The Philosopher Solidonius - Emblems and Regiments of the Work

Translated to English by Mitko Janeski, from hand written French book.

The first who has well tuned the four elements favored by God and cherished by nature

So says this philosopher

God and nature work together for the perfection of our work. If one is not born as creator and master of all things, the other must enter into it so much in agreement with itself that there should be no opposition nor on the part of the contrary qualities of the four elements nor moreover, and it is almost as if a man and a woman by the call to a love come to join together by a sweet effect of this same love, it seems that in this conjunction there is nothing lacking of what a cause needs to produce its effect, but the difference of temperaments in the one is quick and the other slow causes nature to give no consent to action and to remain nothing. It is the same with our work.

I therefore say that he who reads the authors and who desires to know something must make an effort to understand this work. Here is the content.

Listen Adam; It's me talking to you, I have something important to tell you, you're forced to get into the bath with me, you know how much I've affected you. Do not ignore that you must pass by me before going there. So I'm approaching you with very sharp features, that I direct straight to your heart and when I will be there, and that I will have struck at the goal, it is then that you will notice my force and my violence and that you will cry out: Woe to me, miserable. I am drilled to the quick. I am heartbroken, once again woe to me, since I have to be in concert and in understanding with the author of my ills.

It is therefore at this dominating hour of the elements that one asks where this stone and this elixir which has this marvelous tincture come from. It can only be drawn from the works of philosophy which are Sulfur and Mercury, not the vulgar ones, for it is neither natural Sulfur nor common Mercury which can produce virtue by themselves, but it is that of the philosophers which is the medicine by which all metallic bodies are purged of their leprosy and intimacy. But in order that the thing be in its perfection and if need be that the sun and the moon put their hands in it and that one and the other contribute to it as the most interested and vile parts in the thing, for the more the things are natural, the more advantageous they are. This is why you, who want to deepen our science, learn that the common, vulgar mercury, formless and impure as it is, should not be excluded from our work, because in it is found all that there is more natural and which serves a lot for the perfection of the work. Because if you understand the dual nature well, you can guarantee yourself a happy ending to your work. And it will happen if you know how to properly combine the first fire with the earth's humidity. However, when you combine them, you must be careful that there is no opposition and that they are mixed in such a ratio that of the two, it is only one matter, and so much in agreement with each other that there can never be born any contrariety there. Although our 🜍 and ☿ have extraneous parts, they won't have any until they can be in the bath with a little more fire. Although you need a good fire, the bath shouldn't be bubbling with it; instead, manage the fire so that they can separate and disappear. Then, by truly distilling and sublimating the philosophers, you can change their nature. Thus the pure from the impure will be separated, then crush little by little, put it back in its good, give it a body and heat again. Learn that this is all to do and notice.

If assistance with the patient's relief was required in the future, it would have to come from the goodness of a single thing rather than the multiplicity and variety that our art does not consist of because there is only one true medicine, and that is what the entire piece of work should be made up of.

I'm not saying there aren't things that help, by which it is perfected because we don't add anything essential except what goes into the preparation in the first place. The rest, the nature and the first matter of our work contain it in itself, and it is in it and by it that everything necessary consists. Despite being encircled by clouds and darkness, it is well known and simple to locate because it is present everywhere.

It doesn't look well and instead comes off as being very unclean, unimportant, and giving of itself without expecting anything in return. To put it simply, it is not respected.

It should be highlighted that in order for it to have worth, art must give it a body so that its nature emerges; in order to achieve this, it must be fermented. Here's an illustration: She broke out of all of her prisons and managed to escape despite the man's best efforts to keep her in check. Nevertheless, someone who was familiar with her character found her to be straightforward, modest, and sincere because he suggested stripping off all of her clothing and selling her bare as her hand, and it turns out as he had said. After all, what did she have that she shouldn't have had? It was through this that she was reduced to obedience, and it was necessary for her pain and sin to deliver her body to be buried alive for 40 days, so that it could be born rotten like wheat, the seed, the root, and the germ, because if it must engender something, it can only do so through putrefaction, which causes it to grow roots. This is the only way to determine the strength of the seed. It is the same with wheat grain; it falls to the ground, putrefies, dies, and then bears fruit, which it will not do if left alone.

The master claims that there cannot be generation without putrefaction for this reason. So let each approach be absorbed for as long it takes. As a result, neither the human being nor the grain of wheat can generate anything without the presence of substance in the tool, the soil without the grain, and the father without the mother. And if one wants to witness the fruit of one and the other, it is essential that everything putrefies completely at work, as everything that is reduced to the initial matter is comparable to an open house where anybody is welcome to enter and exit.

This is why, according to the philosopher, water is generated from ice, assuming a near heat, because water is water before becoming ice, and it is true that ice and snow are formed from water known to their natural kind. The man and woman are descended from Eve, the first mother of the two sexes, because the first Eve, the first of the women, was endowed with very beautiful qualities that always surpassed those that followed. It was because of this first woman that things were as abundant in them as they were in their source. And it is the first philosophical spouse; it is easily opened, as being the parent sulfur of a thing of the nature of our Mercury, thus water for water. This is why the Rosary says dissolve our Mercury and it will dissolve clear like rock water, and it is true to say that the first origin of metals is putrefaction or manure, after that the art made by us a beautiful dye, there is no fountain water so clear when once art and nature concur to reduce it to a metallic property. It is then that she has the strength to convert the imperfect into the perfect, one cannot say everything here, and it is not expedient to give everything to be understood.

I therefore said that the essential of the work of the philosophers was drawn from natural mercury converted into water or 🜍 which must be divided into two or three equal parts like a veritable fountain of the philosophers which is the source of all things.

It is then that you will find pure and clean spirits there, but Sulfur is used in conjunction with the moon which is friendly to it. And it is also necessary that the fat of the vine be enclosed and put in its bed during the month of the philosophers. In distillation, it appears there as a sweat. In sublimation the spirit strives to ascend, but is compelled to descend. It is made of water, and it turns again into water, it becomes like a black cloud and appears like water and a skin on top of it as if it had been added to it.

But it's going slowly.

Then it must thicken after that, putrefy and die, and also it must be put in the bottom of the water, because everything must die with regard to its nature to bear fruit.

It is always necessary to proceed in the same way and according to the order of the elements until this operation dries and this natural humidity is completely consumed. It is of all the humidity that which requires the longest time to cook, and we must not complain about the length of time, so that what is at the top finally takes the lowest place and that the lower becomes superior and vice versa, and until the earth becomes very dry and separates from the element of water, which is done very slowly and successively and little by little, the more time employed in it the better. It is thus the matter of nature decreases and takes on another more vegetative life. At the end add and stir the whole body so much that it turns black. This is done so that what is hidden appears.

And also by the mortification of our natural mercury which is changed into water, and this dead water takes another form, which is done by an artificial and well managed distillation, by putrefaction, calcination, sublimation and by fixation, it is coagulated and made fixed, this happens naturally and by succession of time. This is why the philosopher says that he who can reveal what is hidden and who can hide what appears, that one says he can boast of having struck at the goal and of having caught the end of the work.

It is then that this tender and inconstant fixation of softness that it was for the present becomes hard and it is from there that the terrestrial and the dry derive. Thus, the change is made from one nature to another by means of the same heat; it takes the form and space of our black Sulphur and from there come this man and this woman who have nothing more than a nature. So receive with great gratitude from the hands of God this black earth like the head of a raven that one would have liked to have flattened. Take two parts with one part of our water. Make the conjunction of the man and his own wife and that the whole is very exactly mixed, that one puts them in their bed that one takes care to contain them well during one month, thus little by little this ground will appear. Then remove it, grind it, soak it with the Virgin's milk as before, put it back as before, do this four times and more if necessary until this blackness can give birth to whiteness. Previously several colors will appear to you like that of the peacock's tail. Here is the perfect transmutation in all terms and it is necessary that all the figures appear there until this beautiful whiteness can be seen like a king dressed in white.

For then you have this excellent earth of stone, it is cooked and clean for the work of the philosophers which must be reserved for fermenting in white and for dyeing all metals in the moon.

Take then for this white which is still earth and of your matter three parts (keep your minds beforehand), one part of lime of the moon and one and a half or two parts. Let this be put in his bed and be done in such a way that coming out of this darkness he whitens until the Sulfur of the ferment is entirely consumed. This being done, he will convert all metals into ☽, white earth, which is the body and the ferment of the souls, which is the very soul which gives it life, the Sulfur in truth is the water and the spirits are the means to achieve this. For it has been said in speaking of the first matter that ☿ is in the beginning water. You have this King dressed in white, you have the work of the philosophers, and it must be fermented white as you have heard. So he will hold everything in Moon.

If you are not happy and wanted to dye it in ☉, then divide this stone of the philosophers, keep a part white until the ferment is in its perfection and it is converted into this white stone and you will have the white multiplication.

The rest of this white stone, put it in a new curvature and as you want to have it yellow, put it on a stove and gradually increase the fire, until by the force of this fire, our stone white turns red like coral. We reduce like sulphur.

Then remove this material from the vessel and take it in three parts. You will add one and a half of very pure gold flakes to it; you will also add two parts of our water. Mix these three things well together and put it all back in the curb, give it back its natural heat, do it as before and more often will be the best, always remix with the water you have reserved, separate, put, join and always give the fire by degrees more and more until the red appears like Sulfur or hematite stone and even redder. Then you will have the stone of the philosophers which tints everything in gold.

To God alone Praise and Glory

End

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Next come the colored figures, then the Latin and cryptographic text of the work, finally fourthly a commentary on the figures.

This text contains nothing for the third figure. Moreover there are certain cryptological parts which are missing in the translation or first part.

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First cryptogram. Figure I

After preparing the gold, put it in a vessel that you will seal hermetically, put this vase in a bain-marie, on your fire for 42 days, sublimating your gold every eight days, put back in the vase what goes into the container and fight again, until 8 and 42 and then your material will be rotten.

Second cryptogram. Figure II

Join then what you must join, that is to say Saturn to the sun, prepare in Mercury. Because it can only be prepared by this process.

In this way gold mixes with mercury, and then the soul takes a form which cannot be done without the spirit which is none other than gold changed into mercury.

Third cryptogram. Figure V

As you can see, the old man must come to the old man, so that between them they only have two arms and two legs.

To reduce to first matter means to reduce to water.

Fourth cryptogram. Figure XVII

From the seed is born a grain, brought to light it makes man grow, and then by the intermediaries, that is to say by the decoction, it is changed into blood in the stomach of the man, likewise by the intermediary of mercury makes gold, that is to say by decoction in the stomach of the vase, with the help of the heat of the fire.

Place cryptograms.

The first begins the work.

The second in Figure II begins after these words: "It is the same with our work" (page 4) and ends at: "I say therefore that that was"

There is nothing in the Latin text for figure III

Figure V is entirely cryptographic.

The 4th cryptogram composes the first part of what relates to the 17th figure.

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Explanation of the hieroglyphic figures of the Egyptians contained in the book which bears the name of Solidonius.

The first figure is Solidonius, a philosopher who possesses two qualities related to earthly things, particularly as the inventor of this science and ruler of the elements. Furthermore, he possesses the quality of God's beloved, indicating that no one ever came to this knowledge until God opened his eyes or a friend told him the fundamentals of science. They demonstrate two things for the first two terrestrial qualities of inventor and King of the elements. 1. It is necessary to know the elements in order to find them. 2. To command them as their King. As a result, even though they are joined and assembled for the composition of a material substance, they must be separated and disjointed. And this single separation bears witness to the power one has over them, as they are compelled by obedience to leave and abandon the compound in which they are united. And without this separation, it is impossible to achieve the philosophers' desired goal of reducing metals to their first elements and principles for the making of stone, and that the seed of metals can only be found in the destruction of metals. As a result, our philosopher must command and understand the elements in order to separate them in weight and measure, ensuring that the separated parts are not altered by drawing more from one than from the other.

Because to achieve this separation of the elements, it is necessary to know that the natural philosophers have recognized four elements which are the compound of all material things namely fire, water, air, earth. Which qualities are the substance and difference of all things? Because those are more similar who possess the qualities in the same degree, the others on the contrary are more different because the degree of the qualities is more different. The reason of the philosophers is that all things by first resolution resolve into water, earth, fire, and air, and therefore fire, water, air, and earth in their principles are elements. But chemical philosophers assure that there are only three elements in the constitution of all material things namely salt, sulfur and mercury, remaining there a given earth which is black in color, subject to receive all salts, sulphur, and mercury, and unable of itself to make any production. So that everything, as well as all metals, is composed of salt, sulfur and mercury, also to build metals, it is necessary to use metallic salt, sulfur and mercury, rejecting the given earth which is useless for the work.

Now let's come back to our figure, the face is leaden; his garment is a cuirass, the golden crown on his head and a hand on his arms.

For the look of the face, everyone knows that it means the person, and all the men in the world can only be known by the face. For take off a man's head, you wouldn't know what he is. His face is therefore swarthy and leaden, to let you know that he is the Saturn of the philosophers, so often described in their books, who serves as an agent in their work and without whom it is impossible to be able to come to the goal of the philosophers, and this all the more so as the ancient poets have taught us, speaking with mystery of this science, that Saturn is the father of the Gods and of all the life of the planets, thus that of the metals depends on Saturn. For this effect, the sky of Saturn between the heavens is the highest, a mark of its power and nobility. He is at the door of this book, to show us that through him we must enter. He is crowned to let us know that he wears the crown of fine gold and that through him we must obtain it. His garment is of iron, which gives us to know that everything as well as the garment is not the body but the covering of the body, thus Mars which is only grandson of Saturn having been drawn from the brain of Jupiter, cannot enter into the composition of the stone, but well-being the vessel to cook it and contain everything as the garment covers the body.

He wears his crest in one hand and his standard in the other. Both wear the three colors blue, green and red. Blue is the symbol of Mercury, which as water is celestial blue. Green is that color which is seen in the casting and even in the preparation of the vessel when the embryo is formed, for then the color green reigns more than any. The third is the red that appears in the faeces of our mercury when you shoot and in the philosophical egg when the confections are finished.

It has 5 stripes on the foot to show us that the darkness must last 5 months, and 4 stripes on the knee to show us that the work must be perfect in 9 months. From the navel to the knee, there are 9 and a half stripes, to teach us that the work is sometimes only completed in 9 and a half months, due to the rawness of the materials and the lack of heat which does not excites the inner fire enough.

The earth that bears this figure is green, teaching us that everything along with the earth produces green grasses, and so if greenery does not appear in the work, it is useless. For this effect, the Rosary says: O blessed greenery that produces infinite scrolls, without you we can do nothing and from you we must hope for everything. For just as we see that a tree is dead when it does not produce green leaves, so our work is useless without the said greenery. For this effect, you will notice that among all the colors which appear in the philosophical egg, there is only greenery which is stable and permanent. Because blue is the only one that succeeds blackness and it is immediately extinguished, and the citrine, red and yellow colors pass with haste, but the green remains and lasts a long time as being the base and the foundation on which the philosopher must place his hope. Also we see that after the green, the whiteness of the shining sword appears which is the mark of the resurrection of our matter. For being black, she had died in the tomb, having had no hope of resurrecting, until the green forerunner of whiteness appeared. Thus, you will see that in all the following figures, green always gives there as being the color without which you can do nothing and which you must carefully seek.

The second figure is composed of a mermaid who cuts the middle of the painting having blond hair, a golden crown, two wings, one black and the other red, and the lower part of her body of the nature of a fish. She carries in her right hand a golden vessel from which emerges a strong green snake and in the four corners of the same painting, we have first a face which blows, then an earth which produces 3 blue, yellow and red flowers. In the other lower part, we still have an earth which contains a mass of water and in the 4th angle of the said table, we have two burning logs which throw fires and flames in profusion.

With regard to this mermaid, one can ask why it has been represented with the body of a woman rather than with the body of a man, and why it is made to appear that not only is she in the waters like a fish but still on land like a woman. It is because this figure represents to us the Mercury of the philosophers which is very well explained under the figure of a siren, especially since all the philosophers agree that the Mercury in their work is the female, or as some says it’s the womb in which the philosophical embryo is formed. And indeed women are destined by nature for the nutrition and education of children, so is Mercury who nourishes the philosophical child, for the fire exciting the volatile and fleeting nature of Mercury, it makes him rise to the top of the vessel where having assembled, it rises on the first matter, moistens the faeces which are at the bottom of the vessel, animates them and vivifies them. It is here that the true doctrine of the philosophers is found. That they teach that it is impossible to reach the end of the work unless the child is sealed in the womb of its mother and this child does not return to the womb from which it came, or takes on a new life, strength and vigor in such a way that the authors assure that this child reproaches his mother that if she gave him the being that he gave him his perfection, saying my mother begot me and by me she engenders it, for if this matter which at the bottom of the vessel bears the quality of mother, especially as it contains mercury in its womb and throws this mercury outside by the force and heat of the fire, if this Mercury did not fall back on his mother, both remained useless, but this child having fallen back, he perfects the mother and finds himself perfect.

Especially since he and the other are fixed in the bottom of the vessel and are in a state of being able to be fermented. This, then, is the first reason why a woman is represented to signify the mercury of the philosophers. But the inner part of this woman is of a fish to give us to understand that Mercury is of the quality of a fish which lives in the waters, so that even mercury itself is called water, but does not wet the hands. It's water because of its fluidity, but more than water, especially since it doesn't join anything except metal. For grind mercury with ashes, stone, wood and any other material compound, it will not wet these substances, nor will it stick to them. If, on the contrary, you mingle it with the sun, the moon and the other metals, it joins them and wets them, and even unites and conjoins the most distant metals and softens those who have pride, whence come the ancient poets speaking of Mercury called him the pimp of the gods. Especially since it is he who facilitates their love and cannot join him without him, for this reason he is depicted under the figure of a fish like the real metallic water. This figure has the golden crown and hair to teach us that the Mercury itself alone is useless if it is not united with the sun which makes the material substance of its compound.

That if you want to know the weight of mercury in relation to gold, you will learn it by dividing this nature of woman, because at the bottom you will see three whole indentations and two half indentations, which add up to four, to assure you that the weight of mercury is four parts to one of gold. This figure holds a golden cup from which a green serpent emerges to teach us that the gold used for your amalgam must be free of this poisonous serpent, i.e. the impurities of a foreign metal, and that the gold must be pure and as perfect as it can be when it comes out of the mine. But there was a far greater advantage in having gold produced by philosophy, which would contain far more tincture and fixation than mineral gold, because being artificial it is more likely to produce gold. Natural gold drawn from mines and even purified according to the rules of the art.

This mermaid has two wings—a black one on her right and a red one on her left. Black has many meanings for us. First, the darkness, which is the foundation of the work, is caused by mercury. Mercury, which is naturally cold and humid due to the quality of water, when combined with the sun, which is hot and dry, must necessarily cause corruption. This is especially true given that mercury weighs more than the sun and that we know from experience that wet objects are more likely to become corrupted than dry ones, and hence the excess mercury in the composition must introduce corruption.

Second, the black wing serves as a visual cue that mercury must be joined to Saturn, the god of darkness and melancholy humor, in order for mercury to become more corrupt. Since Saturn represents the principle of life in the first figure, he must also be the source of mercury's corruption, according to the philosopher's principle that the generation of one results in the corruption of another. The second wing is red for two reasons. The first is to demonstrate to us how fire, which is placed for this purpose on the same side's bottom corner, must be used to transform the same material that has been black and corrupted into this red color. The second purpose is to demonstrate that, despite the fact that the substance is red, it still acts like a volatile wing and has no impact until it has been fermented and preserved with gold, which fermentation we will discuss in more detail later. When we discuss how to feed it, we will no longer be dealing with mercury milk but rather with the essence of the sun, and we will do this by using the three days of the philosophers, whose problems we shall explain below.

Because our substance has reached the white, you must shoot to the vessel and ferment it with the moon. The tail of this fish separates twice to demonstrate to us that the work of mercury has two consequences in the philosophical process, one for the white and the other for the red. The perfect red of the field poppy, which is the last set color that no longer changes, must be achieved by pushing your matter in such a manner that it becomes red when you push your operation to that hue. To achieve this, you must boost your fire by one degree. Because when you notice that this color does not change, you must remove it from your vessel, ferment it with your sun, and cook it once more over a low flame so that both have attained the fixed quality and are in a state of projective powder that will be thrown on the imperfect metals, which it will use heat to separate the heterogeneous, cook and finish the grain of gold or silver that nature has started in each metal but left unfinished due to a lack of heat. For the gaze of the four angles, we observe at the first upper angle a face that blows, which was put for three specific reasons, the first of which is that without the industry of man who pursues philosophical work, it is impossible to achieve the effect of this science; Because the endowed man of reason is its conductor— just as everything moves by the force of an angel (or Intelligence) who moves alongside it—the work of the philosophers is led by the industry of men—it is for this reason that ancient philosophers claimed that the stone was reasonable, both animal and mineral. The second reason is to demonstrate that the entire compound is made of four elements, and that the blowing face represents air, while the other three figures at the other angles represent fire, water, and earth. The third reason is to show us that the air that this face blows is blue in color, a very clear sign that the philosopher's conduct must be in the Mercury, whose smoke in the fire is bluish, and the hair of this head is golden to show us that the sun must not be far from the union and conjunction of this mercury, for everything that this head possesses, including the air it breathes and the hair it has on itself, likewise the Sun and Mercury must be united in the same subject.

Three flowers are attached to a land for the look from the second angle. The first is bluish in color, the second yellow, and the third red, and they represent two things: The first is that it is a symbol of the earth, which is a second element among the four, and that this same earth, in order to achieve this gold confection, produces flowers of various colors, the first of which is blue, which represents all the colors comprised under black. The second color is citrine, which includes all the middle colors between black and red, and the last color is field poppy, which includes the perfection of the work, and just as there are three flowers of a single earth, there is only one matter for white and red, which being arranged by the difference of degrees of fire, makes the difference between the said colors and makes a difference both in white and black and in the Red.

The third angle is an earth that contains water, which is a representation of the third element, water, and provides us with a summary of the entire universe. For, just as this third element is a conflation of water and earth, there are only two things in the work of the philosophers, namely the earth and substance of the sun, and the mercurial water, which when joined and united produce that greenness which surrounds the mass of this earth.

The fourth angle represents fire and features two torches that are simultaneously burning, one natural and one artificial. The lamp's fire is what ignites the unnatural fire, which is Mercury. Although mercury is naturally cold, when it is awakened by heat from the outside world, it produces an unnatural fire because it is water with an excess amount of cold that always kills by its coldness. However, because it is excited by external heat, it is a Gehenna fire and a torment for the sun, all the more so because it destroys it, and we see even in ordinary operations that the great caustics are drawn from mercury, at which time it is fire and not water. Two conjoined torches that represent the two fires of the philosophers, namely the natural fire and the unnatural fire, are used for this purpose. The third figure is divided into two parts: upper and lower. The first, or upper part, depicts a man and a woman holding a serpent that twists around one another in each of their hands. In the center of the crest is an eagle with just a body, two heads, two feet, and a tail with four black and four red indentations, as well as two wings—one black and the other red—with the black on the woman's side and the red on the man's. This upper part teaches us, first of all, that there are two mercurys, one male and the other female. These two serpents, which represent the separation of mercury, are represented by the male and female bodies that touch them. In order to illustrate to us that the beginning of the work is the union of these two mercury, male and female, Jewish Abraham represented the two agents in the book that came into Flamel's hands as two serpents that in the deserts ate each other.

In order to convey that there are two of them and that one is insufficient, ancient poets portrayed the god Mercury holding a caduceus that has been twisted by two serpents. The white background of these weapons serves as a reminder to us that the upper part speaks of whiteness or the efforts made by philosophers to become white. A white eagle with two heads and a body is visible in the middle of his arms, teaching us that these two serpents must not only entwine but also join and form one body. Because in this work the male mercury and the female mercury must be inseparably united with each other, just as in the generation of living things the male and female must be conjoined and united in one body. This allows the male to plant the seed in the female's womb, and the two of them to produce a child who is more perfect than they are. There are two heads on one body because of this.

The tail of this eagle has eight indentations, four of which are red on the male side and four of which are black on the female side. What is put for the weight of one and the other mercury, because it is necessary to put an equal part of one and the other, but these four straight indentations on the side of the man are red as well as that of the wing, and those of the woman's side are black as well as that of the wing, which demonstrates that in the work, the blackness comes from the side of the woman and the redness comes from the side of the man, and that the blackness would never appear without the female mercury, just as the redness would never appear without the male mercury, in the same way that the seed of man, having been closed in the womb of woman, is corrupted in this same womb by the occult virtues which it possesses, which lead to corruption, without which it is impossible for them to come to animation, so the feminine seed, together with the womb, corrupt and rot the united seed in order for it to come to the state of the living.

It is the same in our work, because the masculine mercury, which is solar and thus has a very hot and dry temperament, can only be corrupted by the intersection of the feminine mercury, which is cold by nature, and thus the darkness is on the woman's side.

But the redness is also on the man's side to indicate that even if the feminine mercury had the power to corrupt him in the beginning, he will ultimately triumph because he will transform this black color into a very perfect red. It's important to note that the white eagle's body and the middle of the two black and red wings serve as a barrier between the two colors, showing us that the only way to transition from black to red is through white. Because this black matter must first become white and then red. For the appearance of this man and this woman, who both sport golden crowns and whose attire differs only at the collar and the soles of their feet. This gold crown on the head of one and the other justifies that in order to make gold, they must both be present, but the man's collar and feet are yellow to indicate that it is the solar mercury, however, the woman's collar is white to indicate that it is the lunar mercury whose feet are black, especially since it is this mercury that causes rot and blackness, and which causes the philosophers' work to germinate, giving it a new generation. The sun and moon are positioned next to a red ball that has been twisted by two serpents and is held up by a green column with a black, green, and yellow base and foot. Next to it, you can see a black pelican that has torn open its stomach, letting its blood flow onto the palms of its feet to create, feed, and grant victory. However, on the opposite side, a fiery red Phoenix that was in the center of the braziers and flames is consumed, reduced to ashes, and then reborn from these ashes. Nothing about this is completely clear. Because this red ball, which is depicted under the color of a rural poppy, demonstrates the perfection of the work, it is imperative that these two snakes—or, to put it more accurately—these two male and female Mercurys—join or unite in order to achieve the desired results. And, given that the lower part explains the upper part, and the male and female at the top represent the two solar and lunar mercurys, for this effect, you can see the Sun in the lower part of the man's side and under his feet, and the Moon on the side of the woman, to keep the philosopher from deviating from these two mercurys and making him touch the finger, as the Sun is represented by the man and the Moon by the woman.

The color of the column is green especially as the greenness is the main color and the foundation of it.

But next to the bottom, it is black to demonstrate that the color green can only be achieved by darkness, and on the opposite side, it is yellow to demonstrate that yellow cannot appear without green appearing first, with green and yellow in the middle.

We observe a pelican nearby that pierces its stomach and draws blood. Naturalists tell us that this animal has a habit of tearing open its stomach, drawing blood from it, and feeding its young with its own blood because it lacks food to give them. This demonstrates how the philosophical egg works. We can see that the matter, which is very effectively represented by the pelican at the bottom of the vessel, is excited by the heat of the fire and sends vapors to the top of the vessel where they are converted into small grains of mercury. These grains would be useless if the same fumes released from the pelican's belly or matter did not feed the small grains of mercury above because they have grown to a reasonable size, flow along the vessel and return to the mother's veins.

The Pelican has two flippers under its feet to demonstrate how the Sun and Moon's flippers are completely dependent on this operation, and that it is impossible to take away the Golden Fleece without first nourishing the child with the mother's substance. However, this pelican is on the Moon's dark side, which indicates two things: 1) because it is proper for women to nourish and breastfeed, this nutrition belongs to the lunar and feminine mercury, and thus this pelican is on the ☽ side. 2) That this black color makes us see the time at which this nutrition is done, namely during the darkness which lasts 40 or 42 days. Because nothing is volatile in whiteness and redness, nothing rises as a result, and there is no nourishment.

On the other side, we see a red phoenix consumed in flames and reborn from its ashes, where it is worth noting that this phoenix is on the side of solar mercury, indicating that it is an effect of the sun that leads this color there. However, this sun or phoenix is consumed within its ashes, demonstrating the violence and increase of the fire to achieve the said color, at which time the solar mercury is consumed and reduced to red ashes, but from which it is born. Another phoenix, much more perfect than the father, could only beget by dying and being destroyed. However, this one generates all of the imperfect metals and reduces their quality in the sun. This first phoenix had no more life and color than it required, but the second has so much life that it even raises the dead by bringing imperfect metals to life.

This first phoenix was vulnerable to fire and corruption in such a way that it was initially covered in rot and darkness and ultimately abandoned to the flames, but our second phoenix is not susceptible to either, as it possesses an inherent principle of fixation to resist corruption. It also has such steadfastness and strength to resist that fire cannot change it, which accounts for its bright red color and shows us the success of the work. As you can see, this figure perfectly summarizes the work of philosophers and teaches us, in particular, the importance of two solar and lunar mercurys, their union, and generation in corrupting, whitening, and reddening in accordance with the steps and degrees of the fire that philosophers have described and taught for the completion of this work.

The fourth figure depicts the seven planets, with Mercury at the center on a column that has two serpents twisting it. There is a fountain below the column where a man and a woman are bathing. Red and White are written above the man and woman, respectively. This graphic teaches us three lessons. The first is that all planets possess the fundamental quality of all metals, and that in order to carry out the work of the philosophers; one must remain in the metallic kingdom. The second thing we discover is that Mercury creates the fountain's matter and substance, but that Mercury would be completely useless without the assistance of the sun and moon, the two male and female counterparts to Mercury. The King and Queen take a bath in this fountain to demonstrate what it is and how the Sun and Moon come to bathe there, as described by Ortephius and Flamel. The third thing we discover is that the Sun and Moon are below to instruct us that they are the basis for all Mercury-related works, but the other planets are above, which raises questions about the quality of your work and the projection of your powders, particularly given that only these superior and imperfect metals can be used for projection, from which our powder separates the heterogeneous and fortifies the homogeneous to an even greater extent because all metals contain imperfect gold. Venus is above the sun, indicating that the red projection should be made on Venus, whereas Jupiter is above the moon, indicating that the white powder projection should be made on Jupiter. Saturn is up close to Mercury to show that Saturn comes into Mercury's disposition. Mars wears the sign and is clothed, whereas the other planets are naked, to demonstrate that Mars serves as a vessel for this fountain for the cooking of the philosopher’s work, so he holds his baton of command towards the fountain, indicating that it only serves as a vessel to contain the King and Queen's fountain.

The fifth figure depicts two men who have been joined and united together and have two heads, two feet, and a single body; one's clothes are yellow, while the other’s white, with nine buttons on the white robe.

This figure teaches us the first union of our two white and yellow mercurys, which when joined form one body despite coming from two heads, i.e. two different principles.

Do not be surprised if both are depicted as men, despite the fact that there is a female Mercury; this is especially true because the masculine Mercury is the master of the actions of the feminine and the master of commanding it, just as the husband is the master of the actions of the woman in marriage, and everything that is done is done under the name of the husband. Similarly, in this work, everything is attributed to the male mercury; for this purpose, the yellow mercury holds a mace or baton of command in his hand, indicating that it is he who commands, and even has a crown on his head, which the feminine mercury does not have.

The feet are black, and the robe is yellow and white, surrounded by a black circle, implying that the two mercuries must corrupt and blacken in order for the greenness at the top of their garment to appear.

There are nine buttons on the dress that teach that it takes nine weeks to achieve the said blackness and then nine months to achieve the greenness, which some envious philosophers have called nine months, counting the months by the parts of the moon that last 7 and a half days each. Some have previously counted the year by three months, especially since there are 12 lunations in the said three months, which they called months, from which they establish their year, which is necessary to know in order to grant all philosophers. You will find others who say that the work is only completed in three years, so they mean nine months, calculate by lunations.

The sixth figure represents a young man with blond hair stripped naked; one pushes him from behind and the other pulls his shirt off.

This young man with golden hair is a representation of the Sun, which can only be used for philosophical work, after his shirt has been taken off, or stripped of any impure metals he may contain. There are two men who strip it; the one in the back stands in for antimony, represented by a dark and yellowish substance that consumes and devours the gold while spewing smoke that makes the Sun set.

This is done for the purpose of allowing the gold to be completely purified with just one breath. This preparation cannot be so exact that some of the antimony does not remain in this gold and therefore it would not be pure. The second man in front who pulls his shirt demonstrates how the Sun is cleansed by powerful water that consumes all of the strange metal but leaves the Sun alone as it falls to a low vessel in sand.

This preparation is standard and is used to make coins, but it is unfair and rigorous because they can never purify the gold to 24 karats and can only refine it to 23 karats and a half, demonstrating that he is neither pure nor perfect. The best gold is therefore mined gold that is freshly minted and uncoined because otherwise it is impure. Alternatively, you must choose a philosophical gold that has the seminal virtue discovered and that is appropriate for the current generation.

The seventh figure shows a horse with white hair that is almost blue, a red tail end, and four marks of the same color in the joints. The horse is throwing its manure, which includes fourteen feces that emerge from behind.

This horse's color represents mercury to remind us that he is the one in charge and that nothing successful can occur without his assistance. This horse has red tail and the ends of its legs' hair to teach us that mercury is fire against nature and that, despite being cold water in the last point, it internally burns and consumes our matter to such a great extent that philosophers refer to it as Gehenna's fire. But even though the male and female Mercury have been joined and united as has been demonstrated above, the said Mercury still contains impurities that prevent it from procreating if the philosopher did not know how to remove it, and to achieve this, you must take your mercury, put it in a bottle with some earth, pour hot water over it, tightly cap the bottle, and shake the water in your hands until it turns black, then give it some more hot water and swish it with it as above, and this until your water has no blackness and is as it was when you put it in.

This horse has left fourteen droppings, which demonstrates that this should only be done fourteen times. Because you'll notice that after the fifth or sixth agitation and water change, there won't be any darkness, and because of this, your mercury will be cleansed and purified so that it can accept the gold seed and develop into an embryo, being fed by the feminine substance known as mercurial air that rises to the top of the vessel.

It is important to understand that the male mercury is prepared in this manner, particularly since we must understand how the two mercurys previously mentioned are prepared.

Saturn well purified, which is done by melting it several times and steaming it #j.

Clear antimony spelter #jj

Lime of Sun drachma common Mercury prepared with water in earth bottle #j

You grind your regulates and melt your Saturn, which you throw on it, in order to create a body. You then combine your mercury with the fire and create an amalgam out of the whole, which you grind with vinegar at an angle.

Dry your amalgam, add your sun drachma to it, and place everything in a tightly sealed glass container.

Place the vessel in horse manure for 15 days or 3 weeks. Remove the materials from the container and place them in the retort. You will then have your solar mercury, which is a half pound of the 9 ounces.

The lunar mercury is made in the same manner, with the exception that an ounce of Moon will be added to lime instead of a large amount of sun, and that the lime must be kept in manure for 4 weeks. Additionally, the 9 ounces of mercury must not be returned, only seven ounces must. The two mercurys you must never mix together unless you are about to start your work in order to prevent the seeds that are united at first from being quenched later.

The eighth figure depicts a man and a woman marrying. Both wear the golden crown, the man in white with yellow feet, and the woman in green. This is the marriage of the sun and mercury, meaning ☿ when it is composed of male and female. Both wear the golden crown to teach that the sun is gold and that the solar mercury was taken from gold. And to prove this to you, you must notice that although man has a golden crown and yellow feet to demonstrate that it is gold, which is always gold in its beginning and end, his clothes are still white with hints of blue, the color of mercury. This is especially true because in this amalgamation of the Sun and Mercury, the Sun appears white like Mercury. He changed his clothes as a result. Mercury, on the other hand, is portrayed underneath the likeness of this woman and is dressed in green to convey the message that without his union, nothing would be possible because it is he who corrupts the work and turns it green once more.

The woman has a boyish face and hair, but she wears feminine clothing to demonstrate that mercury is a hermaphrodite—both male and female, according to ancient philosophers—and that, therefore, in this union, the weight of you is required. The woman shows you four fingers on her left side to indicate that you need four weights of mercury, whereas the man only shows one finger to mark that there is only one weight of Sun out of 4 of mercury, which you will amalgamate by heating them in the crucible.

The ninth figure shows two men with only one body, each with a head, foot, and hand. This was done to illustrate that after the Sun and Mercury were combined, there were two heads because of the Sun and Mercury, but only one body, especially since the Sun and Mercury were so joined and united that it appeared to be only one body, one's and the other's clothes are mixed, so that one's arm is white and the other's is black; so it is with clothes to make us see that in said amalgamation, you only see two colors. Know the white color of mercury and the black color of a black powder that appears above said amalgam. This blackness is the venom of one and the other metal, and it must be removed and not left in the said compound, either with the feather or by blowing the said powder. If the blackness persisted despite your efforts to remove it, add hot water and agitate the area until the black is gone, leaving your amalgam clear and shiny with no blemishes.

In order to ensure that the blackness won't reappear, grind the material in a marble or glass mortar. If the blackness reappears, remove it as previously mentioned, repeating the process until the material is white and shiny. Your amalgam is then ready to be placed in the philosophical vessel inside the sages' secret oven, heated by the fire of the three degrees of generation and the fourth of perfection, which we will explain below.

The tenth figure depicts two separate men, both in their perfect state, one wearing a golden crown and the other an antique crowned cap. Their clothes are the same color, except one has a white right side and a black left side, and the other has a black right side and a white left side. This illustration has been used for another reason only to inform you that after the materials have been combined and amalgamated, they must be separated by chamois because if you press firmly on the amalgam, mercury will be drawn out and you will be practicing what the philosophers say about the need to moisten and dry. For you moisten by the amalgam joining the mercury and you desiccate withdrawing part of the said mercury. The fingers represent the weight of it; one displays two fingers to signify that it leaves two parts of mercury in the chamois that cannot pass, and the other displays a finger to signify that it passes only a part of the said mercury. Both have a hand that closes to teach us that mercury can only pass through the chamois by restricting the hand. Because of this, there are two bodies, one of which is the entire sun and wears a crown made of pure gold for this purpose. The other, however, has a crown on an antique cap to demonstrate that, despite not possessing the entire golden crown, he does possess the spirit of it, which he has drawn from the amalgam. The black and white color of one's and the other's clothing suggests that if the black powder is still visible on the mercury, it must always be removed and purified as explained in the explanation of the preceding table.

The eleventh figure depicts two men in one body, dressed in black and white like the previous figures, each with a hand, a foot, and crowned heads like the previous figure.

This painting, which is a continuation of the previous and final one in which we separated one body from the other using the chamois and hand expression, shows us that we must join these two separated bodies and make only one in order to accomplish the secret of the philosophers who say that it is necessary to restore the mood to the earth and rejoin it with its spirit of life, due to the fact that the mercury we previously separated from him is what gives him life, and we must join him and give this by five times. What you will learn at the same table by looking at their joined and united fingers is that one of them has three joined fingers and the other two make five, demonstrating that this operation needs to be done five times. To demonstrate that the two identical bodies are joined and united, the heads are crowned similarly to those of the preceding table, and the clothing is the same color. The whiteness of the feet serves to demonstrate to us that the said amalgam's extremities are white and that the blackness in the middle must be eliminated until it is completely gone. It also demonstrates that after several imbibitions, the amalgam is clear and gleaming without any sign of the blackness.

In the twelfth painting, a man and a woman are shown getting married. The man is dressed in black and white, has a black crown on his head, and has one foot. The woman, however, is wearing the same outfits as in the eighth painting, where she is married to a white-clad man. This is where we put our amalgam to cook in the vessel. The male body, which is below in the vessel, is black, and the female body, which is above, is the rising mercury. For this effect you see the male who puts his arm under the arm of the female wanting to rise. Because our amalgam smelling of fire, part of the ☿ separates and rises above, to later fall back under the body of the male. The man's coat represents the black bottom of the vessel during this procedure, but his white shoe and sleeves demonstrate that not all of the mercury is vaporized by the fire and that some is left behind, something with a gold body in the background.

This man only has one foot, while the woman has two, to demonstrate how two thirds of the mercury in the amalgam rises while the remaining one third is at the bottom, and the mercury that falls on his body is known as virginal milk, which will nourish and raise this child, or Dew Water, which will fertilize the earth to cause it to germinate and produce, which will have to be done so many times in the vessel that the two matters are fixed and the mercury no longer rises; especially since this child crowns the mother with fine gold in recognition of what she has given him being and life.

The thirteenth painting features one body with two faces, two hands, and two feet; a multicolored costume; both heads are crowned with a single crown; and a globe is visible above the crown. This figure teaches us that there is nothing more volatile, there is no longer any female, everything is male, and that these two divided bodies in the previous painting are perfectly joined and united in this one. Both heads have only one crown, to show that fire can no longer make two bodies. The two feet are one yellow and the other white to make us understand that the whole compound is of ☿ and ☉. The dress is made of different colors to demonstrate how all colors combine to form one compound. Since the dress is black and white, this implies that the compound was originally made of black and has since transitioned into whiteness using all the colors depicted. The clothing, both white and black, is doused with several colored pellets, which demonstrates what the mercury is doing on this subject after it fell from the top of the vessel and doused it with varying degrees of fire. This ☿ is present on both the black and white dresses to emphasize that while this mercury causes rot and blackness, it also causes whiteness. So true is the philosophers' assertion that mercury is the only agent in this work that corrupts and destroys before restoring the body that it has corrupted. What philosophers mean by the resurrection of bodies, which resurrect to eternal life after being punished. The fourteenth figure depicts a man and a woman dressed in white who want to join and unite, and the woman presents a bouquet to the man as proof of the alliance they can form. Because our amalgam has reached white perfection, it must be fermented with silver to convert the metals into fine silver, this table was set up to teach us about fermentation. To achieve this effect, combine a portion of your white powder with three parts Moon in sheet or lime, which will amalgamate with twelve parts of ☿, and then express the mercury by the chamois cleaning and purifying all dirt, non-white powder, or something else. Cook on a third-degree fire for three perfect and accomplished days, and all your work and material will be one body, and your powder will have converted the three parts of the moon into powder like itself, and it would be impossible for this powder, which in itself is not melting, to join and unite with the molten metal, if it were not joined and united with the moon, which by its nature is fusible and can enter the metal body; you can repeat this fermentation procedure by taking one part powder, three parts moon, and twelve parts mercury and cooking them; in this painting, the bottom of this woman's garment is citrine white, which teaches us that the fermentation must be done within the time and to the point where the whiteness wants to leave and a yellow color appears at the ends of the material, which philosophers have called a capillary circle or subcitrine color.

The fifteenth figure depicts a crowned king with a scepter in his right hand and a rod of mercury in his left, with a star in the point and the sun and moon next to it; his feet are black and white. This painting represents to us that the white powder and moon fermented in the previous chapter are now only one body, with the power to destroy all imperfect metals and reduce them to moon by the projection made on them being in cast iron. This figure has a black foot and a white foot to indicate that the materials are cooked in the third degree fire fermentation, and that it must first blacken before returning to its white color. Because, just as there is no generation without corruption, the Moon joined to this white powder by mercury cannot generate unless it has first been corrupted and blackened.

Previously, philosophers compared this serpent to the Hydra of the ancient poets, about which it was said that if one head was cut off, ten were reborn. This teaches us that every time we blacken and whiten the powder, it gains a virtue of ten in perfection, then a hundred, then a thousand, then ten thousand, and finally a hundred thousand. To demonstrate that it was the solar and lunar mercury that created this work and gave the stone its perfection, there is a rod of mercury in the left hand with a star at its top and the sun and moon below.

In the sixteenth painting, a woman offers a yellow bouquet in anticipation of marriage to a man wearing all red clothing and a crown. This painting teaches us about fermentation in red. Because once our substance has been in the color white before being fermented to white, if you want to turn it red, you must use a fire of the fourth degree, and once it has the color red, it must be fermented. To teach us that it is necessary to combine three parts of the sun with one part of the red powder and do so through the medium of this woman, who is mercury, combining and conjoining them with twelve parts of the said mercury, as it was stated in the illustration of the fermentation of the white powder with the moon. The sun is symbolized by this yellow bouquet with three flowers.

Then, you must ferment the material in the fire of the fourth degree, which is the sun's fire, just as the third degree is the moon's fire. You must repeat this process so many times that, if a grain of your powder were to fall on a metallic, molten quantity the size of a vast ocean, it would be dyed and fixed in ideal sunlight. What Flamel remarked very well to us in the chapter of multiplication. A fly could carry enough of the powder on its wings to color a sea of molten metal, contrary to what Ortephius had previously taught and what Raymond Lully had also advanced. This powder could also be produced in greater quantities than the human mind can comprehend.

The seventeenth figure depicts a king crowned with fine gold; red dress, yellow feet, and a banner in hand, with the sun represented in black, white, and red.

The king represents to us the perfect red powder that, at this moment, is capable of transforming all imperfect metals into very fine gold after being fermented with the sun; the red powder could not have been ingested and entered the metals if it had not been fermented with the sun, which by nature is fixed and gives a fixation to the said red powder, which before was volatile and fugitive. The crown and the feet are yellow to show us that the beginning came from the sun and must end in the sun.

Inside the banner, we see a sun, which assures us that perfection comes from it; but this sun is lying on a white banner to teach us that it must be joined with mercury as well as the red powder represented by the red banner. A black banner indicates that this red powder must become black again during fermentation and then acquire the color red, time when you can project it on the imperfect molten metals, or else ferment it with another sun using the mercury that you will cook in the order described above, and thus you will multiply your powder to infinity by means of the leaven that you will always keep, and which will prevent you from starting your work again, having the seminal virtue in itself, which makes you know that gold worked according to the rules of philosophy is much cleaner for achieving the goal of wise philosophers than mines.

The projection is still present in the final and eighteenth painting. An unclothed young man is depicted in this painting holding a pair of scales with a green and a yellow side. The green side stumbles. This angel is leaning on a yellow ball which represents the world; but this ball has two wings, both of which are red.

This figure is most likely used to teach projection. She has the balance to show us that we must weigh and know the strength of our powder before throwing it on imperfect metals. Because if it only works on ten, we must melt only ten parts impure metal and sprinkle some of our powder on the ten parts melted metal while it is on a high fire.

If, on the other hand, it is more than a hundred, thousand, ten thousand, or hundred thousand, you must proportion the weight of your powder according to its strength and virtue.

It is believed that the white goes on tin and the red on copper more easily than on other metals. This angel has his feet on the globe of the world to give the impression that his power is greater than that of mortals, and this same globe has two wings that carry this child into the heavens.

Experience has taught me that it is necessary to prepare the metal on which you will make projection, which opens said metal and makes it capable of receiving the seed of this powder, causing him to be born a new sun; and to open the metals, it is necessary to use mercury, and I believe that salt ammoniac is beneficial in this regard, as well as sublimate and antimony.

As regards fire, I warn you that there are four degrees of fire.

The first is that of the heat of a hen brooding her eggs, which must last for forty days at the most.

The second is one that has such heat that it can remove the coldness from your hand in a split second, but is so gentle that you can hold your hand over it for two hours without discomfort.

The third degree is that which warms your hand but burns you in the space of a pater.

The fourth is the one that burns first and you wouldn't dare to hold it for any length of time without getting burned.

This fire of the first degree must last forty days in preparation for the black, then forty two days in perfection of the black, the fire must then be increased and placed in the second degree, during which time all of the colors will appear, and once in perfect green, the fire must be placed in the third degree to bring it to its whiteness. So you must ferment to the white, and continue the fire of the third degree during the fermentation of the white, that if you want to push your powder to red, you must give the fire of the fourth degree, being red, ferment it with the sun, and always give it the fire of the fourth degree.

When it comes to the vessel, all philosophers agree that matter must be fired in a triple vessel. As the Trevisan points out, the material must first be enclosed in stone. This stone is nothing more than glass formed from stone.

The second vessel in which you will place your material is a cupping ball made of mars and antimony, as you know; and this is all the more so because the mars, when heated, holds the heat longer and sends the spirit of antimony through the pores of the glass vessel, which joins with the mercury drawn from the regulus of antimony, which contribute one and the other to overcome the sun and fix it in powder, red as the field poppy, and without this vessel it is impossible to achieve the work.

The interior vessel, or Mercury itself, is the third vessel. It is this vessel of which the philosophers spoke so much when they advised to make sure that your vessel is three or four times larger than the matter you intend to put inside of it, allow us to comprehend the said mercury's weight, which is four over one of the sun.

Regarding the stove, it needs to be a round tower that is set inside a cabinet made of a philosophers' hollow oak that has been split in half. This way, you can periodically find the top of the tower, remove the iron vessel, and see the colors of our material through the glass bottles and adjust your fire's intensity in accordance with those colors.

The fire must be coal-based in quality. It must be an Athanor, or a tower connected to the tower of your stove to provide the four degrees of heat that I mentioned above.

That if you burn oil, you must use Cardan's lamp, which resembles a lathe with a long beak and is attached to the furnace's tower. If you use oil, you must put six wick strands in the first degree of the fire, twelve in the second, eighteen in the third, and twenty-four in the fourth. Which you proportion by being aware of the degrees of fire, so that the first degree resembles the heat of a hen sitting on her eggs, the second degree warms up without burning, the third degree warms up and burns, and the fourth degree is the first to burn; which degrees you must observe in accordance with these four verses.

The first would be that the senses dominate

Second, nature rejoices in the satisfaction of the senses

A third exceeds his tolerance for harm

With a sense of destruction, the four do not know how to proceed.

End

The raw material and the second material still need to be verbally taught.

The authors only represented it with their hieroglyphic figures rather than naming it in their writings.