WRITTEN BY NIKALAUS BURTSCHELL
SAID AD VOLPIERRE
THE HERMETIC ART
(A lesson concerning atomic transmutation)
Motto: what is exalted is simple
These data constitute practical information. They are intended for readers freed from their prejudices, who have known how to preserve their sensitivity and preserve the foundations and the simplicity of their understanding. In this writing, I will not use the archaic expressions of the alchemists who generate me more than once during my obstinate works.
Finally, this writing will serve, if not to avenge, at least to justify the old masters of whom only ashes remain, and who would have preferred contempt, persecution or even violent death rather than revealing their secret.
This secret, namely how to produce the Philosopher's Stone, was certainly known to the Master in the pulpit of certain Masonic lodges, as well as to true alchemists. Now, to this day, I would not believe I could find of all the European lodges a single one that has the formula and the science necessary to produce the small or the large Tincture. And the reader will understand that I cannot go beyond certain boundaries in the information that I presently give. Those to whom the expressions of the old masters seem bizarre or improbable, must remember that the gifted poet will seem fanciful to one while the other will proclaim to the sensitive human heart the highest wisdom.
The purpose of this writing is not to formulate absolute guidelines for the accomplishment of the work.
Knowledge and know-how are the new poles of the human consciousness that is taking hold. They emerge when the innermost atom combines an unshakable faith in God and a sensitive communication with the existence of a Divine Being. Being is an eternal and eternally increasing force. The Being ceaselessly descends and ascends, which produces the eternal change of life and death. However, even what we call death and decay remains in the most global sense of the term, a transformation, a new distribution of matter. This distribution, which constitutes a tangible expression, acts in a field of imponderable and intangible forces. Nature reveals that the force manifested ceaselessly expresses itself in the plant, the mineral, the metal, the drop of rain or the crystal of snow, or again in animals and humans. But what a difference between the gentle zephyr and the devastating holocaust, between the air of May and the furies of the hurricane or the blizzard. Such differences are evident in earthquakes or submarines, and are often linked to volcanic eruptions.
Innumerable are the forces which in essence are the expression of a single force. For example, take a tree or a flower that grows, matures, and then crumbles. Man is like this, his body is subject to corruption, but he is endowed as a natural creature with an inner force which he manifests in varying degrees. Let us also see the annual seasons which show passing forms within a confirmed eternity and recall the ceaseless cycles of life and death in the microcosm and the macrocosm of the human. We find a life which germinates, rots and transforms, and a continuous change of form reorganizing multiple manifestations by means of a single, creative and eternal energy. The initiate knows and recognizes the existence of this energy, the secret trinity, in the rays of the sun or the moon, in the terrestrial or celestial waters, in the creative womb of mother earth, or in the dry, moist, cold or hot qualities of the breath of the wind. Knowing these energies means that it becomes possible to use them to realize our purposes following the paths of creation.
The great Work, the Royal work of the Alchemist Initiate is not difficult in itself, and could be summed up in a few sentences. But the work involved is so manifold, so fertile in surprises, and even our established and experienced physical laws cannot govern the work or do it justice. Is it so surprising, then, that in these times of rational thought and accelerated progress towards exteriorization, very few are those who know how to internalize these forces and understand the old alchemist writings. First you have to separate the straw from the wheat. Several expressions used or during the work, and especially those describing instruments, remain misunderstood. What a mysterious vocabulary: Green Lion, Red Lion, Mantle of the Red Lion, Menstrum, Serpent, Diana, Phoenix, Winged Dragon, Limon,
The apprentice alchemist is often misguided by an intense and often confusing reading concerning the supply of this acid which the old masters alternately called vinegar, alcohol or wine. The apprentice, having thought he had discovered the way of the Great Work, suddenly finds himself in an abyss where despair hovers.
When should the real work begin? On this point, all true alchemists agree: any alchemical work can begin at any time, any day. However, this final result will be marked in quality or quantity by the effects of the various constellations.
As far as technical aspects are concerned, the modern student has the advantage over the Old Masters in being able to use electricity and gas in addition to coal and wood. Given the difficulty of regulating these last fires, the Ancients had to use certain baths during their work. I remember, among other things, that they used the bain-marie and the sand bath at a certain stage of the operation. The water bath no longer has its purpose because it is easy to precisely adjust the flame of the gas. What confusion these baths have sown among the alchemist disciples! And to be thus trapped, enthusiasm decreases and discouragement leads to abandonment.
The Old Masters used clay vessels, each of which was called the Philosopher's Egg. Besides, it took a lot of art to seal them with a lid. Today we make almost unbreakable glass vessels. The novice also frequently comes up against the expressions: woman's work and child's work. These terms, which are often found in alchemical literature, simply refer to the control of fire and the varying degrees of heat required for the work. Consider the various clay vessels filled with substances having different specific weights and various boiling points, which had to be separated in the same vessel in the course of work; offering various pressure resistances, these substances require of the modern alchemist favored by the control of fire and gas a certain mastery. Imagine the difficulty for someone who had to manage a coal fire.
What admiration will we not have for these Former Masters of the Royal Art, some of whom were named "Imperator" and rightly so since they had achieved mastery of the Great Work.
All original work of creation is due to the formative activity of three vital principles: male, female and spiritual. The alchemist student must know that official science only recognizes two: male and female. And leads if it cannot present them as being complementary, this should not limit the serious student, since in the course of our work three tangible principles, in the form of distinct essentials, are necessary and show themselves. These three principles are our Mercury,
When only two of the three essentials are used, the alchemical experiment conducted with scientific rigor is doomed to failure and this without exception. It then becomes important for the student to conceive clearly of the real activity of the three principles in the Cosmos. If he does not know how to go from two to three, he will unnecessarily sacrifice his time, his money as well as his physical and his mental.
According to the concept of the old masters, when they took the outside as their point of view, all of Nature was subject to the male and female principles.
Nature receives its eternal strength from the Cosmos. Could this Cosmos exist without the Universal Spirit of the Creator? And I will refrain from differentiating between the different forces active in the Macrocosm and the Microcosm. This work has already been done by the Old Masters, and over the last five centuries by a man named Paracelsus.
This brief introduction was necessary in order to bring us closer to the level of thoughts of the Masters which threads like a red thread in the whole work and proves itself by the final result.
The great Work has been separated into three parts:
I preparation
II main work
III concluding work
Each of these parts is a masterpiece and, of course, finds parallels in the various kingdoms of nature. These parallels will relate to the heat, humidity and dryness which will permit the germinal growth in the various degrees of the Work. Hermes Trismegistus had already said so.
PREPARATION
(The preparatory work)
It is from the Prime Matter or Chaos that the earth emerged, say the Old Masters. Our first task will therefore be to bring any material substance we use back to its chaos, that is, to dissolve it, and then to let it return to its first chaotic state. This suffices to establish the concept of dissolution. For it is not a question of annihilating, but only of dissolving up to a certain degree, or of effecting a rearrangement where the energy accumulates and from where it infuses the whole work with life and gives shape. This cannot be accomplished until the corporeal has been reduced. The goal or the summary of the whole work lies in this short sentence of the Natural Philosophers which testifies to their mastery over the matter: Solve et Coagula! (separates and unites). And here I want to underline the very great importance of knowing what are the male and female principles of any matter that one considers to use for the Great Work. Much of this knowledge is transmitted to us by Astrology, which Paracelsus insists on in these writings. An example will suffice to understand, according to anciently known laws, copper, sulfur, the number 6 are under the tutelage of Venus, iron, sodium chloride (common salt) and the number 9 are linked to Mars, lead , saltpetre, and the number 8 are ruled by Saturn, and so on.... It is therefore up to the disciple in the alchemical Art to draw from these known and established facts the proportions necessary for the completion of the Great Work. During the three parts of the Work, the degree of heat is of capital importance. Excess heat leads to failure, since the subtle penetrating vapors which the Ancient Masters called Spirit then escape. How can the Work succeed without active force?
The various stages of the preparatory process can be seen thanks to the continuous change of color. In my work, the object used was originally a dark grey, somewhat shiny, but became dark black blue black and then pale grey. Then it all changed to dark brown, pale brown, very pale gray and almost white. A blue-shaded white followed which became a transparent gray and then faded to pristine white. Having become nebulous, a brilliant green was born, and very pleasant moreover, until, all attenuating, an olive color invaded the whole, thereafter appeared a yellowish green. During this time, a black, completely closed circle appeared some distance from the mass on the bottom of the upper part of the container. This completely black circle was almost 2 cm in diameter.
This circle gradually approached the surface and became darker and denser. He moved with a regular movement while maintaining a remarkable uniformity and gradually taking on a blue-black coat. It began to seep at the edge of the mass through the wall of the container to the depth of its width. During this time, its mass increases from 3/4/ of a centimeter to 20 centimeters. The black band then landed fifteen or sixteen centimeters from the bottom, sunk into the mass of 2 cm, this black mass was only one or two centimeters deep. The dark blue became paler, then darkened again showing a beautiful radiance a few days later. Then slowly red lines like blood appeared rising from the bottom until the day or the period, also called Aqua fontana, and who is this blood or ruby colored juice, floods the mass coming out of the philosophical mine. The Old Masters called this stage their "peacock's tail". There is no better word to say it. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. inundates the masses on emerging from the philosophical mine. The Old Masters called this stage their "peacock's tail". There is no better word to say it. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. inundates the masses on emerging from the philosophical mine. The Old Masters called this stage their "peacock's tail". There is no better word to say it. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. There is no better word to say it. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. There is no better word to say it. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix. This red juice is also called the "Mantle of the Red Lion" since the Red Lion is also contained therein which will devour during subsequent degrees of the work various substances and even various elements. Our Mercury, which is rightly called "Bearer of Light", hides under the Mantle of the Red Lion. The word menstruation, like similar alchemical terms has a double meaning. On the one hand, by the manipulation of the Master, the Menstrue becomes a perfectly natural excrement of the original Chaos called Materia Prima, lime of metals, greasy earth or matrix.
On the other hand, Menses becomes a solvent although still imperfect. As the work progresses, everyone discovers the relationship of this menstruation. This red juice, or Aqua Fontana, of Paracelsus, should be carefully decanted, making sure that no part of the residue comes with it. The residue is then soaked in wine or vinegar and oil, also called Aqua forta or Aqua pluviales (strong water or rainwater) and which will appear in an essentially different form during the main work until it is completely dissolved. Thus ends the work of preparation. Remember that this greasy earth must be handled with care, because it is highly corrosive despite its greasy appearance.
The Art of this first part of the work consists in the total destruction of the substance used, whatever its so-called natural origin, in order to change nothing and to have only menstruation. It is possible, by manipulations with certain liquids already named, alcohol, wine vinegar, and sometimes, oil, to obtain a red juice similar to that of the shiny raspberry or the ruby red of a metallic substance. This red juice has the particularity of leaving green traces on the walls of the container as soon as it is stirred. This (?) green is the symbol of the "strength necessary for growth" which is of paramount importance to continue our work. If the juice has a brownish color in addition to its green luster, it has become unusable.
The preceding method clearly demonstrates what the Ancients meant by destruction in the preparatory work. The image of a rotting corpse was used by the Old Masters since a rotting body spits or drains its own blood. At times, the material produces a fetid, stinking odor. When the Old Masters spoke of "transmuting a body into chaos", they meant the description we gave in our preparatory work. However, it should not be confused with a classification "out of the reach of chaos". The Old Masters classified Nature into various fields or levels such as:
1. vegetable
2. mineral
3. metal
4. animal
5. chaotic
6. astral
The meaning of these classifications is clearly understood when we approach the ancient literature of the Masters. The ancient Alchemists insisted on the concept of an essential element or substance which is a dynamic and biological unity and whose visible and fundamental forms manifest as the four elements. However, these four elements should not be taken for those of the scientific postulate. The main element was called "Phophorus", which in essence means "Bearer of Light". This has led to several erroneous concepts regarding specific hermetic expressions that pave the way for erroneous judgments and false conclusions. This is still the case today. There is no need to name such phenomena and one must rather be satisfied with facts. The expression Phosphorus meant the inner fire or light which shines but does not burn. After settling, Phosphorus cannot be melted or consumed by any fire. Thus was he well named even in his heart. However, we refrained from revealing how to obtain this inner fire and how to store it.
In his Tabula Smaraglina (Emerald Table) the classical alchemist, Hermes Trismegistus, expresses the knowledge of the three parts of the work: "
It is true, certain, without falsehood, that what is below is like what is above to work the miracle of one thing Since all things derive from one, by the will and the Word of him who created them in His Spirit, so all things owe their existence to this Unity through the order of Nature and can be improved by adapting them to this Spirit.
His father is the Sun, his mother is the Moon, the Wind carried him in her womb and the Earth is his nurse. This Thing is the Father of all perfect things in the world. Its power is most perfect when replaced in Earth. Separate the Land from the Fire, the subtle from the gross, but be careful, do it with art and judgment.
The Thing ascends from earth to heaven, and descends again, born again to earth, and having the double power of what is above and what is below. Thus, the splendor of the whole world will belong to you and all darkness will depart from you.
It is the strongest of all powers, the Force of all forces, for it can realize all subtle things and penetrate all that is solid. Because thus was created the world and produced rare combinations and marvels of all kinds.
This is why I am called Hermes Trismegistus, having mastered the three parts of the wisdom of the whole world. What I have to say concerning the masterpiece of alchemical art, the Solar Work, is now said."
Aristotle advocated the existence of four elements in nature: Earth, Water, Fire, Air. Which enter all his realms in various modes when active life forms perform their primary function. And I would like to bring you here once again these words of Hermes Trismegistus: "the wind carried it in its belly". Think then of the humidity contained in the air which can, depending on the prevailing circumstances, become vapour, rain, snow or ice in the free region and become water in its eternal round. In such conditions and occasions, the alchemist must set aside the concepts held by those who view the chemical elements as they are used by scientists and which are contrary to his "alchemystical" conception.
In rain, snow, frost or any moisture in the air, we find this agent in the form of three essences unknown to humanity, waiting for a rebirth to reveal its magical forces. Who will decide that the time has come and humanity is ready? It was impossible for the Ancient Masters who called themselves Philosophers of Nature, and who learned from Nature, to conceive of material manifestation without fortitude. On the contrary, they knew the concentrated power in matter that modern science is just discovering. This conviction of the alchemist is expressed by all those who have had such an inner experience. This active power extracts from degenerating food a high content of vitamins and activates the curative virtues and poisons of the plant.
But, it is first necessary to have the good medium as it is described in the preparatory work, which can combine the active force as the magnet attracts the iron. According to an old teaching, likes attract while opposites repel. As we continue the work, we shall further identify this Menstrue, or blood of the Red Lion, and we shall see that this blood, to use the term of the old Master Goethe, may in a different sense be called "special juice".
THE MAIN JOB
How not to admire the Ancient Masters in Alchemical Art who accomplished the Great Work using the simple but effective equipment of their time. In the main work, a balloon, also called Philosophical Egg, served as the primary tool of the Old Masters. Equipment called "renaming" is useless and meaningless.
The balloon is three-quarters full, enormous care must be taken of the degree of fire or heat, and this for a reason already stated. During this distillation by degrees for which the Old Masters used the Athanor, three liquids will appear successively. In the balloon, there will remain a powder similar to glass, of a yellow, white color before sometimes greenish or bluish reflections. It is important to know how to recognize these three completely different fluids. One is yellow and the other two watery clear, the latter showing an oily consistency when poured. These three liquids appear even though in the preliminary work we only used two liquids as the basis of the whole process.
The second of the three distilled liquids, which is called phlegm, is of no use and is discarded. Here again are the male and female principles. Several names have been given to them: yellow and white VINEGAR, wine, alcohol, radical humidity, increasing strength, arsenic, sulphur, salt...etc...
The powder that remains is called "dead earth", magnet, mummy or even "corpse to be resuscitated". This powder must be buried in the alchemical sense, or else covered with horse manure. This last expression is also used to describe an operation of the preliminary work. But let us not be deterred by this semblance of contradictions, formulas and expressions. The real task of the main work is the SEPARATION which must be carried out with precision. Thereafter, it will be necessary to revive the "dead earth" by its own seed which will grow by manifesting its buds and its flowers on a single stem. Separation, purification, mortification united with putrefaction and revivification, are compared to the annual cycle of Nature, also called "fire of the Wheel".
The terminology of the Hermetic Art may prove difficult for the novice. Hermetic means: sealed against the air. It is true that part of the work must be carried out in an airtight container if one hopes to succeed. The Master Alchemists knew of a hermetic union by which to solder or unite various different ingredients, as occurs in the course of this work. Even the most exact chemical analysis cannot reveal the three or rather the four substances mentioned.
In his. own pit, made of its substance, the dead earth receives the Aqua Pluvialis, the rainwater or celestial water and begins to live again and to rot in a certain way. You can see the material swell and thicken, become runny after absorbing its water and be sticky to the touch. During the distillation, an absolutely clear water, our Aqua Pluvialis comes to float. This odorless and tasteless water can be drunk without scruple. During this process, if a smoke comes to appear, sometimes invisible, it is the beginning of a new phase of the work.
It then becomes necessary to pour the yellow or white vinegar on the solidified mass with great caution and dexterity, and at the risk of bodily injury because this manipulation is dangerous. When these two wines are united, they become a radical solvent and mingle, letting a more or less soft whistle be heard, until producing a red juice, which will dissolve the earth in a relatively short time. So the menses appeared again, but in a purer form than before. This menstruation will become even more powerful and purer during the work. The useless phlegm that we have thrown away and will always throw away constitutes a quarter or a third of the total amount. The origin and presence of this phlegm during separation is a great physiological enigma.
From the fifth to the seventh revolution of the wheel of nature, an extraordinary phenomenon appears during the distillation, when the fluids are partially transformed into invisible fumes and only condense in the neck of the flask. A milky fluid arises from the bottom of the balloon, rises and begins to move freely in the top of the balloon, like clouds during a storm, to finally flow through the neck of the balloon into the receptacle. When the liquid begins to rise and accumulate bare-topped, there is just enough time to change receptacles with great caution, so as to keep the new preparation.
This particular liquor is the "Virginal Milk", the Universal Menstrual, the Radical Solvent, the Winged Dragon, also called Phoenix, and Lima. This radical solvent can completely dissolve any matter of earthly origin and retain all whole essences and characteristic virtues. This cannot be achieved by any other solvent. Careful observation reveals that this milk is a pale liquid like water in which several miniature silvery-white scales swim. This milk can be stored indefinitely since Mercury's wings have been clipped, as the Old Masters said. Once these miniature scales, called Echeneis or "little fish" have been separated, it is no longer possible to keep them indefinitely. Even if they are in a hermetically sealed bottle, they disappear without leaving any residue or condensation. These scales have a fairly strong salty sweet taste. When this powder is tasted like water, there remains in the mouth a pleasant warmth which is not at all corrosive.
During the distillation, which is a decisive stage of the work, the yellow vinegar changes its original consistency, becomes clear water and drips at the bottom of the flask a particular residue. This residue is divided into two distinct powders of equal quantity. These powders are said to be "sitting on a chair", separated from each other by a thin margin at the bottom of the glass, this margin constituting a perfect ellipse whose points indicate north-south. One powder is white, the other is yellowish, they are hermetic Salt and Sulphur, appearing as Volatile Salt (extremely fine or subtle state), which is said to be quintessence as soon as we become aware of Volatile Mercury.
During the work of conclusion, we will have to fix these two powders which are Mars and Venus, that is to say that we will have to avoid evaporation, because following the example of their brother in spirit, Mercury, they are blown away when we store them in a hermetically sealed container.
Thus ends the main work. The earth that remains is no longer of any use to us since we have captured its volatile double Mercury.
CONCLUSION
(The conclusive work)
It is easy to see from the above that the Great Work requires much observation and concentration as well as a deep feeling for the secret workings of nature and the cosmos. We must consider that by such a process, hundreds, thousands, sometimes millions of years of phenomena have been condensed into an average of nine months by the Master's Art, which reminds us of the maturation of the human embryo . The most difficult work from the technical point of view is the main work where it is necessary to regularize the flame of the gas remembering the difficulties overcome by the Old Masters who had to feed a fire of coal or wood.
The difficulty and the danger of the work leads us to compare it to certain initiation rituals of the Temples of old Egypt. And we understand the decision of a Master not to want to repeat the work. The preparatory work is similar to the main work of the Old Masters. One part consists of Solve, and the next part, the conclusion, of Coagula. Some steps already mentioned meet during the preparatory and main works, so that it is impossible to perfectly visualize the various processes of the sequence. It is only when the work is undertaken and the correct approach followed that the apprentice alchemist in the laboratory understands clearly. By right contemplation one realizes the procedure to be followed as described in the Great Work,
The main purpose of the concluding work is to coagulate and fix the volatile double Mercury. The Old Masters understood "cementation" by this fixation and thus posed to the seeker difficulties and enigmas. Here is the greatest Secret and the greatest Art of the Alchemists: to unite by an indissoluble conjunction the innermost atom of this matter which will give to the tincture and to the quintessence its characteristic being. This work concludes the Great Work and allows the patient and persevering work to arrive at the final goal.
The play of colors, depending on the dye, varies during the final work. First, the substances in question must be united according to their natural weights. After a short time, the mass will turn completely black and will show several notches. This also happens during the preparatory work. If we put a lamp above this mass, we will be surprised to see a dark red shining there like a reflection of blood. It is difficult to imagine the change of color that takes place and which only differs from the preparatory work by the marvelous purity and beauty of the colors which produce a real symphony. This luminosity of colors becomes such in the completed Stone, whether obtained by one or the other way, that it truly shines.
The stone can during the first multiplication, become a hundred times stronger, and therefore increase its strength by 10,000 or 20,000 times. Further work will still add to its multiplication. The limit of this power depends on the elements used and their specific weight. When this limit is reached, this nature will penetrate the glass and have the hardness and density of the best steel.
This is the key to the enigma offered to us by history when it tells us of a malleable glass made by men, but which could not be remade despite all the efforts of modern science. The highest known concentration was achieved by Pryce of England and had a potency of 1,140,000 times. A single gram of his tincture is enough for him to achieve an atomic transmutation of 40kg. Unfortunately, this great Master ended his life by committing suicide because he was refused entry to a scientific society.
When using quartz glass or hard glass, the Pryce potentiality can be exceeded, but consider what handling is required for such concentration.
Since this Tincture, is not limited to metals, but can be used for minerals, plants and animal substances as well, imagine what horizons open up in the practice of this way, a single gram of this tincture allowing to to store kilograms of matter.
DL VOLPIERRE (Aqa)
1932
ATTITUDE TOWARDS THE WORK ALCHIMYSTIQITY
(Its content, its procedure, how to obtain the quintessence
by the great wet way)
by Heinz Fischer—Lichtenthal
In the first part of the Great Work which counts three, any metal carefully dissolved in acid with art, will yield a red juice (menses, blood of the Red Lion). Thus, a substance can be said to return to its primordial condition of chaos, and become a useful medium capable of extracting the essential vitality found in the whole creation and retaining it. This vitality is superior to atomic power as we understand it today.
In the second part, a "universal menstruation", (radical solvent, Virgin's Milk, Winged Dragon) can be drawn from the red juice and its residue by a gradual and repeated distillation where the natural essences can be dissolved while keeping their characteristics. innate.
The winged Mercury resides there as tiny silvery scales, like salt, which quickly evaporate, when separated from the liquid. In addition, a residue of part of the distillation of the yellow vinegar is obtained. This residue consists of two powders (volatile salts) which form at the bottom of the container taking on the appearance of ellipses deposited close to each other in a North-South direction. The first is white (Hermetic Salt), and the other yellowish (Hermetic Sulphur).
The final result is obtained in the third part, when the three salts are fixed. It is cementation. By the addition (cohobation) of such quintessence which does not dissolve them, the final tincture will bring about the desired character and will become the Great Tincture.
Begin by mixing one part powdered antimony trisulfide and six parts iron filings in a 5 liter wide-mouthed glass jar with a polished seal and stopper. Also cover the bottom but no more than 3/4 of a centimeter.
Then, every 24 hours, pour three times the following solution on the antimony and the iron filings: 3 ml of hydrochloric acid and 2 ml of sulfuric acid.
Close the container immediately, because of the strong reaction of the fuming gases. Make sure that no antimony particles are between the polished plug and the opening. Tie the cork with rope using two corks, to tighten the rope, one on each side.
Each time the acid is poured on the mixture, place the container in a sand bath at a temperature of 37-38°C. Allow to cool slowly before adding more acid. After cooling, carefully and gradually pour in the two acids and recap immediately. The glass stopper can be removed by inserting a strong cord between the stopper and the neck of the bottle, then lifting with a forceful and uniform movement. It is essential to work quickly because no smoke must escape. Close the container tightly each time you add acid.
The proportion changes with the fourth addition of acid. It is necessary to pour 6 ml of hydrochloric acid and 4.5 ml of sulfuric acid, this every four days. This rule must be followed no matter what happens in the container. The temperature will be the same as before except for the periods when the acid is added. If you notice that the material tends to produce lumps, or set in a hard cake, break up these formations using a glass rod and proceeding slowly. Be careful not to break the bottom of the container. If the glass cracks, take a new vessel and start the work over.
The color change occurs as follows:
1 dark gray, slightly shiny
2 dark black to blue black
3 dark gray 4 pale gray
5 dark brown
6 pale brown
7 very pale grey, almost white
8 bluish white
9 gray like ice
10 pure white
11 brilliant green
12 olive green
13 yellowish green
Then a floating black circle, 2 cm thick ascending, becoming heavier and more dark, (black blue) penetrates the mass which has risen by 1 or 2 cm. The color changes from blue to pale blue, dark blue from which radiance emanates. Blood red lines begin to lift from the bottom at the edges of the vessel. After circulating for 3 or 4 months, the red juice reaches the surface of the mass, and the process having reached its sign of development is completed.
This juice can be decanted with caution and according to the desired quantity. The acids can be added in the same order as previously, in proportions of 10 to 30 and even beyond, depending on the space available in the flask. The mass will dissolve instantly.
Store this solution in special glass bottles for future use. If you run out of container, dissolve only what is necessary for the present work. It's amazing how much acid it takes to completely dissolve the contents of the balloon.
If you stir lightly, the juice should have a green reflection on the walls, if a brown is added to it, it means that the liquid has become useless.
The red juice is a natural separation from the original chaos, and contains the main element, the "bearer of light". (Phosphorus, inner light, fire that burns but is not consumed) which manifests the four elements.
Chaos or prime matter is the beginning of matter as we know it. Strength is increased when the body is reduced. By too much heat the fine penetrating vapors (spirit) would evaporate.
The preliminaries are the beginning of the work and should be started on a positive trine such as Mercury trine Jupiter, or Venus, or Sun, or a trine where Mars is well aspected.
From a 5 liter bottle we got about 80 liters of menstrum.
A 250ml container is 3/4 filled with Dragon's Blood. Make the distillation over low heat. Place 3 Erlenmeyer flasks of 50 ml nearby. Each liquid will be collected separately. Using a gentle flame, the yellow vinegar (hydrochloric acid) will pass first. Then it will be the phlegm which has no value and can be rejected. When nothing more passes over low heat, fine veins rising from bottom to top are visible on the walls of the balloon, and announce that the sulfuric acid is preparing to pass. The receptacle is changed and the heat is increased. Towards the end you will need more oxygen to distill what remains of sulfuric acid. We can use a bellows.
The ball may during this last process turn bright red.
After removing the residue from the broken balloon, pulverize it in a mortar and submit the air in an open bowl for three weeks. This is best done in a cellar away from direct light. This material is hygroscopic and becomes sticky and eventually thick like honey. Place it in a 100 ml flask using a small funnel and a glass rod. The neck of the balloon should be washed with the "air-water" to ensure that it is perfectly clean.
Start the distillation over low heat. A vapor will form which will condense in the neck and overflow outside. When the water has distilled, the vapor becomes denser, like fumes and the distillation must then be stopped. Let the balloon cool then break it. Mortar the contents. Place it in a bowl for evaporation and pour the yellow vinegar over it. This operation is safe. Carefully pour in the sulfuric acid using a funnel, being careful not to splash.
The two combined Acids turn red with a loud noise. Again, we get our starting product. The first part of our work is complete when the red liquid is poured through a funnel into a 250ml flask and we are then ready to repeat this same process.
The described process should be repeated 4-6 times, until the Winged Dragon appears. What can happen during the 5th, 6th or 7th distillation. One must be watchful and cautious as our Phoenix can rise rapidly, boiling to the top and then spilling out. For separation, promptly change the receiving bottle.
When Luna left us, the distillation continues under the same temperature until the water similar to the phlegm is distilled, and overflows. Continuing the distillation over a lower heat than before, the sulfuric acid finally overflows. At the bottom of the remaining water, a particular residue forms. Close to each other, but separated, two salts, one white, the other yellow, will appear in an elliptical formation running north-south.
Both are volatile and can only be kept in their own water. The same goes for the silvery scales seen in the residue.
If too much moisture has been distilled from the salts and the liquid is not enough to cover the bottom of the vessel, distillate must be poured back into it. Without this liquid, the volatile Salt and Sulfur would evaporate in less than 24 hours, although it will take a little longer if there is no light.
During distillation, it is recommended to increase the neck of the flask with a glass tube to promote cooling, a water-cooled condenser can also be used.
It is not recommended to reuse recovered Sulfur.
Formerly, the work was carried out only with natural ingredients. The acids used by the Old Masters, had their specific characteristics, and are today untraceable or unknown,
From a chemical point of view, we consider hydrochloric acid, sulfuric acid and nitric acid. We can do without the latter for certain processes. The hydrochloric and sulfuric acids that can be used for the work described were produced in Europe by the Chemical Industry, barely a few decades ago by a process known as the "Lead chamber process". The raw materials used were native sodium nitrate from Alsace in France, Vitriol (copper sulphate) from the mines of the Harz mountains or Hungary, etc., and arsenic–red sulfur from Sicily. Common yellow sulfur was considered useless to produce valuable alchemystic acid.