Heres something for you to look at while you wait for the book I will bring out soon this should tell you the path i'm on and reveal it to those who will understand this path is more real than you know and by seeing this you will know just how deep I will take this.Like I said I was sent here to complete the work and this is 1 proof of what I have found but you all stay hush on this i'm trusting you with this as this will show the reality of the path i'm on
The Hermetic Art
>
>
> The Teaching Concerning Atomic Transmutation
>
>
>
>
> by
>
>
> VOLPIERRE
> 1892-1952
>
> Translated into English from a Private Manuscript
> by Frater Albertus 1974
>
> Originally Published by Para Publishing Co. Utah.
>
>
>
>
> INTRODUCTION
>
> As recently as 1971 while I was teaching Alchemy in WaIzenhausen, a beautiful
spa in the Canton Appenzell in Switzerland, one of the students approached and
asked: "Have you heard of an Alchemist by the name of Volpierre?" My answer was
in the negative. "His real name was Nikolaus Burtschell" he continued. "He was
born in 1892 and died in 1952 in Mainz on the river Rhine." Again, I had to
reply that at that moment the name did not ring a bell. He said, "If you are
interested in his works I shall be glad to give you all the information I have
about him as I have corresponded with him." During overseas classes my time is
always fully occupied. Even after the late afternoon periods students often come
to me to discuss some question or other. At that time I could only answer that I
would indeed be delighted to have any information he might have about this
present day Alchemist.
>
> The student was delighted with my reply and immediately handed me some papers
with the injunction to please handle them carefully as they were very valuable
to him. Among them was a photograph of a man showing only the upper part of his
body; the head was in repose and very prominently displayed. It was a picture of
Volpierre on his deathbed. Being pressed for time, I took all the papers he had
given me, promised to read them and tell him my reaction. After reaching my
hotel room a cursory glance through the papers gave me the distinct impression
that here was the work of someone who had really tried alchemical experiments in
a different manner. I promised myself a more thorough perusal of this work as
soon as time was available.
>
> Things do not always work out to one's liking and regretfully I had to return
the papers. However, it was agreed that I should receive an exact photostatic
copy. After my return to the U.S.A. the papers, including the original photo
graph mentioned above, arrived. A further investigation of these papers was
delayed due to teaching commitments in the Far East. By this time laboratory
problems had arisen in Europe and I was asked to arrange a stop there. The
student who had given me the Volpierre papers accompanied me to both Zurich and
Stuttgart. He inquired about the manuscript of Volpierre; I had to admit that
nothing had been done. I determined to do some work with the manuscript on my re
turn home. Further investigation proved it to be most inter esting and
revealing. Included with the manuscript was a letter with a brief sketch by the
student, Heinz Fischer-Lichtenthal, of Bavaria, Germany from which I quote:
>
> "In your book Practical Alchemie in the 20th Century you mentioned several
contemporary individuals who worked in Alchemy. It might interest you that there
were others like G. W. Surya (Georgiewic Waizer.) In 1949 I corresponded with
another practical Alchemist who belonged to a society of which I also was a
member. His name was Nikolaus Burtschell but he used the alchemistical pseudonym
D. L. Volpierre. Gathering all that could be found about him, I condensed it
into a biographical sketch. A manuscript about his work is in my possession and
also the contents of a letter addressed to the editor of a French periodical
written in 1948, wherein he strongly defended laboratory alchemy."
>
> In his preliminary sketch, An Alchemist of the Twentieth Century he wrote:
"The man I am going to talk about was born in the vicinity of Mainz, where he
grew up in comfortable circumstances and gained an early education, which, with
other endowments was mainly responsible for his ability to read fluently at the
age of five. He was a book worm all his life and metaphysical literature was his
preference; this was based upon the inheritance from his parents of a treasure
of occult experiences. He lived an everyday life but in addition to his daily
routine an age old theme came alive within him - Alchemy. When the subject of
Alchemy came up and he found it necessary to say a word about it, he used the
pseudonym, D. L. Volpierre."
>
> "He was engaged in healing most of his life. One of his specialities was
Chromo Therapy (healing through color and light.) Under his direction,
medications were produced by a pharmaceutical firm with surprising success. In
1932 he healed several obsessed individuals. In the same year, now forty years
of age, he began his alchemistical activity. from his eleventh year he gave much
thought to a universal tincture and always had the irrevocable conviction that
he would reach this goal. Success was reached after a comparatively short time
with a Great Tincture, which he produced himself, he also succeeded with several
different transmutations."
>
> "In his treatise, The Hermetic Art, Volpierre revealed his attitude toward
Alchemy without transgression. This he sent to Salzburg to the metaphysical
author, W. G. Surya, for an opinion. Surya gave him unstinting recognition and
underlined the correct hermetical laboratory procedure."
>
> "In his Great Work, Volpierre worked primarily with antimony and iron filings.
Avoiding Acids produced synthetically he used only those derived from natural
sources as did those who preceded him centuries ago. In 1935 it was impossible
to obtain proper acids in Germany because of a new law forbidding the use of raw
materials containing arsenic, and especially those containing sulphur from
Sicily. When using the new industrially produced acids his experiments were
unsuccessful. Another goal, to produce a steel-glass, now became impossible."
>
> His laboratory at St. Inber Saar was destroyed during World War II. From 1943
he lived with his sister in Mainz on the river Rhine helping in her Naturopathic
practice."
>
> "In July of 1950 Volpierre suffered a stroke. Death came early in September of
1953. (This differs from the two previous statements referring to 1952, RD) He
was buried in the new cemetery in Bischofsheim by Mainz. His former patients
still speak highly of him to this very day."
>
> "Reminiscing, his sister described him enthusiastically as having deep blue
eyes, light blond hair, and wonderfully revealing facial features; his beautiful
soul reflected again and again in his exterior being."
>
> "Volpierre was reluctant to reveal his Alchemistical work and its importance
to mankind which had not relinquished its cruelties. Perhaps specific personal
experiences convinced this evolved soul personality that he could not cope with
the shrewdness and wickedness of the mundane world. A letter written in 1948 in
reply to a French magazine article about the transmutation of the elements,
testifies to this. One thing that had emerged in the meantime among
progressively thinking men was a certainty that Alchemy is the sovereign
foundation of all science but is at the same time an art. It remains so at
present and will do so in the future. Freed from its many disguises Alchemy will
become an irrevocable basis for a continued evolution toward a genuinely modern
mankind."
>
> The writer of this introduction was so thoroughly convinced of what Volpierre
had accomplished, and of what he had written in his treatise, The Hermetic Art,
that he was eager to duplicate his work.
>
> He wanted to know how to procure the raw materials and asked if I would help
him to secure them. I agreed. He is still getting things prepared and underway
while in the meantime finding further answers concerning various manipulations.
He is deeply engaged in laboratory Alchemy. We hope to have a report about his
results at a later date when more news is forthcoming from this writer.
>
> In the meantime we shall let Volpierre speak for himself. - Frater Albertus
>
>
>
>
> THE HERMETIC ART
>
>
> (A Teaching Concerning Atomic Transmutation)
>
> VOLPIERRE
>
> Motto: What is exalted is simple
>
> These lines serve as factual information and are intended primarily for those
readers who are free from prejudice, have an incorruptible understanding, are
endowed with a sensitive touch and have retained the fundamentals and simplicity
of their comprehension. Writing this I shall purposely omit archaic expressions
of the Alchemists whose understanding became only partly clear to my
understanding while I was engaged in my self-induced working methods.
>
> At last, this writing shall be a vindication, not to say a complete
jusification, of the Old Masters, who would have preferred contempt,
persecution, even painful death, rather than to reveal their secret though their
bones have long since decayed.
>
> This secret, the formula of how to produce the Philosopher's Stone, was
undoubtedly known in some Masonic Lodges to the Master of the Chair - as well as
to the genuine Alchemists - but it can be safely assumed that at present not one
Lodge in Europe has the formula and the know-how to procure the little or Great
Tincture. The reader will realize that in my information given herein, I cannot
trespass certain boundaries.
>
> Those to whom the expressions of the Old Masters sound strange and unlikely
should keep in mind that a gifted poet may speak phantasy to some while to
others he proclaims the highest wisdom when presenting his emotions for the
human heart to conceive.
>
> The nature of this writing is not to give absolute directions of how to
proceed with the work. The result will have to speak for itself.
>
> Knowledge and know-how are ever the new poles of polarity in the unfolding
consciousness of man. They emerge out of the innermost atom of an indestructible
faith in God and a sensing of the existence of a Divine Being. Being is eternal
strength and eternal adding upon. Being is eternally descending and ascending,
the eternal change of life and death, but in such a manner that even that which
we call death and decay is in the fullest sense of the word a transformation, or
rather, a regrouping of matter as a tangible expression in an imponderable,
intangible field of force. Manifested force reveals itself in nature as an
endless expression-in plant, mineral, metal, in a raindrop or a snowflake, or in
animal or man. But what a world of difference we find between a gentle zephyr
and a roaring holocaust, what a difference between the gentle air in May and the
gnashing madness of a hurricane or a blizzard. Such differences show in
earthquakes, on land or sea, often connected with volcanic eruptions.
>
> Innumerable are the forces that are in essence only the expression of but one
force. For example, note a tree or a flower in growth, blossoming, ripening and
withering when looked upon from such a point of view. Even so is man, externally
corruptive but endowed with inner strength of different degrees as a natural
creature. So also are the seasons of the year, passing forms within as eternity
confined, as is man's unending cycle of birth and death within a micro and
macrocosm. We find on the one side sprouting life, decay and transformation, and
on the other side continuous change of form and shape reorganizing again
manifold manifestations through but one energy which is continuously creative
and eternal. The initiate knows of the existence of this energy-the secret
Trinity-be it in sunshine or moonlight, be it in the waters of the earth or
heavens-be it in the joyously creative womb of Mother Earth, or in the dry,
moist, cold, or the warm breath of the wind. To know about these means to be
able to have such powers that serve us and follow the outlined paths of
creation.
>
> The Magnum Opus, the Great or the Royal Work of the Initiates called
Alchemists is in itself not difficult and could be taken care of in a few
sentences. The work involved is so manifold, so full of surprises, that even
so-called proven and established physical laws, enough to fill a thick book,
would not justify themselves. No, wonder that in our time of "rational" thinking
and hurried progress aimed toward externalization, instead of directing forces
toward interiorization, very few are able to understand the old alchemistical
writings, let alone separate the chaff from the wheat. Many expressions used in
the work and most especially those that should identify some objects can hardly
be understood. Mysterious identifications, such as: Green Lion, Red Lion, the
Coat of the Red Lion, Menstruum, Serpent, Diana, Phoenix, Lima, Flying Dragon,
Virgin's Milk, Echeneu, etc. sound rather fantastic but close examination
reveals an intensively grouped correctness of expression that will be proven in
practical application.
>
> The alchemical novice is liable to be misdirected when reading intensively,
not to say also extremely far fetched literature, dealing primarily with the
procurement of the acid called by the Old Masters respectively vinegar, alcohol,
or wine. The novice, his inner hopes raised because he believes he has finally
found the way to the Great Work, finds himself in a trap and lost as he
discovers in the continuation of his work that he has fallen deeper and deeper
into the abyss of bitter despair and hopelessness.
>
> As to when to begin the actual work, all literature handed down to us, as it
originated with genuine alchemists, compares as to a hair. Based upon carefully
established observations, considering certain sidereal constellations arising
out of wellfounded calculations, they all fall into place and need not be
considered any further herein. Taken practically and factually any alchemistical
work may be begun at any hour or any day. However, the end results differ during
various constellations, either quantitatively or qualitatively.
>
> Concerning technical aspects, the modern student has an advantage over the old
Masters from the very beginning. The old Alchemists had neither gas or
electricity as we have today, but were solely dependent on coal or wood for
their fires. These fires were most difficult to maintain and control. Because of
their type of heat the alchemists were forced to employ various baths for their
work. For instance, I remember the Balneum Mariae and the sandbath required at a
certain stage of the work. The first has become superfluous because it is now
possible to regulate the gas flame exactly. These various baths have created a
fountain of confusion for the alchemistical disciples. Hence they get caught in
their own nets, their enthusiasm diminishes and finally their efforts end in
discouraged abandonment.
>
> Furthermore, the old Masters used vessels made of clay -such as retorts. When
used singly these vessels were called Philosophical Eggs, with a lid glued to
the top in a precarious manner which must have been quite a feat In those days.
In our time we have vessels made of strong, almost unbreakable glass. Another
expression which novices do not know how to interpret is "woman's and children's
work." This phrase found repeatedly in alchemistical literature simply refers to
the regulation of the fire and of its various degrees of heat as the work
requires. One has to think about the clay retorts filled with various substances
of different specific weights and boiling points that had to be separated
meticulously in the same retort during the work, offering different resistances
under pressure, that even today with much more sophisticated equipment, requires
skill even with an easy to regulate gas flame. How much more skillful must have
been the regulation of a coal fire!
>
> How much more must our astonishment grow into a marvelous admiration of the
Royal Art of the old Masters, some of whom were called Imperator, a title justly
deserved by their having attained a rulership over the Opus Magnus.
>
> Each original work of creation is built upon a formative, shaping activity of
three vital principles-male, female, and spiritual. That official science
acknowledges only two principles-male and female-be they antipodes of
complimentary is of no interest to today's Alchemists because while we are
engaged in our work, three principals appear absolutely clear in the form of
fundamentally different essentials - our Mercury, our Sulphur, and our Salt -
without which no, little or Great Work nor a tinging or a transmutation is
possible. When only two essentials are considered any scientifically
alchemistically conducted experiments will be doomed to failure, without
exception, as has been previously proven. It is important and necessary for the
student of alchemy-and to be taken for granted by him-that he be mindful of the
three reigning principles in the Cosmic, else he will uselessly sacrifice time,
money, physical and mental strain.
>
> According to the concept of the old Masters which was looked upon from a
purely external point of view, nature was entirely subject to the male and
female principle.
>
> Nature receives her eternal strength from the Cosmos which latter cannot
exist-and this should be especially emphasized-without the Universal Spirit of
the Creator. I shall spare myself to enter into the differentiation about
different active force centers within the Macro and the Microcosmos. This was
done by the old Masters and during the past five hundred years especially by the
one named Paracelsus.
>
> This introduction was necessary even in a limited scope in order to bring us
closer to the thought level of the Masters that weaves itself like a red thread
through the entire work and proves itself by the final results.
>
> The Opus Magnus has been separated into three parts:
>
>
>
>
> I. Preparation
> II. Principal Work
> III. Concluding Work
>
>
> Each section is a masterpiece and has, of course, parallels in the various
realms of Nature, be it in regard to heat, moisture, or dryness, which give rise
to the sprouting growth in the various stages of the Work, as has already been
mentioned by Hermes Trismegistus.
>
> PREPARATION
>
> (The Preparatory Work)
>
> According to the old Masters the earth came forth out of the Chaos, or the
Prima Materia. Our first task therefore is to bring any material substance with
which we are working back into its Chaos, if we use the alchemist's language, or
to dissolve and change it into its first or chaotic state. The concept of
dissolution is here well enough established. It does not deal with an
annihilation but with a certain degree of dissolvement or rearrangement where
the building up of energy takes place and infuses the entire work with life and
forms it; however, only after the so-called corporeal has been reduced. The
objective or the contents of the entire work can be expressed in one sentence or
guide line of Natural Philosophers, out of which has evolved their sovereign
rulership over matter: solve et coagula!(separate and unite.) I shall once more
draw attention to the great importance of knowing about the male and the female
principles of all matter to be considered for the Opus Magnus. A great deal of
this knowledge is transmitted to us by way of astrology, a knowledge which
Paracelsus especially emphasizes in his writings. A little example shall
suffice: According to age old laws copper, sulphur and the number 6 come under
the dominion of Venus, just as iron, sodium chloride (common salt) and the
number 9 are related to Mars, and lead, saltpeter and number 8 are under Saturn,
etc. It is now up to, the disciple of the alchemistical Art to cull from such
known and established facts the proper proportions necessary to reconstruct the
objectives under question. In addition, the degree of heat is of utmost
importance in all three parts. Too much heat will bring failure, since the
subtle penetrating fumes, which the old Masters called by the meaningful word
Spirit, would escape, and for this reason become useless since the active force
has escaped.
>
> The individual stages in this process of preparatory work can be seen by a
continuous change of color. In my work the object I used was originally of a
dark gray, slightly gleaming color, but which became pitch black, then a bluish
black, and then a light gray. Then the color changed to dark brown, light brown,
and then to a very light gray, almost white. This was followed by bluish white
shading changing over to a transparent ice gray, then into an immaculate white.
Thereafter it became clouded and then was penetrated by a delightful bright
green like a breath, with everything slowly becoming more subdued until it
become of an olive color; still later it changed to a yellowish green. During
this time there showed a completely dark closed circle a certain distance in
from the mass on the bottom of. the top part of the container about two
centimeters wide-a strange phenomenon as we shall see later. This circle moved
slowly closer and closer in a steady motion and became darker and denser. It
moved with remarkable uniformity and kept the same distance changing slowly to a
blue-black color. It began to penetrate slowly at the edge of the mass on the
bottom, but from the wall of the container, and was not any deeper than it was
wide. At the same time the mass grew taller from three quarter centimeter to
twenty centimeters. The dark band rested about fifteen to sixteen centimeters
distance from the bottom, about two centimeters into the mass, while the depth
of the circle or ring was about one to two centimeters. After awhile the dark
blue ring got a lighter blue only to become a deeper blue again several days
later, and gave off a beautiful radiance. Blood red lines began to appear,
rising slowly from the bottom, until one day a juice of ruby or blood red color
could be seen-the menstruum. also called Aqua Fontana, that welled forth all at
once from the philosophical mine. The state of this work the old Masters
pointedly called the Peacock's Tail (Cauda Pavonis.) It is hardly possible to
find a more fitting name. This red juice is also called the Coat of the Red
Lion, since the real Red Lion is concealed thereby, because in the course of the
further degrees of the work he devours various substances, even different
elements. Within this Coat of the Red Lion our Mercury has his being and is
rightfully called Bearer of Light. Menstruum., like similar alchernistical
terms, has a double meaning. At one time, for instance, through the manipulation
of the Master's hand it becomes a perfectly natural excrement of the Original
Chaos called Prima Materia, calx of metals, greasy earth or matrix. On the other
hand. it becomes a solvent, though not a perfect one. As the work is continued
one will see what relationship this menstruum has. This red juice or the Aqua
Fontana of Paracelsus has to be decanted carefully, making sure that none of the
residue on the bottom comes with it. The residue is further imbibed with wine or
vinegar and oil, also, called Aqua Forta or Aqua Pluvialis which later also
appears in the main work-though in an essentially different form-until it is
completely dissolved. Herewith the preparatory work is ended. One has to be
careful when touching this fat earth as it is highly corrosive and should not be
mistaken because of its greasy consistency.
>
> The Art of the first part of this work consists of the total destruction of
the substance used, no matter of what natural origin it is, so as to change
nothing and to have only themenstruum. left. It is actually possible through
certain manipulations with certain liquids that have been namedalcohol, wine,
vinegar, or on occasion oil-to obtain a red juice, which coloration by now is
pending between a delicate shiny raspberry or ruby red out of any metallic
substance. The peculiar thing about this red juice in connection with its own
color is a green sheen that appears on the wall of the glass when the container
is shaken ever so slightly. This green sheen is the symbol of a "growing
strength" which is of decisive importance in the continuance of the work. Should
this juice besides its green lustre, show a brownish coloration, however slight,
the product becomes utterly useless for any further work. Whoever had the
fortune to finish this masterpiece of the preparatory work can now with
confidence go to the main work.
>
> Out of the preceding method of the preparatory work can be seenespecially in
expectation of the end result-what the old Masters understood as destruction. As
is previously mentioned, a change-over or putrefaction of a corpse, used
deliberately as a parallel by the old Masters because a decaying corpse leaks
its own juice or "spits"-an old alchemistical expression. At times the matter
actually gives off a fetid stinking odor. When the old Masters used the
expression, "To transmute a body into chaos," and knew what was understood
thereby the description of the preparatory work begins to make sense. However,
this should not be confused with a classification, out of the chaotic realm."
The old Masters classified Nature into various realms, such as:
>
>
>
>
> 1. Vegetable
> 2. Mineral
> 3. Metal
> 4. Animal
> 5. Chaotic
> 6. Astral
>
>
> What is meant by these classifications can be clearly seen in the old
literature of the Masters. The old Alchemists held closely to the concept of but
one essential element or substance as a biological, dynamic unit whose visible
fundamental forms manifest as the four elements. These should not be confused
with the elements of scientific postulation. This principle element was
preferably called Phosphorous which in essence means "carrier of light." This
has given rise to many erroneous concepts of specific hermetic expressions that
led to, wrong conclusions and false judgments. This is still the case today.
There is no need to name such instances instead let us be satisfied with facts.
By the expression Phosphorus was meant the inner fire or inner light that shines
but does not consume itself. Indeed, after it has become fixed it cannot be
melted nor consumed by any fire. Thus it was correctly named down to its core.
However, how this inner fire was to be obtained and how to hold on to it was
information wisely withheld.
>
> In the following Tabula Smaragdina of the classical alchemist, Hermes
Trismegistus, this phenomenal knowledge about the three parts of the work has
been expressed profoundly and efficiently:
>
> "It is true, certain and without falsehood, that whatever is below is like
that which is above; and that which is above is like that which is below: to
accomplish the one wonderful work. As all things are derived from the One Only
Thing, by the will and by the word of the One Only One who created it in His
Mind, so all things owe their existence to this Unity by the order of Nature,
and can be improved by Adaptation to that Mind.
>
> "Its Father is the Sun; its Mother is the Moon; the Wind carries it in its
womb; and its nurse is the earth. This Thing is the Father of all perfect things
in the world. Its power is most perfect when it has again been changed into
Earth. Separate the Earth from the Fire, the subtle from the gross, but
carefully and with great judgment and skill.
>
> "It ascends from earth to heaven and descends again, new born, to the earth,
taking unto itself thereby the power of the Above and the Below. Thus the
splendor of the whole world will be thine, and all darkness shall flee from
thee.
>
> "This is the strongest of all powers, the Force of all forces for it
overcometh all subtle things and can penetrate all that is solid. For thus was
the world created, and rare combinations, and wonders of many kinds are wrought.
>
> "Hence I am called HERMES TRISMEGISTUS, having mastered the three parts of the
wisdom of the whole world. What I have to say about the masterpiece of the
alchemical art, the Solar Work, is now ended."
>
> Aristotle was of the opinion that there were four elements in Nature: Earth,
Water, Fire, and Air and that they penetrate all realms of Nature in an ever
changing pattern, when active life forms are engaged in their primary function.
In this connection I refer again to Hermes Trismegistus when he said in the
above much recited text, "The wind carried it in his belly." One has to think
about the moisture content of air that can, according to prevailing
circumstances, become fog, rain, snow, or hail in its free region and in its
eternal round become water. In such conditions and in similar occasions occuring
in Nature, the alchemist has to leave any concepts aside that are held by those
that consider chemical elements, as used by scientists, which are contrary to
his alchemistical conception.
>
> In rain water, snow, frost, or for that matter in any moisture in the air, we
find this agens in the form of three essentials least suspected or even
recognized by all of mankind -waiting perhaps for a revival or rebirth to reveal
its magical forces. Who is going to decide when the time has come and mankind is
ready? It was simply impossible for the old Masters, who called themselves
Philosophers of Nature and learned from Nature, to conceive of a material
manifestation without a soul force. On the contrary, in their opinion
concentrated power within matter was known to them which science today after
thousands of years has belatedly come to recognize. This conviction of the
alchemist urges itself upon the tongue to be proclaimed by all those who have
had such an inner experience. This active power induces out of decaying
foodstuffs high vitamin contents, out of plants its healing virtues as well as
poisons, also it brings forth from flowers and blossoms sweet smelling marvels
as it reveals in visible forms its strength in various degrees as a never ending
supply of all that is essential, for such is the genuine Art of the Alchemists.
>
> First, it is important to have the proper medium prepared as given above in
the preparatory work, a medium which is possible to bind the active force to
itself, similar to a magnet that attracts iron. According to an old teaching
like will be attracted to its own, or as it says subtle to subtle, but like
forces will repel each other. As the work continues it will be seen just what
peculiar stuff this "menstruum" or Blood of the Red Lion really is and that this
blood, to use a well known word from our old master Goethe, in a different sense
has a right to be called a "special juice."
>
>
>
> THE PRINCIPLE WORK
>
> It speaks for the exalted Art of Alchemy that the old Masters were in a
position to accomplish their Great Work with the most simple and efficient
equipment that was available at the time. In the Principle Work a retort, also
called the Philosophical Egg, was primarily used by the old Masters. So called
Renomier equipment is senseless and useless.
>
> The retort is filled about three quarters full. One must watch carefully the
degree of fire or heat. The reason for this has been mentioned previously.
During this so called distillation by degree, for which the old Masters used the
athanor, three liquids will appear in succession. Besides this there will remain
in the retort a glass-like powder of a yellowish white color, but sometimes of a
green or light blue shading. It is noticeable that three entirely different
fluids will appear. One is yellow, two are water clear of which the last shows
an oily consistency, i.e., it flows like an oil, although in the preliminary
work only two, liquids were used as a foundation for the entire process. In the
three distilled liquids of which the second is called phlegm this is of no use
and is poured away. Again we have the male and female principles. These two
agents have been given various names as yellow and white vinegar, wine, alcohol,
root moisture, growing strength, arsenic, sulphur, salt, etc. The remaining
powder is called dead earth, the magnet, mumia or the corpse to be revived
again. Thereafter it has to be buried in an alchemistical sense or, as others
express it, buried in horse manure. This latter expression is also used in
similar terminology in the preliminary work. One sees an array of seeming
contradictions of formulas and expressions. The real task of the principle work
is, first, the exact completion 'der Scheidekunst' or art of separation, and
thereafter, to revive the dead earth during its peculiar way of burial when its
own seed is implanted and when grown shows peculiar blossoms and flowers on one
stem. Separation and purification, the mortification with the putrefaction and
at the same time a revivication of the earth, compares to a yearly cycle of
Nature and is also known as a "turning of the wheel of Nature."
>
> The nomenclature of Hermetic Art may prove to be a hard task to solve by
newcomers to alchemy, since hermetic means sealed airtight. It is a fact that a
certain part of the work has to be accomplished in an airtight container if
success is to be had. Furthermore, the alchemistical Masters knew of a hermetic
union whereby several different ingredients were united or welded into 'one'
unit, as it happened in this work. Even the most exact chemical analysis will
not reveal the three. or to be exact, the four different substances formerly
mentioned.
>
> In its own 'grave', of its own natural substance, the dead earth receives the
Aqua Pluvialis, the rainwater, also known as water of heaven, and begins under
its influence not only slowly to revive, but also to decay in a certain way. It
begins to swell and thickens, runs when fully absorbed and feels gooey and
sticky. During the distillation an absolutely clear water-the very Aqua
Pluvialis, comes over, which is absolutely tasteless and odorless, and can be
drunk without scruples. During this process, should any fumes arise that were
not noticeable before, the work will then enter into a new phase. It now becomes
necessary to pour the yellow or white vinegar upon the solidified mass, but with
the utmost care and dexterity, otherwise severe physical damage may occur since
this manipulation is not without danger. When these two wines are brought
together they become a radical solvent and mix under a soft or not so soft
hissing noise into a blood red juice which in a surprisingly short time
dissolves the entire earth. The menstruum has appeared again but this time *in a
purer form as previously and, as the work continues, becomes even purer and
stronger. The so-called phlegm that is always poured away because of its
uselessness for our work, will add up to a considerable amount, usually one
fourth to a third of the third total amount, whose origin and timing during the
separation is another physiological enigma. Contrary to the separation of the
phlegm, the menstruum does retain its quantum from the beginning to the end of
the principle work!
>
> During the fifth to seventh revolution of the wheel of Nature an extraordinary
phenomena appears. During the process of distillation when the fluids partly
turn into invisible fumes and only condense in the neck of the retort, suddenly
from the bottom of the retort a milky fluid will rise and begin to move freely
at the top of the retort like clouds during a storm, to finally flow through the
neck of the retort into the receiver. From the moment the liquid begins to rise
and gathers at the top there is just enough time-with the greatest care-to
change the receptacle with a carefully set aside new receptacle to hold the new
separation.
>
> This peculiar liquor is the Virgin's Milk, the Universal Menstruum, radical
solvent, the Flying Dragon also known as Phoenix and Luna. In this radical
solvent all matter of terrestrial origin can be completely dissolved while
retaining their entire essentials and characteristic virtues, which no other
solvent in the entire world can accomplish. A careful observation will reveal
that this Milk is a light liquid, like water, in which many tiny scales of a
silver-white lustre are swimming. This Milk can be kept indefinitely since the
wings of Mercury have been clipped, as the old Masters used to say. As soon as
the tiny scales called Escheneii or little fish have been separated the
possibility of keeping them indefinitely is gone. Another astounding and unusual
fact is revealed. When these tiny scales are kept in a hermetically sealed
container, they will disappear and leave no residue or condensation whatsoever.
These tiny scales have a strong salty-sweet taste. Besides when tasted this
powder, like the water. leaves a pleasant warmth in the mouth without being in
the least corrosive. During the continuation of the principal work one surprise
follows another. For instance, in a decisive stage of the work during the
distillation, the yellow vinegar changes its original consistency. It becomes a
clear water leaving a peculiar residue in the retort. This residue separates
into two powders of equal size presenting themselves in their own way. They
rest, as it is said, upon a chair, separated from each other by a small margin
on the bottom of the glass in a perfect eliptical shape with their points in a
north-south direction. The one powder is white, while the other is yellowish-the
hermetic Salt and Sulphur, showing themselves in an extremely fine or subtle
state as a volatile Salt-Sal Volatile, i.e., quinta essentia -after we become
acquainted with the volatile Mercury.
>
> In the concluding work these must be fixed which means to avoid evaporation
since they as Mars and Venus, like their brother in spirit, Mercury, did fly
away while hermetically sealed in their container.
>
> Thus the principle work is finished. The remaining earth is of no further use
to us, since from it the volatile double mercury has been leached.
>
>
>
>
> CONCLUSION
>
> The Concluding Work
>
> From the foregoing it can easily be seen that the Opus Magnus required an
enormous measure of observation and concentration, as well as a deep feeling for
the secret workings of Nature and the entire Cosmic. One should consider that in
such a process hundreds, thousands, ox millions of years of continuous natural
phenomena has been condensed into an average of nine months by the Master's Art,
which strangely enough resembles the ripening of the human embryo, The hardest
work, technically speaking, is the principal part, that of proper regulation of
the gas flame, while remembering the great difficulties encountered by the old
Masters attending their coal or wood fires.
>
> As difficult and dangerous as the work is, one is tempted to make comparisons
with certain initiation rituals as practiced in some of the Temples of old
Egypt. It is easy to understand the decision of a Master that under no
circumstances would he repeat the work because of the great dangers involved.
>
> The preparatory work is similar to the principle work of the old Masters. One
particular part is to solve and the other of the following concluding work is to
coagula. Some of the forementioned steps merge into each other during the
preliminary and the principal work, so that an exact limitation of the various
concepts within the work becomes impossible. Only after the work has been
started, and the proper sequence has been fortunately concluded, will things
become clearer to the alchemistical laboratory worker. Through proper
contemplation one realizes the correct procedures as described in the Opus
Magnus with the individual procedures explained in symbolic expressions and
associated pictures of the old Masters.
>
> The main purpose of the concluding work is the coagulation and fixation or
fastening of the volatile Mercury duplication. With this fixation the old
Masters understood their cementation, placing before the worker in the
laboratory an abundance of riddles and difficulties. Here, it deals with the
Secret and Art of the Alchemists, i.e., the innermost atom of a tightly
enclosed, indissolveable conjunction of such matter which gives the tincture and
quinta essentia its own characteristic being. This ending crowns the Opus Magnus
and thus, after much trouble and corresponding patience and perseverance, the
final goal is reached.
>
> Depending on the tincture the interplay of color changes during the concluding
work. First the substances in question have to be united in their "natural
weight." After a short period the mass will become conpletely black and show
many blisters. This same thing happens also during the preparatory work. With a
light shining on this black mass (one will be astounded over its deep dark red
color-as a blood-like glow.)
>
> It is hard to imagine the change in color that takes place and which differs
only from that in the preliminary work through a wonderful shining pureness and
beauty that one is tempted to describe as a symphony of color. This glowing of
color rises to such a state in the completed lapis or stone, it does not matter
whether it be the little or the big arcanum, it literally glitters; an
unmistakable sign that it is the genuine, true tincture.
>
> Depending on how much tincture is prepared, the stone can, during its first
multiplication, be raised a hundred fold and thereafter to ten and twenty
thousand times its former strength. Through further work the tincture can be
raised to still further increase the power of multiplication. The limit of the
power of multiplication in its concentration depends on the elements used and
their specific weight. When this limit has been reached this tincture will
penetrate glass and be as hard and dense as the best steel.
>
> It is from here that a historically proven fact is mentioned about a malleable
glass that can be forged, which has defied all efforts of modern science to
rediscover.
>
> The highest known concentration was reached by Pryce of England with a potency
of 1,140,000. With a single gram of his tincture he brought about an atomic
transmutation of 40 kg. Unfortunately this great Master ended his life by
committing suicide because he was denied membership in a scientific society.
>
> When using hard or quartz glass higher potencies can be obtained than that
which Pryce had reached, but handling such high concentrations can have some
unpleasant conditions as a result.
>
> Since this tincture is not confined to metals but can be used equally as well
upon minerals, plants and animal substances, when the time has come, it can open
avenues of practical application that are presently unlimited if one considers
that within the weight of grams of this tincture, kilogram weights of matter are
stored.
>
> D. L. Volpierre
> (Aqa)
> 1932
>
>
>
>
>
>
>
> ATTITUDE TOWARDS THE ALCHEMISTICAL OPUS
>
>
>
>
> Its contents and procedure, describing how to obtain the quinta essentia by
the great wet way
>
> By Heinz Fischer-Lichtenthal
>
>
>
>
> In the first part of the Great Work (Opus Magnum) consisting of three parts,
any metal carefully dissolved in acid in an artful manner will yield a red juice
(menstruum, Blood of the Red Lion.) In such manner a substance will be returned
to a certain degree to its, primordial condition (chaos), becoming a useful
medium capable of extracting the essential vitality found in all creation and
then being able to retain it,, i.e., such agens that is superior to inherent
atomic power as we understand it presently.
>
> In the second part a 'menstruum universal' (radical solvent, Virgin's Milk,
Flying Dragon) can be obtained from the red juice and its residue through
gradual and repeated distillation wherein all natural essentials can be
dissolved while their inherent characteristics are still retained.
>
> It contains the Flying Mercury in the form of tiny silver colored scales, like
salt, which evaporate quickly when separated from the liquid. Furthermore, from
part of the distillation of the yellow vinegar a residue is obtained. This
residue consists of two powders (volatile salts) which form on the bottom of the
glass container, in the shape of eliptical particles laying next to each other
in a north-south direction. One of them is white (hermetical Salt) and the other
of a yellowish color (hermetical Sulphur.)
>
> The final result is obtained only in the third part when all three mentioned
salts are fixed. This is the 'cementation'.
>
> By joining (cohobation) of such quinta essentia which does not dissolve them,
the final tincture will give to it the desired character and becomes the Great
Tincture. The latter is identical with the Philosopher's Stone.
>
> Begin by mixing one part powdered antimony trisulphide and six parts iron
filings in a five litre (5,000 ml), wide necked, glass bottle with ground joint
and stopper. Evenly cover the bottom by not more than 3/4 cm.
>
> Next, three pourings on the antimony and iron filings must take place
consisting of 3mI of hydrochloric acid and 2mI of sulphuric acid every 24 hours.
>
> Immediately a strong reaction caused by fuming gases makes it imperative that
the container be closed very tightly. No antimony particles must be found
between the ground stopper and the flask opening. It is best to moisten the
stopper with sulphuric acid. Fasten the stopper with some string using two cork
stoppers, one on each side, to tighten the string.
>
> Each time some acid has been poured over the mixture place the glass container
in a sandbath at a temperature of 37o - 38oC. Let the bottle slowly cool before
adding more acid. After the bottle has cooled carefully pour in both acids very
gradually and stopper at once. The glass stopper may be removed by inserting
strong string tightly between the stopper and the neck of the bottle, then with
a uniform jerk on both sides of the stopper, lift it out. Fast work is
essential; none of the fumes must escape. Close the bottle very tightly each
time after more acid is added.
>
> Beginning with the fourth pouring there is a change of proportion when adding
more acid. It is now 6ml. hydrochloric acid and 4 1/2 ml. sulphuric acid which
is to be repeated every fourth day. This schedule must be adhered to no matter
what the contents of the container shows. The temperature must be kept the same
as before, except for the short period when more acid is added. Should little
lumps show or the substance have a tendency to stick too tightly into a solid
mass, use a glass stirring rod and carefully break it up. Be careful not to
break the bottom of the retort. Should the glass show a crack a new vessel must
be used and the work started anew.
>
> The change of color is as follows:
>
> Dark gray, slight sparkle
> pitch black to blue-black
> dark gray
> light gray
> dark brown
> light brown
> very light gray, almost white
> a bluish white
> gray, like ice
> pure white
> glowing green
> olive-green
> yellowish green
>
>
> Then a dark floating ring, 2cm. thick, ascending, getting heavier and darker,
(blue-black) enters the mass, which has risen from the bottom to a height of 15
or 16 cm. The color changes from dark blue to light blue, deep, dark blue, now
giving off a radiance. Blood red lines begin to rise from the bottom on the side
of the vessel. When after circulating for three or four months the rising red
juice has reached the top of the mass, the process has reached its sign of
development and is concluded.
>
> This juice or tincture can be carefully poured off in any desired quantity.
From now on the acids may be added in the same order as before, but in ten to
thirty fold quantities or even more, depending on the available space in the
container. The mass will dissolve at once.
>
> This solution is kept in special glass bottles for later use. When not enough
containers are available only as much as is needed should be dissolved for the
work at hand. It is surprising how much acid is necessary to completely dissolve
the contents in the glass container.
>
> When shaking the glass container the juice has to show a green lustre. An
additional brown coloration shows that the liquid up to this stage has become
useless.
>
> The red juice is a natural separation from the Original Chaos. It contains the
main element, the 'carrier of light' (Phosphorus-the inner light-fire that
burns, but does not consume itself) which manifests in all four elements. Chaos
or prima materia is the beginning of matter as we know it. Strength is increased
when the corpora is reduced. By too high a heat the fine penetrating fumes
(Spirit) would evaporate.
>
> The preliminaries are the beginning of the work and these should be commenced
if possible during a fortunate trine such as Mercury trine Jupiter, or trine
Venus, or trine the Sun, or a trine with a well aspected Mars.
>
> As much as eighty litres, approximately twenty gallons of the menstruum, has
been obtained out of a five litre bottle, approximately one gallon and a
quarter.
>
> A 250ml. retort is filled three quarters full of Dragon's Blood. Begin the
distillation with a small flame and have in readiness three Erlenmeyer 50ml.
flasks. Each liquid will be collected separately. Using a low flame, first, the
yellow vinegar (Hydrochloric acid) comes over, thereafter the phlegm which is
entirely worthless and can be thrown away.
>
> When nothing more comes over by the small flame fine threads, rising from the
bottom to the top, shows on the side of the retort and announces that the
sulphuric acid is about to distill over. The receptacle is changed again and the
heat is raised. Toward the end the bellows or more oxygen will have to be used
to distill the rest of the sulphuric acid. The retort can be glowing red during
the last proecdure. Then let the retort cool and break it.
>
> Remove the remains from the broken retort, grind in a mortar and submit for
three weeks in a dish to the moist air, preferably in a cellar away from any
light. It is hygroscopic and becomes slimy and finally thick like honey. Place
this in a 100ml. retort using a small funnel and glass rod. The neck of the
retort must be washed down with the 'Air-water' to be certain that the neck is
absolutely clean.
>
> Distillation is started with a low flame. Steam will form,, condensing in the
neck, and will flow out. When the water has distilled out the steam gets more
dense, like fumes, and the distillation must be stopped. Let the retort cool,
then break it. Remove the contents and grind in a mortar. Place the contents
from the mortar in an evaporating dish, and pour the yellow vinegar over it.
There is no danger in this. Then carefully pour the sulphuric acid slowly
through a funnel. Take care as it may splash.
>
> The two acids combined turn to red and make a loud noise while doing so. Once
again we have the product with which we began. The first part of our work is
completed when the red liquid is poured through a funnel into a 250ml. retort
and provision made for a repetition of the same process.
>
> The described procedure must be repeated four to six times until the Flying
Dragon appears. This can occur during the fifth, sixth, or seventh distillation.
One must be especially careful, because our Phoenix can rise suddenly, boiling
to the top and flowing out. Quick and efficient changing of the receiving flask
is important for this separation.
>
> After Luna has left us, distillation is continued under the same temperature
until next the phlegm-like water distills completely over. Continuing the
distillation by a lower heat than formerly used, the sulphuric acid comes over.
In the remaining water in the retort a peculiar residue forms on the bottom.
Next to each other, but separated from each other, a yellow and white salt will
appear in aneliptical northsouth formation. Both are volatile and can only be
kept in their own water. The same applies to the silver-like scales noticed in
the residue.
>
> In case too much moisture has been distilled off the salts and the liquid is
not sufficient to cover the bottom of the vessel, some of the distillate must be
returned. Without this liquid the volatile Salt and Sulphur would evaporate
within twenty-four hours, but in the absence of light it would take longer.
>
> It is recommended during the distillation either to extend the neck of the
retort with a glass tube for better cooling, or to use a water cooled condenser.
>
> To use the remaining recovered Sulphur again is not recommended!
>
> Formerly the work was conducted solely with natural ingredients. Acids used by
the old Masters with their specific characteristics are now hard to obtain or
unknown today.
>
> From a chemical point of view we consider hydrochloric acid, sulphuric acid
and nitric acid. The latter we can do without for some of the procedures.
Hydrochloric acid and sulphuric acid useable for the work described was produced
by the Chemical Industry in Europe as little as a few decades ago in a so-called
Lead Chamber Process. Raw materials used were native sodium nitrate from the
Alsace in France, native Vitriol (copper sulphate) from the mines in the Harz
Mountains, or Hungary, etc., and red arsenic-sulphur from Sicily. Common yellow
sulphur was found to be useless for producing acid to be used alchemistically
Subject: The hermetic art of transmutation and making 
Sun Mar 17, 2013 6:44 pm
