fair and wholly strange,
    With brilliant splendor filled, its make-up such
    That it bestoweth wealth and great reward.

    But most of all we wish with one accord
    All mortals to be taught and disciplined
    And trained in wisdom of the sophist school,
    That they may shape themselves to perfect men,
    That they may know the bounds of Nature's realm,
    (How all things thrive and mix and interweave)
    And last that they may nothing speak except
    What words the wise old masters used to say.
    Those masters urge all mortals who are wise
    To be instructed in the mystic lore
    Of sacred rites, whose meaning they proclaim
    By actions rather than by words of mouth.

    We, who foretell just where the stars shall be,
    Who know their natures, heights and intervals,
    Their occultations, when they rise and set,
    Their measured bounds and what their orbs portend,
    Do not misread their signs, though far away,
    For when assisted by a knowing mind
    Our sense of vision sees them as they are.
    We know the truth of what is in the sky
    Above and are not ignorant of what
    Is there performed, for we perceive it all
    And make it evident to mortal minds,
    As their experience can testify.



    Yet more than this, the causes we reveal
    Of each affliction in the body's frame;
    Experimentally our school explores
    The science, art and ends of medicine,
    With such success that our prognosis shows
    What sicknesses are destined to appear
    And what is best to cure or ward them off;
    Its findings also lead us to foretell
    An end of life from sickness far from home.

    Not only has our wisdom known the ways
    By which to check each illness and disease,
    - Prodigious wonders even though they be -
    But with exactness we describe the flowers,
    (Their qualities, their mixtures and their kinds),
    And taste of juice and substances of plants.
    Each class of growing herbs has been portrayed
    For our prognosis and with words exact,

    We also know the hues and kinds of stones,
    The places where the metals are produced
    And all their properties both good and bad.
    The many kinds' of creatures in the sea
    Are known to us and all their many forms;
    We teach mankind their natures, good and bad,
    How some to use and others to avoid.
    Nor do we slight the race of gay-hued birds,
    Those strange in form and those who kill their kind,
    Those who by nature are of use to man,
    And so contribute to the joy of life.
    Each class and race of reptiles we describe,
    And so all living things find place within
    Our catalogue. Nor have we falsified
    In anything, for every word is true.
    All we have said or shown to mortal men
    Is for their use and happiness in life.

    How then can those vile critics censure us,
    They who in secret learning are inept,
    And who in sophic wisdom have no share?
    How can they say we sophists speak untruths
    With their own minds so pitifully maimed
    They give no thought or care to things divine?
    They ask how gold is ever to be made,
    How that can change which has a nature fixed,
    Placed there of old by God the demiurge,
    Who formed its substance never to be moved
    From that position which from early time
    Was its abode and destined resting place;
    They say gold thus abides, nor suffers change,
    For naught can be transmuted from the class
    Or species where its origin took place.
    They who speak thus but trifle with their minds
    And nothing say that bears the stamp of truth.

    But we will show the end of this our art,
    An end most useful and most quickly learned,
    For nothing strange it needs save that one stock
    From which all things by Nature are produced.

    From Time's four transformations learn the way
    By which the work most skilfully completes
    The transformations of sophistic art.
    The winter, cold and moist, controls the frost;
    By him the fleeting clouds are borne on high
    To drench the earth and quicken seeds to life;
    Three months elapse before his time expires.
    Next Spring, a season moist and warm comes in;
    By her the earth is made to bloom with flowers
    Of every kind; her course is also run
    When three more months their transformation bring.
    Next Summer, warm and very dry, appears;
    By her Earth's bosom is released from damp
    And, warmed from chilliness, is made to bear;
    Her period in three more months is run.
    The Autumn quickly comes upon his way,
    A season dry and cold in which alas
    The beauty of the flowers is all destroyed;
    His rapid course in three more months is passed.
    Through these four transformations runs the sun;
    He makes his circuit in the dozen months
    Which form the year and sheds his light on all
    Beneath the sky. The splendor of his beams
    Fills all the earth with mild increasing warmth;
    With rapid course he summons things to life
    And makes with gentle heat all trees to bud.
    From him the moon receives her gleaming light
    And all the wandering stars, the planets seven,
    And likewise those whose shining orbs are fixed.

    So understand the work, how to refer
    The four mutations to one simple form
    And from the four to make the work complete,
    Seven coloured, even as the planets seven,
    Whence Nature gets her species, kinds and forms,
    Whence Luna's metal takes a whitened hue
    And whence proceeds the yellow principle
    (That gives a second splendid purple tint)
    Which brightening all bodies tinges them
    The brilliant golden colour of the sun.

    The white, augmented thrice within a fire,
    In three day's time is altogether changed
    To lasting yellow and this yellow then
    Will give its hue to every whitened form.
    This power to tinge and shape produces gold
    And thus a wondrous marvel is revealed.

    Though not a stone, it yet is made a stone
    From metal, having three hypostases,
    For which the stone is prized and widely known;
    Yet all the ignorant search everywhere
    As though the prize were not close by at hand.
    Deprived of honor yet the stone is found
    To have within a sacred mystery,
    A treasure hidden and yet free to all.

    A dragon springs therefrom which, when exposed
    In horse's excrement for twenty days,
    Devours his tail till naught thereof remains.
    This dragon, whom they Ouroboros call,
    Is white in looks and spotted in his skin,
    And has a form and shape most strange to see.
    When he was born he sprang from out the warm
    And humid substance of united things.
    The close embrace of male and female kind,
    -A union which occurred within the sea-
    Brought forth this dragon, as already said;
    A monster scorching all the earth with fire,
    With all his might and panoply displayed,
    He swims and comes unto a place within
    The currents of the Nile; his gleaming skin
    And all the bands which girdle him around
    Are bright as gold and shine with points of light,

    This dragon seize and slay with skillful art
    Within the sea, and wield with speed thy knife
    With double edges hot and moist, and then,
    His carcass having cleft in twain, lift out
    The gall and bear away its blackened form,
    All heavy with the weight of earthy bile;
    Great clouds of steaming mist ascend therefrom
    And these become on rising dense enough
    To bear away the dragon from the sea
    And lift him upward to a station warm,
    The moisture of the air his lightened shape
    And form sustaining; be most careful then
    All burning of his substance to avoid
    And change its nature to a stream divine
    With quenching draughts; then pour the mercury
    Into a gaping urn and when its stream
    Of sacred fluid stops to flow, then wash
    Away with care the blackened dross of earth.
    Thus having brightened what the darkness hid
    Within the dragon's entrails thou wilt bring
    A mystery unspeakable to light;
    For it will shine exceeding bright and clear,
    And, being tinged a perfect white throughout,
    Will be revealed with wondrous brilliancy,
    Its blackness having all been changed to white;
    For when the cloud-sent water flows thereon
    It cleanses every dark and earthy stain.

    Thus he doth easily release himself
    By drinking nectar, though completely dead;
    He poureth out to mortals all his wealth
    And by his help the Earth-born are sustained
    Abundantly in life, when they have found
    The wondrous mystery, which, being fixed
    Will turn to silver, dazzling bright in kind,
    A metal having naught of earthy taint,
    So brilliant, clear and wonderfully white.

    Then seize again this dragon changed to white
    (A change divinely wrought, as I have said,
    By means of albifaction twice performed)
    And slaying him again with knife of fire
    Draw all his blood which gushes blazing hot
    And red as shining flame when it ignites.
    Then dip the dragon's skin into the blood
    Which issued from his belly's gory wound
    (As thou wouldst dip a whitened robe in dye
    Of murex purple); so wilt thou obtain
    A brilliant glory, shining as the sun,
    Of goodly form and gladdening the heart
    Of mortals who behold its excellence.

    They praise the gift with wise and joyous words
    As one divinely sent and great in worth;
    And thus they speak and voice their thankfulness.

    O work divine, well-pleasing and concise!
    O beauty brilliant with an aspect clear!
    O marriage and conjunction most renowned!
    O husband in a single union joined!
    O wife united by affection deep!
    O offspring famous and with glory filled!
    O progeny of splendor, light and worth!
    O robe with gold and silver overlaid!
    O double-folded mantle bright as snow!
    O metal which with gleaming silver teems!
    O clear refreshing river of the sea!
    O water than the loosened earth more free!
    O ether rising far above the earth!
    O clouds transformed from blackness into white!
    O brilliant coloured glory of the heaven!
    O light which shines to all beneath the sky!
    O system and bright circuit of the stars!
    O lunar light reflected from the sun!
    O sun whose darting beams engender gold!

    From these the work of every sage begins
    To reap in practise some deserving end;
    In thee appears the object of our search;
    Thou shinest scattering thy wondrous light,
    A treasure most desired, all filled with pearls;
    And bringing gain and wealth to mortal men.

    Who, then, beholding the great universe
    Which Thou hast wisely wrought, -a well-designed
    Production, made with singleness of art,
    And faith inspiring in its glorious works-
    Entranced with wonder would not be amazed?
    He would extoll the boundless providence
    Of reason's God and praise the sympathy
    Which He, in ways both wise and manifold,
    To us declares. As Lord beneficent
    He wishes all mankind a happy life
    And wealth by their activities to gain.
    Then let us shape life's course with reverence
    And cherish piety's clear beacon light,
    Our pathways brightening with godly deeds,
    Our neighbor loving and the foreign guest;
    And day and night with supplicating prayers
    Our adoration pay, as servants wise,
    To God the Lord, all-seeing King of all,
    Forgiveness asking for our trespasses
    And that all kin from danger may be spared
    And from temptations freed, as they arise;
    And let us never undertake a work
    Unless we give the praise therefore to God,
    The Father, who begot the only Son,
    The Son, the holy Word from God produced,
    The Holy Ghost, proceeding too from Him,
    Both now and always evermore.
    - Theophrastos

  2. #12
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    Fortunately creation of mass is nothing the Alchemists claim to do.
    Before Antoine Lavoisier at the end of the 18th century (almost) no one bothered about the conservation of mass, Schmuldvich. How do you think that the common and easily measurable increase of mass when calcinating a metal was explained? They did not know about oxygen, this was an usual observation in those times! And after the french revolution there were only few works on alchemy in the 19th century and even less good ones.

    But we can have a look at post-Lavoisier alchemists like Fulcanelli. He discusses this image of the cathedral in Amiens in his first book:



    I can recommend to read the whole accompanied passage to learn why this guy seems so surprised about that "electricity" falling on his "magnet" on the gorund if you allow me to use your terminology. He there additionally tells some interesting stuff about the Nostoc, some others here are currently working with.

  3. #13
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    Quote Originally Posted by Schmuldvich

    Quote Originally Posted by Seraphim
    Gospel of Thomas
    22 Jesus saw some little ones nursing. He said to his disciples, "These little ones who are nursing resemble is those who enter the kingdom." They said to Him, "So shall we enter the kingdom by being little ones?" Jesus said to them, "When you make the two one and make the inside like the outside and the outside like the inside and the above like the below, and that you might make the male and the female be one and the same, so that the male might not be male nor the female be female, when you make eyes in place of an eye and a hand in place of a hand and a foot in place of a foot, an image in place of an image - then you will enter [the kingdom].
    Nice quote, Seraphim.

    Where are eyes, hands, and feet located on our body?

    If we recognize eyes in place of an eye and a hand in place of a hand and a foot in place of a foot as referencing the First Part of our Work, then we can discern that an image in place of an image refers to our Magnet which certainly leads us to a kingdom of wonderful opportunities in which one reigns like a king on Earth.

    This all inspires further thought...

    What two things are we making One?

    How do we make the inside like the outside and the outside like the inside?

    How do we make the above like the below when the above naturally wants to ascend higher?

    Why do the little ones who are nursing resemble those who will enter the kingdom?

    I have accomplished nothing worthwhile. I do not possess the Philosopher's Stone so I have yet to see this kingdom spoken of with my own eyes. Perhaps in time I will obtain that which I seek. Until then I am nothing more than a Philosopher.
    Thank you Schmuldvich, I did wonder the meaning of that saying. Still need to think more about it, these are just guesses, the first things that come to mind, sorry if dumb.

    Quote Originally Posted by Schmuldvich
    Where are eyes, hands, and feet located on our body?
    Limbs or Extremities?

    Quote Originally Posted by Schmuldvich
    What two things are we making One?
    Above and Below? Agent and Patient? Water and Earth?

    Quote Originally Posted by Schmuldvich
    How do we make the inside like the outside and the outside like the inside?
    Philosophic Electricity (our Agent) acting on Philosophic Magnets (our Patient)? Which turns the inside out and the outside in? Which color was on the outside in the beginning Schmuldvich? Reminds me of this but don't know proper meaning:

    The Corpus Hermeticum - Book 2
    Hermes to Asclepius

    1. Hermes - Is not every thing that is moved, 0 Asclepius, moved in
    some thing and by some thing?

    Asclepius -Certainly.
    Hermes -Must not that in which some thing is moved be greater than
    what is moved?

    Asclepius -It must.
    Hermes -Must not the mover be more powerful than the moved?
    Asclepius -Definitely more powerful.
    Hermes - And must not that in which movement occurs have a nature
    opposite to that of the moved?

    Asclepius -Yes, indeed.
    Last edited by Seraphim; 04-05-2020 at 03:59 AM.

  4. #14
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    Good evening,

    Quote Originally Posted by Florius Frammel View Post
    I can recommend to read the whole accompanied passage to learn why this guy seems so surprised about that "electricity" falling on his "magnet" on the gorund if you allow me to use your terminology. He there additionally tells some interesting stuff about the Nostoc, some others here are currently working with.
    So do you think he refers to Nosthoc as a way? I think i dont really get Fulcanelli's works, it seems like a general alchemical anthology. But often the antimony-fans seem to interpret all according to the letter of antimony-dry-path (maybe canseliet's path?) so the Nosthoc would be the iron green lion...

    But,, probably im answering myself here,, if we consider dom Pernety (Mesmer, in one his recording, wrote that he asked Pernety about the starting matter of his Works), and mister Etteilla too in sept nuances (according to Magophon in Hypotipose) both worked on the Nosthoc with quite some success.

    And if we consider Dujols as a mentor to Fulcanelli, probably he was then describing more paths toghether in his works.

  5. #15
    ------
    Last edited by Schmuldvich; 04-12-2020 at 11:17 PM.

  6. #16
    Quote Originally Posted by Florius Frammel View Post
    Before Antoine Lavoisier at the end of the 18th century (almost) no one bothered about the conservation of mass, Schmuldvich. How do you think that the common and easily measurable increase of mass when calcinating a metal was explained? They did not know about oxygen, this was an usual observation in those times! And after the french revolution there were only few works on alchemy in the 19th century and even less good ones. But we can have a look at post-Lavoisier alchemists like Fulcanelli. He discusses this image of the cathedral in Amiens in his first book:



    I can recommend to read the whole accompanied passage to learn why this guy seems so surprised about that "electricity" falling on his "magnet" on the gorund if you allow me to use your terminology.
    FF,

    Alchemists explain what Calcination is. Their books are books you've read yourself many times. Alchemists do not concern themselves with what you ask about when inquiring about the increase of mass when calcinating a metal because they did not work with the metals as you suppose they did. I do not deny that aspiring alchemists did indeed tinker with metals when they were learning about Alchemy, but our opinions differ regarding how Alchemists worked with metal. I am of the opinion that no metal was used at all in their Work until they had conjoined the Volatile aspect in their flask with the Fixed aspect in their flask...

    No one on Alchemy Forms has displayed publicly that they have gotten this far.

    Thank you for the Fulcanelli recommendation.

    In addition to the accompanied passage I recommend reading the entire chapter.

    We gain a deeper level of insight upon reading the whole chapter. When taking a closer look at the image posted above we see that Electricity absolutely is not falling onto the ground...this is important.

    Let's look at the whole set of images in context from the chapter you suggested.













    The first image depicts a guy with his elbow resting on his knee. How brilliant is that! What better way could one make their point than by making use of the deliberate posture of this guy. It is completely intentional the way he is sitting and placed in frame. We see him peering at two wheels. What could these two wheels be other than his special Matter in coction "whose meaning is hidden from the profane and which is put into the picture in order to veil something"? Is it not brilliantly crafted how the artist made "two wheels overlapping in such a way as to form only one"? What do we think these two wheels represent inside our flask?

    The second image abounds with symbolism! It portrays a man and a building. Take note of the many meaningful subtleties explicitly depicted in this image. Notice the bottom of the building? The man's garb has a hood; why is he not wearing his hood? Why is this the only image in the series with extra notches etched into the perimeter of the carving? What are the hands of the man doing? We are reminded that "prudence and the concern for silence must be carried in this secret task", and when we take a more observant look at the image we are reminded why...This image further explains the first image in the set; it is the other half of it.

    The third image shows a rooster in an oak tree with a fox biting onto the branch the rooter is perched upon. Fulcanelli determined this to be a "hierolglyph covering two distinct physical states of one and the same matter". Absolutely nothing more needs to be said!

    The fourth image "shows some dead trees, twisting and interlacing their knotty branches beneath a sky, which has been partially defaced, but in which the images of the sun, the moon and some stars may still be discerned". This is my favorite of the bunch. This is Body, Soul, & Spirit. What we are looking at is Salt, Sulphur, & Mercury. About six quotes are methodically listed in Fulcanelli's description of this image. I choose the quote from Flamel to add here: "'There is an occult stone, concealed and buried in the depths of a fountain, which is vile, abject and valued not at all; it is also covered with filth and excrement; to which all names are given, although there is really only one. This stone, says Morien the Wise, which is not a stone, is animated, having the virtue of procreating and engendering. This stone is soft, owing its beginning, origin and race to Saturn.'" These are all carefully chosen words by someone gifted in the art of double entendre as Fulcanelli himself was. This quote by Fulcanelli shows the intention of his delivery "I have frequently touched in the course of this study, by dividing it up piecemeal into emblems, so that only the discerning investigator will be able to recognize its qualities and identify the substance. I did not want to follow the ancient method of giving a truth, expressed in a parable, accompanied by one or many specious or captious allegations, in order to lead astray the reader who is incapable of separating the chaff from the wheat." Instead, let's speak directly. This image depicts our Matter in naked development within the obscurity of our flask. And here we see all its different physical states represented within the confinement of the carving. At the bottom of the image we observe our Fixed polarity. At the top we observe our Volatile polarity and are quick to notice something especially intriguing about the detail of this upper aspect. This top mass has little galaxies or eyes all over it; it is alive! During the first part of our Work it was made pure and dazzling white; during the second iteration it resonates an octave higher than it was before and shines amazingly white as snow like before but is now bursting with vibrantly visible life! In the exact middle of this image the branches form an x or a cross directly between the fixed terrestrial zone and the volatile celestial zone. The artist who created this is showing us that this represents the cross of Matter. Beside this cross are two branches reaching from the earth to the heavens. The branch to our left of the cross represents our Secret Fire and the branch our right of the cross represents our Azoth. The branch to the right of the Azoth--the right extremity of this image--shows our living Sulphur. The densely packed branches on the left extremity of this image also shows our living Sulphur. Notice how our Secret Fire is twisted in and becomes one with our Sulphur, also how the branch representing our Secret Fire has three divisions to it. So it is in our Work.

    The fifth image depicts a guy checking out "a stream of celestial dew" falling upon a "symbolical vegetable matter" which becomes "swollen with the morning dew". Earlier I pointed out that Alchemists do not concern themselves with the increase of mass when calcinating a metal and here Fulcanelli responds appropriately, "The faculty of creation belongs only to God, the one Creator. You must have the help of nature and you may be sure that this help will be refused to you, if, by ill fortune or from ignorance, you do not put nature in a position where its laws can be applied". This image is not a depiction of the preparation of our Prima Materia of our Art. No, this does not represent our Vegetable Mercury in its first manifestation. This image represents the next level of that. Notice this symbolical vegetable matter is not on the ground; the guy's feet are on the ground. The mass is evaporating up to the top of the image just like it does inside our flask but not only is this Sulphurous mass evaporating upward, it is also precipitating downward due to it being in a state of neither complete Fixity or complete Volatility. What we are looking at is our matured Matter in an in-between state of matter, a plasmatic state of being as it evolves.

    The last image shows an Adept pointing to a seven-point star accompanied by his three students. This image represents a mastery of the process described by this set of images.


    Quote Originally Posted by Seraphim View Post
    Thank you Schmuldvich, I did wonder the meaning of that saying. Still need to think more about it, these are just guesses, the first things that come to mind, sorry if dumb.

    Where are eyes, hands, and feet located on our body?
    Limbs or Extremities?

    What two things are we making One?
    Above and Below? Agent and Patient? Water and Earth?

    How do we make the inside like the outside and the outside like the inside?
    Philosophic Electricity (our Agent) acting on Philosophic Magnets (our Patient)? Which turns the inside out and the outside in? Which color was on the outside in the beginning Schmuldvich?

    Reminds me of this but don't know proper meaning:

    The Corpus Hermeticum - Book 2
    Hermes to Asclepius
    1. Hermes - Is not every thing that is moved, 0 Asclepius, moved in
    some thing and by some thing?
    Asclepius -Certainly.
    Hermes -Must not that in which some thing is moved be greater than
    what is moved?
    Asclepius -It must.
    Hermes -Must not the mover be more powerful than the moved?
    Asclepius -Definitely more powerful.
    Hermes - And must not that in which movement occurs have a nature
    opposite to that of the moved?
    Asclepius -Yes, indeed.
    You ask, "Which color was on the outside in the beginning Schmuldvich?"

    Know that the answer to the question depends on where we define 'the beginning'. Sometimes authors started the beginning of their writings with the end of our Work, most authors started the beginning of their writings with the middle of our Work, while hardly any authors start the beginning of their writings at the laborious onset of our Work. Look for the blackness to know you're on the right track. Every Master is in wholehearted agreement that nothing living can be manifested except through blackness. I assure you, nothing noteworthy will be accomplished until you have blackness inside your flask.

    And great quote, as always!

    This quote, from one of the first sources of my initial fervor towards learning Alchemy, isn't so much relevant to this thread about volatilizing the Fixed or fixing the Volatile in the sense we have been discussing it, but is a revealing quote nonetheless when looked at through the view of providing insight into a later stage of our Art where we Volatilize that which is physically fixed.

    Is not every thing that is moved moved in some thing and by some thing?
    Here is declared that everything is moved by something.

    Must not that in which some thing is moved be greater than what is moved?
    Here is declared that the thing inside of something is greater than that something.

    Must not the mover be more powerful than the moved?
    Here is a reiteration of what was just said, namely that our Agent is greater than our Patient. We artistically utilize our Magnet and Electricity to create a Discharge which we then harness and use to our advantage in extracting our Mover from that which is moved.

    And must not that in which movement occurs have a nature opposite to that of the moved?
    Here the physical properties of our Mover and what is Moved are revealed. When speaking of that which is Below it is rightful to say that Water is opposite of Earth, just as it is proper to say that Fire is opposite of Air when speaking of that which is Above. If studied further, this previous sentence completely reveals our 'First Matter' or 'Prima Materia' and can lead to a more fulfilling understanding of the words of the Alchemists.


    Quote Originally Posted by Argento Vivo View Post
    Good evening,

    So do you think he refers to Nosthoc as a way?

    I think i dont really get Fulcanelli's works, it seems like a general alchemical anthology.
    Hi Argento Vivo,

    Plenty of treatises were written to seekers of Alchemy whereas certain other treatises were written to Brothers of the Art or Sons of Knowledge. Fulcanelli's writings were not written for average seekers... "Mystery Of The Cathedrals" and "Dwellings Of The Philosophers" were written to those who are already familiar with Alchemy. Average seekers can learn and gain understanding from Fulcanelli's treatises, but I see Fulcanelli's works as more entertainment for those who have opened eyes--those who can read books without obscurity. The number of inside jokes present within these works and the sheer wit of the author makes for such an enjoyable and incredibly well-rounded read.

    Fulcanelli's wordplay is refreshingly brilliant! The style of writing employed is certainly that of a clever intellectual. These books no doubt were penned by a well-learned, well-read accomplished initiate with discerning intelligence and sharp intellect who wanted to flex his muscles and pen some monumental works for posterity. I'm sure he had fun writing these.

    Don't get confused understanding words Alchemists use. Their style of writing employs the use of acroamatic cipher; a cryptogram: text written in code, or, a symbol or figure with secret or occult significance. They used placeholders for the real word that would normally be used... Such is the case with the word 'nostoc'.

    This is, I believe, the place to rectify certain errors which have been made concerning a symbolical vegetable matter, which, when taken literally by ignorant puffers, has largely been responsible for bringing discredit on alchemy and ridicule on its adherents. This cryptogam which rural people well know, is found all over the country, sometimes on the grass, sometimes on the bare earth, in fields, beside paths, on the edge of woods. In the early morning in spring, you will find masses of it, swollen with the morning dew. These plants, which are jelly-like and trembling-hence the French name Tremelles-are usually greenish and dry up so rapidly under the action of the sun's rays that it is impossible to find any trace of them, even on the spot where they had opened out only a few hours previously. The combination of all these characteristics-sudden appearance, absorption of water and swelling, green colour, soft and glutinous consistency-have prompted the philosophers to take these algae as the hieroglyph of their matter. Now, it is most certainly a mass of this sort, symbolizing the mineral Magnesia of the Wise, which is seen in the quatrefoil at Amiens, absorbing the celestial dew. Strange terms, which have, however, their justification, have caused the real and initiatory significance of the Nostoc to be forgotten.
    - Fulcanelli

    Notice the part about the real significance of the word 'nostoc' being forgotten. If I were to go on to quote the rest of the passage even more would be revealed concerning our Nostoc; the initiatory significance is unfolded in the paragraphs proceeding the quote above.

    Clearly Nostoc, this jellylike vegetable matter swollen with celestial dew that dries up so rapidly under the action of the sun's rays that it is impossible to find any trace of it even on the spot where it was only a few hours previously, is our Mercury...Is it not? How could it not be! This substance is what all Alchemists seek to manifest within their flasks. Very few succeed.

    The stuff in your grass is not the 'nostoc' Fulcanelli was writing about.

  7. #17
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    I don't want to argue with you, but sometimes the alchemists (Fulcanelli too) wrote in a way that one thing can at least mean three other things, depending on the phase of work. And I mean actual substantial things, not something merely metaphorical. Another common method is to deny a certain substance. Often they don't lie either, because that very substance really isn't suitable for a certain phase of work. That doesn't necessarily mean it isn't suitable at an other phase.

    If you should happen to get a copy of Canseliet's commentary on the Mutus Liber, you will for example find out that his master's relationship to the common Nostoc in this regard was not so simple as one might think when just having read those passages in "Cathedrales".

    And concerning the other topic, this might be a good advice:



    "So you get white and red out of our old one. Make a water out of it and "observe the weight."

    It's "observe", not "take care of", or "remember", "or use your knowledge about".

  8. #18
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    Thanks for sharing everyone. Came across this and it felt relevant, curious what the proper meaning of Earth and Seed are?

    Gloria Mundi
    "We must prepare an Earth as the First Matter and sow our Seed therein and the Earth will produce Fruit."
    The Fixed becomes Volatile, and the Volatile must become Fixed. The Body becomes a Spirit and the Spirit becomes a Body - and then it becomes the Medicine, which changes from one colour to another."

  9. #19
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    The Earth is the materia secunda and becomes the first matter (the fruit) in sowing the Materia Remota (seed) therein. At least this counts for one stage. The same symbol can also be applied at different other stages, but in that case often described with other terms than I just did.

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    Quote Originally Posted by Florius Frammel View Post
    The Earth is the materia secunda and becomes the first matter (the fruit) in sowing the Materia Remota (seed) therein.
    Canonically speaking, you are correct. The term "Prima Materia" technically applies to the already adjoined Rebis/Two-Thing.

    In the "Golden Chain of Homer", the Prima Materia is designated by the Cross enclosed in a Circle, symbolizing the two-fold composition of "Nitre & Salt" or "Water & Earth" or "Spirit" & "Matter".

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