The Dwellings of the Philosophers

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object:The Dwellings of the Philosophers
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subject class:Alchemy
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ASTER

TABLE OF CONTENTS
BOOK ONE
1 - HISTORY AND MONUMENT
2 - MIDDLE AGES AND RENAISSANCE
3 - MEDIEVAL ALCHEMY
4 - THE LEGENDARY LABORATORY
5 - CHEMISTRY AND PHILOSOPHY
6 - HERMETIC CABALA
7 - ALCHEMY AND SPAGYRICS

BOOK TWO
1-7 - THE SALAMANDER OF LISIEUX
THE ALCHEMICAL MYTH OF ADAM AND EVE
1-6 - LOUIS DESTISSAC - GOVERNOR OF POITIER AND SAINTONGE - Grand Officer of the Crown and Hermetic Philosopher
THE MAN OF THE WOODS - MYSTICAL HERALD OF THEIRS
1-11 - THE SPELLS AND WONDERS OF THE CASTLE OF DAMPIERRE
1-7 - THE BODYGUARDS OF FRANCIS II - DUKE OF BRITTANY
THE SUNDIAL OF THE HOLYROOD PALACE IN EDINBURGH
THE PARADOX OF THE UNLIMITED PROGRESS OF SCIENCE
THE REIGN OF MAN
THE FLOOD
ATLANTIS
THE CONFLAGRATION
THE GOLDEN AGE

ROUEN - THE MANSION OF BOURGTHEROULDE

Salamander ( 16 th Century)

The Dwellings of the Philosophers

FULCANELLI

With 39 Illustrations by Julien Champagne
Translated by Brigitte Donvez and Lionel Perrin

BOOK ONE

I

HISTORY AND MONUMENT

Paradoxical in its manifestations, disconcerting in its signs, the Middle Ages proposes to the
sagacity of its admirers the resolution of a singular misconception. How to reconcile the
unreconcilable? How to adjust the testimony of the historical facts to that of medieval art
works?

The chroniclers depict this unfortunate period in the darkest colors. For several centuries there
is nothing but invasions, wars, famines, epidemics. And yet the monuments faithful and
sincere witnesses of these nebulous times bear no mark of such scourges. Much to the
contrary they appear to have been built in the enthusiasm of a powerful inspiration of ideal
and faith by a people happy to live in the midst of a flourishing and strongly organized
society.

Must we doubt the veracity of historical accounts, the au thenticity of the events which they
report, and believe along with the popular wisdom of nations, that happy peoples have no
history? Unless, without refuting en masse all of history, we prefer to discover the
justification pf medieval darkness in the relative lack of incidents.

Be that as it may, it remains undeniable is that all the Gothic buildings without exception
reflect a serenity and expansiveness and a nobility without equal. If, in particular, we examine
the expression of statues, we will quickly be edified by the peaceful character, the pure
tranquility that emanates from these figures. All are calm and smiling, welcoming and
innocent. Lapidary humanity, silent and well-bred. Women have that portliness which rather
indicates, in their models, the excellence of rich and substantial nourishment. Children are
plum, replete, and blooming. Priests, deacons, Capuchin monks, purveyor lay-brothers, clerks,
and chorus singers, all show a jovial face or the pleasant figure of their portly dignity. Their
interpreters those marvelous and modest carvers of images do not deceive us and could
not be mistaken. They choose their prototypes from daily life among people who move
around them and in the midst of whom they themselves live. A number of these figures
randomly found in narrow streets, taverns, schools, sacristies, workshops, may be altogether
marked or overdone, but in a picturesque tone, with a concern for character, for the sense of
joy, for generous lines. Grotesque, you may say, but joyously grotesque and full of teaching.
Satires of people enjoying laughter. Drinking, singing, and fond of good living. Masterpieces
of a realist school, profoundly human and certain of its mastery, conscious of its means, and
yet unaware of what pain, misery, oppression, or slavery might be. This is so true that, search
as you may, question the ogival statuary, you will never discover a figure of Christ whose
expression reveals true suffering. Along with us, you will recognize that the latomi (1) worked
tremendously hard to give their crucified figures a grave physiognomy without always
succeeding. The best ones, barely emaciated, have closed eyelids and seem to be resting. On
out cathedrals the scenes of the Last Judgment show grimacing demons, distorted, monstrous,
more comical than terrible; as far as the damned, the benumbed accursed are concerned, they
are cooking in their pots over a slow heat without useless regret or genuine suffering.

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These free, virile, and healthy images evidence that the artists of the Middle Ages did not
know the depressing spectacle of human afflictions. Had the people suffered, had the masses
moaned in misfortune, the monuments would have kept a memento of it. Yet we know that
art, the higher expression of civilized humanity, can freely develop only under the cover of a
stable and sure peace. As it is with science, art cannot exercise its genius in the atmosphere of
troubled societies. This applies to all elevated manifestations of human thought; revolutions,
wars, upheavals are disastrous to them. They demand security born of order and concord in
order to grow, to bloom, and to bear fruit. Such strong reasons urge us to accept, with great
circumspection, the medieval events recounted by History. We confess that the description "of
a sequence of calamities, disasters, and accumulated ruins over 146 years" seems to us truly
excessive. Something is inexplicable amiss here, since it is precisely during this unfortunate
One Hundred Years War, which lasted from 1337 to 1453, that the richest buildings of
flamboyant style were built. It is the culminating point, the apogee of form and boldness, the
marvelous phase where spirit, the divine flame, imposes its signature on the last creations of
Gothic thought. It is the time where the great basilicas were completed; in religious
architecture, other important collegiate or monasterial buildings were also being raised: the
abbeys of Solesmes, of Cluny, of Saint Riquier, the Chartreuse of Dijon, Saint-Wulfran
dAbbeville, Saint Etienne de Beauvais, etc. We see remarkable civil edifices rising from the
earth, from the Hospice of Beaune to the law courts of Rouen and the town hall of
Compiegne; from the mansions built nearly everywhere by Jacques Coeur to the belfries of
free cities, Bethune, Douai, Dunkerqe, etc. In our big cities, the small streets dig their narrow
bed under an agglomeration of cantilevered gables, turrets and balconies, sculpted wooden
houses and stone dwellings with delicately ornate facades. Everywhere trades are developing
under the protection of medieval corporations; everywhere guildmen vie with one another in
their skill; everywhere emulation multiplies masterpieces. The university has turned out
brilliant students and its renown spreads throughout the old world; famous doctors, illustrious
scientists disseminate, propagate the blessings of science and philosophy; in the silence of the
laboratory spagyrists amass materials which will later serve as the foundation for our modern
chemistry; great Adepts give hermetic truth a new soaring flight... What ardor unfolded in all
the branches of human activity! And what wealth, what fecundity, what powerful faith, what
trust in the future transpire beneath this desire to build, create, search, and discover in the
midst of a full-fledged invasion in this miserable country of France submitted to foreign
domination and which knows all the horrors of an interminable war!

In truth, we do not understand...

And thus is elucidated the reason why our preference remains vested in the Middle Ages as it
is revealed to us by Gothic buildings rather than in the same period as it is described by
historians.

For it is easy to fabricate texts and documents out of nothing, old charters with warm patinas,
parchments and archaic-looking seals, even a few sumptuous books of hours, annotated in
their margins, beautifully illuminated with locks, borders, and miniatures. The Montmartre
district of Paris delivers to whoever desires it, according to the price offered, the unknown
Rembrandt or the au thentic Teniers. A skilled artisan of the Halles district of Paris can shape
with a staggering verve and mastery little gold Egyptian divinities and massive bronze statues,
marvelous imitations over which some antique dealers fight. Who does not remember the
infamous Tiara of Saitaphernes... Falsification and counterfeiting are as old as the hills, and
history, which abhors chronological vacuums, sometimes had to call them to its rescue. A
very learned Jesuit of the 17th century, Father Jean Hardouin, did not fear to denounce as
spurious numerous Greek and Roman coins and medals coined during the Renaissance and

3

buried with the aim to fill in large historical gaps. Anatole de Montaiglon (2) informs us that in
1639 Jacques de Bie published a folio volume with illustrations called: The Families of
France, Illustrated by the Monuments of Ancient and Modern Medals, which, according to
him, "contains more invented medals than real ones". Let us agree that in order to give history
the documentation it was lacking, Jacques de Bie utilized a more rapid and more economical
process than that denounced by Father Hardouin. Victor Hugo (3) , citing the four best-known
histories of France around 1830 those of Dupleix, Mezeray, Vely, and Father Daniel
says of the latter that the author, "a Jesuit famous for his descriptions of battles, completed in
20 years a history which has no other merit than erudition and in which the Count of
Boulainvilliers found no less than 10,000 errors". We know that Caligula, in the year 40 AD,
had the tower of Odre built near Boulogne-sur-Mer "to deceive future generations on the
subject of the supposed raid of Caligula on Great Britain" (4) . Converted into a lighthouse
(turris ardens) by one of his successors, the tower of Odre collapsed in 1645.

What historian can give us the reason superficial or profound invoked by the sovereigns
of England to justify their qualification and title of Kings of France which they kept until the
18th century? And yet English money from this period still bears the imprint of such a
pretense (5) .

Formerly, on the school benches, we were taught that the first French King was called
Pharamond and the date of his accession to the throne was determined at 420 AD. Today the
royal genealogy begins with Clodion le Chevu (Clodion the Hairy) because his father,
Pharamond, actually never ruled. But in those distant times of the 5th century, are we so
certain of the au thenticity of the documents pertaining to Clodions doings? Will they not also
be contested some day before they are relegated to the domain of legends and fables?

In Huysmans view, history is the "most solemn of lies and the most childish of deceits...
Events are for a man of talent nothing but a spring-board of ideas and style, since they are all
mitigated or aggravated according to the needs of a cause or according to the temperament of
the writer who handles them. As far as documents which support them are concerned, it is
even worse, since none of them is irreducible and all are reviewable. If they are not just
apocryphal, other no less certain documents can be unearthed later which contradict them,
waiting in turn to be devalued by the unearthing of yet other no less certain archives" (6) .

The tombs of historical personalities are also sources of information which is subject to
controversy. We have been made aware of this fact more than once (7) . In 1922, the
inhabitants of Bergamo had a very unpleasant surprise. Could they believe that their local
celebrity, that fiery soldier of fortune, Bartholomeo Coleoni, who filled the 15th century
Italian annals with his bellicose whims, was nothing but a legendary shadow? And yet,
following a hunch of the king who was visiting Bergamo, the municipality had the ornate
mausoleum of the famous equestrian statue moved, had the tomb opened, and all those in
attendance discovered, not without tremendous surprise, that it was empty... In France at least
we do not push offhandedness so far; au thentic or not, our tombs hold bones. Amedee de
Ponthieu (8) tells us that the sarcophagus of Francois Myron, magistrate of Paris in 1604, was
found during the destruction of the house bearing the address 13 rue Arcole, a building raised
on the foundations of the Church Sainte-Marine in which he had been buried. "The lead
coffin", wrote the author, "shaped like a compressed ellipse... The epitaph had been erased.
When the coffin lid was raised, only a skeleton was found surrounded by a blackish soot
mixed with dust... Strangely enough, neither the insignias of his charge, nor his sword, nor his
ring were discovered, not even traces of his coat of arms... Yet the Commission of Fine Arts,
through the lips of its experts, declared that it was indeed the great Parisian magistrate, and

4

these illustrious relics were taken down into the crypts of Notre-Dame". A similarly valuable
account is mentioned by Fern and Boumon in his book Paris Atlas. "For your information, we
shall only mention the house located on Quai des Fleurs bearing the numbers 9-11 and which
an inscription, without a shadow of au thenticity or even or verisimilitude, indicates it to be the
ancient dwelling of Heloise and Abelard in 1118, rebuilt in 1849. Such pronouncements
carved in marble are an offense to common sense". Let us promptly acknowledge that in his
historical distortions, Father Loriquet showed much less boldness!

Allow us to make a digression here, intended to specify and define our thought. For a long
time, a very tenacious prejudice, attri buted the invention of the wheelbarrow to the scientist
Pascal. And even though the falsity of this attri bution has today been demonstrated, the great
majority of people persist in the belief that it is founded. Question a school boy: he will
answer you that this practical vehicle known to all, owes its conception to this illustrious
physicist. Among the mischievous, noisy, and often distracted individualities of the little
scholar world, it is above all through this supposed invention that the name of Pascal has been
imposed on young minds. Many junior school students, unaware of who Descartes,
Michelangelo, Denis Papin or Torricelli were, will not hesitate for a minute about Pascal. It
would be interesting to know why our children, among so many admirable discoveries whose
daily applications they have before their eyes, rather know Pascal and his wheelbarrow than
the men of genius to whom we owe steam, the battery, beet sugar, and the stearic candle. Is it
because the wheelbarrow touches them closer, interests them more, is more familiar to them?
Perhaps! Be that as it may, the common mistake propagated by junior school history books
could easily be unmasked: one could merely leaf through a few illuminated 13th and 14th
century manuscripts where several miniatures represent medieval farmers using the
wheelbarrow (9) . And even without undertaking such difficult research, just a glance cast at
monuments would have permitted us to reestablish the truth. Among the motifs surrounding
one archivolt of the northern porch of the Beauvais Cathedral, is represented pushing his
wheelbarrow, a type of wheelbarrow very similar to the ones we actually use today (Plate I).
The same implement can also be identified in agricultural scenes that form the subject of two
carved misericords, coming from the stalls of the Abbey of Saint-Lucien near Beuvais (1492-
1500) (1()) . Furthermore, if truth compels us to refuse to credit Pascal with a very old invention,
older than his birth by several centuries, his greatness and the power of his genius are in no
way diminished. The immortal author of the Pensees, of the calculus of probabilities, the
inventor of the hydraulic press, of the calculating machine, etc., forces our admiration by
works and inventions much greater and of a different scope than that of the wheelbarrow.
However, that which is of consequence to elicit and that only counts for us is that, in the
search for truth, it is preferable to call upon buildings rather than upon historical documents,
sometimes incomplete, often tendentious, almost always unreliable.

Monsieur Andre Geiger comes to a parallel conclusion when, struck by the inexplicable
homage rendered to the statue of Nero by Hadrian, he refutes the iniquitous accusations borne
against this emperor and against Tiberius. Like ourselves, he denies and credibility to
purposefully falsified historical accounts, on the subject of these so-called human monsters
and he does not hesitate to write: "I trust monuments and logic more than I trust historical
accounts".

If, as we have said, the falsification of a text, the writing of a chronicle demand nothing more
than some skill and know-how, on the other hand, it is impossible to build a cathedral. Let us
therefore call upon buildings; they will provide us with more serious or accurate information.
There, at least, we will see our "characters portrayed alive", fixed in stone or wood with their
real physiognomies, their costumes and their gestures, whether they figure in sacred scenes or

5

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are the subjects of secular compositions. We shall contact them and it will not be long before
we love them. Now we will question the 13th century harvester who is sharpening his scy the
on the portal of Paris, now the 15th century apothecary who, in the stalls of Amiens, is
pounding some unknown drug in his wooden mortar. His neighbor, the drunkard with the red
nose, is no stranger to us; we remember having met this merry drinker several times, as we
ambled along. Would he not be the man who cried out in the middle of the "mystery play"
before the sight of Jesus miracle at the wedding of Cana:

"If I could do what he is doing, the entire sea of Galilee today would be turned into wine; And
never on earth would there be a drop of water, nothing would rain from the sky but wine".

And this beggar who escaped from the Cour des Miracles (11) bearing no other stigma of
distress than his rags and his lice, we know him too. He is the one that the Companions of the
Passion introduce at the feet of Christ and who miserable utters this soliloquy:

"I look at my rags to see if some money has been thrown there; Just now I heard: Give him,
give! There isnt a penny, not even a half... a poor man has no friend".

In spite of all that has been written, we ought to accustom ourselves, willy-nilly, to the true
fact that at the beginning of the Middle Ages society was already reaching a high degree of
civilization and splendor. John of Salisbury, who visited Paris in 1176, expressed the most
sincere enthusiasm on this topic in his Polycration. "When I saw the abundance of sustenance,
the cheerfulness of the people, the good conduct of the clergy, the majesty and glory of the
entire Church, the diverse occupations of men dedicated to the study of philosophy; it seemed
to me that I saw Jacobs ladder whose top reached heaven and which angels ascended and
descended. I was compelled to admit that truly the Lord was in this place and that I did not
know it. This sentence from a poet also comes to mind: Happy is he who is sentenced to this
place in exile!" (12) .

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II

MIDDLE AGES AND RENAISSANCE

No one disputes today the high value of medieval works. But who will ever logically explain
the strange contempt whose victims they were until the 19th century? Who will tell us why,
since the Renaissance, the elite of the artists, scientists, and thinkers made a special point of
airing the most complete indifference for the bold creations of this misunderstood period,
original among all, and so magnificently expressive of the genius of France? What was, what
could have been, the profound cause of the reverse of opinion, and later, of the banishment,
the exclusion that so long weighed on Gothic art? Must we indict ignorance, whim, perversion
of taste? We do not know. A French writer, Charles de Remusat believes he has discovered
the principal reason of this unfair contempt in the absence of literature, which does not fail to
surprise. "The Renaissance", he affirms, "despised the Middle Ages because true French
literature, that which followed it, erased the last traces of it. And yet medieval France offers a
striking sight. Its genius was elevated and severe. It took pleasure in deep meditations and
profound research; it exposed in a language without grace and without brilliance sublime
truths and subtle hypotheses. It produced a singularly philosophical literature. This literature
probably exercised the human spirit more than it served it. Several first rate men have
successfully, albeit in vain, illustrated it; for modern generations their works do not exist.
They had the intelligence and the ideas but not the talent to speak well in a language that is
not stiff or awkward. Scotus Erigena reminds us at times of Plato; scarcely anyone has taken
philosophical freedom farther than he, and he boldly rises in this region of the skies where
truth shines only in bolts like lightning; he thought for himself in the 9th century. St. Anselm
is an original metaphysician whose learned idealism regenerates common beliefs; he
conceived and realized the audacious thought of directly touching the notion of divinity. He is
a theologian of pure reason. St. Bernard is sometimes brilliant and ingenious, sometimes
somber and moving. Mystical like Fenelon, he resembles an effective and popular Bossuet,
who dominated his epoch by his speech and who commanded kings rather than praising or
serving them. His unfortunate rival, his noble victim, Abelard, employed in the exposition of
dialectic science and unknown rigor and a relative lucidity which shows a nervous and supple
mind made to understand and explain everything. He was a great propagator of ideas. Heloise
molded a dry and pedantic language so as to bring out the finesse of a brilliant intelligence,
the sufferings of the proudest and most tender of souls, the raptures of a desperate passion.
John of Salisbury is a clairvoyant critic, who watches the human mind as a sight or scene and
who describes it in its progresses, in its movements, in its retrogressions, with premature truth
and impartiality. It seems he foresaw this talent of our time, this art of examining the stand
still postures of the intellectual society in order to judge it. St Thomas, embracing the entire
philosophy of his time as a whole, went farther at times than ours; he has bound all of human
knowledge into a perpetual syllogism and completely unwound it following the thread of a
continuous reasoning, thus combing in a vast and a logical mind. Gerson finally, Gerson,
theologian whose sentiments competed with deduction, who understood and neglected
philosophy, knew how to subdue reason without humiliating it, how to captivate hearts
without offending minds, finally how to imitate the God who invokes faith while he has us
believe in him by making himself loved. All these men, and I named only a few, were great
and their works admirable. But what were they lacking, to be admired and to keep a constant
influence on the ensuing literature? It was neither science, thought, nor genius; I am afraid
that it was only one thing: style.

7

"French literature does not come from them. It does not call to their authority, nor does it
remember their names; it only takes pride in having obliterated them".

Hence we can conclude that if the Middle Ages received spirit as its share, the Renaissance
took a malicious pleasure in imprisoning us in the letter...

What Charles de Remusat says is very judicious, at least as far as the first medieval period is
concerned, when the intelligentsia appeared submissive to the Byzantine influence and still
imbued with Roman doctrines. A century later, the same reasoning loses a great part of its
value; one cannot dispute, for example, that the works of the epic of the round Table have a
certain charm which arises from a more careful form. Thibaut, Count of Champagne, in his
Songs of the kings of Navarre, Guillaume de Lorris and Jehan Clopinel, authors of the
Romance of the Rose, all our trouveres and troubadours of the 13th and 14th centuries
without having the proud genius of the learned philosophers, their ancestors, knew how to
pleasantly handle words and often express themselves with a grace and flexibility which
characterizes todays literature.

Therefore, we do not see why the Renaissance held a grudge against the Middle Ages and
recorded its supposed literary shortcomings, so as to prohibit it and to throw it back into the
chaos of new civilizations emerging from barbarism.

As for us, we deem medieval thought to be of scientific nature and of no other, for which art
and literature are only the humble servants of traditional science. They are appointed to
symbolically translate the truths of the Middle Ages received from Antiquity, whose faithful
depository or remained. Subjected to a purely allegorical expression, held under the forceful
will of the same parable which removes Christian mystery from the layman, art and literature
display an obvious unease and reveal some stiffness; yet, the solidity and simplicity of
execution endow them with an incontestable originality. It is true that the observer will never
find alluring the image of Christ, such as it is presented on Romanesque porches, where Jesus
appears, at the center of the mystical almond, surrounded by the four evangelical animals. It is
enough for us that his divinity be emphasized by his own emblems and announces itself as
revealer of a secret teaching. We admire the Gothic masterpieces for their nobility and the
boldness of their expression; if they do not have the delicate perfection of form, they possess
to a supreme degree the initiatory power of a learned and transcendent philosophy. They are
severe and austere productions, not the light, graceful, and pleasing motifs, such as those art
fondly wasted on us since the Renaissance. But while the latter aspire only to flatter the eye or
to charm the senses, the artistic and literary works of the Middle Ages are founded on higher
thought, true and concrete, the cornerstone of an immutable science, the indestructible basis
of Religion. If we had to define these two tendencies, one profound, the other superficial, we
would say that Gothic art is entirely contained in the learned majesty of its buildings and the
Renaissance in the pleasant ornament of its dwellings.

The medieval colossus did not collapse all at once in the decline of the 15th century. Here and
there, its genius succeeded in resisting for a long time the imposition of the new directives.
We see its agony prolonged well into the middle of the next century, and we find in some of
the buildings of that period the same philosophical impulse, the same foundations of wisdom
which generated for three centuries so many imperishable works. And so, without taking
account of their later erections, we will consider these works of later importance but of similar
meaning with the hope of discovering in them the secret idea symbolically expressed by their
builders.

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Notwithstanding their purpose and their use, we rank these refuges of the esotericism of
antiquity, these sanctuaries of traditional science, quite rare today, in the hermetic iconology
among the artistic guardians of the great philosophical truths.

Would you like an example? Here is an admirable tympanum <2) which decorated in the
faraway 12th century the front door of an old house from the region of Reims (Plate II). The
quite clear topic could easily do without a description. Under a great arcade inscribing two
other twin arcades within it, the master teaches his disciple and points this finger to the pages
of an open book on the passage which he is commenting on. Underneath, a young and
vigorous athlete strangles a monstrous animal, perhaps a dragon, of which we can only see the
head and neck. He stands next to two young people closely embracing. Science thus appears
as the ruler of Strength and Love, opposing the superiority of mind t the physical
manifestations of power and feeling.

How could one conceive that a construction signed with such a thought did not belong to
some unknown philosopher? Why would we refuse to this bas-relief the credit of a symbolic
conception emanating from a cultivated brain, from a learned man affirming his love of study
and teaching by this example? We would be most assuredly wrong to exclude the dwelling
with such a characteristic frontispiece from the number of emblematic works which we
propose to study under the general title of Dwellings of the Philosophers.

(1) Charles de Remusat: Critiques et Etudes Litterarires (Literary Critics and Studies).

(2) This tympanum is kept at the Musee Lapidaire of Reims Sculpture Museum), located in the public hospital
building (former abbey of Saint-Remi, on Simon Street). It was discovered around 1857 during the construction
of the prison in the foundations of the house called the Christendom of Reims, located on the site of the Parvis,
and with the inscription: Fidas, Spes, Caritas, (Faith, Hope and Charity). This house belonged to the chapter.

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REIMS - SCULPTURE MUSEUM
Tympanum of a 12th Century House

III.

MEDIEVAL ALCHEMY

Of all the sciences cultivated in the Middle Ages certainly none was more in fashion and
received more honor than the science of alchemy. Such is the name under which the sacred or
priestly Art was hidden among the Arabs, who had inherited it from the Egyptians and which
the medieval West was to receive later on with so much enthusiasm.

Many controversies have been raised about the diverse etymologies attri buted to the word
alchemy. Pierre-Jean Fabre in his Summary of Chemical Secrets claims it recalls the name of
Cham, son of Noah, supposed to have been the first alchemical artisan, and he writes it
alchamie. The anonymous author of a curious manuscript (1) thinks that "the word alchemy is
derived from als which means salt in Greek and from chymie which means fusion, and it is
thus well named, since salt which is so admirable has been usurped". But if salt is named
[*39-1 ] (als) in the Greek language, [ *39-2] ( cheimeia ) standing for [*39-3] ( chymeia ),
alchemy, has no other meaning than that of sap or secretion. Others find its origin in the first
renomination of the land of Egypt, native land of the sacred Art, Kymie or Chemi. Napoleon
Landais finds no difference between the two words chimie and alchimie (chemistry and
alchemy); he simply adds that the prefix al should not be mixed up with the Arabic article al
and simply means marvelous virtue. Those who hold the opposite hypothesis, using the article
al and the noun chimie, understand it to mean chemistry par excellence or the hyperchemistry
of modem occultists. If we had to bring in our personal opinion in this debate, we would say
that phonetic cabala recognizes a close relationship between the Greek words [*40-1 ]
(Cheimeia), [*40-2] (Chymeia), and [*40-3] (Cheuma), which indicates that which runs down,
streams, flows, and particularly indicates molten metal, the fusion itself, as well as any work
made from molten metal. This would be a brief and succinct definition of alchemy as a
metallurgical technique (2> . But we know, on the other hand, that the name and the thing are
based on the permutation of form by light, fire or spirit; such is in any case the true meaning
indicated by the Language of the Birds.

Bom in the Orient, land of the mysterious and the marvelous, the alchemical science spread in
the West through three great roads of penetration: Byzantine, Mediterranean, and Hispanic. It
was above all the result of Arabic conquests. This curious, studious people, avidly interested
in philosophy and culture, a civilizing people par excellence, forms the connecting link, the
chain which connects oriental antiquity to the occidental Middle Ages. It plays in the history
of human progress a role comparable to that exercised by the Phoenician merchants between
Egypt and Assyria. The Arabs, educators of the Greeks and Persians, transmitted to Europe
the science of Egypt and Babylon, augmented by their own acquisitions, throughout the
European continent (the Byzantine Road) around the 8th century of our era. Furthermore, the
Arab influence exercised its action in our countries upon the return of the expeditions to
Palestine (Mediterranean Road) and it is the Crusaders of the 12th century who imported most
of the ancient knowledge. Finally, closer to us, at the dawn of the 13th century, new elements
of civilization, science, and art, coming around the 8th century from Northern Africa spread
into Spain (the Hispanic Road) and increased the first contri butions of the Greek-Byzantine
center of learning.

At first timid, hesitant, alchemy progressively woke up, and it was not long before it became
stronger. It tended to take the lead, and thus the exotic science transplanted to our soil
acclimatized itself wonderfully to it with such vigor that it soon bloomed into an exuberant
flowering. Its development, its progress was prodigious. It was barely cultivated

10

exclusively in the shadows of monastic cells in the 12th century; by the 14th, it had
propagated everywhere, radiating upon all social classes, shining everywhere with the
brightest glow. Every country gave to the mysterious science a nursery of fervent disciples,
and each social condition devoted itself to it. Nobility and the upper middle class practiced it.
Scholars, monks, princes, prelates professed it; even master craftsmen, minor artisans,
goldsmiths, gentle glassmakers, enamellers, apothecaries, experienced the irresistible desire to
handle the retort. And if no one worked it it openly royal authority hunted down the
puffers and the Popes fulminated against them <3) no one failed to study it undercover. The
company of philosophers, true ones or pretenders, was avidly sought after. These philosophers
undertook long trips with the intention of augmenting their knowledge, or they wrote one
another from country to country, kingdom to kingdom, using a cipher. People fought over the
manuscripts of the great Adepts, those of the cosmopolitan Zosimus, Ostanes, Synesius, over
copies of Geber, Rhazes, Artpehius. The books of Morien, Mary the prophet, the fragments of
Hermes were traded at an exorbitant price. Intellectuals were seized by the fever, and thanks
to the help of fraternities, lodges, initiation centers, the puffers grew and multiplied. Few
families escaped the pernicious attraction of the golden chimera; very rare were those who did
not count in their midst some practicing alchemist, some hunter of the impossible.
Imagination was given free reign. The auri sacra fames (accursed hunger for gold) ruined the
nobleman, caused despair in the common man, starved anyone who let himself be caught, and
profited only the charlatans. Lenglet Dufresnoy <4) writes: "Abbots, bishops, doctors, recluses,
all made it their occupation; it was the folly of the time, and everyone knows that every
century has one which is its own; but unfortunately, this one lasted longer than the others and
is not even completely over".

With what passion, what spirit, what hopes the cursed science envelops the Gothic cities
sleeping under the stars! Subterranean and secret fermentation which, as soon as night has
come, fills the deep cellars with strange pulsations, emitted from ventilation grills in
intermittent bursts, and climbs in sulphurous volutes to the top of the gables!

After the famous name of Artephius (around 1130), the renown of the masters who succeeded
him consecrates the hermetic reality and stimulated the ardor of the candidates to Adepthood.
In the 13th century, there is the illustrious English monk, Roger Bacon, whom his disciples
nickname Doctor admirabilis (1214-1292) and whose enormous reputation becomes
universal; next comes France, with Alain de llsle, doctor of Paris and monk of Citeaux (who
died around 1298); Christopher the Parisian (around 1260); and Master Arnold of Villanova
(1245-1310), while in Italy Thomas Aquinas Doctor angelicus (1225) and the monk
Ferrari (1280) shine.

The 14th century sees a whole new pleiad of artists emerge. Raymond Fully Doctor
illuminatus a Spanish Franciscan monk (1235-1315); John Dastin, an English philosopher;
John Cremer, Abbot of Westminster; Richard nicknamed Robert the Englishman, author of
Correction alchymiae (around 1330); the Italian Petrus Bonus of Fombardy; the French Pope
John XXII (1244-1317); William of Paris, inventor of the hermetic bas-reliefs on the porch of
Notre-Dame; Jehan de Mehun, called Clopinel, one of the authors of the Romance of the Rose
(1280-1364); Grasseus, nicknamed Hortulanus, commentator on the Emerald Table (1358);
finally, the most famous and the most popular philosopher of our country, the alchemist
Nicholas Flamel (1330-1417).

The 15th century marks the glorious period of the science and surpasses even the preceding
ones as much by the value as byte number of the masters who rendered it illustrious. Among
them, Basil Valentine should be quoted first, a Benedictine monk from the abbey of St Peters

11

at Erfurt, in the electorate of Mainz (about 1413), perhaps the most significant artist the
hermetic art has ever produced; one ought to also cite his compatriot, the abbot Trithemius;
Isaac Hollandus (1408); the two Englishmen, Thomas Norton and George Ripley;
Lambsprinck; George Aurach of Strasbourg (1415); the Calabrian monk Lacinius (1459); and
the noble Bernard Trevisan (106-1490) who spent 56 years of his life pursuing the Great
Work, and whose name will remain in the history of alchemy as a symbol of constancy,
unshakable perseverance and obstinacy.

From that moment on, hermetism falls into discredit. Its very supporters, embittered by
failure, turn against it. Attacked from all sides, its prestige disappears; enthusiasm decreases,
opinion is modified. Practical operations, which had been collected, gathered after being
unveiled and taught, allow dissidents to support the thesis of the alchemical void, to ruin
philosophy while building the basis of our chemistry. Seton, Wenceslas Lavinius of Moravia,
Zacharius, and Paracelsus are, in the 16th century, the only known heirs to the Egyptian
esotericism, which the Renaissance rejected after corrupting it. Let us, in passing, pay a
supreme tri bute to the passionate defender of antique truths Paracelsus; the great tribune
deserves from us eternal gratitude for his ultimate and courageous intervention. Although it
was in vain, his intervention is nonetheless one of his highest titles to fame.

The hermetic art prolongs its agony until the 17th century and finally passes away, after
having given to the occidental world three offsprings of great influence: Lascaris, President
dEspagnet, and the mysterious Eirenaeus Philale thes, a living enigma whose true identity has
never been uncovered.

(1) LInterruption du Somneil cabalistique on le Devoilement des Tableaux de VAntiquite (The Interruption of
Cabalistic Sleep, or Unveiling of Paintings from Antiquity), 18th century manuscripts with drawing
Biblio theque de Arsenal # 2520 ( 175 S.A.F.), Bibl. Nat., old French funds, # 670 (7123), 17th Cty., Bibl. St
Genevieve, #2267, treatise II, 18th cty.

(2) And still this definition would be more appropriate for archimy or voarchadumy, a branch of the science
which teaches the transmutation of metals into one or another rather than alchemy proper.

(3) Cf. Papal bull Spondet pariter , issued against alchemists by Pope John XXII in 1317, who nonetheless had
written a very singular ,4r,v Transmutatoria Metallorum.

(4) Lenglet-Dufresnoy, Histoire de la Philosophie Hermetique (History of Hermetic Philosophy), Paris
Coustelier, 1742

12

IV

THE LEGENDARY LABORATORY

With its following of mystery and the unknown, behind its veil of illuminism and marvel,
alchemy evokes a past full of distant stories, wonderful tales, and surprising testimonies. Its
singular theories, its strange recipes, the time-honored reputation of its great masters, the
passionate arguments it aroused, the favor it enjoyed in the Middle Ages, its obscure,
enigmatic and paradoxical literature, seem to give off today the smell of mustiness, of rarified
air acquired over long years by empty tombs, dead flowers, abandoned dwellings, yellowed
parchments.

The Alchemist? A meditative elderly man, with a grave forehead, crowned with white hair,
a pale and wasted silhouette, an original character from a long gone humanity and a forgotten
world, an obstinate recluse, stooped by years of study, late nights, persevering research and
unscrambling of the enigmas of the high science. Such is the philosopher that the poets
imagination or the painters brush like to depict for us.

His laboratory cave, cell, or ancient crypt is dimly lit by gloomy daylight diffused
through the myriad dusty spider webs. Yet, it is there, amidst the silence, that the prodigy is
slowly accomplished. Untiring nature works better than in the rocky abysses under the
prudent attention of man, with the help of the stars and the grace of God. Occult labor,
Cyclopean and thankless task, as vast as a nightmare! At the center of this in pace in
peace, a being, a scholar for whom nothing else exists any more, watches, attentive and
patient, over the successive stages of the Great Work...

As our eyes become accustomed to the darkness, thousands of things emerge from the
shadow, are revealed, and take on a precise shape. Good Lord, where are we? Could it be
Polyphemus den or Vulcans cave?

Near us, an extinguished forge, covered with dust and metal scales; the anvil, hammer, tongs,
shears, clamp irons; rusted ingot molds; the rough and powerful tools of the metallurgist
ended up there. In a corner, thick books heavily bound with iron such as antiphonals
with signets sealed with antiquated leads; ashy manuscripts, mysterious books piled up;
yellowed volumes filled with notes and formulas, stained from the incipit to the text. Flasks,
bulging like good monks, filled with opalescent emulsions, pale green, blue-green, or flesh-
colored liquids, exhale these stale acid odors whose sharpness contradicts the throat and stings
the nose.

On the hood of the furnace strange oblong vessels are aligned, with short pipes, caulked and
covered with wax; mattresses, with spheres, rainbowed by metallic deposits, extend their
necks, sometimes cylindrical and slender, sometimes widened or inflated; greenish horned
vessels, retorts, and pottery dishes sit next to crucibles made of red and flame-like earth. In
the far corner, placed on their straw baskets all along a stone cornice, philosophical eggs, in
transparent and elegant contrast to the massive and rounded cucurbit praegnans cucurbita.

Damnation! Here are now some anatomical specimens, skeletal fragments: blackened,
toothless skulls, repugnant with their beyond-the-grave grin; suspended human fetuses,
desiccated and shriveled, miserable remnants showing their minute bodies, their parchment

13

heads, sneering and pitiful. These round, vitreous and golden eyes are those of an owl with
dull feathers, which stands next to the alligator, giant salamander, another important symbol
of the practice. The fearsome reptile emerges from an obscure recess, stretches the chain of
his vertebrae on his stout legs and directs the bony abyss of his frightful jaws towards the
arched ceiling.

Placed randomly, in case of need, on the bed-plate of the furnace, notice these vitrified pots,
aludels, and sublimatories; these pelicans with thick walls; these infernal vessels similar to
large eggs whose chalazas are visible, these olive-colored bottles buried in the middle of the
sand against the athanor, with its light fumes climbing over the ribbed vault. Here is the
copper alembic homo galeatus (l) stained with green smudges; there the descensories,
the cucurbits and their antenos, the two brothers or twins of the cohobation; coiled receivers;
heavy cast-iron and marble mortars; a large bellows with its wrinkled leather sides, near a pile
of muffles, tiles, cupels, and evaporators...

A chaotic conglomeration of archaic instruments, bizarre materials and out-of-date utensils; a
confusion of all sciences, a tangle of impressive faunas! And, looking down upon this
disorder, affixed to the keystone of the vault, a pendant with spread wings, the great raven,
hieroglyph of material death and its decompositions, the mysterious emblem of the mysterious
operations.

Curious a well is the wall, or at least what is left of it. Some inscriptions of mystical meaning
fill the voids: Hie lapis est subtus te, supra te, erga te et circa te 1 (2) , mnemonic verses entangle
themselves, whimsically engraved with a stiletto on soft stone; one of them dominates, carved
in Gothic cursive writing: Az.oth et ignis tibi sufficient (3) , Hebrew characters; circles
intersected with triangles, interspersed with quadrilateral figures in the manner of Gnostic
signatures. Here, a thought based on the dogma of unity summarizes all of philosophy: Omnia
ab uno et in unum omnia (4) . Elsewhere, the image of the scythe, emblem of the 13th Arcanum
and the house of Saturn; the Star of Solomon; the symbol of Cancer, supplication of the evil
spirit; a few passages from Zoroaster, witness to the great antiquity of the accursed sciences.
Finally, bathing in the light field of the basement window and more legible in this labyrinth of
imprecisions, the hermetic ternary: Salt, Sulphur, Mercury...

Such is the legendary painting of the alchemist and his laboratory. Fantastic vision, lacking
truth, sprung from popular imagination and reproduced in the old almanacs, treasures of the
peddlers trade.

Puffers, magicians, sorcerers, astrologers, necromancers?

Anathema and malediction!

(1) Translators Note: Helmeted man.

(2) Translators Note: This stone is directly beneath you, above you, in you, all around you.

(3) Translators Note: Nitrogen and fire will suffice.

(4) Translators Note: All from one and in one all.

14

y

CHEMISTRY AND PHILOSOPHY

Chemistry, incontestably, is the science of facts, just as alchemy is that of causes. The first,
confined to the material domain, is supported by experiment. The second preferably takes its
directives from philosophy. While the object of the first is the study of natural bodies, the
other tries to penetrate the mysterious dynamics which preside over their transformations.
Therein lies their essential difference, enabling us to say that alchemy, compared with our
positive science, the only one permitted and taught today, is a spiritualistic chemistry, for it
allows us to catch a glimpse of God through the darkness of substance.

Furthermore, in our opinion, it seems insufficient to know how to recognize and classify facts
exactly; one must still question nature, and learn from her in what conditions and under the
control of what will her manifold productions can take place. Indeed, the philosophical mind
will not be content with the mere possibility of identifying bodies. It demands the knowledge
of the secret of their elaborations. To open ajar the door of the laboratory where nature mixes
the elements, is good; to discover the occult force under whose influence her work is
accomplished, is better. We are obviously far from knowing all natural bodies and their
combinations, since we discover new ones daily; but we know enough to temporarily leave
aside the study of inert matter and direct our researches towards the unknown animator, agent
of so many marvels.

To say, for example, that two volumes of hydrogen combined with one volume of oxygen
yield water, states a chemical banality. And yet, who will teach us why the result of this
combination presents, in a special state, characteristics which the gases that produced it do not
possess? What then is the agent which imposes its new specificity upon the compound and
forces the water, solidified by cold, always to crystallize in the same system? Furthermore, if
the fact is undeniable and rigorously controlled, why is it that it is impossible for us to
reproduce it simply by reading the formula charged with explaining its mechanism? For, in
the notation FFO, the essential agent, capable of provoking the intimate union of the gaseous
elements is missing i.e., fire. Yet, we challenge the most skilled chemist to manufacture
synthetic water by mixing oxygen and hydrogen in the indicated volumes: the two gases will
always refuse to combine with one another. To succeed in the experiment, it is essential to
introduce fire, either in the form of a spark, or in the form of an ignited body or still a body
liable to be brought to the point of incandescence (platinum sponge). So one recognizes,
without being able to oppose the least serious argument to our thesis, that the chemical
formula of water is, if not false, at least incomplete and truncated. And the elemental agent
fire, without which no combination can be effected, being excluded from the chemical
notation, the entire science proves to be filled with gaps and incapable of providing through
its formulas a logical and true explanation of the studied phenomena. "Physical chemistry",
writes A. Etard (1) , "lures the majority of research minds. It is the one which touches most
closely on profound truths and which will slowly give us laws capable of changing all of our
systems and our formulas. However, by its very importance, this kind of chemistry is the most
abstract and the most mysterious that exists. During the short moments of a creative thought,
the best minds cannot succeed in applying and comparing all the great well-known facts.
Faced with this impossibility, they resort to mathematical representations. These
representations are most often perfect in their methods and results; but in their application to
what is deeply unknown, we cannot make mathematics reveal truths whose elements we have

15

not given them, The most gifted man presents the problem badly which he does not
understand. If these problems could be correctly formulated in an equation, we could have the
hope of resolving them. But, in our present state of ignorance, we are fatally compelled to
introduce numerous constants, to neglect certain terms, and to apply hypotheses. Putting the
problem into an equation is perhaps no longer altogether correct. Even so, we console
ourselves because it leads to a solution; but, it is a temporary arrest of the progress of science
when such solutions are imposed for years on good minds as a scientific demonstration. A lot
of work is done in this direction which takes time and which leads to contradictory theories,
destined to be forgotten".

These famous theories, which were long evoked and opposed to hermetic conceptions, see
their solidity strongly compromised today. Sincere scientists, belonging to the creative
schools of the same hypotheses considered to be certainties only grant them a very
relative value; their field of action diminishes concurrently with the decrease of their power of
investigation. Monsieur Emile Picard in the Revue des Deux Mondes expresses this state of
affairs with a frankness revealing of the true scientific spirit. "As for theories", he writes,
"they do not even propose to provide a casual explanation for the reality itself, but only to
translate it into images or mathematical symbols. We ask of theories, which are tools of the
trade, to coordinate, at least for a while, known phenomena and to predict new ones. When
their fecundity is exhausted, we try to make them undergo transformations which the
discovery of new facts have rendered necessary". And so, contrary to philosophy which
precedes facts, ensures the direction of ideas, and their practical connection; theories,
conceived after the fact and modified according to the results of experiments as new
acquisitions are made, always reflect the uncertainty of provisional things, and give modern
science a character to perpetual empiricism. Numerous chemical facts, seriously observed,
resist logic and defy all reason. "For example", J. Duclaux (2) says, "bivalent copper iodide
spontaneously decomposes into iodine and monovalent copper iodide. Since iodine is an
oxidizer and copper salts are reducing agents, this decomposition cannot be explained. The
formation of extremely unstable compounds, such as nitrogen trichloride, is equally
inexplicable. We can no more understand why gold, which is resistant to acids and alkalies,
even when concentrated and hot, dissolves in a cold dilute solution of potassium cyanide; why
hydrogen sulfide is more volatile that water; why sulphur chloride, composed of two elements
each of which combine with potassium forming incandescence, is itself without action on this
metal".

We have just spoken of fire; and yet, we only envisage it in its common form and not in its
spiritual essence, which introduces itself in bodies at the very moment of their appearance on
the physical plane. What we want to demonstrate without leaving the alchemical domain, is
the grave error which dominates all of modern science and which prevents it from recognizing
this universal principle which animates substance, to whatever kingdom it belongs. Yet it
manifests itself all around us, under our very eyes, either by the new properties which matter
inherits from it or by the phenomena which accompany its liberation. Light rarified and
spiritualized fire possesses the same chemical virtues and power as elementary crude fire.
An experiment, with the object of synthetically creating hydrochloric acid (HC1) from its
components, amply demonstrates it. If we put equal volumes of chlorine and hydrogen gas in
a glass flask, the two gases will keep their own individuality as long as the flask that contains
them is kept in darkness. With some diffused light, they progressively combine. But if we
expose the vessel to direct solar rays, it explodes and shatters violently.

The objection will be raised that fire, considered a mere catalyst, is not an integral part of the
substance and therefore cannot be indicated in the expression of chemical formulas. The

16

argument is more fallacious than true, since the experiment itself belies it. Here is a piece of
sugar in whose equation there is no equivalent for fire; if we break it in darkness, we will see
a blue spark shoot out from it. Where does it come from? Where would it be contained if not
in the crystalline structure of the saccharose? We mentioned water; let us throw on its surface
a fragment of potassium: it spontaneously bursts into flame and burns energetically. Where is
this visible flame hiding? It matters little whether it be in water, air, or metal; the essential
point is that it potentially exists inside one or the other of these bodies, perhaps in the three.
What is phosphorus, the light-bearer and generator of fire? How do noctilucas, glowworms
and fireflies transform part of their vital energy into light? What compels the salts of uranium,
cerium, and zirconium to become fluorescent when they have been submitted to the action of
sunlight? By what mysterious synchronism does barium platinum cyanide shine when in
contact with Roentgen rays?

Let no one come and talk to us about oxidation being in the normal order of igneous
phenomena. It would be deferring the question rather than resolving it. Oxidation is a result,
not a cause. It is a combination, subject to an active principle, to an agent. If some energetic
oxidations disengage heat or fire, it is most certainly because this fire was already engaged in
it. The electrical fluid, silent, obscure, and cold runs through its metallic conductor without
otherwise influencing it nor revealing its passage. But if it meets with resistance, the energy
immediately reveals itself with the qualities and in the form of fire. A lamp filament becomes
incandescent, the charcoal of a retort ignites, the most refractory metallic wire melts at once.
So, isnt electricity indeed fire or a potential fire? Where does it draw its origin if not from
decomposition (batteries), or from the disintegration of metals (dynamos), bodies highly
charged with the igneous principle? Let us detach a particle of steel or of iron by grinding it
on a stone or by striking it against a flint and we will see a spark shining, thus freed. We know
the pneumatic lighter well enough, based on the property possessed by atmospheric air being
ignited by simple compression. Liquids themselves are often genuine reservoirs of fire. It
suffices to pour a few drops of concentrated nitric acid on oil of turpentine to provoke its
inflammation. In the category of salts let us mention in passing fulminate, nitrocellulose,
potassium picrate, etc.

Without further multiplying examples, we see that it would be childish to maintain that fire,
because we do cannot directly perceive it in matter, does not really exist there in a latent state.
Ancient alchemists, who had, according to traditional sources, more knowledge than we are
willing to grant them, assured us that the sun is a cold star and that its rays are dark (3).
Nothing would seem more paradoxical nor more contrary to appearances, and yet nothing is
truer. A few moments of reflection allow us to become convinced. If the sun were a globe of
fire, as we are taught, it would be enough to approach it, even a little, to experience the effect
of a growing heat. Precisely the opposite occurs. High mountains remain crowded with snow
despite the heat of summer. In the elevated regions of the atmosphere when the sun reaches its
zenith, the cupolas of hot-air balloons are covered with frost and the passengers suffer from
intense cold. So, experience demonstrates that temperature goes down as altitude increases.
Even light is only visible to us in as much as we are placed in its field of radiation. If we are
outside the radiant beam, its action ceases for our eyes. It is a well-known fact that an
observer looking at the sky from the bottom of a well at noon sees the starry night sky.

Whence, then, do heat and light come? From the simple shock of cold and dark vibrations
against the gaseous molecules of our atmosphere. And since resistance increases in direct
proportion to the density of the environment, heat and light are stronger on the surface of the
earth than at great altitudes because the strata of air are also denser. Such is, at least, the
physical explanation of the phenomenon. In fact, and according to hermetic theory, the

17

opposition of the vibratory movement, the reactions are nothing more than the first causes of
an effect which translates into the liberation of luminous and fiery atoms from atmospheric
air. Under the action of the vibratory bombardment, the spirit, freed form the body, takes on,
for our senses, physical qualities characteristic of its active phase: luminosity, brilliance, heat.

Thus, the only approach that we can address to chemical science is that it does not take into
account the igneous agent, spiritual principle and basis of energetics, under whose influence
all material transformations occur. It is the systematic exclusion of this spirit, higher will, and
hidden dynamism of things, which deprives modem chemistry of the philosophical character
alchemy possesses. "You believe", writes Monsieur Henri Helier to Monsieur L. Olivier (4) ,
"in the indefinite fruitfulness of experience. Indeed, but experimentation has always been led
by a preconceived idea, by a philosophy. An idea often almost absurd in appearance, a
philosophy sometimes bizarre and disconcerting in its signs. If I told you how I make my
discoveries, Faraday used to say, you would take me for an imbecile. All the great chemists
thus had ideas in the back of their heads which they never revealed... It is from their work that
we have extracted our methods and our present theories; they are the most precious result, but
they were not the origin".

"The alembic, with its serious and sedate airs", says an anonymous (5) philosopher, "has
gathered an enormous clientele in chemistry. Just try to trust it; it is an unfaithful depository, a
usurer. You entrust it with a perfectly healthy object, endowed with incontestable natural
properties, having a form which constitutes its existence. It returns to you shapeless, in
powder form or in gaseous form. It pretends to give you everything back when it has kept
everything, minus the weight, which is nothing since it comes from a cause independent of the
body itself. And the union of scientists sanctions this horrible usury! You give it wine, it gives
you back tannin, alcohol and water in equal weights. What is missing there? The taste, that is
the only thing which makes wine what it is, and so on with everything else. Because you have
extracted three things from wine, gentlemen chemists, you say: wine is made of three things.
Turn them back into wine or else I will say to you: these are three things which are made from
the wine. You can undo what you have done, but you will never remake that which you have
undone in nature. Bodies only resist you in proportion to how strongly they are compounded,
and you call simple bodies all those that resist you: vanity!

"I like the microscope; it simply shows us things as they are, merely extending our perception,
therefore it is the scientists who attri bute opinions to it. But when, deeply immersed in the
smallest details, these gentlemen come to bring to the microscope the smallest grain or the
smallest droplet, the sarcastic instrument seems to say to them by showing them live animals
there: Analyze those for me. So, what is the analysis? Vanity, vanity!

"Finally, when a learned doctor cuts into a cadaver with his scalpel to find the causes of the
illness that killed the victim, using a microscope he can only find the results. For the cause of
death is in that of life, and true medicine, that which Christ naturally practiced, and which is
being scientifically reborn with homeopathy, the medicine of similarities, can only be studied
on life. And, as far as life is concerned, since there is nothing which resembles a living being
less than a dead one, anatomy is the most pitiful of vanities.

"So are all instruments a cause of error? Far from it; but they indicate truth within limits that
are so restricted that their truth is nothing but a vanity. Therefore, it is impossible to attach
absolute truth to it. This is what I call the impossible of the real and which I make note of in
order to affirm the possible of the marvelous".

18

Positive in its facts, chemistry remains negative in its spirit. And this precisely differentiates it
from the hermetic science, whose proper domain consists above all in the study of efficient
causes, of their influences, and of the modalities which they take on according to the settings
and conditions. This study, exclusively philosophical, allows man to penetrate the mystery of
facts, to grasp its vastness, and to finally identify it with the Supreme Intelligence, soul of the
Universe, Light, God. And so, alchemy, making its way from the concrete to the abstract,
from material positivism to pure spiritualism, broadens the field of human consciousness, of
possibilities of action, and realizes the union of God with Nature, of Creation with the
Creator, of Science with Religion.

Let no one see in this argument any unfair or tendentious criticism directed against chemists.
We respect all workers of whatever profession they may belong, and we personally profess
the deepest admiration for the great scientists whose discoveries have so magnificently
enriched modem science. But the thing which, along with us, men of good faith will regret is
not so much differences of opinion freely expressed as the unfortunate intentions of a narrow
sectarianism, injecting discord between the partisans of one doctrine and another. Life is too
short, tie too precious to waste in vain polemics, and it does not honor oneself to despise the
knowledge of others. Furthermore, it matters little that so many seekers go astray, if they are
sincere and if their error itself leads them to useful acquisitions; errare humanum est, to err is
human, says the old proverb and illusion often adorns itself with the diadem of truth. Those
who persevere in spite of failure have a right to our regard. Unfortunately, scientific spirit is a
rare quality in men of science, and we can trace this lack back to the origin of the strife we
mentioned. From the fact that a truth is neither demonstrated nor demonstrable using the
means at the disposal of science, we cannot infer that it will never be so. "The word
impossible is not French", said Arago; we add that it is contrary to the true scientific spirit. To
call a ting impossible because its present possibility remains doubtful, is to lack confidence in
the future and to deny progress. Doesnt Lemery <6) commit a serious indiscretion when he
dares to write about the alkahest or universal solvent: "As for me, I believe it to be imaginary,
because I do not know of any". It will be agreed that our chemist overestimated the value and
extent of his knowledge. Harrys, a mind refractory to hermetic thought, thus defined alchemy
without ever having desired to study it: Ars sine arte, cujus principium est menuri, medium
laborare et finis mendicare (1) .

Next to these scientists locked up in their ivory tower, next to these men of incontestable
merit it is true, yet others, the slaves of tenacious prejudices, did not hesitate to grant civil
rights to the old science. Spinoza and Leibnitz believed in the Philosophers Stone, the
chrysopea; Pascal became certain of it (8) . Nearer to us, a few celebrated minds, among others
Sir Humphrey Davy, thought that hermetic research could lead to unexpected results. Jean-
Baptiste Dumas, in his Lessons on Chemical Philosophy, expresses himself in these terms:
"Would it be possible to admit the existence of simple isomeric bodies? This question comes
very close to the transmutation of metals. Resolved affirmatively, it would give chances of
success to the search for the Philosophers Stone... We must therefore consult
experimentation, and experimentation, it must be said, is until now not in opposition the
possibility of the transmutation of simple bodies... It is even opposed to rejecting this idea as
an absurdity which could be demonstrated by the present state of our knowledge". Francois-
Vincent Raspail was a convinced alchemist and the works of the classical alchemist and the
works of the classical philosophers occupied a prominent place among his other books. Ernest
Bose <9) tells us that Auguste Cahours, member of the Academy of Sciences, had told him that
his venerated master, Chevreul, professed the greatest esteem for our old alchemists, and his
rich library contained almost all the important works of the hermetic philosophers (1()) . It even
appears that the dean of the students of France, as Chevreul called himself, had learned a great

19

deal from these old books, and he owed them part of his beautiful discoveries. The illustrious
Chevreul knew how to read between the lines much of the information that had not been
noticed before him. One of the most famous of the masters of the chemical science, Marcellin
Berthelot, was not content to adopt the opinion of the college. Contrary to a number of his
colleagues who spoke boldly of alchemy without knowing it, he devoted more than 20 years
to a patient study of original Greek and Arabic texts. And from this long contact with the
ancient masters, the conviction was born in him that "hermetic principles as a whole are as
tenable as the best modem theories". If we are not held by the promise that we had made to
them, we could add to these scientists the names of certain scientific leaders, entirely given to
the Art of Hermes, but whose very situation forces them to practice it only in secret.

Today, although the unity of substance basis of the doctrine taught since antiquity by all
alchemists is received and officially sanctioned, it does not seem that the idea of
transmutation has followed the same progression. This fact is all the more surprising because
we could not agree with the one without conceiving the possibility of the other. Furthermore,
given the great antiquity of the hermetic thesis, we would have some reason to think that in
the course of centuries it could possible have been confirmed by experimentation. It is true
that scientists usually do not pay much attention to this kind of argument; testimonies most
worthy of faith and best supported seem suspect to them, either they ignore them or they
prefer not to be interested in them. So as not to be accused of showing ill will by distorting
their thought, and so as to allow the reader to exercise his judgment in all freedom, we submit
to his appreciation the opinions of modem scientists and philosophers on the subject that
concerns us. Jean Finot ( \ having called upon competent men, asked them the following
question: In the present state of science is metallic transmutation possible or realizable? Can it
even be considered as realized in the condition of our knowledge? Here are the answers that
he received:

Dr Max Nordeau "Allow me to abstain from all discussions about the transmutation of
matter. I adopt the dogma (it is one) of the unity of matter, the hypothesis of the evolution of
chemical elements from the lightest to the heaviest atomic weight, and even the theory
imprudently called law of periodicity of Mendeleev. I do not deny the theoretical
possibility of artificially recreating, through laboratory means, a part of this evolution
naturally produced in billions or trillions of years by cosmic forces and to transform lighter
metals into gold. But I do not believe our century will witness the realization of the dream of
the alchemists".

Henri Poincare "Science cannot, and must not say never! It is possible that one day we will
discover the principle of fabricating gold. But for now, the problem does not seem to be
resolved".

Madame Marie Curie "Though it is true that spontaneous atomic transformations have
been observed in radioactive bodies, (the production of helium by these bodies you mention
and which is perfectly correct), we can, on the other hand, affirm that no transformation of a
simple body has yet been obtained by the effort of man or due to the devices imagined by
him. It is therefore at present totally useless to consider the possible consequences of the
fabrication of gold".

Gustave Le Bon "It is possible to transform steel into gold, as we transform, it is said,
uranium into radium and helium but these transformations will most likely be on the scale
of billionths of a milligram, and it would be then much more economical to extract gold from
the sea which contains tons of it".

20

Ten years later, a popular scientific journal <12) , devoted to the same inquiry, published the
following opinions:

Charles Richet, professor at the Faculty of Medicine, member of the Institute, holder of the
Nobel Prize "I admit that I have no opinion on this question".

Urabin and Jules Perrin "Unless there were a revolution in the art of exploiting natural
forces, synthetic gold if it is not just a fantasy will not be worth being industrially
exploited".

Charles Moureu "The fabrication of gold is not an absurd hypothesis! It is about the only
affirmation that a true scientist can make... A scientist declares nothing a priori...
Transmutation is a fact that we notice every day".

To this thought so courageously expressed, thought of a bold mind, gifted with the most noble
scientific spirit and with a profound sense of truth, we will oppose another one very different
in quality. It is the estimation of Henry Le Chatelier, member of the Institute, professor of
chemistry at the Faculty of Sciences, "I absolutely refuse any interview on the topic of
synthetic gold. I consider that it must come from some attempt of fraud, like the famous
diamonds of Lemoine".

In truth, it would be difficult to use fewer words and less amenities to show ho much
contempt for the old Adepts, venerated masters of present alchemists. For our author, who has
probably never opened a hermetic book, transmutation is synonymous with charlatanism. As
the disciple of these great vanished men, it seems rather natural that we should inherit their
unfortunate reputation. Who cares; there is our glory, the only one, by the way, which
academic ignorance, proud of its gadgets: crosses, seals, palms, and parchments, condescends
to grant us when it finds the opportunity. But let us allow the donkey to gravely carry its relics
and let us resume our topic.

The responses that we have just read, except for that of Charles Moureu, are similar in
content. They spring from the same source. Academic spirit has dictated them. Our scientists
accept the theoretical possibility of transmutation; they refuse to believe in its material reality.
They deny after having affirmed it. It is a convenient way to wait and see, to not compromise
oneself nor to leave the domain of the relative.

Can we take atomic transformations into account when they concern a few molecules of a
substance? How can we acknowledge them an absolute value when we can only control them
indirectly through indirect means? Is that a mere concession the moderns are making to the
ancients? We have never heard the hermetic science had asked for alms. We know it to be
wealthy enough in observations and positive facts not to be reduced to begging. Besides, the
theoretical idea that our chemists are defending today belongs without dispute to the
alchemists. It is their property, and no one could refuse them the privilege of an admitted
priority of fifteen centuries. They are the men who first demonstrated its effective realization,
issuing from the unity of substance, the invulnerable basis of their philosophy. Furthermore,
we ask why modern science, gifted with multiple and powerful means, rigorous methods
served by precise and perfected tools, took so long to recognize the veracity of the hermetic
principle? Then are we entitled to conclude that the ancient alchemists, using very simple
processes, had nevertheless experimentally discovered the formal proof capable of imposing
the concept of metallic transmutation as an absolute truth. Our predecessors were neither
insane nor impostors, and the mother idea which guided their works, the very one which

21

infiltrates scientific spheres of our times, is foreign to the hypothetical principles, whose
fluctuation and vicissitudes of which our rimes have no idea.

We assert therefore, without taking sides, that the great scientists whose opinions we have
quoted are mistaken when they negate the lucrative result of transmutation. They are mistaken
about the constitution and the profound qualities of matter, though they believe they have
fathomed all its mysteries. Alas, the complexity of their theories, amount of words created to
explain the inexplicable, and above all, the pernicious influence of materialistic education,
pushes them to search far away for that which is within their reach. Mathematicians for the
most part, lose in simplicity and common sense that which they gain in human logic and
numerical rigor. They dream of imprisoning nature into a formula, of putting life into an
equation. So, by successive deviations they unconsciously succeed in getting so far from
simple truth that they justify the harsh words of the Gospel: "They have eyes not to see and
minds not to understand!".

Would it be possible to bring these men back to a less complicated conception of things, to
guide these lost ones towards the light of spirituality which they are lacking? We shall attempt
it, and shall first say, addressing those who are willing to follow us, that living nature is not to
be studied outside of its activity. The analysis of the molecule and the atom teaches nothing: It
is incapable of resolving the most elevated problem that a scientist is capable of presenting:
What is the essence of this invisible and mysterious dynamism which animates substance? For
what do we know of life, except that we find its physical consequence in the phenomenon of
movement. Everything is life and movement on this earth. Vital activity, very apparent in
animals and vegetables, is no less apparent in the mineral kingdom, although it requires
sharper attention by the observer. Metals are indeed living and sensitive bodies. Proofs are:
the mercury thermometer, silver salts, fluorides, etc. What is dilation and contraction if not
two effects of metallic dynamism, two manifestations of mineral life? Yet, it is not enough for
the philosopher to only notice the elongation of an iron bar submitted to heat, he must know
that metal under the influence of caloric radiations opens its pores, distends its molecules, and
increases its surface and volume. It blooms in a manner of speaking, as we ourselves do
under the action of the benevolent solar effluvia. It cannot therefore be denied that such a
reaction has a profound non material cause, for we would not know how to explain without
this impulse what other force would oblige crystalline particles to leave their apparent inertia.
This metallic will, the very soul of metal, is clearly made evident in one of the beautiful
experiments by Ch.-Ed. Guillaume. A calibrated steel bar is submitted to a continuous and
progressive traction whose power is measured with the aid of a dynamograph. When the bar is
about to give, it shows a constriction, and the exact spot is marked. The extension ceases, and
the bar is restored to its original dimensions, then the experiment is begun again. This time the
constriction occurs in a point different from the first. By following the same technique, we
will notice that all points on the bar have been successively treated, giving in one after the
other to the same traction. And, if we calibrate the steel bar one last time, starting the
experiment again from the very beginning, we verify that we need to use a much greater force
than the one used first in order to provoke the return of the rupture symptoms. Ch.-Ed.
Guillaume concludes from these experiments, with much reason, that the metal behaved as an
organic body would have done. It has successively reinforced all its weak parts and
purposefully increased its coherence to better defend its integrity. An analogous teaching can
be derived from the study of saline crystallized compounds. If the angle of intersection of any
crystal is broken and if its is plunged thus mutilated back into the mother liquor which
produced it, not only does it immediately repair its wound, but it also grows with a greater
speed than that of intact crystals which had remained in the same solution. We discover yet
another evident proof of metallic vitality in the fact that in the United States, the tracks of

22

railroads show without any apparent reason the effects of an unusual evolution. Nowhere are
the derailings more frequent or the catastrophes more inexplicable. Engineers charged with
the study of the cause of these multiple ruptures attri bute them to "premature aging" of the
steel. Under the probable influence of special climatic conditions, the metal ages quickly,
early; it loses its elasticity, malleability, resistance; its tenacity and cohesion seem lessened, to
the extent that it becomes dry and brittle. Moreover, this metallic degeneration is not uniquely
limited to rails. It also extends its ravages to the armor plates of battleships which are
generally taken out of service after a few months of usage. Upon testing, we are surprised to
see them break into several pieces under the shock of a mere drop ball. The weakening of the
vital energy, normal and characteristic phase of decrepitude, of the senility of the metal, is the
precursor sign of its coming death. Since death, corollary of life, is the direct consequence of
birth, it follows that metals and minerals manifest their subjection to the law of predestination
which rules all created beings. To be born, to live, to die, or to transform oneself are the three
stages of a unique period embracing all physical activity. And since this essential function of
this activity is to renew, to continue oneself, and to produce oneself through regeneration we
are brought to believe that metals as well as animals and vegetables, bear in themselves the
faculty of multiplying their species.

Such is the analogical truth that alchemy has tried to practice. And, such is also the hermetic
idea, which it has seemed necessary to us to emphasize first of all. So, philosophy teaches and
experimentation demonstrates that metals, thanks to their own "seed", can be reproduced and
developed in quantity. Anyway, this is what the word of God reveals in Genesis, when the
Creator transmits a particle of His activity to creatures issued from His very substance. For
the divine logos, grow and multiply does not apply uniquely and only to man. It is meant for
the entirety of living beings spread throughout nature.

(1) A. Etard; Revue Annuelle de Chimnie pure (Annual Review of Pure Chemistry), in Revue des Sciences, Sept.
30, 1896, p. 775.

(2) J. Duclaux; La Chiniie de la Matiere vivante (Chemsitry of Living Matter), Paris, Alcan, 1910, p. 14.

(3) See The Cosmopolite or Nouvelle Lumiere Chymique (New Chemical Light), Paris, 1669, p. 50

(4) Lettre sur la Philosophic Chimique (Letter on Chemical Philosophy) in Revue des Sciences, Dec. 30, 1896, p.
1227.

(5) Comment /Esprit vient aux tables (How the Spirit Comes to Tables), by a man who has not lost his
mind/spirit; Paris, Libr. Nouvelle, 1854, p. 150.

(6) Lemery; Cours de Chymie (Chemistry Course), Paris, dHoury, 1757.

(7) "An artless art, of which the beginning is to lie, the middle is to labor, and the end is to beg".

(8) Was Pascal an alchemist? Nothing allows us to claim that he was. What is more certain is that he must have
realized the transmutation himself, unless he saw it accomplished before his eyes in the laboratory of an Adept.
The operation lasted two hours. This is what comes out of a curious document, on paper, handwritten by him in
mystical style and which was found sewn in his garment at the time of his burial. Here is the beginning of it,
which is the essential part:

"The Year of Grace, 1654; Monday, the 23 rd of November, day of St Clement, pope and martyr and of others in
the martyrology. Vigil of St Chrysogonus, martyr, and others, from around ten-thirty in the evening until

23

approximately twelve-thirty after midnight. Fire. God of Abraham, God of Isaac, God of Jacob, not of
Philosophers and of Savants. Certainty, Certainty, Feeling, Joy, peace".

We have purposefully underlined, although it was not so in the original text, the word Chrysogonus which the
author uses to refer to the transmutation; it is formed of two Greek words; [*57-1] ( Chrysos ), gold, and [*57-
2 ](gone), generation. Death, which usually takes away mens secret, had to deliver up that of Pascal, philosophus
per ignem (Philosopher by fire).

(9) Ernest Bose; Dictionnaire dOrientalisme, doccultisme et de Psychologie (Dictionary of Orientalism,
Occultism, and Psychology), Vol. 1.

(10) Chevreul left his hermetic library to the Museum dHistoire Naturelle (Museum of Natural History)

(11) Cf. La Revue, #18, Sept. 15, 1912, p. 162, et seq.

(12) "Je sais tout". Le fabrication synthetique de For est-elle possible?; #194, Feb. 15, 1922.

24

VI

HERMETIC CABALA

Alchemy is obscure only because it is hidden. The philosophers who wanted to transmit the
exposition of their doctrine and the fruit of their labors to posterity took great care not to
divulge the art by presenting it under a common form s that the layman could not misuse it.
Thus, because of the difficulty one has of understanding it, because of the mystery of its
enigmas and of the opacity of its parables, the science has come to be shut up among reveries,
illusions, and chimeras.

In fact these sepia-toned old books are not easily penetrated. To try to read them the way we
read ours would be a mistake. Nevertheless, the first impression we receive from them, as
strange and confusing as it may seem, remains vibrant and persuasive. Beyond the allegorical
language and the abundance of ambiguous nomenclature, we fathom in them this ray of truth,
this profound conviction born from certain facts, duly observed, and which owe nothing to the
whimsical speculations of pure imagination.

You may probably object that the best hermetic works contain many gaps, accumulate
contradictions, are embellished with false recipes; you may say that the modus operandi
varies from one author to the next and that, if the theoretical development is the same with all,
descriptions of the bodies used, on the other hand, rarely show a rigorous similarity among
themselves. We shall answer that the philosophers had no other means at their disposal to
steal from the ones what they wanted to expose to the others, but this confusion of metaphors,
of diverse symbols, this prolixity of terms, of capricious formulas traced by the flow of a pen,
expressed in clear language for the use of the greedy or the foolish. As for the argument about
practice, it falls by itself for the simple reason that since the initial matter can be considered
under any one of the multiple appearances which it takes during the course of the work, and
since the artists never describe more than one part of the technique, as many distinct processes
appear to exist as there are writers of the genre.

After all we should not forget that the treatises which have reached us were composed during
the most beautiful alchemical period, the one which embraces the last three centuries of the
Middle Ages. And at that time, folk mentality, totally impregnated with oriental mysticism,
was fond of riddles, symbolic veils, allegorical expressions. This disguise flattered the
rebellious instinct of the masses and provided the nobles with a new source for satiric verve.
In this manner, it conquered general favor and was encountered everywhere, firmly
established at the different levels of the social ladder. It shined in clever words during
conversations among cultivated people, aristocrats and bourgeois, and it was vulgarized
among vagrants in naive puns. It adorned shopkeepers signboards with picturesque riddles
and took hold of heraldry whose exoteric rules and protocol it established; it forced its
multicolored costume of images, enigmas, and emblems on art, literature, and especially on
esotericism.

To it we owe the variety of curious street signs whose number and singularity still add to the
clearly original character of French medieval productions. Nothing shocks our modern sense
more than these tavern placards oscillating on a wrought iron axis. We recognize, on one of
them, the letter O capitalized followed by a K which has been struck out (1 but the drunkard
of the 14th century was not deceived and entered the great tavern without hesitation.

25

Hostelries often put up a golden lion fixed in heraldic pose, which for the traveler seeking out
accommodation meant that "one could sleep there", because of the double meaning and pun of
the image (2) . Edouard Founier <3) explains that "la rue du Bout-du-Monde" (the street at the
End of the World) existed in Paris in the 17th century. "This name", adds the author, "which
came from the fact that it had for a long time been near the walls of the city, had been
represented in a rebus on the tavern sign. It had been represented by a bone (05), a he-goat
(. bouc ), a homed owl (due) and a world ( monde )" (4) .

Next to the blazon of the hereditary nobilitys heraldry, we discover another form of blazonry
whose armorial bearings are merely expressive tri butaries of the rebus. The latter describe
commoners, arrived by fortune at the rank of persons of quality. Francois Myron, Parisian
magistrate in 1604, thus wore one "of gules a round mirror", (Myre-rond) (5) . A nouveau riche
of the same kind, head of the monastery of St Bartholomew in London, Prior Bolton, who
occupied the office from 1532 to 1539, had his coat of arms carved in the bow window of the
triforium from where he watched over the pious exercises of his monks. We can see an arrow
(bolt) piercing a little barrel (tun), hence Bolton (Plate III). In his Enigmas of the Streets of
Paris, Edouard Fournier, whom we have just quoted, after having initiated us into the disputes
between Louis XIV and Louvois during the building of the Hotel des Invalides in Paris, the
latter wanting to place his coat of arms next to that of the King, thereby contravening the
orders of the King, tells us that Louvois arranged in some manner to affix his memory on the
Invalides in an immutable and very obvious manner.

"Enter the Court of Honor of the Hotel, look at the garret windows which crown the facades
of the quadrilateral monument; when you look at the fifth of these garret windows which are
aligned at the summit of the eastern bay near the church, examine it well. Its ornamentation is
very unusual. You find a wolf sculpted up to the waist; its paws falling on the opening of a
bulls-eye window which they surround; the head is half hidden under a clump of palm leaves
and the eyes are firmly fixed on the courtyard ground. There is here, without your suspecting
it, a monumental pun the kind often made through imagery of heraldry and in this stone
pun lies the conceited ministers revenge and satisfaction. This wolf looks, this wolf sees <6) . It
is his emblem! So that no one could doubt it, on the next garret window to the right, he had
sculpted an exploding barrel of powder, a symbol of war, whose impetuous minister he was;
on the left hand window, a panache of ostrich feathers, attri butes of a high and powerful lord,
as he claimed to be; and on the other two garret windows of the same bay, an owl and a bat,
birds of vigilance, his great virtue. Colbert (another minister), whose fortune had the same
origin as that of Louvois, and who had no less vainglorious pretensions to nobility, had taken
as his emblem the grass snake (7) , just as Louvois had chosen the wolf".

The fondness for the rebus, last echo of the sacred language, has considerably weakened in
our day. It is barely cultivated and it scarcely interests school children of the present
generation. By ceasing to give the science of blazonry the means to decipher its enigmas, the
rebus has lost the esoteric value it once possessed. We find it today list in the last pages of
magazines, where, as a recreational pastime, its role is confined to the expressive image of a
few proverbs. Barely do we notice, once in a great while, a proper application of this fallen
art, frequently directed to advertising purposes. Thus a large modem firm, specializing in the
manufacture of sewing machines, adopted for its publicity a well-known poster. It represents a
seated woman working at the sewing machine in the center of a majestic S. People see above
all the initial of the manufacturer, although the rebus, is clear with its transparent meaning:
this woman sews in her pregnancy (8) , which is an allusion to the softness of the mechanism.

26

LONDON SAINT BARTHOLOMEW CHURCH - TRIFORIUM
The Bow Window of Prior Bolton

HI

Time, which ruins and devours human work, has not spread the old hermetic language.
Indifference, ignorance, and oblivion have completed the disintegrating action of centuries.
Nevertheless, one could not maintain that it has been lost completely; a few initiates preserve
its rules and know how to make advantage of the resources it offers in the transmission of
secret truths or use it as a mnemonic key to teaching.

In the year 1843, conscripts assigned to the 46th Infantry Regiment in garrison in Paris could
every week meet a rather unusual professor crossing the courtyard of the Louis-Philippe
barracks. According to an eyewitness one of our relatives, a non-commissioned officer at
the time, who assiduously followed his lessons he was a man still young, carelessly
dressed, with long hair falling in curls on his shoulders, who very expressive physiognomy
bore the imprint of a remarkable intelligence. In the evening he taught the soldiers who
desired it the history of France for a small sum, and he used a method which he insisted was
known since the oldest antiquity. In reality, this class, so seductive for its students, was based
on the traditional phonetic cabala (9) .

A few examples, chosen among the ones that we remember, will give a rough idea of the
process.

After a short preamble on approximately ten conventional signs, destined by their form and
their grouping to help retrieve all historical dates, the professor drew on the blackboard a very
simplified drawing. This image, which was easily engraved on the memory, was in a way the
complete symbol of the reign studied.

The first of these drawings showed a man standing up in top of a tower and holding a torch in
his hand. On a horizontal line representing the ground, three accessories were placed next to
each other: a chair, a cross, a plate. The explanation of the drawing was simple. That which
the man was raising in his hand was used as a beacon beacon in hand or in French, phare a
mains, phonetically identical to the name Pharamond <10> . The tower supporting him signified
the number 1: Pharamond was, it is said, the first King of France. Finally, the chair, a
hieroglyph of the number 4, the cross, that of the number 2, and the plate, sign of zero, gives
the number 420, presume date of the crowning of the legendary king.

Clovis, we did not know it, was one of those scamps who could only be controlled with strong
means Turbulent, aggressive, bellicose, quick to break everything, he thought of nothing but
mischief and fights. His good parents, as much to subdue him as to give a measure of
prudence, had screwed him onto his chair. The entire court knew that he was held by a screw
(11> . The chair and the two hunting horns placed on the ground provided the date 466.

Clotaire, of an indolent nature, promenaded his melancholy in a field surrounded by walls; the
unfortunate was thus closed in his land <12) Clotaire.

Chilperic we dont know why was writhing in a frying pan like a simple catfish,
screaming out of breath: I am dying here! (13) , hence Chilperic.

Dagobert, putting on the bellicose appearance of a warrior, brandished a dagger and was
clothed in a mail, hence Dagobert (14) .

Saint Louis who would have thought? highly esteemed the polish and shine of freshly
minted golden coins; he spent his free time melting his old louis (the coin of the period) in
order to have new ones <15) which also stands for Louis Neuf: Louis IX.

27

And as for the little corporal grandeur and decadence his blazon needed no character. A
table covered with a tablecloth and supporting an ordinary saucepan were enough to identify
him Napolean (16) .

These puns, these plays on words, associated or not with the rebus, were used by the initiates
as subterfuges for their verbal conversations. In acroamatic works, anagrams were reserved,
sometimes to disguise the title, removing from the layman the directing thought of the work.
It is the case in particular of a small and curious book so cleverly closed that it is impossible
to know what the subject of it is. It is attri buted to Tiphaigne de la Roche, and it bears the
unusual title of Amilec ou la graine dhommes (17) . It is an assemblage of anagrams and puns.
One should read instead, Alcmie, ou la creme dAum (Alchemy, or the Cream of Aum).
Neophytes will learn that it is an au thentic alchemical treatise, since in the 13th century
alchemy was written alkimie, alkemie, or alkmie; that the point of science revealed by the
author pertains to the extraction of the spirit enclosed in the material prima, a philosophical
virgin, which bears the same sign as the celestial Virgin, the monogram AUM; and that finally
this extraction must be accomplished using a process analogous to that which allows us to
separate cream from milk, which was also taught by Basil Valentine, Tollius, Philale thes, and
the characters of the Liber Mutus. By removing the veil from the title, one can see how
suggestive this one is, since it announces the revelation the revelation of the secret means
suitable to obtain this cream of the milk of the Virgin which few researchers have had the
fortune of possessing. Tiphaigne de la Roche, who is almost totally unknown, was
nevertheless one of the most learned Adepts of the 18th century. In another treatise entitled
Giphantie (an anagram of Tiphaigne), he perfectly describes the photographic process, and
shows that he knew the chemical manipulations concerning the developing and fixing of the
image one century before its discovery by Daguerre and Niepce de Saint-Victor.

Among the anagrams destined to cover up the names of their authors, we will indicate the one
of Limojon de Saint-Didier: Dives sicut ardens 1 S) , which is to say: Sanctus Didiereus', and the
motto of President dEspagnet: Spes mea est in agno (19) . Other philosophers preferred to
clo the themselves in cabalistic pseudonyms more directly related to the science that they
professed. Basil Valentine mixes the Greek [ *73-1] ( Basileus ), King, with the Latin Vcdens,
powerful, to indicate the surprising power of the philosophers stone. The word Eirenaeus
Philale thes appears to be composed of three Greek words: [ *73-2 ] ( Eirenaios ), peaceful, [
*73-3 ] ( philos ), friend, and [*73-4 ] ( aletheia ), truth; Philale thes thus introduces himself as
the pacific friend of truth. Grassaeus signed his works Hortulanus, signifying the gardener
(Hortulanus) of maritime gardens, he carefully stressed. Ferrari is a blacksmith monk
{ferrarius ), working with metals. Musa, disciple of Calid, is [*73-5] (. Mystes ), the Initiate,
while his master master if us all is the heat produced by the athanor (Latin calidus,
burning). Holy means salt, in Greek [*73-6] (als), and the Metamorphoses of Ovid are those
of the philosophers egg (ovum, ovi). Arcahelaus is rather the title of a book than the name of
an author, i.e., the principle of the stone, from the Greek word [*73-7] (Arche), principle, and
[*73-8], stone. Marcel Palingene combines Mars, iron, [*73-9] (helios), the sun, and
Palingenesia, regeneration, to designate that he was realizing the regeneration of the sun, or
gold, through iron. Jean Austri, Gratian, Etienne divide among themselves the winds (austri),
grace (gratia), and the crown [*73-10, Stephanos). Famanus takes as his emblem the famous
chestnut, so renowned among the wise men: Fama-nux, the famous nut, and Jean de
Sacrobosco (20) is especially thinking of the mysterious consecrated wood. Cyliani is the
equivalent of Cyllenous (of Cyllene), a mountain of Mercury, which gave its name to the
Cyllenien god. As for the modest Gallinarius (21) , he is content with the hen house and poultry
yard where the yellow chick, bom from the egg of a black hen, will soon become our
wonderful hen (22) that laid the golden eggs.

28

Without completely abandoning these linguistic artifices, the old masters, in the composition
of their treatises, used hermetic cabala above all, which they also called the language of the
birds, of the gods, the gay science, or the gay knowledge (23) . In this manner they were able to
hide from the common people the principles of their science by clothing them with a
cabalistic cloak. This is an indisputable and well-known fact. But what people are generally
unaware of is that the idiom from which the authors borrowed their terms is archaic Greek,
the mother tongue according to the majority of Hermes disciples. The reason why we do not
notice the cabalistic intervention owes precisely to the fact that French comes directly from
the Greek. Consequently, all the words chosen in our language to define certain secrets have
their orthographic or phonetic Greek equivalents, and it suffices to know them well to
immediately discover their exact reestablished meanings. For, if French is truly Hellenic as to
its basis, its meaning became modified in the course of centuries as it went further from its
source and before the radical transformation that the Renaissance had it undergo decadence
hidden under the name of reform.

The imposition of hidden Greek words under corresponding French terms of a similar texture
but of amore or less corrupted meaning allows the investigator to easily penetrate the intimate
thought of the masters and gives him the key to the hermetic sanctuary. We have used this
means after the example of the ancients, and we will frequently have recourse to it in the
analysis of the symbolic works, bequea thed to us by our ancestors.

Many philologists no doubt will not share our opinion and will remain convinced, along with
the popular masses, that our language is of Latin origin only because they received that first
notion on school benches. We ourselves believed and for a long time accepted what was
taught by our teachers as the expression of truth. Only later, in researching the proofs of this
purely conventional filiation, we had to recognize the vanity of our efforts and to reject the
error born from classical prejudice. Today nothing could undermine our conviction confirmed
many times by the success obtained in the realm of material phenomena and of scientific
results. That is why we resolutely assert, without denying the introduction of Latin elements
into our idiom since the Roman conquest, that our language is Greek, that we are Hellenes, or
more exactly, Pelagians.

To defenders of Neo-Latinism such as Gaston Paris, Littre, Menage, presently more clear
sighted, open-minded and free masters such as Hins, J. Lefebvre, Louis de Fourcand, Granier
de Cassagnac, Abbot Espagnolle (J.-L. Dartois), etc., oppose themselves. And we willingly
take side with them, because we know that in spite of appearances they saw accurately, they
judged soundly, and that they follow the simple and straight way of truth, the only one
capable of leading to great discoveries.

"In 1872", wrote J.L. Dartois (24) , "Granier de Cassagnac, in a marvelously erudite and
pleasantly styled work entitled: History of the Origins of the French Language, pointed out
the inanity of the neo-Latinism thesis which pretends to prove that French is evolved Latin.
He showed that it was not defensible and that it shocked history, logic, and common sense,
and that, finally, our idiom refused it (25) ". A few years later, M. Hins in turn proved in a very
well documented study published in the Review of Linguistics that all the works of Neo-
Latinism only allowed us to conclude a kinship with it, not a direct connection with the so-
called Neo-Latin languages. Finally, Monsieur J. Lefebvre in two remarkable and much read
articles published in June 1982 in The New Review , demolished the Neo-Latinism thesis from
beginning to end by proving that Abbot Espagnolle in his book The Origin of French was
indeed right; that our language, as the greatest scholar of the 16th century had guessed, was
Greek; that Roman domination in Gaul had only covered our language with a thin layer of

29

Latin, in no way altering its genius". The author further adds: "If we ask Neo-Latinism to
explain how the Gallic people, which counted at least seven million inhabitants, could forget
their national language and learn another one, or rather change the Latin language into the
Gallic language which is more difficult; how the Roman legionaries, who themselves for the
most part did not speak Latin and were stationed in fortified camps separated from each other
by vast spaces, were nevertheless able to become the teachers of the Gaulish tribes and teach
them the language of Rome, that is to say, to accomplish among the Gauls alone a miracle that
the other Roman legions were not able to accomplish anywhere else, neither in Asia, nor in
Greece, nor in the British Isles; how, finally, the Basques and the Bretons succeeded in
maintaining their languages while their neighbors, the inhabitants of Beam, Maine and Anjou
lost theirs and were forced to speak Latin. What would Neo-Latinism tell us?". This objection
is so serious that it is Gaston Paris, the head of the School of Neo-Latinism, who is charged
with answering it. "We Neo-Latins", he says in substance, "are not obliged to resolve the
difficulties that logic and history may raise; we are only concerned with the philological fact
and this fact dominates the question, since it proves, alone, the Latin origin of French, Italian,
and Spanish"... "Assuredly", answers Monsieur J. Lefebvre, "the philological fact would be
decisive if it were properly established, but it is not so at all. With all the possible subtleties of
the world Neo-Latinism in fact only succeeds to observe this very banal truth, that there is a
great quantity of Latin words in our language. This has never been contested by anyone".

As for the philological fact invoked but in no way proven by Gaston Paris, in order to attempt
to justify his thesis, J.L. Dartois shows its lack of existence based upon the works of Petit-
Radel. "To the pretended Latin philological fact", he writes, "we can oppose the evident
Greek philological fact. This new philological fact, the only true one, the only demonstrable
one, has a capital significance, since it proves without doubt that the tribes which came to
people Western Europe were Pelagian colonies, and it confirms the beautiful discovery of
Petit-Radel. We know that the modest, humble scholar read in 1802 before the Institute a
remarkable work in order to prove that the polyhedral block monuments which are found in
Greece, Italy, and France, and even in the heart of Spain and which were attri buted to the
Cyclops, are the work of the Pelagians. This demonstration convinced the Institute and no
doubt has been raised since about the origin of these monuments. The language of the
Pelagians was archaic Greek, above all made up of the Aeolian and Doric dialects, and it is
exactly this form of Greek which is found everywhere in France, even in Parisian slang (Argot
dParis)".

The language of the birds is a phonetic idiom solely based on assonance. Therefore, spelling,
whose very rigorousness serves as a check for curious minds and which renders unacceptable
any speculation realized outside the rules of grammar, is not taken into account. "I am only
attached to useful things", says St Gregory in the 6th century in a letter which serves as a
preface to his Morals, "without caring about style or the use of prepositions or endings, since
it is not worthy of a Christian to subject the words of the Scriptures to the rules of grammar".
This means that the sense of sacred books is not literal and that it is essential to know how to
recover their spirit through cabalistic interpretation, as is the custom for understanding
alchemical works. The rare authors who have spoken of the language of the birds give it first
place in the origin of languages. Its antiquity would go back to Adam who, according to the
comm and of god, would have used it to impose suitable names, appropriate to define the
characteristics of created beings and things. De Cyrano Bergerac (26) gives an account of this
tradition when, as a new inhabitant of a world near the sun, hermetic cabala is explained to
him by "a naked little man seated on a stone", an expressive figure of simple, naked truth
seated on the natural stone of the philosophers.

30

"I do not remember if I spoke to him first", says the great Initiate, "or if he was the one who
questioned me; but I have a very fresh memory, as if I were still hearing hem, of how he
talked to me for three long hours in a language which I know I had never heard and which
bears no relationship with any language of this world, but which I understand more quickly
and more intelligibly than that of my wet nurse. He explained to me, when I inquired about
such a marvelous thing, that in sciences there was a truth, beyond which we always found
ourselves away from simplicity, and that the more an idiom strayed from this truth the more it
went below our conception and became more difficult to understand. Similarly", he
continued, "in music this truth is never encountered without our soul, immediately elevated,
blindly going for it. We dont see it but we sense that Nature sees it; without being able to
understand how it absorbs us, it cannot but delight us, although we cannot know where it is.
And it is the same thing with languages. Whoever encounters this truth of letters, of words,
and of continuity can never, while expressing himself, fall below conception: his speech is
always equal to his thoughts; and because you do not have knowledge of this perfect
language, you do not know what to say, not knowing the order or the words which could
express what you imagine". I told him that the first man of our world indubitably used this
language, since each name that he imposed on each thing declared its essence. He interrupted
me and continued: "This language is not simply necessary to express everything that the mind
conceives, but without it we cannot be understood by all. Since this idiom is the instinct or the
voice of Nature, it must be understandable by everything that lives in the midst of Nature.
This is why, if you knew it, you could communicate and disclose all your thoughts to animals,
and animals to you all of theirs (27) , because it is the very language of Nature by which she
makes herself understood by all animals. Therefore be no longer surprised by the ease with
which you understand the meaning of a language which your ears have never heard. When I
speak, your soul encounters, with each one of my words, the Truth that is gropingly looking
for; and although its reason does not understand it, it has within it a nature which cannot but
understand it".

However, this secret, universal, indefinite language, in spite of the importance and the truth of
its expression, is in reality of Greek origin and genius, as our author teaches us in his History
of the Birds. He has some very old oak trees speak an allusion to the language which the
Druids used ( [*78-1] Druidai , from [*78-2] Drys, oak) in this manner: "Think of
the oak trees which we feel you are looking at: it is we who are speaking to you, and if you
are astonished that we speak the language used in the world whence you come, know that our
first fathers are natives of it. They lived in Epire, in the forest of Dodona, where their natural
goodness moved them to give oracles to the afflicted people who consulted them. For this
purpose, they had learned the Greek language, the most universal then in existence, so as to be
understood". Hermetic cabala was known in Egypt, at least by the priestly caste, as shown by
the invocation of the Leyden Papyrus: "I invoke you, the most powerful of gods who has
created everything, you born of yourself, who sees everything, without being seen... I invoke
you under the name you possess in the language of the birds, in that of hieroglyphics, in that
of the Jews, in that of the Egyptians, in that of the cynocephales... in that of the sparrow
hawks, in the hieratic language". We also find this idiom among the Incas, sovereigns of Peru
until the time of the Spanish conquest; the ancient writers called it lengua general (universal
language), and lengua cortesana (language of the court), that is, diplomatic language, since it
contains a double meaning corresponding to a double science, one apparent, the other
profound ( [*78-3] diple, double, and [*78-4], mat he. science). "The cabala", says Abbot
Perroquet (28) , "was an introduction to the study of all sciences".

In presenting us the powerful figure of Roger Bacon, whose genius shines in the intellectual
firmament of the 13th century like a star of the first magnitude, Armand Parrot (29) describes

31

by what labor he was able to acquire the synthesis of ancient languages and how he possessed
such a wide practice of the mother language that he was capable of using its techniques to
teach in a very short time languages reputed to be the most difficult. One will admit that
therein lies a truly marvelous particularly of this universal language which appears to us to be
both the best key to the sciences and the most perfect method of humanism. "Bacon", the
author writs, "knew Latin, Greek, Hebrew, Arabic; thereby putting himself in a position to
draw a rich education from ancient literature, he had acquired a reasoned knowledge of the
two common languages which he needed to know, that of his native country and that of
France. From these specific grammars a mind such as his could not but ascend to a general
theory of language; he had opened for himself the two sources for which they flow and which
are, on the other hand, a positive composition of several idioms and, on the one hand, the
philosophical analysis of human understanding, the natural history of its faculties and
concepts. Thus we find him almost alone in his century, applying himself to comparing
vocabularies, bringing syntaxes together, looking for the relationships of language with
thought, measuring the influence that character, movements, and such varied forms of
discourses exert on the habits and the opinions of people. In this manner, he traced it back to
the origins of all the simple or complex, fixed or variable, true or erroneous notions which the
spoken word expressed. This universal grammar seemed to him to be true logic and the best
philosophy; he attri buted so much power to it that with the aid of such a science he believed
he was capable to teach his young disciple, Jean de Paris, in one year what had taken him
forty".

"Striking speed of education of common sense! Strange power", said Michelet, "to draw out,
along with the electric spark, the preexisting science from mans brain".

(1) OK: O grand K barre which phonetically reads Au grand cabaret, at the great tavern

(2) To the Golden Lion, in French Au Lion dor but also phonetically au lit au dort: in bed we sleep.

(3) Edouard Fournier, Enigmes des rues de Paris (Enigmas of the Streets of Paris), Paris, E. Dentu, 1860.

(4) Bone-he-goat-horned owl-world, this list phonetically reads in French: au bout du monde, or At the End of
the World.

(5) A pun on the mans name: Myron or Myre-rond phonetically in French can be read as round mirror.

(6) Louvois in French is phonetically identical with Loup voit, or wolf sees

(7) Latin: coluber for Colbert and in French: couleuvre

(8) Capital S in French gros S, phonetically close to grossesse meaning pregnancy

(9) The word cabala is a deformation of the Greek [***] ( karbau ), one who jabbers or speaks a barbaric
language.

(10) There is here absolute identity of figuration and meaning with the cabala expressed in prints from old
works, in particular The Dream of Polyphilo. In it King Solomon is always represented by a hand holding a
willow branch (in French willow in hand: saule a main is phonetically close to Solomon. A daisy in French
marguerite sounds like I am missed. It is in this manner that one should analyze Pantagruels and Gargantuas
saying and ways of speech, if one wants to understand all that is inherent in the work of the powerful initiate that
Rabelais was.

32

(11) Held by a screw, in French, "clos-a-vis", which sound very much like Clovis.

(12) Enclosed in his land, in French "clos dans sa terre", or Clotaire.

(13) I am dying here, in French jy peris" which sounds close to Chilperic

(14) Dagger and mail, in French dague and haubert sound like Dagobert.

(15) Fouis the Ninth can sound in French both like new louis (coins) or Fouis Nine.

(16) Tablecloth and saucepan in French, nappe et poelon Napoleon.

(17) Amilec or the Seed of Men This very well written little book was published around 1753. It bears no
indication as to where it was published or as to the name of the publisher.

(18) Rich as well as fiery.

(19) My hope is in the lamb.

(20) Sacrobosco sacro sounds like Fatin for sacred, and bosco sounds like the French for shrub hence:
consecrated wood for Sacrobosco.

(21) Gallinarius recalls the Fatin word for hen: galliis.

(22) Translators note: In French fairy tales it is the hen and not the goose that lays the golden eggs, hence the
pun.

(23) Translators note: Reference to Rabelais and later to Nietzsches writings.

(24) J.F. Dartois: Le Neo-Latinisme (Neo-Latinism), Paris, Societie des Auteurs-Editeurs, 1909, p. 6.

(25) "Fatin, a shameless synthesis of the rudimentary languages of Asia, but a simple intermediary linguistically
speaking, a sort of curtain drawn over the world scene, was nothing but a vast swindle favored by a phonetic
system different from ours which covered its thefts from it, and which must have been created after the Allia
during the Senonaise occupation (390-345 BC)" quoted from A. Champrosay, Les Illumines de Cabarose
(The Enlightened of Cabarose), Paris, 1920, p. 54.

(26) De Cyrano Bergerac, L'Autre Monde. Histoire comique des Etats et Empires du Soleil (The Other World,
Comical History of the States and Empires of the Sun), Paris, Bauche, 1910. J.J. Pauvert publisher, Paris, 1962,
p. 170.

(27) The famous founder of the Order of Franciscans, to which the illustrious Adept Roger Bacon belonged,
knew hermetic cabala perfectly well; St Francis of Assisi knew how to speak with birds.

(28) Perroquet, priest. La Vie et le Marty re du Docteur Illumine, le Bienheureux Raymond Lulle (Life and
Martyrdom of the Illumined Doctor, the blessed Raymond Lully), Vendome, 1667.

(29) Armand Parrot: Roger Bacon, sa personne, son genie, ses oeuvres et ses contemporains, Paris, A. Picard,
1894, p.48,49.

(30) Cf. Epistle De Laude Sacrae Scripturae, ad Clement IV (In Praise of the Sacred Scriptures, to Clement IV) -
De Gerando. Histoire compareedes systemes de Philosophie, vol. 4, Ch. 27, p. 541; Histoire litteraire de la
France, vol. XX, p. 233-234.

33

VII

ALCHEMY AND SPAGYRICS

It is to be expected that a good number of chemists and some alchemists as well will not
share our point of view. This will not stop us. Should we be regarded as the most resolute
partisan of the most subversive theories, we would still not be afraid to develop our thought
here, deeming truth to be endowed with many more attractions than a vulgar prejudice and
that it remains preferable, in its very nakedness, to the most made-up and sumptuously
dressed error.

Since Lavoisier, all the authors who have written on the history of chemistry agree to profess
that our chemistry comes by direct affiliation from old alchemy. Consequently, the origin of
the one is confused with that of the other, to such an extent that modern science would owe
the positive facts on which it is built to the patient labor of the ancient alchemists.

This hypothesis, to which we could only have given a relative and conventional value, being
regarded today as demonstrated truth, alchemical science, stripped of its own foundation,
loses everything liable to motivate its existence, justify its reason for being. Thus, seen from a
distance, under legendary mists and the veil of centuries, it only offers a vague, nebulous
form, without consistency. An imprecise ghost, a lying specter, the marvelous and deceiving
chimera indeed deserves to be relegated to the rank of illusions of yesteryear, of false
sciences, as a very eminent professor notes (1) .

But where proofs would be necessary, where facts prove indispensable, people are content to
oppose to hermetic "pretenses" a petitio principii. The School peremptorily does not discuss,
it decides. Well, we in turn certify, proposing to prove it, that learned men who have in good
faith espoused or propagated this hypothesis deluded themselves by ignorance or a lack of
penetration. Understanding only in part the books they studied, they mistook appearance for
reality. Let us clearly state, since so many educated and sincere people seem unaware of the
fact, that the real ancestor of our modern chemistry is ancient spagyrics and not the hermetic
science itself. There is indeed a profound abyss between spagyrics and alchemy. This is
precisely what we will now try to demonstrate, in as much as it is expedient to do without
exceeding the boundaries allowed. Nevertheless, we hope to extend our analysis far enough
and to bring out sufficiently precise details to nourish our thesis. Furthermore, happy to
provide the chemists, enemies of preconceived ideas, with a testimony of our good will and of
our solicitude.

There was in the Middle Ages and possibly even in Greek antiquity, if we refer to the works
of Zosimos and Ostanes two degrees, two orders of research in chemical science: spagyry
and archemy. These two branches of the same exoteric art spread throughout the working
class by means of laboratory practice. Metallurgists, goldsmiths, painters, ceramic artists,
glassmakers, dyers, distillers, enamellers, potters, etc., had, as much as apothecaries, to be
provided with sufficient spagyric knowledge. They perfected this knowledge themselves later
on in the exercise of their profession. As for archemists, they formed a special category, more
restricted, more obscure also, among the ancient chemists. The aim which they pursued
presented some analogy with that of the alchemists, but the materials and the means which
they had at their disposal were uniquely chemical materials and means. To transmute metals
into one another, to produce gold and silver from coarse minerals, or from saline metallic
compounds, to force the gold potentially contained in silver and the silver potentially
contained in tin to become real and extractable, was what the archemist had in mind. In the

34

final analysis, he was a spagyrist confined to the mineral realm and who voluntarily neglected
animal quintessences and vegetable alkaloids. And since medieval laws forbade private
possession of furnaces and chemical utensils without preliminary permission, many artisans,
their work once finished, studied, manipulated, and secretly experimented in their cellars or
their attics. They cultivated the science f the little particulars, according to the somewhat
disdainful expression of the alchemists for these side activities unworthy of the philosopher.
Without scorning these useful researchers, let us recognize that very often the most fortunate
among them only obtained mediocre benefits, and that the same process, at first successful,
later led to nil or uncertain results.

Nevertheless, in spite of their errors or rather because of them it is they, the archemists,
who provided first the spagyrists and later modern chemistry with the facts, methods, and
operations they needed. These men, tormented with a desire to search everywhere and to learn
everything, are the true founders of a splendid and perfect science to which they bestowed
accurate observations, exact reactions, skillful manipulations, and painfully acquired
techniques. Let us humbly salute these pioneers, these precursors, these great workers, and let
us never forget what they did for us.

However, we repeat, alchemy has nothing to do with these successive contri butions. Hermetic
writings alone, misunderstood by profane investigators, were the indirect cause of discoveries
which the authors had never anticipated. It is in this manner that Blaise de Vigenere obtained
benzoic acid by sublimating benzoin; that Brandt could extract phosphorus by seeking the
alkahest in urine; that Basil Valentine, a prestigious Adept who did not despise spagyric
experiments, established the entire series of antimonial salts and the colloid of ruby gold (2) ;
that Raymond Lully prepared acetone, and Cassius the purple of gold; that Glauber obtained
sodium sulphate and Van Helmont recognized the existence of gases. But, with the exception
of Lully and of Basil Valentine, all these researchers, wrongly classified among alchemists,
were simple archemists or learned spagyrists. This is why a famous Adept, author of a
classical work (3) , can say with much reason: "If Hermes, the Father of philosophers, was
resurrected today, along with subtle Geber, and the profound Raymond Lully, our vulgar
chemists (4) would not regard them as Philosophers, and would practically not condescend to
number them among their disciples, because the latter would not know the manner of
operating all these distillations, circulations, calcinations, and all these innumerable
operations which our vulgar chemists invented for having misunderstood the allegorical
writings of these Philosophers".

With their confused texts, sprinkled with cabalistic expressions, the books remain the efficient
and genuine cause of the gross mistake that we indicate. For, in spite of the warnings, the
objurations of their authors, students persisted in reading them according to the meaning that
they hold in ordinary language. They do not know that these texts are reserved for initiates,
and that is essential, in order to understand them, to be in possession of their secret key. One
must first work at discovering this key. Most certainly these old treatises contain, if not the
entire science, at least its philosophy, its principles, and the art of applying them in
conformity with natural laws. But if we are unaware of the hidden meaning of the terms
for example, the meaning of Ares, which is different from Aries and is closer to Arles, Amet,
and Albait strange qualifications purposely used in the composition of such works, we will
understand nothing of them or we will be infallibly led into error. We must not forget that it is
an esoteric science. Consequently, a keen intelligence, an excellent memory, work, and
attention aided by a strong will are not sufficient qualities to hope to become learned in this
subject. Nicolas Grosparmy writes, "Such people truly delude themselves who think that we
have only made our books for them, but we have made them to keep out all those who are not

35

of our sect" (5) . Batsdorff, in the beginning of his treatise (6) , charitably warns the reader in
these terms, "Every prudent man", he says, "must first acquire the Science if he can; that is to
say, the principles and the means to operate. Otherwise he should stop there, without foolishly
using his time and his wealth. And so, I beg those who will read this little book to credit my
words. I say to them once more, that they will never learn this sublime science by means of
books, and that it can only be learned through divine revelation, hence it is called Divine Art,
or through the means of a good and faithful master; and since there are very few of them to
whom God has granted this grace, there are also very few who teach it". Finally, an
anonymous author of the 18th century (7) gives other reasons for the difficulty that we
encounter in deciphering the enigma: "Here is", he writes, "the first and true cause why nature
has hidden this open and royal palace from so many philosophers, even those gifted with a
very subtle mind. Because, straying since their youth away from the simple path of nature
through conclusions of logic and metaphysics, although ingenuous nature advances in a
straight and very simple step in this path as in all the others".

Such are the opinions of the philosophers about their own works. How can we be surprised
then, that so many excellent chemists took the wrong path, and that they deluded themselves
by inquiring into a science whose most elementary notions they were incapable of
assimilating? And would it not be a great service to render unto others, unto neophytes, to
advise them to meditate upon this great truth which the Imitation (Book III, Ch. II, v.2)
proclaims, when it says, speaking of the sealed books:

"They can make the sound of their words resound, but they do not provide any understanding
at all. They give the letter, but it is the lord who unveils the meaning of them; they propose
mysteries, but it is He who explains them. They show the path that must be followed, but He
gives the strength for walking on it".

It is the stumbling block against which our chemists have tripped. And we can affirm that, if
our scientists had understood the language of the ancient alchemists, the laws of the practice
of Hermes would be known to them, and the philosophers stone would long have ceased to
be considered a chimera.

We have stated earlier that archemists regulated their works according to hermetic theory
at least as they understood it and that this was the point of departure for fertile experiments
with purely chemical results. Thus they prepared the acid solvents which we use, and through
the action of these on metallic bases they obtained the saline series well known to us. By
afterwards reducing these salts, either with other metals, with alkalies, coal, sugar or fatty
bodies, they recovered, without transformation, the basic elements which they had previously
combined. But these attempts as well as the methods which appeal to it showed no difference
with those practiced today I our laboratories. A few researchers, nevertheless, pushed their
investigations much further; they remarkable extended the field of chemical possibilities even
to such a point that their results seem doubtful, if not imaginary, to us. It is true that these
processes are often incomplete and enveloped in mystery almost as dense as that of the Great
Work. Our intention being as we have announced to be useful to students, we will enter
into this subject in some detail and show that these puffers recipes offer more experimental
certainty than we would be inclined to attri bute to them. May the philosophers, our brothers
whose indulgence we claim, condescend to forgive us these divulgations. However, besides
the fact that our oath is only answerable to alchemy and that we intend to remain strictly in
the spagyrical domain, on the other hand, we wish to keep the promise we made, of
demonstrating by real and controllable facts, that our chemistry owes everything to spagyrists
and archemists and nothing, absolutely nothing, to hermetic Philosophy.

36

The simplest archemic process consists in using the effect of violent reactions that of acids
on bases so as to provoke, in the midst of the effervescence, the reunion of the pure parts,
their irreducible combination under the form of new bodies. It is then possible, from a metal
close to gold silver preferably to produce a small quantity of the precious metal. Here
is, in this order of experiments, an elementary operation whose success we certify provided
our instructions are closely followed.

Pour into a tall tubular glass retort a third of its capacity of pure nitric acid. Attach to it a
receiver with an exhaust tube and set the apparatus on a sand bath. Operate under a fume
hood. Heat the apparatus gently without reaching the boiling point of the acid. Then stop the
heat, open the neck and introduce a thin fraction of virgin or cupeled silver that contains no
traces of gold. When the emission of nitric peroxide ceases and the effervescence has calmed
down, allow a second portion of pure silver to fall into the liquor. Thus repeat the introduction
of the metal, without haste, until the boiling and emission of red fumes manifest only little
energy, signs of approaching saturation. Add nothing more, Let it settle for a half hour, then
cautiously decant your clear, still-warm solution into a beaker. You will find at the bottom of
the retort a thin deposit in the form of fine black sand. Wash it with lukewarm distilled water
and let it drop into a small porcelain capsule. You will find out through testing that this
precipitate is insoluble in hydrochloric acid, as it is in nitric acid. Aqua regia dissolves it and
yields a magnificent yellow solution, absolutely similar to that of gold trichloride. Dilute this
liquor with distilled water; precipitate it with a sliver of zinc; an amorphous powder, very
fine, dull, of reddish-brown coloration will be deposited, identical with that given by natural
gold reduced in the same manner. Properly wash, and then dry this powdery precipitate. By
pressing it on a sheet of glass or marble, you will get a brilliant, coherent lamina, of a
beautiful yellow shine in reflection, of a green color in transparency, having the appearance
and the superficial characteristics of the purest gold.

In order to augment your minute deposit with a new quantity, you can do this operation as
many times as you wish. In this case, take again the clear silver nitrate solution, diluted by the
waters of the first washing; reduce the metal with zinc or copper; decant and abundantly wash
when the reduction is complete. Dry this powdery silver and use it for your second
dissolution. By continuing in this manner, you will amass enough metal to render the analysis
much easier. Furthermore, you will be assured of its true production even if the silver that
you originally used had some traces of gold.

But this simple body, so easily obtained, although in a very small proportion, is it truly gold?
Our sincerity compels us to say no or, at least, not yet. For even if it shows the most perfect
outer analogy to gold, and even most of its properties and chemical reactions, still one
essential physical characteristics is missing: density. This gold is less heavy than natural gold,
although its own density is already greater than that of silver. We can therefore regard it as,
not the representative of a more or less unstable allotropic state of silver, but rather as a
young, or nascent gold, which further reveals its recent formation. Moreover, the newly
produced metal remains capable of taking and keeping, by contraction, the increased density
that the adult metal possesses. Archemists used a process which ensured nascent gold al the
specific qualities of adult gold; they called this technique maturation or firming up, and we
know that mercury was its principle agent. We find it mentioned in some ancient Latin
manuscripts under the expression of Confirmatio.

It would be easy to make a few useful and consequential remarks about the operation just
mentioned and to show on what philosophical principles lies the direct production of metal in
this experiment. We could also give some variant likely to increase the yield, but we would

37

thereby overstep the limits that we have voluntarily imposed on ourselves. We will therefore
leave to researchers the task of discovering them for themselves and of submitting the
deduction of the control of experiments. Our role is confined to presenting facts; it is for
modern archemists, spagyrists, and chemists to conclude <8) .

But archemy has other methods, whose results bring the proof of philosophical affirmations.
They allow us to achieve the decomposition of metallic bodies, long considered to be simple
elements. These processes, which alchemists know well, although they dont have to use them
in the elaboration of the Great Work, aim at extracting one of the two metallic roots, sulphur
and mercury.

Hermetic philosophy teaches us that bodies have no action on bodies and that only spirits are
active and penetrating (9) . It is they, these spirits, these natural agents, that provoke in the
midst of matter the transformations which we observe there, yet wisdom demonstrates
through experimentation that bodies cannot form among themselves anything but easily
reducible, temporary combinations. Such is the case of alloys, some of which are liquefied by
simple fusion, and of all saline compounds. Similarly, alloyed metals maintain their specific
qualities in spite of the diverse properties which they take on in the state of association. We
can then understand of what usefulness the spirits can be in releasing the metallic sulphur or
mercury when we know that they alone are capable of overcoming the strong cohesion which
tightly binds these two principles between themselves.

It is essential first to understand what the Ancients meant by the generic and rather vague
term of spirits.

For the alchemists, the spirits are real influences, although they are physically almost
immaterial or imponderable. They act in a mysterious, inexplicable, unknowable but
efficacious manner on substances submitted to their action and prepared to receive them.
Lunar radiation is one of these hermetic spirits.

As for archemists, their conception proves to be of a more concrete and substantial nature.
Our old chemists embraced all bodies under the same heading, simple or complex, solid or
liquid, having a volatile quality liable to make them entirely sublimable. Metals, metalloids,
salts, hydrogen carbides, etc., bring to archemists their contingency of spirits: mercury,
arsenic, antimony and some of their compounds: sulphur, sal ammoniac, alcohol, ether,
vegetable essences, etc.

The favorite technique to extract the metallic sulphur is the one which uses sublimation. Here
are a few procedures given as indications.

Dissolve some pure silver in hot nitric acid according to the manipulation previously
described, and then dilute this solution with hot distilled water. Decant the clear liquor so as
to separate, if need be, the slight black deposit, mentioned earlier. Let it cool down in a dark
laboratory and pour into the liquor little by little either a filtered solution of sodium chloride
or pure hydrochloric acid. The silver chloride will precipitate to the bottom of the vessel in the
form of a curdled white mass. After letting it sit for 24 hours, decant the acidulated
supernatant water, wash it rapidly with cold water, and dry it spontaneously in a room where
no light penetrates. Then weigh your silver salt, with which you will intimately mix three
times as much of pure ammonium chloride. Put everything into a tall glass retort of such
capacity that only the bottom of it is covered by the saline mixture. Give it a gentle heat in a
sand bath and increase it by degrees. When the temperature is sufficient, the sal ammoniac

38

will rise up and cover the top and the neck of the apparatus with a firm layer. This snow-
white, rarely yellowish sublimate might lead you to believe that it contains nothing special.
Skillfully break the retort, carefully detach this white sublimate, dissolve it in distilled water,
hot or cold. Once the dissolution has been achieved, you will find at the bottom a very fine,
bright red powder; it is a part of the sulphur of silver or lunar sulphur, detached from the
metal and volatilized by the sal ammoniac during its sublimation.

However, in spite of its simplicity, this operation does not proceed without some big
problems. Although it seems simple, it demands great skill, a lot of prudence in the
management of the heat. If you do not want to lose half and more of the metal, you must first
and above all avoid the fusion of the salts. Yet, of the temperature does not reach the required
degree to cause and maintain the fluidity of the mixture, no sublimation occurs. Furthermore,
as soon as the temperature is established, the silver chloride, already very penetrating by
itself, acquires such a bite in contact with the sal ammoniac, that it will pass through the glass
walls (10) and escape outside. The artist cannot even resort to using stoneware, ear thenware or
porcelain retorts, which are even more porous than those of glass, all the more because he
must constantly be able to observe the progress of the reactions if he wishes to be in a position
to intervene at the right moment. Therefore, there are in this method, as in many others of the
same order, certain secrets of practice which the archemists have prudently reserved for
themselves. One of the best ones consists in dividing the mixture of chlorides by interposing
an inert body capable of impasting the salts and hindering their liquefaction. This matter must
possess neither reducing qualities nor catalytic virtues; it is also essential that it can easily be
separated from the caput mortuum. Formerly, pulverized brick was used and a variety of
absorbents such as putty powder, pumice stone, pulverized flint, etc. Unfortunately, these
substances yield a very impure sublimate. We give preference to a certain product which has
no affinity for silver or ammonium chloride, which we extract from Judean bitumen. In
addition to the purity of the sulphur obtained, the technique becomes very easy. We can easily
reduce the residue into a metallic silver and reiterate the sublimations until the complete
extraction of the sulphur. The residual mass is then no longer reducible and presents itself in
the shape of a gray, soft, very sweet ash, greasy to the touch, which retains fingerprints and
loses in a short time half of its weight of specific mercury.

This technique applies equally to lead. Less expensive, it offers the advantage of yielding salts
that are insensitive to light, which eliminates the need for the artist to operate in darkness;
impastation is then no longer necessary; finally, since lead is less fixed than silver, the yield
of red sublimate is better and the duration shortened. The only fortunate aspect of the
operation comes from the fact that the sal ammoniac forms with lead sulphur, a saline
compact layer which is so tenacious that one could believe that it had melted with the glass. It
becomes laborious to detach it without pounding. As for the extract itself, it is a beautiful red,
covered by a brightly colored yellow sublimate, but very impure compared to that of silver. It
is therefore necessary to purify it before using it. Its maturity too is less perfect, an important
consideration if ones researches are oriented towards the obtaining of particular tinctures.

All metals do not yield to the same chemical agents. The process that is suitable for silver or
lead cannot be applied to tin, copper, iron or gold. Further, the spirit capable of detaching and
isolating the sulphur of a given metal will exercise its action with another metal on the
mercurial principle of the latter. In the first case, the mercury will be strongly held while the
sulphur will be sublimated; in the second case, the reverse phenomenon will occur. Hence the
diversity of methods and variety of techniques of metallic decomposition. Moreover, it is
above all the affinity that bodies manifest for other bodies and the latter for spirits that
regulates their application. It is known that silver and lead have a very marked affinity for one

39

another; silvery lead ores prove it well enough. Therefore the affinity establishing the
profound chemical identity of these bodies, it is logical to think that the same spirit, used in
the same conditions, will bring about the same effects. This is what happens with iron and
gold which are bound by a close affinity. When Mexican prospectors come to discover a
sandy, very red earth composed mostly of iron oxide, they conclude that gold is not very far
away. Consequently they regard this red earth as the matrix and the mother of gold, and the
best indication of a nearby gold vein. This fact seems rather unusual, given the physical
differences of these metals. In the category of common metallic bodies, gold is the rarest
among them; iron, by contrast, is certainly the most common, the one that is found
everywhere, not only in mines where it forms enormous and numerous deposits but also
disseminated on the very surface of the ground. Clay owes to iron its special coloration,
sometimes yellow when iron is found divided as a hydrate, sometimes red when it is in the
form of sequioxide, a color which is further intensified by baking (as in bricks, tiles and
pottery). Of all the classified ores, iron pyrite is the most common and the best known. The
black ferruginous masses in variously sized balls, in shell-like agglomerations, in nodules, are
often encountered in fields, on the sides of paths, in chalky terrain. Country children often
play with these marcasites which show a fibrous crystalline radiating texture when they are
broken. Sometimes they contain small quantities of gold. Meteorites, chiefly composed of
molten magnetic iron, prove that the interplanetary masses from which they come primarily
owe their structure to iron. Certain vegetables contain assimilable iron (wheat, watercress,
lentils, beans, potatoes). Man and vertebrates owe to iron and to gold the red coloration of
their blood. Indeed, iron salts constitute the active element of hemoglobin. They are even so
necessary to organic vitality that medicine and pharmacopoeia have at all times sought for
ways to give impoverished blood the metallic compounds needed for its reconstitution (iron
peptonate and carbonate). Common people still use water rendered ferruginous by the
immersion of oxidized nails. Finally, iron salts present such a variety of colorations that we
can be assured that they would suffice to reproduce all the tonalities of the spectrum, from
violet which is the actual color of the our metal, all the way to intense red, the color that it
gives to silica in various kinds of rubies and garnets.

This was enough to convince archemists to work on iron with the purpose of discovering
therein the components of their tinctures. Moreover, this metal easily allows the extraction of
its sulphurous and mercurial constituents in one single manipulations, which is already very
advantageous. The great, the enormous difficulty resides in the reunion of these elements
which, in spite of their purification, energetically refuse to combine to form a new body. We
shall continue without analyzing or resolving this problem, since our topic is simply to
establish the proof that archemists always used chemical materials set in motion by means of
chemical operations.

In the spagyrical treatment of iron, the energetic reaction of acids with a similar affinity for
the metal is used to conquer its cohesion. Ordinarily, one starts with iron pyrites or with metal
reduced to filings. In this last case we recommend prudence and precautions. If one uses
pyrites, it will suffice to crush it as finely as possible and to redden it with fire once, while
mixing it vigorously. Once it is cooled down, it is introduced into a large flask with four times
its weight of aqua regia and the mixture is brought to a boil. After an hour or two it is allowed
to rest, the liquid is decanted; then one pours onto the magma a similar quantity of fresh aqua
regia, which is made to boil as before. It is necessary to continue the boiling and the decanting
until the pyrites appear white at the bottom of the container. Then take all the extracts, filter
them on fiberglass, and concentrate them through a slow distillation in a tubular retort. When
only about one-third of the original volume is left, open the tubulature and pour in successive
fractions a certain quantity of pure 66% sulphuric acid (60 grams for a total volume of extract

40

coming from 500 grams of pyrite). It is then distilled until dry and, after having changed
receivers, the temperature is progressively increased. You will see some oily drops distill, red
as blood, which represent the sulphurous tincture, and later a beautiful white sublimate which
clings to the top and the neck in the form of a crystalline down. The sublimate is an au thentic
mercury salt called by certain archemists mercury of vitriol which is easily reduced to
liquid mercury through the agency of iron filings, quick lime, or anhydrous potassium
carbonate. Furthermore, it is easy to immediately ensure that this sublimate contains the
specific mercury of iron by rubbing its crystals on a sliver of copper: the amalgam
immediately appears and the metal seems silvery.

As for iron filings, they yield a golden rather than red colored sulphur instead of being red,
and some a very little bit of mercury sublimate. The process is the same but with the
slight difference, that it is necessary to throw into the previously heated aqua regia pinches of
filings and to wait for each one of them until the effervescence has stopped. It is good to mix
up the bottom with an agitator to prevent the filings from becoming one mass. After filtration
and reduction in half one adds very little at a time because the reaction is violent and the
perturbation furious some sulphuric acid equal in weight to half of the concentrated liquid.
This is the dangerous part of the manipulation since it is rather common to see the retort
explode or crack at the level of the acids.

Here we conclude the description of the processes used on iron, deeming that they are amply
sufficient to uphold our thesis, and we will end the exposition of spagyric processes by that of
gold, which is, according to the opinion of all philosophers, the body the most refractory to
dissociation. It is a common axiom in spagyrics that it is easier to make gold than to destroy
it. But here we must add a brief remark.

Limiting our desire to simply prove the chemical reality of archemical research, we will be
wary of teaching in clear language how one can fabricate gold. The aim that we pursue is of a
much higher order. We prefer to remain in the purely alchemical domain rather than engage
the researcher in following thorn-covered paths lined with potholes. For the application of
these methods confirming the chemical principles of direct transmutation would not being the
least testimony in favor of the Great Work, whose elaboration remains completely foreign to
to the same principle. Having said this, let us resume our topic.

An old spagyric proverb claims that the seed of gold is in gold itself; we will not contradict it,
provided it is understood what kind of gold is meant and how it is appropriate to grasp this
"seed" disengaged from common gold. If we do not know the latter of these secrets we will
necessarily have to be content with witnessing the production of the phenomenon, without
receiving any benefits from it except for an objective certainty. So, observe attentively what
occurs in the following operation, whose execution presents no difficulty.

Dissolve pure gold in aqua regia; pour sulphuric acid onto it equal in weight to half the weight
of the gold. Only a slight contraction will occur. Agitate the solution and pour it into a glass
retort without tubing, set on a sand bath. First give it a moderate heat, so that the distillation of
the acids can take place slowly without boiling. When the distillation is over and the gold
appears at the bottom in the form of a yellow, dull, dry, cavernous mass, change the receiver
and progressively increase the heat of the flame. You will see some white, opaque vapors rise,
light at first and then heavier. First it condenses into a beautiful yellow oil which flows into
the receiver; second, the sublimate covers the top and the beginning of the neck with fine
crystals, imitating the down of birds. Their color, a magnificent blood-red, takes on the
brightness of ruby when a sun beam or some bright light comes to strike it. These crystals,

41

very deliquescent in the manner of other gold salts, disintegrate into a yellow liquid as soon as
the temperature goes down...

We will not pursue the study of sublimations any further. As for the archemical processes
known under the name of Little Particulars, they are most of the time risky techniques. The
best of these processes starts with metallic products extracted in the manner we have
described. A profusion of them will be found in a quantity of second-rate works and in
puffers manuscripts. For your information, we will only reproduce "the particular" which
Basil Valentine (11> mentions because, unlike the others, it is backed up by solid and pertinent
philosophical reasons. The great Adept assures us in this passage that it is possible to obtain a
particular tincture by uniting the mercury with the sulphur of copper through the agency of an
iron salt. "The Moon", he says, "has in it a fixed mercury thereby it can bear the violence of
fire longer than other imperfect metals; and the victory which it gains shows very well how
fixed it is, since ravenous Saturn cannot take anything from it or diminish any of it.
Lascivious Venus is well-colored and her entire body is almost nothing but tincture and color
similar to that of the Sun. It approaches the color red because of is abundance. But since her
body is leprous and ill, the fixed tincture cannot dwell there, and as the body flies away, the
tincture must necessarily follow. The former having perished, the soul cannot remain; its
domicile has been consumed by fire. No seat or refuge appears to it or is left to it. If, on the
contrary, the latter is accompanied, it remains entirely with a fixed body. The fixed salt
provides the warrior Mars a hard, strong, solid and robust body, wherefrom he gets his
magnanimity and great courage. For this reason, it is very difficult to overcome this valorous
captain, for his body is so hard that it can hardly be wounded. But if someone mixes his
strength and hardness with the constancy of the Moon and the beauty of Venus, and
harmonizes them through spiritual means, he will create in this manner a sweet harmony.
After this, the poor man, having used for this purpose a few of the keys of our Art, after
having climbed to the top of this ladder, and after having reached the completion of this
Work, will be able to particularly earn his life. For the phlegmatic and humid nature of the
Moon can be heated and dried by the hot and choleric blood of Venus and its great blackness
corrected by the salt of Mars".

Among the archemists who used gold to augment it, making use of formulas which led them
to success, we will note the Venetian priest Pantheus (12) ; Naxagorus, author of Alchymia
Denudata (1715); de Locques; Duclos; Bernard de Labadye; Joseph du Chesne, baron of
Morance, appointed physician to King Henry IV of France; Blaise de Vigenere; Bardin, of Le
Havre (1638); Mile. De Martinville (1610); Yardley, the English inventor of a process which
he transmitted to Monsieur Garden, glover in London, in 1716, and later communicated by
Monsieur Ferdin and Hockley to Dr Sigismond Bacstrom (13) , and which became the object of
a letter from the latter to M. L. Sand in 1804; finally, the pious philanthropist, St Vincent de
Paul, founder of Les Peres de la Mission (The Fathers of the Mission 1625) and of the
congregation of les Soeurs de la Charite (The Sisters of Charity 1634), etc.

Please allow us to stop for a moment to describe this great and noble figure, as well as his
occult labor, which is generally unknown.

It is known that in the course of a voyage which he undertook from Marseilles to Narbonne,
St Vincent de Paul was captured by Barbary pirates and brought as a captive to Tunis. He was
at that time 24 years of age <14) . We are also told that he succeeded in bringing back is last
master, a renegade, into the lap of the Church; that he came back to France and that he stayed
in Rome, where Pope Paul V received him with a great deal of respect. From this moment on
he began his pious foundations and his charitable institutions. Yet what one took care not to

42

mention is that the Father of lost children, as he was called during his life, had learned
archemy during his captivity. Thus we understand how, without the need for miraculous
intervention, the great apostle of Christian charity had the means to realize his numerous
philanthropic works (15) . He was, furthermore, a practical, positive, resolute man who in no
way neglected his practical affairs; in no way a dreamer or inclined to mysticism. He was a
deeply human soul underneath the harsh appearance of an active, tenacious, and ambitious
man.

Of him, we possess two very suggestive letters from the point of view of his chemical works.
The first, written to Monsieur de comet, barrister of the provincial appellate court of Dax, was
published several times and analyzed by Monsieur Georges Bois, in The Occult Menace
(Paris, Victor Retaux, n.d.). It was written from Avignon and dated the 24th of June, 1607.
We take this rather long document from the moment when Vincent de Paul, having completed
the mission for which he was in Marseille, was preparing to return to Toulouse.

"And being about to leave by land", he says, "I was persuaded by a gentleman with whom I
had stayed to embark with him as far as Narbonne, because of the fortunate weather
conditions; which I did to get there earlier and save money, or better said, to never reach this
place and to lose everything. The wind was a good as needed to bring us that day to
Narbonne, which was 50 leagues away, if God had not allowed three Turkish brigantines that
were cruising in the Gulf of Lions (to catch boats coming from Beaucaire, where a fair was
taking place still regarded as the most beautiful of Christendom), to have hunted us down and
attacked us so forcefully that two or three of our people were killed and all of the others
wounded, including myself who was hit by an arrow, which I would have been able to use as
a clock for the remainder of my days, if we then had not been forced to surrender to the
scoundrels, worse than tigers; the first manifestation of their rage was to hack our pilot into a
thousand pieces for the crime of having lost one of their head men besides four or five
criminals whom our people had killed. This done, they chained us up, after having coarsely
bandaged us. They continued their voyage committing a thousand thefts, nevertheless freeing
those who surrendered without fighting, having robbed them; and finally, loaded down with
merchandise, after seven or eight days, they sailed back to Barbary, den of the faithless
thieves of the great Turk king, where having arrived, they put us for sale after having
recounted our capture, which they said had been made on a Spanish ship, since without this
lie we would have been freed by the Kings consul who was there to make free trade possible
for Frenchmen. For our sale, their procedure was, once having us stripped totally, to give us
each a pair of shorts, a linen jacket, and a cap; they paraded us in the city of Tunis where they
had come to sell us. After having been made to go round the city five or six times, chains
around our necks, they brought us back to the ship so that the merchants could see which ones
of us could eat and which could not, so as to show that our wounds were not mortal. This
done, they brought us back to the market place where the merchants came to look at us in the
same manner that is used when one purchases a horse or a cow, having us open our mouths to
look at our teeth, feeling our ribs, probing our wounds, having us walk, trot, or run, and then
having us carry heavy burdens and then fight one another to see the strength of each, and a
thousand other kinds of brutalities.

"I was sold to a fisherman, who was forced to get rid of me very soon since no one agrees less
with the sea than I do, and from the fisherman to an old man, a spagyric doctor, sovereign
tyrant of quintessences, a very human and tractable man who, from what he told me, had
worked for 50 years in search of the philosophers stone, and in vain as far as the stone, but
with good results as far as other transmutations of metals. In proof of which, I often saw him
melt as much gold as silver together, putting them in little flakes and then introducing a layer

43

of some powder, and then other flakes and then another layer of powder in a crucible or in a
goldsmiths smelting vessel, keep it in the fire for 24 hours, and then open it and find the
silver turned into gold; and more often still, I saw him congeal or fix quicksilver into fine
silver, which he sold to give to the poor. My job was to keep the fire in ten or twelve furnaces,
in which, tank God, I had more pleasure than pain. He liked me quite a lot, and he liked to
talk to me about alchemy, and more about its law, to which he made every effort to attract me,
promising me great wealth and all his knowledge. God always kept in me a belief that I would
be freed by the fervent prayers I addressed to him and to the Virgin Mary by whose unique
intercession I firmly believe I was freed. Since I firmly hoped and believed that I would see
you again, sir, I constantly asked him to teach me how to cure lithiasis, a miracle which I saw
him perform daily; he did so, going so far as making me prepare and administer the
ingredients...

"I stayed with this old man from the month of September, 1605, until the following August,
when he was taken and brought before the Grand Sultan, so as to work him; but in vain, since
he died of sorrow on the way. He left me to his nephew, true anthropomorphist, who sold me,
too, soon after the death of his uncle, since he had heard that Monsieur de Breve, ambassador
for the King in Turkey, was coming with good and au thentic documents from the Grand Turk
to recover Christian slaves. A renegade of Nice en Savoye, enemy of nature, purchased me
and brought me to his temat (that is the Arabic name of the parcel of land which share
croppers held from the great landlord since the people had nothing; everything belonged to
the Sultan). The temat of this man was in the mountains, where the country is extremely hot
and desert-like".

After having converted this man, Vincent left with him ten months later, "at the end of
which", continues the writer, "we escaped on a skiff and we arrived on June 28 in Aigues-
Mortes and soon thereafter, at Avignon, where Monsignor the Vice-Legate publicly received
the renegade, teary-eyed and tears choking his throat, in the church of St Peter, for the glory
of God and the edification of the spectators. The said Monsignor honored me with great love
and fondness, because of the few secrets of alchemy that I taught him, which he made more
of, he says, than si io gli avessi dato un monte di oro (16), because he has worked all his life
for no other contentment..." Vincent Depaul (17) .

In January, 1608, a second letter, addressed from Rome to the same addressee, shows Vincent
de Paul initiating the vice-legate of Avignon, mentioned above, who was very well
appreciated in court because of his spagyric secrets. "My condition is thus the following, in a
word, that I am in this city of Rome, where I continue my studies supported by Monsignor the
Vice-Legate, who comes from Avignon and who honors me with his love, and a desire for my
advancement, since I have shown him many and beautiful and curious things which I had
learned while I was a slave to the old Turk and to whom, as I wrote to you, I was sold, things
among which is the beginning but not the total perfection of the mirror of Archimedes; an
artificial trick to make a skull speak, by which this unfortunate man seduced the people,
telling them that his god Mohammed let him know his will by this skull, and a thousand other
beautiful, geometric things which I have learned from him, and about which Monsignor s so
jealous that he does not even want me to talk to anyone, for fear that I teach someone else
what I taught him, wishing to be the only one with the reputation of knowing these things
which he occasionally likes to show off to the Pope and the Cardinals".

In spite of the lack of credence which George Bois gives to alchemists and their science, he
nevertheless recognizes that one cannot suspect the sincerity of the narrator, or the reality of
the experiments which he saw being practiced. "He is a witness", he writes, "who combines

44

all the guarantees that can be expected from an eyewitness, a condition which we cannot find
in the same degree among researchers who give accounts of their own agreements and who
are always preoccupied by their experiments and who are always preoccupied by their own
particular point of view. He is a good witness, but he is a man: he is not infallible. He was
perhaps wrong and mistook for gold what was only an alloy of gold and silver. This is what
we tend to believe, according to our present ideas and the habit which we owe to our
education of classifying transmutation among fables. Yet, if we simply limit ourselves to the
weighing of the testimony that we are examining, error is not possible. It is clearly stated that
the alchemist melted together as much gold as silver; here then is the alloy well-defined (18) .
This alloy is laminated. Then, the laminae are arranged in layers, separated by layers of a
certain powder which is not otherwise described. This powder is not the philosophers stone
but it possesses one of its properties: it operates the transmutation. The mixture is heated for
24 hours, and the silver which partly composed the alloy is transformed into gold. This gold is
then sold and so on and so forth. There is no mistake possible about the distinction between
the metals. It is furthermore unbelievable, since the operation was frequent and the gold sold
to merchants, that such an enormous error was produced so easily. For at this time everyone
believes in alchemy; goldsmiths, bankers, and merchants know quite well how to distinguish
pure gold from gold alloyed with other metals. Since Archimedes, everyone knows how to
identify gold by the ratio existing between its volume and its weight. Counterfeiting princes
fool their subjects, but they do not fool the scales and balance of bankers, or the art of the
assayers. One did not trade in gold by selling for gold what was not gold. We are speaking of
a time in 1605 in Tunis which was then one of the best known markets of international trade,
and such a fraud would be as difficult and as perilous as it would be today, for example, in
London, Amsterdam, New York, or Paris, where heavy gold payments are made in ingots.
This is, in our opinion, one of the most demonstrative facts that we have been able to gather to
support the opinion of alchemists about the reality of transmutation".

As for the operation itself, it partakes exclusively from archemy and is very close to that
taught by Pantheus in his Voarchadumia, and whose result he calls gold of the two
cementations. For, if Vincent de Paul gave us a broad description of the process, on the other
hand, he was careful not to describe the order and the manner of operating. Anyone today
who would try to realize it, even if he had a perfect knowledge of this special cement, would
only witness its failure. Because gold, in order to acquire the faculty of transmuting the silver
alloyed to it, must first be prepared, as the cement only acts on the silver. Without this initial
disposition, the gold would remain inert in the midst of the electrum and could not transmit to
silver that which it does not possess in a natural state (19) . Spagyrists call this preliminary work
exaltation or transfusion and it is also performed with the aid of a cement applied by
stratification. Consequently, since the composition of this first cement is different from that of
the second, the name given by Pantheus to the metal thus obtained is found to be fully
justified.

The secret of exaltation, without whose knowledge one cannot succeed, consists in increasing
in one burst or gradually the normal color of pure gold by the sulphur of an imperfect
metal, ordinarily copper. The latter gives precious metal its own blood through a sort of
chemical transfusion. The gold, overfilled with the tincture, takes on the red color of coral and
can thus give to the specific mercury of silver the sulphur which it lacks, owing to the agency
of the mineral spirits emanating from the cement during the work. This transmission of the
excess sulphur held by the exalted gold takes place gradually under the effect of heat; it takes
form 24 to 40 hours according to the skill of the artisan and the volume of the treated matters.
It is necessary to pay much attention to the regulation of the heat, which must be constant and
strong enough without ever reaching the point of fusion or melting of the alloy. By

45

overheating, one would risk volatilizing the silver and dissipating the sulphur introduced into
the gold, since this sulphur has not yet reached a perfect fixity.

Finally, a third manipulation, purposely omitted since an enlightened archemist has no need
for so much direction, includes the brushing of the extracted laminae, their fusion and
cupellation. Upon being weighed, the pure gold residue will show a more or less perceptible
decrease, which varies generally between one-fifth and one-fourth of the alloyed silver. Be
that as it may, and in spite of this loss, the process still leaves us with a renumerating profit.

We will point out here, about the process of exaltation, that coralline gold obtained by one or
the other of the diverse methods advocated remains capable of transmuting directly, that is,
without the help of the later cementation, a certain quantity of the silver: about one-fourth of
its weight. Yet, since it is impossible to determine the exact value of the coefficient of
auriferous power, one goes around the difficulty by melting the red gold with a triple
proportion of silver, (called inquartation) and by submitting the laminated alloy to the
beginning operation.

After having said that the exaltation, based in the absorption of a certain portion of the
metallic sulphur by the mercury of gold, considerably reinforce the very coloration of the
metal, we will give a few indications about the processes used to this end. The processes use
the property that solar mercury possesses of strongly retaining a fraction of pure sulphur,
when one operates on the metallic mass, so as to dissociate the previously formed alloy. Thus,
gold melted with copper, if it comes to be separated from it, never completely abandons a
portion of the tincture that it stole from it. So that, by often repeating the same action, gold
gradually enriches itself and can then give of its excess tincture to the metal which is closest
to it, i.e., silver.

An experienced chemists, points out Naxagoras, knows well enough that if gold is purified up
to 24 times or more by the sulphur of antimony, it acquires a remarkable color, brightness,
and fineness. There is a loss of metal, contrary to what occurs with copper, because during the
purification, the mercury of gold abandons a part of its substance to antimony, and the sulphur
becomes overabundant through an imbalance of natural proportions. This renders the process
useless and only permits a mere satisfaction of ones curiosity.

The exaltation of gold is also achieved by first melting it with three times its weight in copper,
then decomposing the alloy turned into filings by boiling nitric acid. Although this technique
is very laborious and costly, in view of the volume of acid required, it is nevertheless one of
the best and one of the surest that we know.

However, if one possesses an energetic reducing agent, and if one knows how to use it during
the fusion of the gold and copper itself, the operation will be greatly simplified and one does
not need fear a loss of material or excessive labor, in spite of the indispensable repetitions
which this method still requires. Finally, the artist, by studying these different methods, will
be able to discover better and even more efficient ones. For example, he only has to call upon
sulphur directly extracted from lead to incinerate it back to a crude state and to project it little
by little into molten gold which will keep its pure parts; unless you prefer to use iron, whose
specific sulphur is, of all the metals, the one for which gold manifests the greatest affinity.

But this is enough. Let whoever wants to work, work; we care little whether one maintains his
opinion, follows or despises our advice. We will repeat one last time that of all the operations
benevolently described in these pages, none can be related in any way to traditional alchemy;

46

none can be compared to its own operations. A thick wall separates the two sciences, an
insurmountable obstacle for those who are familiar with the methods and formulas of
chemistry. We do not want to make anyone despair, but truth compels us to say that those
who keep on performing spagyric research will never come out of the ways of official
chemistry. Many modern chemists believe in good faith that they are resolutely going far from
chemical science, because they explain its phenomena in a special manner without using any
other technique besides that of the learned men whom they criticize. Alas, there have always
been many of these erring and self-deluded people, and it perhaps for them that Jacques
Tesson <20) wrote these words of truth: "Those who want to accomplish our Work through
digestions, through common distillations, and similar sublimations, and others by triturations,
all these people are off the good path, in great error and difficulty, and they will never succeed
because all these names, words, and manners of operation are names, words, and manners of
metaphor".

We believe that we have fulfilled our purpose and demonstrated, as much as it has been
possible to do so, that the ancestor of modern chemistry is not the old and simple alchemy but
ancient spagyrics, enriched with successive contri butions from Greek, Arabic, and medieval
archemy.

If one wants to have some idea of the secret science, let him bring his thoughts back to the
work of the farmer and that of the microbiologist, since ours is placed under the dependence
of analogous conditions. For, as Nature gives the farmer the earth and the grain, and the
microbiologist the agar-agar and the spore, similarly she gives the alchemist the proper
metallic terrain and the appropriate seed. If all the circumstances favorable to the regular
process of this special culture are rigorously observed, the harvest cannot but be abundant...

In summary, alchemical science, of an extreme simplicity in its materials and its formula,
nevertheless remains the most unrewarding, the most obscure of all, by reason of the exact
knowledge of the required conditions and the required influences. There is its mysterious side,
and it is towards resolution of this most difficult problem that the efforts of all the sons of
Hermes converge.

(1) Cf. L'lllusion et les Fausses Sciences (Illusion and the False Sciences), by Prof. Edmond-Marie-Leopold Bouty, in the
journal Science et Vie, December, 1913.

(2) Starting with pure gold trichloride from the chlorauric acid and slowly precipitated by a salt of zinc united to potassium
carbonate in a "certain kind of rain water". Rain water alone collected at a given time of the year into a zinc container is
sufficient to form the ruby colloid which is separated from the crystalloids by dialysis, as we have many times demonstrated
by experiment and always with equal success.

(3) The Cosmopolite or Nouvelle Lumiere Chymique (New Chemical Light), Paris, Jean dHoury, 1669

(4) Under the general epithet of vulgar chemists, the author designates here archemists and spagyrists to differentiate them
from genuine alchemists, also called Adepts ( Adeptus, who has acquired) or Chemical Philosophers.

(5) Nicholas Grosparmy, LAbrege de theorique et le Secret des Secrets (Summary of the Theory and the Secret of Secrets)
manuscripts of the Biblio theque Nationale, #12246, 12298, 12299, 14789, 19072. Biblio thequ de PArsenal, #2516 (166
SAF). Rennes, 160, 161.

(6) Batsdorff, Le Filet d'Ariadne (Ariadne's Thread), Paris, Laurent d'Houry, 1695, p. 2.

(7) Clavicula Hermetica Scientiae, ad hyperbores quodam horis subsecivis consignata', Amstelodami, Petrus Mortieri, 1751,
p. 51.

47

(8) It is interesting to note a curious fact, which makes it impossible to use this experiment on an industrial scale. The result
indeed varies in inverse ratio to the quantity of the metal used. The larger the masses we operate on, the less product we
collect. The same phenomenon can be observed with metallic and saline mixtures from which only small quantities of gold
are generally extracted. If the experiment usually succeeds by operating on a few grams of initial matter, by working with a
much larger mass, it is frequently a total failure. Before we discovered it, we long searched for the cause of this oddity, which
resides in the manner in which solvents behave as they become saturated. The precipitate appears shortly after the beginning
and until the middle of the attack; it is redissolved partly or totally later on according to the greater or lesser volume of acid.

(9) Geber, in his Sum of Peifection of the Magistery, speaks of the power that spirits have on the bodies, "O sons of the
doctrine", he exclaims, "if you want to cause certain changes in bodies, you will only succeed in doing so with spirits (per
spiritus ipsos fieri necesse est). When these spirits fix themselves in the bodies, they lose their form and their nature; they are
not what they once were. When we cause a separation, here is what happens: either these spirits escape by themselves and the
bodies where they were fixed remain, or the spirits and the bodies escape together at the same time".

(10) In the mass it colors them red when seen in transparency and green when seen in reflection.

(11) Les Douze Clefs de Philosphie, Paris, P. Moet, 1659, vol. 1, p. 34; Editions de Minuit, 1956, p. 85.

(12) J.-A. Pantheus: Ars et Theoria Transmutationis Metallicae cum Voarchadumia; Venuent, Vivantium Gautherorium,
1550.

(13) Dr S. Bacstrom was affiliated with the Hermetic Society founded by the Adept de Chazal, who lived on the island of
Mauritius in the Indian Ocean at the time of the French Revolution.

(14) Born in Poux near Dax in 1581, biographers say that he was born in 1576, although he himself gives his exact age,
several times, in his correspondence. This error can be explained by the fact that with the complicity of prelates acting against
the decision of the Council of Trent, he was fraudulently represented to be 24 years of age, while he really was only 19, when
he was ordained priest, in the year 1600.

(15) He founded, says Father Petin (Dictionaire hagiographique in the Encyclopedie de Migne, Paris, 1850), a hospital for
galley slaves in Marseilles, the houses of Orphelins (orphans) in Paris, of the Filles de la Providence (Daughters of
Providence) and of the Filles de la Croix (Daughters of the Cross); the Hospitals of Jesus, of les Enfants-Trouves (Lost
Children), the general hospital of the Salpetriere. "Without mentioning the Hospital of Sainte-Renne, which he founded in
Burgundy; he came to the rescue of several provinces ravaged by famine and pestilence; and the alms which he sent to
Lorraine and Champagne amounted to nearly two millions".

(16) "If I had given him a mountain of gold"...

(17) We do not know why historians and biographers continue to maintain the fanciful spelling of Vincent de Paul. The man
has no need of the noble particle to be noble among the nobles. All his letters are signed Depaul. One finds his name written
on a Masonic invitation reproduced in the Dictionnaire dOccultisme of E. Desormes and Adriene Basile (Angers, Lachese,
1897). It is not surprising, furthermore, that a lodge obeying the code of charity and high fraternity which ruled the Masonry
of the 18th century placed itself under the nominal protection of the powerful philanthropist. The document in question, dated
February 14, 1835, emanates from the lodge Salut, Force, union (Salvation, Strength, Union), of the Chapitre des Disciples
de Saint-Vincent Depaul, linked to the East of Paris and founded in 1777.

(18) It is all the more unlikely to be mistaken about the nature of this alloy because silver provokes in gold such discoloration
that it would not go unnoticed. It is here almost complete, since the metals are alloyed in equal weight and the alloy appears
white.

(19) Basil Valentine insists on the necessity of giving to gold an overabundance of sulphur. "Gold does not dye", he says, "if
it has not previously been dyed".

(20) Jacques Tesson or Le Tesson, Le grand et Excellent Oeuvre des Sages, contenant trois traits ou dialogues: Dialogues du
Lyon verd, du grand theriaque et du Regime. Ms. Of the 17th century; Lyon Library, #971, p. 900.

48

BOOK TWO

THE SALAMANDER OF LISIEUX I

A small town in Normandy, which owes the picturesquely medieval appearance, that we
know, to its many wooden houses and overhanging gables, Lisieux, respectful oftimes past,
offers us, among so many other curiosities, a pretty and quite interesting alchemists dwelling.

A humble house, in truth, but which betrays its builders concern for humility, that the
fortunate beneficiaries of the hermetic treasure vowed to abide by throughout their entire life.
It is generally known under the name of Manor of the Salamander, and occupies Number 19
of rue Fevres (Plate IV)

In spite of our research, obtaining the least information about its first owners has been
impossible. No one knows them. No one knows, in Lisieux or anywhere else, who built it in
the 16th century, nor who the artists were who decorated it. Probably not to fall short of
tradition, the Salamander jealously guards its secret and that of the alchemist. Yet in 1834 the
house was the subject of an article , however merely a pure and simple description of the
sculpted figures that the tourist can admire on its facade. This notice and a few lines inserted
in the Statistique monumentale du Calvados by Monsieur de Caumont (Lisieux, vol. 5)
represent all the published material relating to the Manor of the Salamander. It is little and we
regret it. For the small and delightful residence erected by the will of a true Adept and
decorated with motifs borrowed from hermetic symbolism and traditional allegory, deserves
better. Well known by the inhabitants of Lisieux, it is not known by the public at large, nor
even perhaps by many lovers of art, although its decoration, as much by its abundance and
variety, as by its fair preservation allows to place it in the first rank of the best buildings of the
style. There is an unfortunate gap and we will try to fill it by emphasizing the artistic value of
this elegant dwelling as well as the initiatory teachings expressed by its sculptures.

A study of the motifs of the fagade allows us to affirm, with a conviction borne from a patient
analysis, that the builder of the Manor was a learned alchemist, having given the measure of
his talent, in other words, an Adept, possessor of the philosophers stone. We also certify that
his affiliation with some esoteric center that had many points of contact with the dispersed
order of the Templars, proves unquestionable. But what could have been this secret fraternity
which prided itself to count among its members the learned philosopher of Lisieux? We must
admit our ignorance and leave the question unanswered. However, although we unyieldingly
loa the this hypothesis, the probability, the relevance of dates and the proximity of places
suggest certain conjunctures, which we will mention as a suggestion, without committing
ourselves.

Approximately a century before the Manor of Lisieux had been built, three alchemist
companions labored in Flers (Orne) and accomplished the Great Work there in the year 1420.
They were Nicolas de Grosparmy, a gentleman, Nicolas or Noel Valois, also called Le
Vallois, and a priest by the name of Pierre Vicot or Vitecoq. The latter calls himself "chaplain
and domestic servant of the Lord de Grosparmy" (2) . Alone, de Grosparmy possessed some
wealth along with the title of Lord and Count of Flers. Yet it was Valois who first discovered
the practice of the Work and who taught it to his companions, as he gives us to understand in
his Cinq Livres (Five Books). He was then 45 years old, subsequently his birthdate must have
been 1375. The three Adepts wrote different works between the years 1440-1450 (3) . None of

49

LISIEUX - MANOR OF THE SALAMANDER - 16 th CENTURY
The Man with the Tree Trunk on the Corner Post

Plate IV

these books have been printed. From a note added to the Manuscript #158 (125) of the Library
of Rennes, a gentleman of Normandy, Monsieur Bois Jeuffroy, would have inherited all the
original treatises by Nicolas de Grosparmy, Valois, and Vicot. He sold the entire copy to the
"late Count of Flers for 1500 pounds and a prize horse". This Count of Flers and Baron of
Tracy is Louis de Pelleve, who died in 1660 and who was the great-grandson on the womens
side of the author Grosparmy <4) .

However these three Adepts who lived and worked in Flers in the first half of the 15th
century, were quoted without the least reason as belonging to the 16th century. In the copy
owned by the Library of Rennes, it is nonetheless very clearly stated that they resided in the
Castle of Flers, whose owner was Grosparmy, "where they accomplished the philosophers
Work and wrote their books". The original error, conscious or not, comes from an anonym,
author of the notes, entitled Remarques, written in the margins of a few manuscript copies of
the works of Grosparmy, and which belonged to the chemist Chevreul. The latter, without
further verifying the whimsical chronology of these notes, mentioned the dates, systematically
extended by one century by the anonymous scrivener, and all the authors after him outdid
each other in propagating this unforgivable error. We shall briefly reestablish the truth. Alfred
de Caix (5) , after having said that Louis de Pelleve had died in poverty in 1660, adds:
"According to the document which precedes, the land of Flers would have been acquired from
Nicolas de Grosparmy; but the author of the Remarques here contradicts Monsieur de la
Ferriere <6) who quotes in the date of 1404 a certain Raoul de Grosparmy as Lord of the
place". Nothing is truer, although, on the other hand, Alfred de Caix seems to accept the
falsified chronology of the unknown annotator. In 1404 Raoul de Grosparmy was indeed Lord
of Beuville and of Flers (7) , and although we do not know how he became its owner, this fact
cannot be called into question. "Raoul de Grosparmy", writes Count Hector de La Ferriere,
"must be the father of Nicolas de Grosparmy, to whom Marie de Roeux gave three sons
Jehan de Grosparmy, Guillaume, and Mathurin de Grosparmy, and a daughter, Guillemette de
Grosparmy, married on January 8, 1496 to Germain de Grimouville. At that date Nicolas de
Grosparmy was dead and Jehan de Grosparmy, Baron of Flers, his eldest son, and Guillaume
de Grosparmy, his second son, gave their sister as a consideration for her marriage 300 livres
toumois (8) in cash, and a yearly pension of 20 pounds which could be bought back for the
price of 400 livres toumois" (9) .

It is here perfectly established: the dates appearing on the copies of the various manuscripts of
Grosparmy and Valois are rigorously exact and absolutely au thentic. From this point on, we
could dispense with searching for the biographical and chronological concordance of Nicolas
Valois since it has been proven that he was the companion and the regular guest of the Lord
Count of Flers. But it its advisable to discover the origin of the error attri butable to the so-
poorly informed commentator of the manuscripts of Chevreul. Let us immediately say that it
could have arisen from an unfortunate homonymy, unless our anonymous author, by faking
all the dates, had wanted to honor Nicolas Valois with the sumptuous Mansion of Caen, which
was built by one of his successors.

It is thought that toward the end of his life Nicolas Valois acquired the four lands of Escoville,
Fontaines, Mesnil-Guillaume, and Manneville. Nevertheless, this fact is on no way proved; no
document confirms it, if not for the unfounded and unreliable assertion of the author of the
above-mentioned Remarks. The old alchemist, artisan of the wealth of the Le Vallois family
and Lords of Escoville, lived as a wise man, in accordance with the precepts of philosophical
discipline and ethics. He who wrote, in 1445, for his son that "patience is the ladder of
philosophers, and humility the gate to their garden", could not very well follow the example
or lead the life of the powerful without failing his convictions. Very likely, at the age of 70,

50

with no other concerns but his writings, he completed in the Castle of Flers a life of work,
calm and simplicity, in the company of his two friends with whom he had accomplished the
Great Work. His last years were devoted to the writing of the books destined to perfect the
scientific education of his son, known only under the epithet of "the pious and noble knight"
<10) , and to whom Pierre Vicot was giving oral initiatory instruction. This passage from the
manuscript of Valois actually points to the priest Vicot: "In the name of God Almighty, know,
my beloved son, the intention of nature by the teachings declared hereafter. When, during the
last days of my life, my body, ready to abandon my soul, was doing nothing more than
awaiting the hour of the Lord and the last breath, the desire took me to leave you as my
Testament and Last Will these words by which you will be taught several beautiful things
concerning the subject of the most worthy metallic transmutation... This is why I had the
principles of natural Philosophy taught to you, so as to make you more capable of this holy
Science"

Nicolas Valois Cinq Livres, at the beginning of which this passage is found, bears the date of
1445 probably the date of completion which would lead us to believe that the alchemist,
contrary to the account of the author of the Remarques , died at a very advanced age. We can
imagine that his son, raised and instructed according to the principles of hermetic wisdom,
had to content himself with the acquisition of the lands of Escoville, or with collecting their
revenues if he had inherited them from Nicolas Valois. However that may be, and although no
written testimony has come to help us in filling this gap, one thing remains certain: the
alchemists son, himself an Adept, never did build this domain, in all or in part; nor did he
take any further measures for the ratification of the title attached to it; finally, no one knows
whether he lived at Flers like his father or if he dwelled in Caen. We probably owe the
building project of the Mansion of the Great Horse, a project realized in the city of Caen by
Nicolas Le Vallois, his eldest son, to the first recognized owner of the titles of Esquire and
Lord of Escoville, of Mesnil-Guillaume, and of other places. In any case, we know from
reliable sources that Jean Le Vallois, first of the name, grandson of Nicolas, "appeared March
24, 1511, wearing the brigandine and a sallet, to show himself to the noblemen of the district
of Caen, according to a certificate from the Lieutenant-General of the said district, dated the
same day". He left as his heir Nicolas Le Vallois, Lord of Escoville and of Mesmil-
Guillaume, born in the year 1494 and married on April 7, 1534 to Marie du Val, who gave
him a son, Louis de Vallois, Esquire, Lord of Escoville, bom in Caen on September 18, 1536,
who later on became counselor-secretary to the king.

So Nicolas Le Vallois, great-grandson of the alchemist of Flers, undertook the work on the
house of Escoville, which required approximately ten years, from 1530 to 1540 (12) . To this
same Nicolas Le Vallois, our anonymous author, perhaps misled by the similarity of names,
attri butes the work of Nicolas Valois, his ancestor, by transposing in Caen what had happened
in Fleers. According to the report of de Bras, (Les Recherces el antiquitez de la ville de Caen,
p. 132), Nicolas le Vallois is supposed to have died young, in the year 1541. "Friday, Day of
Epiphany, 1541", writes the old historian, "Nicolas Le Vallois, Lord of Escoville, Fontaines,
Mesnil-Guillaume and Manneville, then the most opulent in the city: while he was about to be
seated at his table in a room of the Pavilion of the beautiful and superb dwelling near the St
Peter Intersection, which he had built the preceding year, while eating an oyster in the shell,
being approximately 47 years of age, all of a sudden fell dead of a stroke which suffocated
him".

In the neighborhood, the House of Escoville was called Mansion of the Great Horse (13) .
According to Vauquelin des Yveteaux testimony, Nicolas Le Vallois, its owner, would have
accomplished the great Work there, "in the city where the hieroglyphs of the house he had

51

built and that can still be seen in St Peters Square facing the great church of the same name,
bear witness to his science". Adds Robillard de Beupaire, "There could be hieroglyphs in the
sculptures of the Mansion of the Great Horse; then all these seemingly incoherent details
could possibly have a very precise meaning for its builder and for all the adepts of the
hermetic science, well versed in the mysterious formulae of the ancient philosophers, mages,
brahmins, and cabalists". Unfortunately, of all the statues which decorated this elegant
dwelling, the principal piece from the alchemical standpoint, the one placed above the door
which first struck the eyes of passersby and which had given the dwelling its name, the Great
Horse, described and celebrated by all contemporary authors, no longer exists today. It was
mercilessly broken in 1793. In his work entitled Les Origines de Caen , Daniel Huet maintains
that the equestrian statue pertained to a scene of the Book of Revelation (Chap. 19, v. 2),
against Bardous opinion, the priest of Cormelles, who saw Pegasus in it, and de la Roques
who recognized in it the very effigy of Hercules. In a letter addressed to Daniel Huet by
Father de la Ducquerie, the latter writes that "the figure of the great horse which is on the
main fagade of the house of Monsieur Le Valois dEscovilles house is not, as Monsieur de la
Roque believed, and after his many others, a Hercules; it is a vision of the Apocalypse. This is
confirmed by the inscription underneath it. On the thigh of the horseman are written these
words from The Apocalypse: Rex Regum et Dominus Dominantium King of Kings and
Lord of Lords". Another correspondent of the learned prelate of Avranches, the physician
Dubourg, provides yet more specific details. "In answer to your letter", he wrote, "let me
begin by telling you that there are two representations in bas-relief, one on top where this
great horse is represented in the air, with clouds beneath its front feet. The man who rides it
had a sword in front of him, but it is no longer there; in his right hand he holds a long iron
rod; above and in front of him an angel in the sun. Beneath the round part of the door, there is
yet another smaller representation of a riding man, on a pile of dead bodies and horses, which
birds are eating. It is facing east, as opposed to the other one, and in front of him, are
represented the false prophet, the several-headed dragon, and the horsemen against whom this
horseman appears to be riding. His head is turned backwards, as if to see the representation of
the false prophet and the dragon entering an old castle, out of which flames emerge, and by
which this false prophet is already half engulfed. There is writing on the thigh of the great
horseman and in several places such as King of Kings, Lord of Lords, and others taken from
Chapter 19 of The Book of Revelation. As these letters were not engraved, I believe that they
were not written so long ago, but there is a marble slab up and above upon which is written: It
was his name, the Word of God" (14) .

We did not intend here to undertake the study of the symbolic statues designed to express or
expose the principal arcane of the science. This philosophers dwelling, very well known,
often described, can lend itself to the personal interpretations of enthusiasts of the sacred Art.
We will simply point out a few particularly instructive figures worthy of interest. There is first
the dragon of the mutilated tympanum of the entry door, on the left, under the peristyle which
precedes the turret staircase. On the lateral facade, two beautiful statues representing David
and Judith must attract our attention; the latter is accompanied by six verses from that period:

Here is seen the portrait
Of the virtuous Judith,

Who by proud deed
Cut off the smoky head
Of Holohernes, that otherwise
Would have defeated blessed Jerusalem.

52

Above these great figures, two other scenes can be contemplated, one recounting Europas
kidnapping and the other the freeing of Andromeda by Perseus, both with a similar meaning
to the legendary kidnapping of Deianira, followed by the death of Nessus, that we shall
analyze later when speaking of the myth of Adam and Eve. In another pavilion we can read
on the interior frieze of a window, Marsyas victus obmutescit (15) . Robillard de Beaupaire
says, "It is an allusion to the musical duel between Apollo and Marsyas in which figure as
companions the bearers of instruments (16) that we can see above. Finally, to crown the whole
thing, above the small turret, there is a little figure, today very worn, and in which Monsieur
Sauvageon several years ago thought to recognize Apollo, god of the day and of light; and
below the cupola of the large turret, in a sort of little temple, without columns, is the very
recognizable statue of Priapus. We would be at great loss", adds the author, "if we had to
explain what precise meaning should be attri buted to the character with the grave, severe
physiognomy, wearing a Hebrew turban; and to the one who emerges so vigorously from a
painted bulls eye window, while his arm pierces the thickness of the entablature; and to a
rather beautiful representation of St Cecile playing the therobo; to the blacksmiths whose
hammers, at the bottom of the pilasters, strike a missing anvil; to the very original exterior
decorations, and which are the decorations of the service stairs, with the motto, Labor
improbus omnia vincit... (17) . It would perhaps not have been totally useless, in order to
penetrate the meaning of all these sculptures, to inquire about the mental tendencies and the
habitual occupations of the one who so lavished them on his dwelling. It is known that the
Lord of Escoville was one of the wealthiest men of Normandy; what is less known is that he
had always devoted himself with a passionate fervor to the mysterious researches of
alchemy".

From this succinct presentation we must above all remember that there existed in Flers, in the
15th century, a nucleus of hermetic philosophers; that they may have formed disciples
which is confirmed by the science transmitted to the successors of Nicolas Valois, the Lords
of Escoville and may have created an initiation center; and the city of Caen, being about
equally distant from Flers and Lisieux, it would be possible that the unknown Adept, retired in
the Manor of the Salamander, had received his first instruction from some master belonging to
the occult group of Flers or Caen.

There is in this hypothesis neither material impossibility nor improbability, yet we cannot
give it any more value than can be expected from this kind of supposition. And so we beg the
reader to receive it as we offer it, that is, with all the desirable circumspection and only as a
simple probability.

(1) Cf. de Formeville: Notice sur line maison du XVIeme siecle a Lisieux (Notice on a 16th Century House in
Lisieux), drawn and lithographed by Challamel, Paris, Janet et Koepplin; Lisieux, Pigeon, 1834.

(2) Cf. Biblio theque Nationale ms. 14789 (3032): La Clef des Secrets de Philosophic (The Key of the Secrets of
Philosophy) by Pierre Vicot, priest; 18th century.

(3) At the end of his Abrege de Tlieorique (Theoretical Summary), Nicolas de Grosparmy gives the exact date at
which he completed this work: "which", he wrote, "I have compiled and caused to be written and was perfected
the 29th day of December of the year 1449". Cf. Rennes Library, ms 158 (125), p. III.

(4) Cf. Charles Verel: Les Alchimistes de Flers (The Alchemists of Flers)', Alencon, 1889, in the Bulletin de la
Societe Historique et Archeologique de IOrne (Bulletin of the Historical and Archaeological Society ofOrne).

53

(5) Alfred de Caix: Notice sur quelques alchimistes normands (Notice on Some Norman Alchemists ); Caen, F.
LeBlanc-Hardel, 1868.

(6) Comte Hector de la Ferriere: Histoire de Flers, ses seigneurs, son industrie (History of Flers, Its Lords, Its
Industry). Paris, Dumoulin, 1855.

(7) Laroque: Histoire de la Maison dHarcourt (History of the Harcourt House), vol. II, p. 1148.

(8) Translators note: \ivre tournois was the currency of the time.

(9) Charterer of Flers Castle.

(10) Oeuvres Manuscriptes de Grosparmy, Valois, and Vicot. Library of Rennes, ms 160 (124) Folio 90, Second
Book by Master Pierre de Vitecoq, priest: "To you, noble and valorous knight, I address and entrust in your
hands the greatest secret ever perceived by anyone alive..." Folio 139, Recapitulation de Maitre. Pierre Vicot
(Recapitulation of Master Pierre Vicot), with a preface addressed to "the Noble and pious knight", son of
Nicolas Valois.

(11) Oeuvres de Grosparmy, Valois et Vicot (Works of Grosparmy, Valois, and Vicot), Biblio theque Nationale
(Paris) mss # 12246 (2526), 12298 and 12299 (435), 17th century Library of Rennes, ms. 160 (124), folio
139: "There follows a recapitulation of M. Pierre Vicot, priest... on the writings which precede, which he wrote
to instruct the son of the Lord Le Vallois in this Science after the death of the said Le Vallois, his father".

(12) Eugene de Robillard de Beaurepaire. Caen illustre, son histoire, ses monuments (Caen Illustrated, Its
History, Its Monuments). Caen, F. Leblanc-Hardel, 1896, p. 436.

(13) An inscription, engraved on the beautiful southern faade which forms the far end of the courtyard, bears
the date 1535.

(14) This Word of God, which is the Verbum Dismissum of Trevisan and the Lost Word of the medieval
Freemasons, points to the material secret of the Work, whose revelation constitutes the Gift of God, and about
whose nature, common name, or use, all philosophers maintain an impenetrable silence. It is therefore evident
that the bas-relief which accompanied the inscription must have been connected with the subject of the sages,
and probably also with the manner in which to work it. And so it is that one entered into the Work, just as one
enters the house of Escoville through the symbolic gate of the Great Horse.

(15) Marsyas (a satyr, a famous flute player) vanquished remains silent.

(16) One frequently encounters on the dwellings of alchemists, among many other hermetic symbols, musicians
or musical instruments. Among the disciples of Hermes, the alchemical science (and we will say why in the
course of this book) was named the Art of Music.

(17) "Despised, work triumphs over all".

54

THE SALAMANDER OF LISIEUXII

We find ourselves here at the entrance, closed long ago, of the pretty manor.

The beauty of the style, the successful choice of motifs, the delicacy of execution, make this
little door one of the most delightful specimens of 16th century wood sculpture. This hermetic
paradigm, exclusively devoted to the symbolism of the dry way, the only one which authors
reserved without providing any explanation about it, is a joy to the artist as well as a treasure
to the alchemist (Plate V)

In order to make the students more responsive to the particular value of the emblems
analyzed, we shall respect the order of the work without allowing ourselves to be guided by
considerations of architectural logic or aesthetic nature.

On the tympanum of the door with carved panels, we notice an interesting allegorical group
composed of a lion and a lioness facing each other, They are holding in their forepaws a
human mask which personifies the sun, encircled by a liana carved into a mirror handle. Lion
and lioness, male principle and female virtue, reflect the physical expression of the two
natures, of similar form but opposite properties, that the art must choose at the beginning of
the practice. From their union, accomplished according to certain secret rules, comes this
double nature, mixed matter that the sages have named androgyne, their hermaphrodite, or
Mirror of the Art. This substance, at once positive and negative, passive containing its own
active agent, is the basis, the foundation of the Great Work. Of these two natures, taken
separately, the one which plays the role of the feminine matter is the only one indicated and
alchemically named on the corbel bearing the overh and of a second-story beam. The figure of
a winged dragon can be seen, its tail curled into a ringlet. The dragon is an image and symbol
of the primitive and volatile body, true and unique subject upon which one must first work.
The philosophers have given it a multitude of diverse names besides the one under which it is
commonly known. This has caused and still causes so much difficulty, so much confusion, to
beginners, and especially to those who are little concerned with principles and do not know
how far the possibility of nature can be expanded. In spite of the general opinion averring that
our subject had never been named, we assert on the contrary that many books name it and that
all describe it. However, while it is mentioned by the good authors, it cannot be said that it is
underlined or expressly shown; it is often classified among the bodies that have been rejected
as improper or alien to the Work. This is a traditional technique used by Adepts to divert the
lay people and to hide from them the secret entrance to their garden.

Its traditional name, the stone of the philosophers, is descriptive enough of the body to serve
as a useful basis for its identification. It is, indeed, genuinely a stone, for, out of the mine, it
shows the external characteristics common to all ores. It is the chaos of the sages, in which the
four elements are contained, but in a confused, disorganized manner. It is our old man and the
father of metals which owe their origin to it, as it represents the first earthly metallic
manifestation. It is our arsenic , cadmia, antimony, blende, galena, cinnabar, tutia, tartar, etc.
All ores, through the hermetic voice, rendered homage to it with their name. It is still called
black dragon covered with scales, venomous serpent, daughter of Saturn, and "the most
beloved of its children". This primal substance has seen its evolution interrupted by the
interposition of a filthy combustible sulphur, which coats its pure mercury, holds it back, and
coagulates it. And, though it is entirely volatile, this primitive mercury, materialized by the
drying action of the arsenical sulphur, takes the shape of a solid, black, dense, fibrous, brittle,

55

. . ' "

Mi

IIRI

MM* (f

crushable mass rendered, by its lack of utility, vile, abject, and despicable in the eyes of man,
Yet, in this subject poor relative of the metal family the enlightened artist finds
everything that he needs to begin and perfect his Great Work, since it is present, say the
authors, at the beginning, the middle, and the end of the Work. Therefore the Ancients have
compared it to the Chaos of Creation, where elements and principles, the darkness and the
light, were on and the other confounded, intermixed, and unable to mutually interact. For this
reason they symbolically depicted their matter in its first being as the image of the world
which contained in itself the materials of our hermetic globe (1) , or microcosm, assembled
without order, without form, without rhythm or measure.

Our globe, reflection and mirror of the microcosm, is therefore nothing but a small part of the
primordial Chaos, destined by divine will for elementary renewal in the three kingdoms, but
which sets of mysterious circumstances have oriented and directed toward the mineral
kingdom. Thus given form and specified, subjected to the laws ruling the evolution and the
progression of minerals, this chaos, which has become a body, contains in a confused manner
the purest seed and the closest substance there is to minerals and metals. The philosophers
matter is therefore of mineral and metallic origin. Hence, one must only seek it in the mineral
and metallic root, which, says, Basil Valentine in the book, The Twelve Keys , was reserved by
the Creator and intended only for the generation of metals. Consequently, anyone who seeks
the sacred stone of the philosophers with the hope of encountering this little world in
substances alien to the mineral and metallic kingdoms, will never reach his goals. To turn the
apprentice away from the path of error the ancient authors teach him to always follow nature.
Because nature only acts within its own appropriate species, only develops and perfects itself
within itself and by itself, free from any heterogeneous thing occurring to hinder its progress
or to oppose the effects of its generating power.

On a post of the frame on the left side of the door that we are studying, a subject in high relief
calls and holds our attention. It shows a richly dressed man wearing a sleeved doublet and a
mortarboard hat, his chest emblazoned with a shield showing a six-pointed star. This man of
means, standing on the cover of an um with embossed sides, serves to indicate the content of
the container, according to the custom of the Middle Ages. It is the substance which during
sublimations rises above the water, floating like an oil on its surface; it is Basil Valentines
Hyperion and Vitriol, Ripleys and Jacques Tessons green lion, in a word, the real unknown
of the great problem. This knight of beautiful bearing and heavenly lineage is no stranger to
us: several hermetic etchings have acquainted us with him. Salomon Trismosin, in The
Golden Fleece , shows him standing up, his feet planted on the edges of two water-filled
vases, which reveal the origin and the source of this mysterious fountain; water of dual nature
and virtue, issued from the milk of the virgin and the blood of Christ; igneous water and
aqueous fire, virtue of the two baptism mentioned in the Gospels: "I indeed baptize you with
water; but one mightier that I cometh, the strap of whose sandals I am not worthy to unloose:
he shall baptize you with the Holy Ghost and with fire: Whose fan is in his hand, and he will
thoroughly purge his floor, and will gather the wheat into his granary; but the chaff he will
bum with fire unquenchable" <2) . Philosopher Solidonius manuscript reproduces the same
subject in the image of a chalice filled with water, out of which two characters are half-
emerging in the center of a rather busy composition summing up the entire work. As for the
treatise of Azoth, it is a huge angel that of the parable of St John in the Book of Revelation
who treads the earth with one foot and the sea with the other, while raising a burning torch
with his right hand and compressing an air-inflated goatskin with the left one, clear images of
the quaternary of the primal elements: earth, water, air, fire. The body of this angel, whose
two wings replace the head, is covered by the seal of the open book, ornamented by the
cabalistic star, and the seven words, emblem of Vitriol: Visita Interiora Terrae,

56

Rectificandoque, Invenies Occultum Lapidem (3) . "I then saw", writes St John (4) , "another
mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his
head, and his face was, as it were, the sun, and his feet were as pillars of fire. He had in his
hand a little open book, and he set his right foot upon the sea, and his left foot on the earth.
And cried with a loud voice, as when a lion roareth; and when he had cried out, seven
thunders uttered their voices. And when the seven thunders had resounded their voices, I was
about to write; and I heard a voice from heaven saying unto me: Keep under seal the words of
the seven thunders, and write them not... And the voice which I heard from heaven spake unto
me again, and said: Go and take the little open book which is in the hand of the angel who
standeth upon the sea and upon the earth. And he said unto me: Take it and eat it; it shall
make thy belly bitter, but it shall be in thy mouth sweet as honey".

This product, allegorically expressed by an angel or by a man the attri bute of the evangelist
St Matthew is none other than the Mercury of the Philosophers, double in nature and
quality, partly fixed and material, partly volatile and spiritual, which suffices to begin, achieve
and multiply the work. It is the unique and only matter that we need, without having to worry
about finding any other; but we must know, so as not to err, that authors generally begin their
treatises with this mercury and how to acquire it. This Mercury definitely is the matrix and the
root of gold, and not the precious metal which is absolutely useless and without function in
the way we are studying. Eirenaeus Philale thes says with much truth, that our Mercury, barely
mineral, is even less metallic because it only contains the spirit or metallic seed, while the
body tends to move away from the mineral quality. It is nevertheless the spirit of gold,
contained in a transparent oil, easily coagulable; the salt of metals, since all stone is salt, and
the salt of our stone, since the stone of the philosophers, which is this mercury of which we
speak, is the subject of the Philosophers Stone. Hence several Adepts, intending to create
confusion, called it nitre or saltpeter ( sal petri, salt of stone), and copied the sign of the one
onto the image of the other. Further, its crystalline structure, its physical resemblance to
melted salt, its transparency, have allowed it to be compared to salts and caused it to be given
all their names. According to the will or whim of writers, it has been described in turn as sea
salt, rock salt, sal alembroth, oleu vitri which Pantheus describes as being chrysocolla, and
others as borax or atincar, Roman vitriol, because [***-123-1] {Rome), Greek name of the
Eternal City, means strength, vigor, power, domination-, the mineral of Pierre-Jean Fabre
because he says gold lives in it (vitriol) (5) . It is also called Proteus because of its
metamorphoses in the course of the work, and Chameleon ( [***-123-2], ( rampant lion),
because it takes on, in sequence, all the colors of the spectrum.

Now here is the last decorative subject of our door. It is a salamander serving as capital to the
small twisted column of the right jamb. It appears to be, in a fashion, the protecting corbel of
the median pillar, located on the ground floor, and as far as on the attic window. It would even
seem, given the deliberate repetition of the symbol, that our alchemist had a marked
preference for this heraldic reptile. We do not want to insinuate here that he meant to give it
the erotic and vulgar meaning which Francis I valued so much; it would be insulting artisan,
dishonoring science, and outraging truth in the manner of this high-bred debauchee with low
intellectuality to whom we regret owing the paradoxical name of Renaissance <6> . However an
unusual feature of human disposition prompts man to cherish more that for which he has
suffered and toiled most; this reason would probably allow us to explain the triple usage of
the salamander, hieroglyph of the secret fire of the sages. It is so indeed, because, among the
secondary products entering into the work as helpers or servants, none is more difficult to
discover, none is more laborious to identify. It is yet possible, in accessory preparations, to
use instead and place of the required additives certain substitutes capable of a similar result;
however, in the elaboration of Mercury, nothing could be substituted for the secret fire, this

57

spirit likely to animate it, exalt it and blend with it after having extracted it out of filthy
matter. "I would feel very sorry for you", wrote Limojon de Saint-Didier (7) , "if, like myself,
after having known the true matter, you had spent fifteen years entirely in work, study, and
meditation without being able to extract from the stone the precious juice it contains in its
midst, for want of knowing the secret fire of the sages, which from this apparently dry and
arid plant, causes to flow a water that doesnt wet the hands". Without it, without this fire
hidden in a saline form, the prepared matter could not be tested or fulfill its function of
mother, and our labor would remain forever chimeric and vain. Every generation requires the
help of a specific agent, determined for the realm in which nature has placed it. And
everything bears seed. Animals are bom from an egg or fertilized ovum; vegetables come
from a seed that has been rendered prolific; similarly, minerals and metals have for seed a
metallic liquid fertilized by the mineral fire. The latter then is the active agent introduced by
the art into the mineral seed and Philale thes tells us, "it is the first to make the axle turn and
the wheel move". Hence it is easy to understand to use of this invisible and mysterious
metallic light, and the care with which we must seek to know it and to distinguish it by its
specific, essential, and occult qualities. Salamander, in Latin salamandra, comes from sal,
salt, and mandra, which means stable and also rock hollow, solitude, hermitage. Salamandra
then is the name of the salt of the stable, salt of the rock, or solitary slat. In the Greek
language this word takes another meaning, revealing the action that provokes: the Greek word
[***-125-1] ( Salamandra ) appears formed from [***-125-2] (Sala) meaning agitation,
perturbation , used probably for [***-125-3] ( salos ) or [***-125-4] ( zale), agitated water,
tempest, fluctuation, and from [***-125-5] ( mandra ) which has the same meaning as in Latin.
Lrom these etymologies we can draw the conclusion that the salt, spirit or fire takes birth in a
stable, a rock hollow, a grotto... That is enough. Lying on the straw of his manger in the grotto
of Bethlehem, is Jesus not the new sun bringing light to the world? Is he not God himself in
his carnal and perishable shell? Who the has said: "I am the Spirit and I am the Life; and I
have come to set fire unto things?".

This spiritual fire, given form and materialized in salt, is the hidden sulphur, since during its
operation it is never made manifest or perceptible to our eyes. And yet this sulphur, as
invisible as it may be, is not an ingenious abstraction or a doctrine stratagem. We know how
to isolate it, how to extract it from the body that conceals it, by an occult means and in the
appearance of a dry powder which, when it is in that state, becomes improper and without
effect for the philosophers art. This pure fire, of the same essence as the specific sulphur of
gold but less digested, is, on the other hand, more abundant than that of the precious metal.
This is why it easily unites with the mercury of minerals and imperfect metals. Philale thes
affirms that it is found hidden in the belly of Aries, or the Ram, constellation which the sun
crosses in the month of April. Linally, to even better designate it, we will add that this Ram,
"which hides within itself the magical steel", ostensibly bears on its shield the image of the
hermetic seal, the star with six rays. So it is in this very common matter, which may seem
merely useful to us, that we must look for the mysterious solar fire, a subtle salt and spiritual
sulphur, a celestial light diffused in the darkness of the body, without which nothing can be
done and which nothing could replace.

Among the emblematic subjects of the small mansion of Lisieux, we have mentioned earlier
the important place occupied by the salamander, specific emblem of its modest and learned
owner. We were saying that it can be found as far as the attic window of the roof, almost
inaccessible and rising up against the open sky. It embraces the kingpost of the gable between
two parallel dragons sculpted on the exposed wooden sides of the gable (Plate VI). These two
dragons, one apterous ( [*126-1], without wings), the other chrysopterous ([*126-2], with
golden wings), are those about which Nicolas Llamel speaks in his Hieroglyphic Ligures, and

58

LISIEUX - MANOR OF THE SALAMANDER - 16th CENTURY
The Salamander and the Two Dragons of the Attic Window

Plate VI

which Michael Maier (Symbola aurea mensae, Frankfurt, 1617) considers to be, along with
the globe surmounted with the cross, specific symbols of the style of the celebrated Adept.
This simple declaration demonstrates the wide knowledge that the artist from Lisieux had of
philosophical texts and of the symbolism specific to each of his predecessors. On the other
hand, the very choice of the salamander leads us to believe that our alchemist must have
searched for a long time and spent many years to discover the secret fire. The hieroglyph in
fact hides the physicochemical nature of the fruit of the garden of Hesperia, fruit whose late
maturity can only rejoice the sage in his old age, at the sunset ([*126-3] ( Hesperis ) of a
laborious and painful career. Each piece of fruit is the result of a progressive condensation of
the solar fire by the secret fire, a word incarnate, a celestial spirit embodied in all things of
this world. And the assembled and concentrated rays of this double fire color and animate a
pure, diaphanous, clarified, regenerated body of brilliant brightness and admirable virtue.
Once it has reached this point of exaltation, the igneous principle, material and spiritual, by
the universality of its action becomes assimilable to bodies contained in the three kingdoms of
nature; it is as efficient with animals and plants as it is within mineral and metallic bodies. It
is the magical ruby, agent endowed with igneous energy and subtlety and clothed in the color
and the multiple properties of fire. Again the Oil of Christ or of crystal, the heraldic lizard,
attracts, devours, vomits and feeds the flame, resting on his patience like the old phoenix on
his immortality.

(1) Cf. Basil Valentine, Les Douze Clefs de Philosophic (The Twelve Keys of Philosophy), ninth figure.

(2) St Luke 3:16-17; Mark 1:6-8; John 1:32-34

(3) Visit the Interior of the Earth, purify it and youll find the hidden stone.

(4) Revelation, Chapter 10: 1-4,8-9. This very instructive parable is reproduced with several variants specifying its hermetic
meaning in the Vision that came to dreaming Ben Adam in the time of the reign of the King of Adama, and brought to light
by Floretus in Bethabor. Library of the Arsenal, ms. 3022 (168, S.A.F.), p. 14. Here is the part of the text which is liable to
interest us:

"I then heard a voice from the sky speaking to me which said: Go and take this open book from the hand of the angel who is
standing on the sea and the earth. And I went to the angel and told him: Give me this book. And I took this small
book from the hand of the angel and gave it to him to gulp down; and when he had eaten it, he had furrows in his belly that
were so strong that he became all black as coal; and while he was in that blackness, the sun was shining clearly as in bright
noon, and then he turned his black form to a kind of white marble, until finally the sun was at its highest and he became
totally red like fire. And then everything vanished...

"And from the place where the angel was speaking, a hand came up holding a glass, in which there seemed to be a powder of
a reddish-pink color... And I heard a great echo saying: Follow nature, follow nature!",

(5) The French translation of gold lives in it Tor y vit is an anagram of the term vitriol.

(6) "Francis I is called the Father of Letters because of some favors he granted to three or four writers; but one forgets that
this Father of Letter issued a royal decree in 1535 by which he prohibited printing under penalty of the gallows; and that after
having prohibited printing, he established censoring to prevent the publication and the sale of books previously printed; that
he gave the Sorbonne the right of inquisition on consciences; and that after the royal edict, possession of an ancient
condemned book prohibited by the Sorbonne endangered its possessors of the death penalty if the book was found in his
domicile where the police of Sorbonne were entitled to search; that he showed himself during his entire reign the implacable
enemy of the independence of spirit and the progress of enlightenment, as well as the fanatical protector of the most ardent
theologians and scholastic absurdities standing against the true spirit of Christian religion. What encouragement for science
and for literature! One can only see in Francis I a brilliant madman, who caused the unhappiness and the shame of France".
- Abbot of Montgaillard, Histoire de France (History of France), Paris, Moutardier, 1827, vol. 1, p. 183.

(7) Limojon de Saint-Didier, Lettre aux vrays Disciples d" Hermes (Letter to the True Disciples of Hermes) in Triomphe
Hermetique (The Hermetic Triumph), Amsterdam, Henry Wetstein, 1699, p. 150.

59

THE SALAMANDER OF LISIEUX III

On the median pillar of the ground floor the visitor discovers a curious bas-relief. A monkey
is carefully eating the fruit of a young apple tree, barely higher than itself (Plate VII) . Facing
this subject, which or the initiate translates perfect realization, we are looking at the
completed Work. The brilliant flowers, whose vivid and glistening colors were the joy of our
artisan, have become wilted, and burned out one after the other one; the fruits grew and, from
green, which they were at the beginning, they now appear adorned with a brilliant purple
envelope, a sure clue to their maturity and excellence.

For, in his patient work, the alchemist must be the scrupulous imitator of nature, the monkey
of creation, according to the genuine expression of several masters. Guided by the analogy, he
realizes on a small scale with his feeble means and in a restricted domain, what God did on a
large scale in the cosmic universe. Here is the immense; there the miniscule. On these two
poles, same thought, same effort, a will similar in its relativity. God makes everything from
nothing He creates, Man takes a parcel of that everything from nothing: He creates. Man
takes a parcel of that everything and multiplies it; he prolongs and continues. Thus the
microcosm amplifies the macrocosm. Such is his goal, his reason to be; such seems to be, in
our eyes, his true earthly mission and the cause of his own salvation. Above, God; below,
man. Between the immortal Creator and his perishable creature, all of created Nature. Lo: you
will find nothing more, and you will discover nothing less than the Author of the first effort
connected to the mass of beneficiaries of the divine example, subjected to the mass of
beneficiaries of the divine example, subjected to the same imperious will of constant activity,
of eternal labor. All classical authors are unanimous in recognizing that the Great Work is an
abridgement, reduced to human proportions and possibilities, of the divine Work. Since the
Adept must contri bute the best of his qualities if he wants to succeed, it appears just and
equitable that he should collect the fruit the fruit o the Tree of Life and profit fro the
marvelous apples of the garden of the Hesperides.

However, as we are compelled, obeying the desire or the whim of our philosopher, to begin at
the very point where art and nature completed their concerted piece of work, would we be
acting like blind men if we were to concern ourselves first with knowing what it is that we are
looking for? And is not, in spite of the paradox, the method excellent which begins with the
end? He who clearly knows what he wants to obtain will more easily find what he needs. In
the occult circles of our time, people often speak of the philosophers stone without knowing
what it is in reality. Many educated people call the hermetic gem a mysterious body; they
share, about it, the opinion of certain spagyrists of the 17th and 18th centuries, who classified
it among abstract entities, styled non-beings or rational beings. Let is therefore inquire so as to
obtain, about this unknown body, an idea as close as possible to truth: let us study the
descriptions, rare and too brief for our liking, that certain philosophers have left us, and let us
see what certain learned people and faithful witnesses have reported.

First, let us say that, according to the scared language, the term philosophers stone, means the
stone which bears the sign of the sun. The solar sign is characterized by its red coloration,
which can vary in intensity, as Basil Valentine U) says, Its color ranges from rosy red to
crimson red, or from ruby to pomegranate red; as for its weight, it weighs much more than it
has quantity. So much for color and density. The Cosmopolite <2) , whom Louis Figuier
believes to be the alchemist known under the name of Seton, and others under the name of
Michael Sendivogius, describes in this passage its translucent appearance, its crystalline form,

60

LISIEUX - MANOR OF THE SALAMANDER
The Salamander and the Monkey by the Apple Tree

Plate VII

and its fusibility: If one were to find, he said, our subject in its last state of perfection,
made and composed by nature; if it were fusible, like wax or butter, and its redness, its
diaphanous nature or clarity appeared on the outside; it would be in truth our blessed stone
Its fusibility is such, indeed, that all authors have compared it to that of wax (64 C); it melts in
the flame of a candle, they repeat; some, for this reason, have even given it in the name of
great red wax (3) . With these physical characteristics the stone combines some powerful
chemical properties the power of penetration or ingress, absolute fixity, inability to be
oxidized, which makes it incalcinable, and extreme resistance to fire; finally, is irreducibility
and its perfect indifference to chemical reagents. We hear the same from Heinrich Khunrath
when he writes in his Ampitheatrum Sapientiae Aeternae, At last, when the Work will have
passed from ashy color to pure white, then to yellow, you will see the philosophers stone, our
King raised above the dominators, come out of his glassy sepulcher, arise from his bed and
come onto our worldly scene in is glorified body, that is to say, regenerated and more than
perfect; in other words, the brilliant carbuncle of a greatly shining splendor, whose parts, very
subtle and very purified by the peaceful and harmonious union of the blend are inseparably
bound and assembled into one; constant and diaphanous as crystal, compact and ponderous,
easily fusible in fire like resin, flowing as wax, and more flowing than quicksilver yet without
fumes; piercing and penetrating solid and compact bodies, as oil penetrates paper; soluble and
dilatable in any liquid capable of softening it; brittle as glass; taking on a saffron color when it
is reduced to powder, yet red as ruby when it remains in one unadulterated mass (this color is
the signature of perfect fixation and of fixed perfection); coloring and dyeing constantly; fixed
in the tribulations of all experiences, even when tried by devouring sulphur and fiery waters
and by the very strong persecution of fire; always durable, incalcinable, and like the
Salamander, permanent and justly judging all things (because it is in its own way all in
everything), and proclaiming: Behold, I shall renew all things. Around 1585, the English,
the English adventurer Edward Kelley, sumamed Talbot, had acquired, from an innkeeper, the
philosophers stone found in the tomb of a bishop who was said to have been very rich; it was
red and very heavy, but without any odor. Meanwhile, Berigard of Pisa says that a skillful
man gave him a gros (3.82 grams) of a powder whose color was similar to that of the red
poppy and which had the odor of calcined sea salt (4> . Helvetius (Jean-Frederic Schweitzer)
saw the stone, sown to him by a foreigner, an Adept, on December 27, 1666, in the form of a
metal powder the color of sulphur. This powdered product came, says Khunrath, from a red
mass. In a transmutation performed by Seton in July 1602, in front of Dr Jacob Zwinger, the
powder used was, according to Dienheim, rather heavy, and of a color appearing lemon
yellow. A year later, during a second projection at the house of a goldsmith, Hans de
Kempen in Cologne, August 11, 1603, the same artist used a red stone.

According to several trustworthy witnesses, this stone, directly obtained in powder form,
could take on a color as bright as that of a stone formed in a compact mass. This instance is
rather rare, but it can happen and is worth mentioning. In this way, an Italian Adept, who, in
1658, realized the transmutation in front of the Protestant minister, Gros, at the house of a
goldsmith (named Bureau) from Geneva, used, according to those who were in attendance, a
red powder. Schmeider described the stone that Boetticher obtained from Lascaris as a
substance having the appearance of a fire-red colored glass. Yet, Lascaris had given Dominico
Manuel (Gaetano) a powder similar to vermilion, the color of cinnabar. That of Gustenhover
was also very red. As for the sample given by Lascaris to Dierback, it was examined under
Counselor Dippels microscope and appeared composed of a multitude of small grains or
crystals which were red or orange; this stone had a power equal to about 600 times the unit.

Jean-Baptiste Helmont, relating hi experience in 1618 in his laboratory at Vilvorde near
Brussels, writes, I have seen and touched te philosophers stone more than once; its color is

61

like powdered saffron, but heavy and shining like pulverized glass. This product, of which
one fourth of a grain (13.25 milligrams) furnished eight ounces of gold (244.72 grams),
showed a considerable energy: approximately 18,470 times the unit. In the category of
tinctures, i.e., liquids obtained by solutions oily metallic extracts, we have the account of
Godwin Herman Braun from Osnabrueck who achieved the transmutation in 1701, using a
tincture having the appearance of an oil, rather fluid and of a brown color. The famous
chemist Henckel (5) , according to Valentini, reports the following anecdote: One day a
stranger, who had a brown tincture with a smell close to hartshorn oil (6) , came to a famous
apothecary of Frankfort-on-Main, named Salwedel; with our drops of this tincture he changed
a gros of lead into 7-1/2 grains of gold o 23 carats. This same man gave a few drops of this
tincture to the apothecary who lodged him and who then produced identical gold which he
saved in memory of that man, with the small bottle in which it was contained and where the
marks of the tincture can still be seen. I had this bottle in my hands, and I an testify about it to
the world.

Without disputng the truth of the last two statements, we nevertheless refuse to categorize
these as transmutations brought about by the philosophers stone in its special state of powder
of projection. All the tinctures meet this criterion. Their subjection to a particular metal, their
limited potency, the specific characteristics they exhibit, lead us to regard them as simple
metallic products, extracted from common metals by certain procedures called little
particulars, which pertain to spagyry rather than to alchemy. Furthermore, these tinctures,
being metallic, have no other action but to penetrate the metals which have been used as a
basis fr thei penetration. Let us leave aside these processes and tinctures. Above all, it is
important to remember that the philosophers stone appears in the shape of a crystalline,
diaphanous body, red in mass, yellow after pulverization, dense and very fusible, although
fixed at any temperature, and which its inner qualities render incisive, fiery, penetrating,
dense and very fusible, although fixed at any temperature, and which its inner qualities render
incisive, fiery, penetrating, irreducible, and incalcinable. In addition, it is soluble in molten
glass, but instantaneously volatilizes when it is projected onto molten metal. Here, in one
single object, are gathered physiochemical properties which singularly separate it from a
possible metallic nature and render its origin rather nebulous. A little reflection will get us out
our difficulty. The masters of the art teach us that the goal of their labors is triple. What they
seek to realize first is the universal Medicine or the actual philosophers stone. Obtained in a
saline form, whether multiplied or not, it can only be used fr the healing of human illnesses,
preservation of health, and growth of plants. Soluble in any alcoholic liquid, its solution takes
the name of Aurum Potabile (7) (although it does not even contain the least atom of gold
because it assumes a magnificent yellow color. Its healing value and the diversity of its use in
therapeutics makes it a precious auxiliary in the treatment of grave and incurable ailments. It
has no action on metals, except on gold and silver, on which it fixes itself and to which it
bestows its own principles, which, consequently, becomes of no use for transmutation.
However, if the maximum number of its multiplications is exceeded, it changes form and
instead of resuming its solid crystalline state when cooling down, it remains fluid like
quicksilver and definitely non-coagulable. It then shines in darkness, with a soft, red,
phosphorescent light, of a weaker brightness than that of a common nightlight. The universal
Medicine has become the Inextinguishable Light; the light-giving product of those perpetual
lamps, which certain authors have mentioned as having been found in some ancient
sepulchers. Thus radiant and liquid, the philosophers stone is not likely, in our opinion, to be
pushed further; desiring to amplify its igneous quality would seem dangerous to us; the least
that could be feared would be to volatilize it and lose the benefit of a considerable labor.
Finally, if we ferment the solid, universal Medicine with very pure gold or silver, through
direct fusion, we obtain the Powder of Projection, third form of the Stone. It is a translucent

62

mass, red or white according to the chosen metal, pulverizable, and appropriate only to
metallic transmutation. Oriented, determined, and specific to the mineral realm, it is useless
and without action in the other two kingdoms. It becomes clearly evident from the preceding
considerations, that the philosophers stone or universal Medicine, in spite of its undeniable
metallic origin, is not uniquely made from metallic matter. If it were otherwise, and if one had
to compose it only with metals, it would remain subjected to the conditions ruling mineral
nature and it would have no need to be fermented to operate transmutation. Furthermore, the
fundamental axiom which teaches that bodies have no action on bodies would be false and
paradoxical. Take the time and the trouble to experiment, and you will recognize that metals
have no action on other metals. Be they brought to the state of salts or ashes, glasses or
colloids, they will always retain their nature throughout trials and, in the process o reduction,
they will separate without losing their specific qualities. Only the metallic spirits possess the
privilege to alter, modify and denature metallic bodies. They are the true instigators of all the
physical metamorphoses that can be observed here. But since these tenuous, extremely subtle
and volatile spirits need a vehicle, an envelope capable of holding them back; since this mater
must be very pure to allow the spirit to remain there and very fixed so as to prevent its
volatilization; since it must remain fusible in order to promote ingress; since it is essential that
it be absolutely resistant to reducing agents, we may easily understand that this matter cannot
be searched for in the sole category of metals. That is why Basil Valentine recommends that
we take the spirit out of the metallic root and Bernard of Trevisan forbids the use o metals,
minerals and their salts in the construction of the body. The reason for it is simple and self-
explanatory. If the stone were made up of a metallic body and a spirit fixed in this body, the
later acting on the former as if it were of the same species, the whole would take the
characteristics form of metal. We could, in this case, obtain gold or silver or even an unknown
metal but nothing more. This is what alchemists have always done, because they did not know
the universality and the nature of the agent which they were looking for. But what we ask for,
along with all the philosophers, is not the union of a metallic body with a metallic spirit, but
rather the condensation, the agglomeration of this spirit into a coherent, tenacious and
refractory envelope, capable of coating it, impregnating all its parts and quaranteeing it an
efficacious protection. This soul, spirit, or fire assembled, concentrated and coagulated in the
purest, the most resistant and the most perfect of earthly matters, we call it our stone. And we
can certify that any undertaking which does not have this spirit for guide and this mater for
basis will never lead to the proposed objective.

(1) Les Douze Clefs de Philosophie, by Frater Basil Valentine, monk of the Order of St Benedict, dealing with the true
metallic Medicine.

(2) Le Cosmopolite ou Nouvelle Lumiere Chymique (The Cosmopolite or New Chemical Light), Paris, J. d'Houry, 1669. Le
Traite du Sel (Treatise on Salt), p. 64.

(3) In the Latin ms, 5614 of the Biblio theque National (Paris), which contains treatises by ancient philsophers, the third book
is entitled: Modus Faciencdi Optimam Ceram Rubeam.

(4) By evaporating one liter of seawater, heating the crystals obtained until complete dehydration, and submiting them to
calcination in a porcelain capsule, you will clearly perceive the characterisic odor of iodine

(5) J.-F. Henckel: Flora Saturnisans, paris, J.-T. Herissant, 1760, ch. 8, p. 158.

(6) It is the caraceristic of ammonium carbamate.

(7) Potable gold.

63

THE SALAMANDER OF LISIEUXIV

On the second floor of the manor of Lisieux, carved in the left pillar of the fagade, a man of
rather primitive appearance lifts and seems to be trying to remove a tree trunk of rather large
dimensions (Plate IV).

This symbol, seemingly very obscure, hides nevertheless the most important of the secondary
arcane. We shall even affirm that for not being cognizant of this point of doctrine and also
for having followed too literally the teachings of the old authors many good artists were
unable to reap the fruit of their labors. And how many investigators, more enthusiastic than
penetrating, still collide and stumble today against a stumbling block of specious reasonings!
Let us refrain from pushing human reason too far, which is so often contrary to natural
simplicity. If we knew how to more innocently observe the effects which nature manifests
around us; if we were content to control the results obtained by using the same means; if we
subordinated our research to the mystery of causes to facts, and its explanation t what is
probable, possible, or hypothetical, many truths would be discovered which are still to be
sought. And so beware of introducing, in your observations, that which you think you know,
for you would be forced to conclude that it would have been better to learn nothing rather than
to have to unlearn everything.

This is perhaps superfluous advice, since putting it into practice demands the application of an
unyielding will, of which mediocre are incapable. We know how costly it is to exchange
diplomas, seals, and parchments for the humble mantle of the philosopher. At age 24 we had
to drain this chalice filled with a bitter beverage. Heart-wounded, ashamed of the errors of our
young years, we had to bum the books and the notebooks, we had to confess our ignorance,
and as a modest neophyte, decipher another science on the benches of another school, And so,
it is for those who had the courage to forget everything that we take the trouble to study the
symbol and to strip its esoteric veil.

The tree trunk that this artisan of another age has grasped seems only intent to serve his
industrious genius. Yet, it is indeed our dry tree, the same that had the honor of giving its
name tone of the oldest streets of Paris, after having appeared for a long time on a very
famous street sign. Edouard Fournier
sign could still be seen around 1660. It indicated to passersby "an inn of which Monstrelet
speaks", (Vol. 1, Chap. 177), it was well chosen, for such a dwelling, and from 1300 on, must
have served as a lodging for pilgrims returning from the Holy Land. The Dry Tree was a
memory of Palestine; it was the tree planted very close to Hebron (2) , which, after having been
"green and full of leaves" since the beginning of the world, lost its foliage on the day our Lord
died on the cross, and dried up; "but to become green again, when a Lord, Prince of the West,
will reach the Promised Land with the aid of Christians and will have a mass sung underneath
this dry tree".

This dessicated tree, issuing out of arid rock, is pictured in the last plate of The Art of the
Potter (4) , but it has been depicted with leaves and fruit, and with a streamer bearing the
motto: Sic in sterili (5) . The same one is found sculpted on the beautiful gate of the Cathedral
of Limoges, as well as on a quatrefoil of the sub-foundation of Amiens. Two fragments of this
same mutilated trunk are raised by a stone clerk above the great shell used as a holy water

64

LISIEUX - MANOR OF THE SALAMANDER - 16 th CENTURY
The Baphomet - The Combat between the Man and the Griffin

HT^*

r "i

In

. , 140 mflM *

MBm I

IMMM

rjnys .,1

Plate IX

basin in the church of Guimilau (Finistere) in Brittany, Finally, we find the dry tree again on a
certain number of secular buildings of the 15th century. In Avignon it surmounts the basket-
handle gate of the ancient college of Roure. In Cahors it is used as a frame for two windows
(Verdier House on the street of Boulevards), as well as on the small door belonging of the
Pellegri College of the same city (Plate VIII)

Such is the hieroglyph adopted by the philosophers to express metallic inertia, that is to say,
the special state that human industry gives to reduced and molten metals> Hermetic esoteric
demonstrates that metallic bodies remain alive and endowed with vegetative power, as long as
they are mineralized in their deposits. There they are combined with the specific agent, or
mineral spirit, which ensures their vitality, their nutrition, and their evolution to the term
required by nature, when they take on the shape and properties of native silver and gold. Once
this goal has been reached, the agent separates from the body, which then ceases to live,
becomes fixed and no longer capable of transformation. Were it to stay on earth for several
centuries, it still could not, by itself, change state or abandon the characteristics which
distinguish metal from mineral aggregate.

However, the process that occurs inside of the metal-bearing deposits is far from simple.
Subjected to the vicissitudes of this transitory world, numbers of ores see their evolution
suspended by the action of profound causes exhaustion of nutritive elements, shortage of
crystalline additions, insufficient pressure, heat, etc. or external causes fissures, surge of
waters, opening of the mine. Consequently metals solidify and remain mineralized with the
qualities acquired up to then, without being able to go beyond the evolutionary stage they
have reached. Others, younger, still await the agent that must ensure their solidity and
consistency, they remain in a liquid state and are totally non coagulable. Such is the case of
mercury, which is frequently found in its native state, or mineralized by sulphur (cinnabar),
either in the ore-bearing earth itself, or outside its place of origin.

In this native form, even though metallurgic treatment did not have to intervene, these metals
are as insensitive as those whose ores have undergone roasting and fusion. No more than
those ores do the metals possess their own vital agent. The Sages tell us that they are dead, at
least in appearance, because it is impossible for us to bring out the latent potential life hidden
in the depth of their being under their solid crystallized mass. These are dead trees, although
they still conceal a trace of humidity, and they will no longer bear leaves, flowers, fruit, or,
above all, seed.

So with good reasoning certain authors assert that gold and mercury cannot help, wholly or
partially, in the elaboration of the Work. The first, they say, because its proper agent has been
separated from it during its completion, and the second, because the agent has not yet been
introduced into it. Other philosophers maintain nevertheless that gold, although sterile in its
solid form, may recover its lost vitality and resume its evolution if we know how to "put it
back into its first state". But this is an ambiguous teaching which we must guard ourselves
from understanding in its common obvious meaning. Let us stop for a moment on this
litigious point and not lose sight of the possibility of nature: it is the only means we have to
recognize our way in tortuous labyrinth. Most hermeticists believe that, by the term
reincrudation, one should understand that which brings back the metal to its primitive state;
they take as a basis the meaning of the word itself, which expresses the action of rendering
crude or retrograding. This conception is false. It is impossible for nature, and more so for the
art, to destroy the effect of the work of centuries. What has been acquired remains acquired.
And this is the reason why the old masters assert that it is easier to make gold than to destroy
it. No one will ever flatter himself to give back to roasted meat and cooked vegetables the

65

CAHORS - PELLEGRI COLLEGE - 15th CENTURY DOOR

The Dry Tree

Plate VIII

appearance and qualities they possessed before they underwent the action of fire. Here again
the analogy and the possibility of nature are the best and surest guides. There is no example of
regression anywhere in the world.

Other seekers believe that it is enough to ba the the metal in the primitive and mercurial
substance which, through slow maturation and progressive coagulation, has given birth to it.
This reasoning is more specious than true. Even supposing that they knew this first matter and
where to get it that which the greatest masters did not know they could only obtain, in
the final analysis, an increase of the gold they used and not a new body with a power higher to
that of the precious metal. The operation, thus understood, boils down to the mixture of one
and the same body taken in two different stages of its evolution, one liquid, the other solid.
With some thought it is easy to understand that such an enterprise cannot lead us to our aim.
Besides, it is in formal opposition to the philosophical axiom we have often stated: bodies
have no action on bodies; only spirits are active and acting.

Therefore, by the expression to put gold back into its first matter, we must understand the
animation of the metal accomplished by means of the vital agent of which we have spoken.
The spirit fled out of the body during its manifestation on the physical plane; it is the metallic
soul, or this first matter which we have not wished to designate otherwise and which dwells in
the womb of the undefiled Virgin. The animation of gold, symbolically vivifying of the dry
tree or resurrection of the dead, is allegorically taught to us by the text of an Arab author. This
author, named Kessaeus, who Brunet tells us in his notes on The Gospel of Childhood
was very busy collecting oriental legends on the topic of events recounted in the Gospels,
relates toe circumstances of Marys delivery in these words: "When the moment of her
delivery approached, she departed in the middle of the night from the house of Zachary, and
she walked out of Jerusalem. And she saw a dried up palm tree; and when Mary sat at the foot
of this tree, it immediately bloomed anew and was covered with leaves and greenery, and it
bore a great abundance of fruit through the operation of Gods power. And God called forth a
spring of living water next to it, and when the pains of childbirth tormented Mary, she
squeezed the palm tree tightly with her hands".

We would not know how to say it better or to speak with more clarity.

(1) Edouard Fournier: Enigmas des rues de Paris (Enigmas of the Streets of Paris)', Paris, E. Dentu, 1860).

(2) We identify it with the Oak of Member ( Chene de Membre) or, more hermetically, the dismembered oak ( chene
dismembre).

(3) Le Livre de Messire Guill. De Mandeville (The Book of Sir Guill. De Mandeville)', Biblio theque Nationale, ms 8392, vol.
157.

(4) Les Trois Livres de IArt du Potier (The Three Books of the Art of the Potter), by Cavalier Cyprian Picolpassi, translated
by Claudius Popelyn, Parisian; Paris, International Library, 1861).

(5) The one previously sterile.

66

THE SALAMANDER OF LISIEUX V

On the central pillar of the second floor, a group, of certain interest to the lovers of the art and
the curious about symbolism draws our attention. Although it has suffered much and today
exhibits itself mutilated, fissured, and corroded by bad weather, we are nevertheless still
capable of discerning its subject. It is a character holding between his legs a griffin whose
paws, equipped with claws, are very apparent, as well as the lions tail extending from its
rump, details which alone permit an exact identification. With his left hand the man seizes the
monster about the head, and with his right makes a gesture of striking it (Plate IX).

We recognize in this motif one of the major emblems of the science, one which covers the
preparation of the raw materials of the Work. While the combat between the dragon and the
knight signifies the initial encounter, the duel of the mineral products trying to defend their
threatened integrity, the griffin marks the result of the operation, veiled moreover by myths
variously expressed, but all showing the characteristics of incompatibility, of natural and
profound aversion which the substances in contact have for on another.

From the combat that the knight, or secret sulphur, engages with the arsenical sulphur of the
old dragon, is bom the astral stone, white, heavy, shining as pure silver, and which appears to
be signed, bearing the imprint of its nobility, its stamp U) esoterically translated as the griffin,
a sure indication of the union and peace between fire and water, between air and earth.
However, we should not hope to attain this dignity from the first conjunction. For our black
stone, covered with rags, is soiled by so many impurities that completely freeing it from them
is extremely difficult. For this reason it is important to submit to several levigations (which
are Nicolas Flamels laveures or fire purifications), so as to progressively cleanse it from
impurities and from heterogeneous and tenacious stains which encumbers it, and to see it take
on, with each one of these fire purifications, more splendor, more polish, and more brilliance.

Initiates know that our science, although purely natural and simple, is in no way vulgar; the
terms we use, following the masters, are no less so. Please pay attention to them, since we
have chosen them with care, with the intention of showing the way, of pointing out the
potholes which pit it, thus hoping to enlighten the studious and to divert the blind, the greedy,
and the unworthy. Learn, you who already know, that all our purifications are igneous, that all
our purifications are made in fire, by fire, and with fire. This is the reason why some authors
have described these operations under the chemical title of calcinations, because the matter,
long subjected to the action of the flame, yields its impure scorched parts to it. Know also that
our rock veiled in the form of the dragon at first allows a dark, evil-smelling, and
poisonous liquid to flow, whose thick volatile smoke is extremely toxic. This water,
symbolized by the crow, cannot be washed or whitened except by means of fire. This is what
the philosophers gave us to understand when, in their enigmatic style, they recommend that
the artist cuts off its head. By these fiery ablutions, the water discharges its black coloration
and takes on a white color. The crow, decapitated, gives back its soul and loses its feathers.
Thus fire, by its frequent reiterated action on water, forces the latter to better defend its
specific qualities by abandoning its superfluities. The water contracts, tightens itself to resist
Vulcans tyrannical influence; it is nourished by fire which aggregates its pure and
homogeneous molecules, and finally it is coagulated into a dense corporeal mass, fiery to the
extent that the flame remains powerless to further exalt it.

67

For you, unknown brothers of the mysterious city of the sun, we have formed the resolution of
teaching the diverse and successive modes of our purifications. You will be thankful to us, we
are certain, to have pointed out to you these reefs of the hermetic sea, against which so many
inexperienced Argonauts have been shipwrecked. If you want to possess the griffin which
is our astral stone by tearing it from its arsenical ganque, take two parts of virgin earth, our
scaly dragon, and one part of the igneous agent, which is that valiant knight armed with the
lance and shield. [*152-1] (Ares), more vigorous than Aries, must be in a lesser quantity.
Pulverize and add the fifteenth part of this pure, white, admirable salt, washed and crystallized
several times, which you must necessarily know. Intimately mix it; and then, following the
example of the painful Passion of Our Lord, crucify it with three iron nails, so that the body
dies and can then be resurrected. This done, drive away the coarsest sediments from the
corpse; crush and triturate the bones; mix the whole thing on a slow heat with a steel rod.
Then throw into this mixture half of this second salt, extracted from the dew that fertilizes the
earth in the month of May, and you will obtain a body clearer than the preceding one. Repeat
the same technique three times; you will reach the matrix of our mercury, and you will have
climbed the first rung of the ladder of the sages. When Jesus resurrected the third day after his
death, a luminous angel clothed in white alone occupied the empty sepulcher...

However, if it suffices to know the secret substance represented by the dragon in order to
discover its antagonist, it is essential to know the means that sages employ in order to limit, to
temper the excessive ardor of the belligerents. For want of a necessary mediator for which
we have never found a symbolic interpretation the ignorant experimenter would be
exposed to grave dangers. Anxious spectator of the drama which he would have imprudently
unleashed, he could neither control its phases nor regulate its fury. Fiery projections,
sometimes even brutal explosion of the furnace, would be the sad consequences of his
temerity. This is why, aware of our responsibility, we urgently beseech those who do not
possess this secret to abstain until then. They will thus avoid the fate of an unfortunate priest
of the diocese of Avignon, about which the following notice briefly gives an account (2) :
"Abbot Chapaty thought to have discovered the philosophers stone but, unfortunately for
him, the crucible burst asunder, the metal exploded against him, attached itself to his face,
arms and clothes; he ran in this way along the Infirmaries Street, dragging himself in the
gutters as though possessed, and he perished miserably burnt, like a damned person. 1706".

When you perceive a noise resembling that of boiling water in the vessel a hollow
rumbling of the earth, whose entrails fire is tearing out be ready to fight and maintain your
composure. You will notice smoke and blue, green and violet flames accompanying a series
of quick detonations.

Once the effervescence has passed and calm has been restored, you will be able to enjoy a
magnificent spectacle. On a sea of fire, solid islands form, float on the surface, moving
slowly, taking and leaving an infinity of vivid colors; their surface puffs up, bursts in the
center, causing them to resemble tiny volcanoes. Then they disappear, being replaced by
pretty green transparent balls revolving quickly, hitting one another, and seeming to chase one
another, in the midst of multicolored flames and the iridescent reflection of the incandescent
bath.

In describing the difficult and critical preparation of our stone, we have neglected to speak of
the effective cooperation which certain external influences must provide. On this topic we are
content to quote Nicolas Grosparmy, Adept of the 15th century, of whom we have spoken at
the beginning of this study, or Cyliani, philosopher of the 19th century, without omitting
Cyprian Piccolpassi, Italian master potter, all of whom devoted a part of their teachings to the

68

study of these conditions; but their works are not within the grasp of all. Nevertheless, so as to
satisfy as far as possible the legitimate curiosity of seekers, we shall say that, without the
absolute harmony of the higher with the lower elements, our matter, lacking astral virtues, can
be of no use. Before it is put to work, the body on which we operate, is more earthly than
heavenly. By helping Nature, art must render it more heavenly than earthly. Knowledge of the
propitious moment, times, places, seasons, etc., is therefore essential to us in order to ensure
the success of this secret production. Let us predict the hour when the stars will forming the
sky of the fixed heavenly bodies, the most favorable aspect. For they will be reflected in this
divine mirror which is our stone and they will therein fix their imprint. And the earthly star,
occult torch of our nativity, will be the proving mark of the blessed union of heaven and earth,
or as Philale thes writes, of "the union of superior virtues in inferior things". You will obtain
confirmation of it by discovering, in the midst of the igneous water, or of this earthly heaven,
according to the typical expression of Wenceslaus Lavinus of Moravia, the hermetic sun,
centric and radiant, made manifest, visible, and obvious.

Catch a ray of sun, condense it into a substantial form, nourish this corporified spiritual fire
with elemental fire, and you will possess the greatest treasure of this world.

It is useful to know that the brief but violent fight fought by the knight be his name St
George, St Michael, or St Marcel in the Christian tradition; Mars, Theseus, Jason, or Hercules
in the myths only ceases with the death of both champions (hermetically, the eagle and the
lion) and their union into a new body whose alchemical signature is the griffin. Let us recall
that in all ancient Asian and European legends, the dragon is always appointed guardian of
treasures. It watches over the golden apples of the Hesperides and over the hanging fleece of
Colchis. Hence it is absolutely necessary to silence this aggressive monster of we want to
possess the wealth it protects. A Chinese legend tells us about the learned alchemist
Hujumsin, numbered among the gods after his death, that this man, having killed a horrible
dragon which ravaged the country, fixed this monster to a column. This is exactly what Jason
does in the forest of Aetes, and Cyliani in his allegorical tale of Hermes Unveiled. The truth,
always unchanged, expresses itself through analogous means and fables.

The combination of the two initial matters, one volatile, the other fixed, produces a third
body, fixed, which marks the first stage of the stone of the philosophers. Such is, we have
said, the griffin, half eagle, half lion, a symbol which corresponds to the basket of Bacchus
and the fish of Christian iconography. Indeed we must point out that the griffin bears, instead
of a lions mane or a necklace of feathers, a crest of fish fins. This detail has its importance.
For if it is expedient to provoke the encounter and dominate the fight, one must still discover
the means of capturing the pure, essential part of the newly produced body, the only one
useful to us; in other words, the philosophical mercury. Poets tell us that Vulcan, catching
Mars and Venus at adultery, immediately surrounded them with a net or string so that they
could not escape his revenge. Likewise, the masters also advise us to use a fine thread or
subtle net to capture the product gradually as it appears. The artist fishes, metaphorically, for
the mythical fish, and leaves the water empty, inert, and without soul: Man, in this operation,
is then supposed to kill the griffin. This is the scene reproduced by our bas-relief.

If we look for some secret meaning attached to the Greek word [*155-1] ( gryps ), griffin,
which has for root [*155-2] ( grypos ), that is to say, "to have a crooked beak", we will find a
related word, [*155-3] (griphos ),whose sound comes much closer to our French word.
Furthermore, [*155-4] means both an enigma and a net. We then see how the fabulous animal
contains, in image and in name, the most difficult hermetic enigma to be discovered, that of

69

the philosophical mercury, whose substance, deeply hidden in the body, is caught like a fish
in water with the help of an appropriate net.

Basil Valentine, who is usually clearer, did not use the symbol of the Christian [*155-5]
(.Ichtus ) 1 2 (3) , which he preferred to humanize under the cabalistic and mythological name of
Hyperion. He signifies his knight in this way, presenting the three operations of the Great
Work in an enigmatic formula containing three succinct phrases, thus set forth:

"I issued from Hermogenes. Hyperion chose me, Without Jamsuph, I am forced to perish".

We have seen how, and as a result of what reaction, the griffin is born, that comes from
Hermogene or from the prime mercurial substance. Hyperion, in Greek [*156-1] (Hyperion),
is the father of the sun; he releases, out of the second white chaos formed by the art and
represented by the griffin, the soul that he holds imprisoned, the spirit, fire, or hidden light,
and clears the doorway above the mass in the form of a clear and limpid water: Spiritus
Domini ferebatur super aquas. For the prepared matter, which contains all the elements
needed for our great work, is nothing but a fertilized earth where some confusion still reigns;
a substance which holds within itself scattered light, which the art must gather together and
isolate by imitating the Creator. We must mortify and decompose this earth, which amounts to
killing the griffin and fishing the fish, or separating the fire from the earth, the subtle from the
gross, "gently, with great skill and prudence", as Hermes teaches in his Emerald Tablet.

Such is the chemical role of Hyperion. His very name, formed from [*156-1] (Hyp)
contraction of [*156-2] (Hyper), above, and from [*156-3] (erion) meaning sepulcher,
tomb, which has for root [*156-4] (Hera), earth, indicates that which rises from the earth,
above the sepulcher of matter. We can, if we prefer, choose the etymology according to which
[*156-5] (Hyperion) would derive from [*156-6], beyond and from [*156-7] (ion), violet. The
two meanings have between them a perfect hermetic concordance; we only give this variant to
enlighten the novices of our order, following in this the word of the Gospel: "Therefore take
care how thou listen; for unto every one that hath shall be given, and he shall have abundance:
but from him that hath not shall be taken away even that which he hath" (4) .

(1) Translators Note: Griffe in French translates as both claw and stamp.

(2) Collection of documents on Avignon; Library of Carpentras, ms. 917, folio 168.

(3) The Greek name for fish is formed by the combination of the initials of this phrase: [*156-8], Iesous Christos
Theous Yios Soter, Jesus Christ, Son of God, Saviour. The word [*156-9] is frequently seen engraved in Roman
catacombs; it also appears on the mosaic of St Apollinaire at Ravenna, placed at the top of a stellate cross, raised
on the Latin words SALUS MUNDI (Salvation of the World), and having the letters Alpha and Omega at the
extremities of its arms.

(4) Matthew 25:29-30; Luke 8:18 and 19:26; Mark 4:25.

70

THE SALAMANDER OF LISIEUX VI

Sculpted above the group of the man with the griffin, we notice an enormous grimacing head
adorned with a pointed beard. Its cheeks, ears, and forehead are stretched out to the extent that
they take on the appearance of flaming expansions. This blazing mask, with an unfriendly
grin, seems crowned and provided with horned, ribboned appendices which are resting on a
twisted cord in the background of the cornice (Plate IX). With its horns and its crown, the
solar symbol takes on the meaning of a genuine Baphomet; in other words, of the synthetic
image in which Templar Initiates had assembled all the elements of high science and tradition.
Truly a complex figure under its apparent simplicity, an eloquent figure, pregnant with
teaching in spite of its rude and primitive aesthetic. If we recognize at first the mystic fusion
of the natures of the Work, symbolized by the horns of the lunar crescent placed on the solar
head, we are no less surprised by the strange expression, reflection of a devouring ardor
emanating from the inhuman face, specter of the last judgment. Even the beard, hieroglyph of
a luminous and fiery beam projected toward the earth, justifies the exact knowledge of our
destiny that the scientist possessed.

Could we possibly be facing the dwelling of some affiliate of the sets of the Illuminati or of
the Rosicrucians, descendants of the old Templars? The cyclical theory, concurrent with the
doctrine of Hermes, is so clearly exposed here, that except for ignorance or dishonesty we
could not suspect the knowledge of our Adept. As for us, our conviction is firm; we are
certain not to be mistaken in front of so many categorical assertions: we indeed have before
our eyes a baphomet, renewed from the one of the Templars. This image, about which we
possess but vague indications or simple hypotheses, never was an idol, as some believed, but
rather a complete emblem of the secret traditions of the Order, especially used outwardly as
an esoteric paradigm, a seal of chivalry, and a sign of recognition. It was composed of an
isosceles triangle, its apex pointed down, hieroglyph for water, first created element,
according to Thales of Miletus, who maintained that "God is the Spirit which has formed all
things from water" (1) . A second similar triangle, inverted in relationship to the first, but
smaller, was inscribed in its center and seemed to occupy the position reserved for the nose on
the human face. It symbolized fire and more precisely, fire enclosed in water, or the divine
spark, soul incarnate, life infused in matter. On the inverted base of the large triangle of water,
there was a graphic sign similar to the Latin letter H or Greek [*158-1] (eta), but wider whose
central bar was cut with a median circle. This sign in hermetic steganographiy indicates the
universal Spirit, the Creative Spirit, God. Inside the large triangle, slightly above and on each
side of the triangle of fire, one could see on the left the lunar circle with an inscribed crescent
and on the right the solar circle with a visible center. These small circles were arranged in the
manner of eyes. Finally, welded to the base of the small inner triangle, the cross, placed on the
globe, thus realized the double hieroglyph of sulphur, active principle, associated to mercury,
passive principle and solvent of all metals. A longer or shorter segment often located at the
apex of the triangle was carved with lines of a vertical tendency where the layman could
recognize not the expression of luminous radiation but a sort of goatee.

Thus presented, the baphomet assumed a gross animal form, imprecise and uneasy to identify.
This would probably explain the diversity of descriptions it inspired, where the baphomet is
seen as a haloed death head or a bucrane, sometimes the head of the Egyptian Hapi, of a goat,
and, even better, the horrifying face of Satan himself! Simple impressions, far removed from
reality, but images so unorthodox that they, alas, contri buted to spread the accusation of

71

demonology and sorcery upon the learned Knights Templar and became one of the
foundations of their trial, one of the causes of their condemnation.

We have just seen what the baphomet was; now we must try to discover the meaning hidden
behind this name.

In the pure hermetic expression corresponding to the labor of the Work, Baphomet comes
from the Greek roots [*158-2] (Bap he us), dyer, and [*159-1], standing for [*159-2], the
moon; unless we want to use [*159-3], [*159-4], in the genetive case, mother or matrix,
which leads to the same lunar meaning, since the moon is truly the mother or the mercurial
matrix which receives the tincture or seed of sulphur, representing the male, the dyer
[*159-5] ( Bapheus) in metallic generation. [*159-6] has the meaning of immersion and of
tincture. And it can be said, without revealing too much, that sulphur, father and dyer of the
stone, fertilizes the mercurial moon through immersion, which brings us back to the symbolic
baptism of Mete, expressed again by the word baphomet (2) . It appears as the complete
hieroglyph of science, represented elsewhere in the personality of the god Pan, mythical
image of nature in full activity.

The Latin word Bapheus, dyer, and the verb me to, to gather, collect, harvest, also indicate the
special quality possessed by mercury or the moon of the sages, of collecting the tincture
gradually as it emitted during the immersion or the kings bath, and which the mother keeps in
her bosom for the required time. It is the Grail containing the eucharistic wine, liquor of
spiritual fire, vegetative liquor, living and vivifying, introduced into material things.

As for the origin of the Order, its lineage, the knowledge and beliefs of the Templars, we
could not do better than to literally quote a fragment of the study which Pierre Dujols, the
erudite and learned philosopher, devotes to the brother knights in his Bibliographie Generate
des Sciences Occultes (3) .

"The brothers of the Temple", says the author, and we could no longer uphold the
opposite view were truly affiliated to Manichaeism". Furthermore, Baron de Hammers
thesis conforms to this opinion. For him, the sectarians of Mardeck, the Ismaelians, the
Albigensians, the Templars, the Freemasons, the Illuminati, etc., depend on the same secret
tradition emanating from this House of Wisdom ( Dar-el-hickmet ) founded by Hakem in Cairo
around the 11th century. The German academician Nicolai concludes in the same sense and
adds that the famous baphomet, which he derives from the Greek word [*159-7]
(Baphometos ), was a Pythagorean symbol. We will not spend any time with the divergent
opinions of Anton, Herder, Munter, etc., but we will dwell for a moment on the etymology of
the word baphomet. The idea of Nicolai is acceptable if we admit, with Hammer, this slight
variation: [* 160-1](. Baphe Meteos), which could be translated as "baptism of Mete". Precisely
a rite of this name has been established among the Ophites. Mete was an androgynous divinity
representing naturing Nature. Proclus says verbatim that Metis, also called [*160-2]
(Erikarpaios) or Germinating Nature, was the hermaphroditic god of the Snake worshippers.
We also know that the Greeks venerated Prudence, designated by the word Metis, as Jupiters
wife. In a word, this philological discussion indisputably confirms that the Baphomet was the
pagan expression of Pan. And like the Templars, the Ophites had two baptisms: one, exoteric,
the baptism of water, the other esoteric, that of the spirit, or fire. The latter was called the
Baptism of Mete. St Justin and St Irenaeus called it illumination. It is the Freemasons
baptism of Light. This purification the word is truly appropriate here is found on one of
the Gnostic idols discovered by Monsieur de Hammer, which he illustrated. It holds in its lap
mark well the gesture as it is very revealing a fire-filled basin. This fact, which should

72

have struck the learned German and with him all of the symbolists, seems to have revealed
nothing to them. And yet it is from this allegory that the famous myth of the Grail takes its
origin. Indeed, the erudite baron talks abundantly about this mysterious vessel, whose exact
meaning is still being sought. Everyone knows that in the ancient Germanic legend Titurel
raises a temple to the Holy Grail at Montsalvat and entrusts its guard to twelve Knights
Templar. Monsieur de Hammer would like to recognize in it the symbol of gnostic Wisdom, a
very vague conclusion after having burned (4> for so long. Forgive us of we dare to suggest
another point of view. The Grail who doubts it today? is the most elevated mystery of
mystical Chivalry and of Masonry which degenerated from it; it is the veil of the Fire creator,
the Deus absconditus 1 2 3 4 (5) 6 in the word INRI, engraved above Jesus head on the cross. When
Titurel erected his mystical temple, it was to light the sacred fire of the Vestals, of the
Mazadaens, and even of the Hebrews, for the Jews kept a perpetual fire in the temple of
Jerusalem. The twelve custodians recall the twelve signs of the Zodiac annually crossed by
the sun, a symbol of living fire. The vase of Baron de Hammers idol is identical with the
pyrogenous vase of the Parsees, which is represented full of flames. The Egyptians also
possessed this attri bute: On the banks of the Nile, Serapis is often represented with the same
object on his head, named Gardal. In this Gardal the priests kept the material fire, while the
priestesses kept therein the celestial fire of Ptah. For the initiates of Isis, the Gardal was the
hieroglyph of divine fire. And this Fire-god, this Fove-God eternally incarnates into each
being since everything in the universe contains his vital spark. It is the Famb sacrificed since
the beginning of the world, which the Catholic church offers to its faithful in the form of the
Eucharist enclosed in the ciborium, like the Sacrament of Fove. The ciborium honni soit
qui mal y pensel <6) as well as the Grail and the sacred craters of all religions, represents the
female reproductive organ and corresponds to the cosmogonic vessel of Plato, the cup of
Hermes and Solomon, and the um of the ancient Mysteries. The Gardal of the Egyptians is
therefore the key of the Grail. It is, in short, the same word. Indeed, from distortion to
distortion Gardal became Gradal, and then, with a sort of aspiration, Graal. The blood boiling
in the holy chalice is the igneous fermentation of life or of the generating mixture. We can
only deplore the blindness of those who are so obstinate as to only see in this symbol, stripped
of its veils to the point of nudity, a profanation of the divine. The Bread and the Wine of the
mystical Sacrifice are the spirit or the fire in matter, which, through their union, produce life.
For this reason, all the Christian initiatic handbooks, called Gospels, cause Christ to say
allegorically: "I am the Fife; I am the living Brad; I have come to set things on fire, and
surround him in the sweet exoteric sign of the ideal nourishment".

(1) Cicero: On the Nature of the Gods, I, 10, p. 38.

(2) As mentioned, the baphomet sometimes exhibited the outer characteristic and appearance of ox skulls. Presented in this
manner, it is identified with the watery nature represented by Neptune, the greatest sea divinity of Olympus. Poseidon is
indeed veiled under the icon of the ox, bull, or cow, which are lunar symbols. The Greek name for Neptune come from
[*159-6], [*159-7] (Bous, bos ) in the genetive case, ox, bull, and from [*159-8], [*159-9] ( eydos, eydolon), image, specter, or
simulacrum.

(3) With regard to the Dictionnaire des Controverses Historiques by S.-F. Jehan, Paris, 1866.

(4) Translators Note: reference to a children's game in which one child hides an object and answers the others questions by
"you are cold", if they are far from the object or "you are burning", if they are close to it.

(5) The God hidden...

(6) Honni soit qui mal y pense The English device Shame unto him who thinks ill of this.

73

THE SALAMANDER OF LISIEUX VII

Before leaving the lovely manor of the Salamander, we will again point out a few motifs
placed on the second floor, which, without being an interesting as the preceding ones, are not
lacking symbolical value.

To the right of the pillar bearing the image of the woodcutter, we see two adjacent windows,
one blind, and one with glass. At the center of the four-centered arches we can see, on the
first, a heraldic fleur-de-lys a \ emblem of the sovereignty of science, which later became the
attri bute of royalty. The sign of Adepthood and of sublime knowledge, by appearing in royal
coats of arms when blazonry was instituted, did not lose its elevated meaning and ever since
still indicates acquired superiority, preponderance, valor, and dignity. For this reason the chief
city of the kingdom received permission to add to the gules field of its coats of arms three
fleur-de-lys placed as the head, on an azure field. Moreover the meaning of this symbol is
clearly explained in the Annales of Nangis: "The kings of France are accustomed to carrying
the fleur-de-lys painted three times on their coat of arms as if saying to the world: Faith,
Wisdom, and Chivalry are, by the gift and the grace of God, more abundant in our kingdom
than in any other. The two leaves of the fleur-de-lys, of same nature, mean wisdom and
chivalry guarding faith".

On the second window, a baby head, round and moon-shaped, surmounted by a phallus,
cannot but strike out curiosity. We discover it on the very expressive indication of the two
principles, whose conjunction engenders the philosophers matter. This hieroglyph of the
agent and the patient, of sulphur and mercury, of sun and moon, the philosophical parents of
the stone, is obvious enough for us not to explain it.

Between these windows, the small median column bears instead of a capital, an um similar to
the one we described while studying the motifs of the entrance gate. We do not have to repeat
an interpretation we have already given. On the opposite small column, continuing to the
right, a little angel, its forehead ribboned, stands hands folded in an attitude of prayer. Farther
down, two windows, adjacent as the two preceding ones, bear across their lintel the image of
two shields decorated with three flowers, emblem of the three repetitions of each work, about
which we have frequently spoken during this analysis> The figures which are the capitals of
the three columns of the windows respectively show, from left to right. Number 1: a mans
head, which we believe is that f the alchemist himself, whose glance is directed towards the
man riding the griffin; Number 2: a small angel, pressing against his breast a quartered shield,
that distance and lack of depth prevent us from describing in detail; Number 3: finally, a
second angel, showing the open book, the hieroglyph of the matter of the Work, prepared and
liable to manifest the spirit it contains. The sages have called their matter Liber the book
- because its texture, crystalline and lamellated, is formed of superimposed leaves, like the
pages of a book.

Finally, carved in the mass of the last pillar, a kind of Hercules, entirely naked, carries with
great difficulty the enormous mass of a solar-inflamed baphomet. Of all the subjects sculpted
on the fagade, it is the coarsest, the one whose execution is the least successful. Although it
dates from the same period, it seems that this little man, stout, malformed, with a swollen
belly, with disproportionate genital organs, must have been carved by some unskilled and
second-rate artist. With the exception of the face, neuter in its physiognomy, everything
seems purposely tormented in this disgraceful caryatid. It is trampling a curved mass

74

garnished with numerous teeth, as a whales mouth. Out Hercules might very well represent
Jonah, that little prophet miraculously saved after having stayed three days in the belly of a
whale. For us, Jonah is the sacred image of the Green Lion of the sages, which remains for
three philosophical days locked up in the mother substance before it rises through sublimation
and appears on the waters.

(1) We keep the old spellng of the word lys in fleur-de-lys, in order to clearly establish the diference of
expression which exists between this heraldic emblem, the draing of which is an iris flower (fleur d'iris), and the
natural lilly (fleur de lis) given as an attri bute to the Virgin Mary.

75

THE ALCHEMICAL MYTH OF ADAM AND EVE

The dogma of the first mans fall from grace, says Dupiney, from Vorepierre, does not only
belong to Christianity, but also to the mosaic religion and to the primitive religion, which was
that of the Patriarchs. For this reason this belief is found, albeit altered and disfigured, among
all the peoples of the earth. The au thentic story of mans downfall through his sin has been
preserved in the first book of Moses (Gen. 2-3). "This fundamental dogma of Christianity",
writes Abbot Foucher, "was not unknown in ancient times. People closer to the origin of the
world than we, knew through a uniform and constant tradition that the first man had
prevaricated, and that his crime had drawn Gods curse on all his posterity". "The fall of
degenerate man", says Voltaire himself, "is the foundation of the theology of all ancient
nations".

According to the Pythagorean Philolaus (5th century BC), ancient philosophers said that the
soul was buried in the body as in a tomb, in punishment for some sin. Plato also testified that
such was the doctrine of the Orphics, and he himself professed it. But as people also
recognized that man had come out of the hands of God and that he had lived in a state of
purity and innocence (according to Dicaearchus and Plato), one had to admit that the crime
for which he was being punished occurred after his creation. The golden age of Greek and
Roman mythologies is evidently a memory of mans first state when coming out of Gods
hands.

The monuments and traditions of Hinduism confirm the history of Adam and his Fall. This
tradition also exists among the Buddhists of Tibet; it was taught by the Druids as well as by
the Chinese and the ancient Persians. According to the books of Zoroaster, the first man and
the first woman were created pure and submissive to Orzmund, their creator; Ahriman saw
them and became jealous of their happiness; he approached them assuming the form of a grass
snake, presented them with fruit and persuaded them that he was himself the creator of the
entire universe. They believed him, and their nature then became corrupted, and this
corruption infected their posterity. The mother of our flesh, or the serpent woman, is famous
in Mexican tradition, which represents her, fallen from her primitive state of happiness and
innocence. In Yucatan, in Peru, in the Canary Islands, etc., the tradition of the downfall also
existed among the natives when the Europeans discovered these countries. The atonements
which took place among these diverse peoples to purify the child upon birth were irrefutably
witness to the existence of this generalized belief. "Ordinarily", said the learned Cardinal
Gousset, "this ceremony took place in the day when the child was given its name". Among the
Romans this day was the ninth for boys, and the eighth for girls; it was called lustricus
because of the lustral water used to purify the newborn. The Egyptians, Persians, and Greeks
had a similar custom. In Yucatan, in America, the child was brought to the temple, where a
priest poured on its head water reserved for this usage and gave him a name. In the Canary
Islands women fulfilled this function instead of priests. Similar atonements were ordered by
law among Mexicans. In some provinces a fire was also lit, and a movement was made of
passing the child through the flame so as to purify it both by water and by fire. The Tibetans
in Asia have similar customs. In India, when an infant is named, after having written his name
on his forehead and after having plunged him three times in water, the Brahmin or priest cries
out in a loud voice, "O God, pure, unique, invisible, and perfect, we offer you this child,
offspring of the holy tribe, anointed with an incorruptible oil, and purified with water".

76

As Bergier points out, this tradition certainly must go back to the beginning of mankind; for if
it had been bom among one particular people after the dispersion, it could not have spread
from one end of the world to the other. Furthermore, this universal belief in the first mans
Fall was accompanied with the expectation of a mediator, an extraordinary individual who
was to bring salvation to man and reconcile him with God. Not only was this liberator
expected by the Patriarchs and by the Jews, who knew that he would appear among them, but
also by the Egyptians, the Chinese, the Japanese, the Hindus, the Siamese, the Arabs, the
Persians, and by various nations of America. Among the Greeks and the Romans, this hope
was shared by some men, as Plato and Virgil testify. Further, as Voltaire points out, "from
time immemorial, there was a maxim among the Indians and the Chinese that the Sage would
come from the West. Europe, on the contrary, said that he would come from the East".

Under the biblical tradition of the first mans Fall, the philosophers, with their customary
skill, hid a secret of alchemical nature. Clearly we owe to this fact the existence of the
representations of Adam and Eve that we discovered on a few old Renaissance dwellings, and
it enables us to explain them. One of those, clearly representative of this intention, will serve
as an example for our study. This philosophers dwelling located in Le Mans displays, on the
second floor, a bas-relief representing Adam, his arm raised to gather the fruit of the tree of
knowledge, while Eve is drawing the branch towards hi, with a rope. Both of them are holding
phylacteries, attri butes meant to express the fact that the two characters have an occult
meaning, different from that of Genesis. This motif, worn badly by weathering only the
larger masses have been spared is circumscribed by a crown of foliage, flowers, and fruit,
hieroglyphs of a fecund, fertile nature, of abundance and production. To the right and above
we can notice among the leprous foliated moldings the image of the sun, while on the left
appears that of the moon. The two hermetic stars come to emphasize and further specify the
scientific quality and the secular expression of the subject borrowed from the Holy Scripture
(Plate X).

Let us notice, in passing, that the secular scenes of the temptation conform themselves to that
of religious iconographies. Adam and Eve are always represented, separated by the trunk of
the tree of Paradise. In the majority of cases, the snake, coiled around the trunk, is figured
with a human head; it appears in this way on the Gothic bas-relief of the ancient Fountain
Saint-Maclou, in the church o the same name in Rouen, and on another large tableau
decorating a wall of the so-called house of Adam and Eve, in Montferr and (Puy-de-Dome),
which seems to date back to the end of the 14th or the beginnings of the 15th century. On the
stalls of Saint-Bemard-de-Comminges (Haute-Garonne), the reptile uncovers its breasted
bust, with a womans arms and head. The snake of Vitre also exhibits a womans head,
sculpted on the four-centered arch of a lovely 15th century door on rue Notre-Dame (Plate
XI). On the other hand, the group of the tabernacle of the Cathedral of Valladolid in Spain,
made of pure silver remains realistic: the snake is represented in its normal shape and holds an
apple in its wide-open mouth, between its fangs (1) .

Adamus, Latin for Adam, means made of red earth; it is the first being of nature, the only one
among human creatures who was endowed with the two natures of the androgyne. We can
therefore regard him, from the hermetic viewpoint, as the basic matter joined to spirit in the
very unity of the created substance, immortal and everlasting. According to the Mosaic
tradition, as soon as God gave birth to woman by individualizing, into two distinct and
separate bodies, these natures that had been primitively associated in one single body, the first
Adam had to withdraw, specifying himself by losing his original constitution and becoming
the second Adam, imperfect and mortal. The Adam princeps the first Adam of whom
we have never found any figuration anywhere, is called by the Greeks [*172-1] ( Adamos ) or

77

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VITRE (Ille-et-Vilaine)

House Door on rue Notre-Dame (15th Century)

Plate XI

[*172-2] ( Adamas ), a word meaning, on the earthly plane, the hardest of steel, used for [*172-
3] ( Adamastos ), that is to say, indomitable, and still virgin [from the roots [*172-4], primitive
not , and [*172-5] ( damao ), to tame], which characterizes quite well the profound nature of the
first heavenly man and of the first earthly body as being solitary and not subject to the yoke of
marriage. But what about this steel called [*172-6] ( adamas ) about which the philosophers
say so much? Plato, in Timaeus , gives us the following explanation.

"Of all the waters which we have called fusible, that which has the most tenuous and the most
equal parts, which is the most dense, this unique type with a bright, shining yellow color; the
most precious of goods, gold in short, has formed by filtration through stone. The knot of gold
having become very hard and black because of its density, is called adamas. Another body,
close to gold on account of the smallness of its parts but which shows several species, whose
density is lower than that of gold, which contains a weak alloy of very tenuous earth,
rendering it harder than gold, and which is also lighter, owing to the pores dug in its mass, is
one of these brilliant and condensed water called bronze. When the portion of the earth it
contains becomes separated through the agency of time, it becomes visible of itself and it is
given the name rust".

The text by the great initiate teaches the distinction of the two successive personalities of the
symbolic Adam, which are described in their proper mineral expression of steel and bronze.
And the body close to the substance named adamas knot or sulphur of gold is the
second Adam, considered in the organic kingdom as the true father of all men, and in the
mineral kingdom as the agent and procreator of the metallic and geologic individuals
constituting it.

Thus we learn that sulphur and mercury, generating principles of metals, were originally one
and the same matter; for only later did they acquire their specific individuality and retain it in
the compounds proceeding from their union. Although this individuality is maintained by a
powerful cohesion, art can nevertheless break it and isolate sulphur and mercury in the form
specific to them. Sulphur, the active principle, is symbolically designated by the second
Adam, and mercury, the passive element, by his wife Eve. The latter element or mercury,
regarded as the most important, is also the most difficult to obtain in the practice of the Work.
Its usefulness is such that the science itself owes its name, hence hermetic philosophy is based
on the perfect knowledge of Mercury, in Greek [*173-1] (Hermes). This is being expressed on
the bas-relief which accompanies and borders the panel of Adam and Eve on the house of Le
Mans. There we can see Bacchus as a child, holding the thrysus (2) , his left hand hiding the
opening of a pot, and standing on the lid of a large vase decorated with garlands. Bacchus,
emblematic divinity of the mercury of the sages, incarnates a secret meaning similar to that of
Eve, mother of the living. In Greece, all Bacchants (3) were called [*173-2], Eva, a word
which has for its root [*173-3], Evius, a nickname for Bacchus. As for the vessels destined to
contain the philosophers wine or mercury, they are eloquent enough by themselves to spare
us the explanation of their esoteric meaning.

This explanation, albeit logical and complying to the doctrine, is nevertheless insufficient to
provide the rationale for certain experimental idiosyncrasies and some obscure points of
practice. Indubitably the artist could not pretend to acquire the original matter, that is to say,
the first Adam, "formed of red earth"; and the subject of the sages itself, qualified "first matter
of the art", is quite removed from the inherent simplicity of the second Adam. Nevertheless,
this subject is properly the mother of the Work, just as Eve is the mother of men. It is she who
endows the bodies which she bears, or more exactly which she reincrudates, with vitality,
vegetativeness, and the possibility of mutation. We shall go further and say for those who

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already have some smattering of science, that the mother common to all alchemical metals
does not enter in substance into the Great Work, although, without her, it is impossible to
produce or undertake anything. As a matter of fact, through her intervention, common metals,
true and only agents of the stone, are turned into philosophical metals; through her, they are
dissolved and purified; in her, they can repossess their lost activity and from having been dead
come alive again; she is the earth that nourishes them, makes them grow, fructify, and allows
them to multiply; finally, by returning to the motherly womb which had once upon a time
formed them and given birth to them, they are reborn, recovering the primitive faculties which
human activity had taken away from them. Eve and Bacchus symbolize this philosophical and
natural substance yet not the first in the sense of unity or universality commonly known
by the name of Hermes or Mercury. We know, on the other hand, that the winged messenger
of the gods was the intermediary between the powers of Mount Olympus, and played in
mythology a role analogous to that of mercury in the hermetic work. Hence, we understand
more clearly the special nature of its action, and why it does not remain with the bodies which
it has diluted, purged, and animated. We can also grasp in which way it is appropriate to
understand Basil Valentine when he affirms that metals (4) are creatures twice bom from
mercury, children of the one and only mother, produced and generated by her. Further we can
conceive more clearly where the stumbling-block lies which the philosophers have thrown
across our paths when they assert in common agreement that mercury is the unique, sole
matter of the Work, whereas the necessary reactions are only provoked by it, which they said
either by metaphor or by considering it from a specific viewpoint.

It is also useful to learn that, if we need the cist of Cybele, Ceres, or Bacchus, it is because it
contains a mysterious body which is the embryo of our stone; if we need a vase, it is to place
the body therein, and everyone knows that, without suitable earth, any seed would become
useless. Consequently, we cannot do without a vessel, although that which is contained is
infinitely more precious than the container, the latter being destined sooner or later to be
separated from the former. Water in and of itself has no shape, although it is liable of
espousing them all and of taking that of the container which contains it. This is the reason for
our vessel and for its necessity and why philosophers have repeatedly recommended it as the
indispensable vehicle, the necessary excipient of our bodies. And this truth finds its
justification in the image of the infant Bacchus standing on the lid of a hermetic vessel.

Of the preceding, it is especially important to remember that metals, liquefied and dissociated
by mercury, recover the vegetative power they possessed at the time of their appearance on
the physical plane. The dissolving agent plays for them the part of a genuine Fountain of
Youth. It separates the heterogeneous impurities brought in from the mineral deposits, takes
away from them the infirmities contracted throughout the centuries; it reanimates them, gives
them new vigor and rejuvenates them. It is the way common metals are reincrudated; that is,
put back in a state close to their original state, and from then on they are known as living or
philosophical metals. Since they reassume, upon contact with their mother, their original
faculties, we can assert that they became close to what she is and have taken a nature similar
to hers. On the other hand, as a result of this conformity of complexion, they are obviously
incapable of engendering new bodies with their mother, the latter having only a renewing
rather than a generating power. Hence we must conclude that the mercury of which we speak
and which has for symbol the Eve of the Mosaic Eden, is not the one to which the sages have
assigned the role of matrix, of receptacle, the vase, suitable for the reincrudated metal, called
sulphur, sun of the philosophers, metallic seed and father of the stone.

Do not be mistaken; there lies the Gordian Knot of the Work, the one that beginners must try
to untie if they do not want to be stopped short at the beginning of practice. Hence another

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mother exists, daughter of the first, whom the masters with an intention easy to guess, have
also called mercury. And the differentiation of these two mercuries, one the agent of renewal,
the other of procreation, constitutes the most difficult study that the science has reserved for
the neophyte. With the aim of helping him overcome this obstacle we have dwelled at length
on the myth of Adam and Eve, and we shall attempt to clarify these obscure points,
voluntarily left in shadow by even the best of authors. Most of them were content to
allegorically describe the union of sulphur and mercury, generators of the stone, which they
call sun and moon, philosophical father and mother, fixed and volatile, agent and patient,
male and female, eagle and lion, Apollo and Diana (that same transformed into Apollonius of
Tyana), Gabritius and Beya, Urim and Thumin, the two columns of the temple: Jachim and
Boaz, the old man and the young virgin; finally, and more exactly so, brother and sister,
whose respective beings proceeded from a common mother, owing to the opposition of their
temperaments, and rather to the difference in age and evolution than to a gap of affinities.

The anonymous author of The Ancient War of the Knights (5) , in a discourse told by the metal
reduced to the state of sulphur under the action of first mercury, teaches us that this first
sulphur needs a second mercury with which it must be joined so as to multiply its kind.

"Among the artists", the metal says, "who have worked with me, some have pushed their
work so far as to succeed in separating from me my spirit, which contains my tincture; so that,
mixing it with other metals and minerals, they succeeded in communicating a few of my
virtues and strengths to metals that have some affinity and friendship for me. However, the
artists who have succeeded in this path and who found with certainty a part of the art are truly
in a very small number. Since they did not know whence the tinctures come, it was impossible
for them to push their work any further, and in the final analysis they did not find anything
very useful in their process. But if these artists had taken their research beyond this point and
had seriously examined who is the proper wife for me, and if they had looked for her and
united me with her, then I could have tincted a thousand times more". In The Conversation
between Eudoxus and Pyrophile, which serves as a commentary to this treatise, Limojon
Saint-Didier writes about this passage: "The woman who is appropriate for the stone and who
must be united to it is the fountain of living water, whose source, entirely heavenly, and
particularly which has its center in the sun and the moon, produces this clear and precious
stream of the Sages, which flows into the sea of philosophers that surrounds the whole world.
It is not without foundation that this divine fountain is called by the author the wife of the
stone: some have represented it in the form of a celestial nymph; others gave it the name of
the chaste Diana, whose purity and virginity were not soiled by the spiritual connection
uniting her to the stone. In a word, this magnetic conjunction is the magical marriage of earth
with heaven, about which some philosophers have spoken; so that the second source of the
physical tincture which operates such wonders takes its birth from this all mysterious marital
union".

The two mothers or mercuries we had just distinguished are represented in the shape of two
roosters (6) in the stone panel located on the third floor of the house of Le Mans (Plate XII).
They accompany a vase (7) filled with leaves and fruit, symbol of their vivifying, generative
and vegetative capacity, of the fecundity and abundance of the productions issued therefrom.
On each side of the motif, seated characters one blowing into a hom, one plucking a kind
of guitar perform a musical duo. The various subjects sculpted on the facade refer to a
translation of the Art of Music, conventional epithet for alchemy.

Before we continue our study of the motifs of the house of Adam and Eve, we believe that we
must warn the reader that under barely veiled terms our analysis contains the revelation of

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LE MANS - HOUSE OF ADAM AND EVE (16th CENTURY)

Deianiras Kidnapping

Plate XII

what it is customary to call the secret of the two mercuries. Our explanation, nevertheless,
could not resist an examination, and whosoever will take the trouble to dissect it will find in it
certain contradictions, obvious errors of logic or judgment. Yet we loyally acknowledge that
at the foundation, there is only one basic mercury, and that the second one necessarily derives
from the first. It was appropriate nevertheless to call attention to the different qualities they
took on, and to show be it at the cost of the twisting of reason or an improbability how
they can be distinguished and identified and how it is possible to directly extract the
appropriate wife of sulphur, mother of the stone, from the womb of our primitive mother.
Between cabalistic tale, traditional allegory, and silence, we had no choice. Since our aim is to
help workers little familiar with parables and metaphors, the use of allegory and the cabala
was forbidden to us. Would it have been better for us to act as many of our predecessors did
and say nothing? We do not think so. What would be the use of writing if not for those who
already know and who do not need such advice? We have therefore preferred to give in clear
language a demonstration ab absurdo, thanks to which it has become possible to reveal the
Arcanum, until now obstinately hidden. Besides, this technique does not belong to us. May
the authors and they are numerous in whose texts similar contradictions are not noticed,
throw the first stone at us!

Above the roosters, guardians of the fruitful vase, a larger panel can be seen, unfortunately
quite mutilated, whose tableau represents Deianiras kidnapping by the centaur Nessus.

The legend tells us that Hercules, having obtained from Oeneus the hand of Deianira, for
having triumphed over the river god Achelous <8) ,our hero, accompanied with his new wife,
wanted to cross the river Evenus (9) . Nessus, who was in the neighborhood, offered to
transport Deianira to the other bank. Hercules made the mistake of agreeing to it, and soon
found out that the centaur was trying to take his wife away from him. An arrow dipped in the
blood of the Hydra and shot with a very sure hand stopped him immediately. Nessus, knowing
he was dying, gave to Deianira his tunic tinged in his blood, assuring her that she could use it
to bring back her husb and if he left her and became attached to other women. Later the
credulous wife, having learned that Hercules was looking for Iole (10) , his prize for having
triumphed over Eurytus, her father, sent him the blood-stained vestment. But as soon as
Hercules put on the tunic, he felt horrible pains, Not being able to withstand so much
suffering, he threw himself in the midst of the pyre raised on Mt Oeta (11) , which he had lit
with his own hands. Deianira, learning that fateful news, killed herself in despair.

The tale refers to the last operations of the Magistery; it is an allegory of the fermentation of
the stone by gold, so as to direct the Elixir towards the metallic kingdom and to limit its use to
the transmutation of metals.

Nessus represents the philosophers stone, not yet determined or assigned to any one of the
great natural realms, whose color varies from carmine to brilliant scarlet. [*180-1] ( nesos ), in
Greek means crimson garment, and the bloody tunic of the centaur which "bums bodies
more than the fires of hell" signifies the perfection of the completed product, matured and
full of tincture.

Hercules represents the sulphur of gold whose virtue, refractory to the most incisive agents,
cannot be vanquished by anything except the action of the red garment or blood of the stone.
Gold, charred under the combined action of the fire and the tincture, takes on the color of the
stone and in exchange, gives it the metallic quality which the work had caused it to lose. Juno,
queen of the Work, thus consecrates the glory and reputation of Hercules, whose mythical
apotheosis finds it s material realization in fermentation. The very same Hercules, [*181-1]

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(Heracles), indicates that he owes to Juno the imposition of the successive works he
undertook, and assured his fame and spread his renown; [*181-1], as a matter of fact, is
formed, from the roots [*181-2] (Hera), Juno and [*181-3] (kleos), meaning glory, reputation,
and renown. Deianira, wife of Hercules, personifies the mercurial principle of gold, which
fights together with sulphur to which it is joined but which nevertheless succumbs under the
ardor of the igneous tunic. In Greek, [*181-4] (Deianeira) derives from [*181-5] (Deiotes),
hostility, fight, agony.

On the face of the two inside pillars which form a border for the mythological scene whose
esotericism we have just studied, appear, on one side, a lions head with wings and on the
other, a dogs or a bitchs head. These animals are also integrally represented on the arches of
the door of Vitre. The lion, hieroglyph of the fixed and coagulating principle, commonly
called sulphur, has wings so as to show that the primitive dissolving agent, by decomposing
and reincrudating the metal, gives to sulphur a volatile quality without which its reunion with
mercury would become impossible. Some authors have described how to achieve this
important operation in their allegory of the fight of the eagle and the lion, of the volatile and
the fixed a fight which has been sufficiently explained elsewhere <12) .

As for the symbolic dog, direct successor of the Egyptian cynocephalus, the philosopher
Artephius has granted it civil rights among the figures of alchemical iconography. Indeed, he
speaks of the dog of Khorassan and of the Bitch of Armenia, emblems of the sulphur and the
mercury, parents of the stone <13> . But while the word [*181-6] ( Armenos ), meaning that which
is needed, which is prepared and appropriately disposed indicates the passive and feminine
principle, the Dog of Khorassan, or sulphur, gets its name from the Greek: [*181-7] (Korax),
equivalent of crow <14) .

The word crow was also used to indicate a certain blackish fish about which, if we were free
to do so, we could say many intriguing things.

The Sons of Science whose perseverance has led to the threshold of the sanctuary, are aware
that next to the knowledge of the universal dissolving agent unique mother taking on Eves
personality there is no other more important knowledge than that of metallic sulphur, first
son of Adam, effective generator of the stone, which received the name of Cain. Cain means
acquisition and the artist first acquires the black and enraged dog mentioned in the texts, the
crow, first testimony of the Magistery. It is also, according to the version of the Cosmopolite,
the fish without bones, echeneis, or remora, "which swims in our philosophical sea", and
about which Jean Joachim dEstinguel dlngrofort (15) affirms that "once you possess the small
fish named Remora, which is very rare if not unique in this great sea, you will no longer need
to fish but only to ponder about the preparation, the seasoning, and the cooking of this small
fish". Although it is preferable not to extract it from the environment in which it lives
leaving it, if need be, enough water to maintain its vitality those who had the curiosity of
isolating it could verify the accuracy, the veracity of the philosophical assertions. It is a very
tiny body in relation to the volume and the mass from which it comes with the external
appearance of an often circular, sometimes elliptical, double-convex lens. Of an earthy rather
than metallic appearance, this light button, not fusible but very soluble, hard, breakable,
friable, black on one side, whitish on the other, violet at its breaking point, has received
several names relative to its form, its coloration, or to certain of its chemical idiosyncrasies. It
is the secret prototype of the popular bather of the cake of the kings (16) , the charm, [*182-1]
(kymanos), paronym of [*182-2] ( kyanos, bluish-black), the sabot or wooden shoe [*182-3]
(,bembex ) (17) ; it is also the cocoon [*182-4] (bombykion) and its worm, whose Greek name,
[*182-5] (bombex), is so similar to that of sabot, which has for root [*182-6] (bombos).

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precisely expressing the sound of a spinning top. It is also the small blackish fish called
chabot from which Perraulyt derived his Chat bolle AV ". The famous Marquis of Carabas, from
[*183-1] (Kara), head and [*183-2] ( basileus ), king, of the hermetic legends dear to our youth
and gathered under the title, Tales of Our Mother Goose, also has relevance; it is, finally, the
basil of the fable [*183-3] (basilikon) our regulus (little king) or kinglet ([*183-4]
(basiliskos), the fur slipper (because it is white and grey) of the humble Cinderella, the sole,
the flat fish of which each side is differently colored and whose name is related to sun (Latin
sol, solis), etc. In the oral tradition of the Adepts, however, this body is usually called by the
term violet, the first flower that the sage can see being born and blooming during the
springtime of the Work, transforming into a new color the green of its flower bed...

We believe that we must interrupt the teaching here and maintain the wise silence of Nicolas
Valois and of Quercetanus, the only ones, tour knowledge, who revealed the verbal epithet of
sulphur, gold, or hermetic sun.

(1) The sculptor Jaun de Arfe made this magnificent work of art in 1590.

(2) In Greek [*173-3] ( thrysos ), to whichi Adepts prefer the synonym [*173-4] ( thyrsologchos ), as being much
nearer to scientific truth and experimental reality and in which we can still grasp a very suggestive relationship
between the rod of Aaron and the lance of Ares.

(3) Translators note: Bacchants, the priestesses of Bacchus.

(4) Here, the Adept hears about alchemical metals produced by reincrudation, or the return of the common
metallic bodies to the simple state.

(5) Treatise reprinted in The Hermetic Triumph by Limojon de Saint-Didier; Amsterdam, Henry Wetstein, 1699
and Jacques Desbordes, 1710.

(6) In antiquity the rooster was attri buted to the god Mercury. The Greeks designated it by the word [*176-1]
( alektor ), which sometimes signifies virgin and sometimes wife, characteristic expressions of both mercuries;
cabalistically, alektor is a pun on [*176-2], that which must not or cannot be told, secret, mysterious.

(7) In Greek, vase is [*179-1] ( aggeion ), the body, word which has for root [*179-2] ( aggos ), uterus.

(8) The water, the humid or mercurial stage which metals originally offer and which they progressively lose as
they coagulate under the desiccating action of the sulphur supposed to assimilate mercury. The Greek term
[*180-2] (Acheloos) does not only apply to the river Achelous but is also used to mean any course of flowing
water or river.

(9) [*180-2] ( Euenios ), soft, easy. Remark here that the matter is not a solution of the principles of gold.
Hercules does not enter into the waters of the river, and Deianira crosses it on the back of Nessos. It is the
solution of the stone that is the topic of this allegorical crossing of the Evenus, and this solution is easily
obtained in and easy and soft fashion.

(10) The Greek word [*180-3] ( Ioleia ) is formed from the Greek word [*180-4] ( Ios ), venom and [*180-5]
( leia ), booty or prey. Iole is the hieroglyph of the first matter, violent poison, say the sages, yet with which the
great medicine is made. The common metals, dissolved by it, thus fall prey to this venom which changes their
nature and decomposes them. This is why the artist must be very careful not to mix the sulphur obtained in this
fashion with the metallic gold. Hercules, although looking for Iole, does not enter into union with her.

(11) In Greek [*180-6] ( Aitho ), to burn, inflame, be fiery.

(12) Cf. Fulcanelli, Le Mystere des Cathedrales (The Mystery of the Cathedrals )

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(13) Among the details of the Creation of the world which ornament the north portal of the Cathedral of
Chartres, we can see a 13th century group, representing Adam and Eve, having at their feet the tempter,
represented by a monster with a head and torso of a dog, leaning on his front paws and ending in a snake tail. It
is the symbol of sulphur, connected with mercury in the original chaotic substance (Satan).

(14) The Latins called the crow Phoebeius ales , Bird of Apollo or of the Sun [*181-8] ( phoibos ). In Notre-Dame
de Paris, among the chimeras affixed to the balustrades of the high galleries, a strange crow is found clothed with
a long veil that half covers it.

(15) Jean-Joachim dEstinguel dlngrofont, Traitez du Cosmopolite nouvellement decouverts (Newly Discovered
Treatises of the Cosmopolite), Paris, 1691, Letter II, p. 46.

(16) Translators Note: This is in reference to the French tradition when on the Day of Epiphany, the 6th of
January, day of the Three Wise Men, a cake called the cake of the kings, la galette des rois is baked to
remind people of the appearance of the three Magi. A bean figurine is hidden in the cake and the person who
finds it is crowned.

(17) See supra, p. 22 in Le Mystere des Cathedrales , what has been written about this childs toy, this principal
object of Indus poerorum (childs play).

(18) Translators Note: Literally Puss in Boots, but there is hermetic cabala here as chabot: the small special fish
sounds like Puss n Boots in French.

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LOUIS DESTISSAC I

GOVERNOR OF POITIER AND SAINTONGE
Grand Officer of the Crown and Hermetic Philosopher

The mysterious side of a historical figure is revealed to us through one of his works. As a
matter of fact, Louis dEstissac, man of high birth, turns out to be a practicing alchemist and
one of the best instructed Adepts in hermetic secrets.

Where did he obtain his science? Who gave him by word of mouth most probably the
first elements of it? We do not know it for a fact, but we would like to believe that the learned
doctor and philosopher Francois Rabelais (1) could very well have to do with the initiation.

Louis dEstissac, born in 1507, was the nephew of Geoffrey dEstissac and lived in the house
of his uncle, superior of the Benedictine Abbey of Maillezais, who had established his priory
in the vicinity at Liguge (Vienne). It is well known that Geoffrey dEstissac had for a long
time entertained a relationship of the most intense and warm friendship with Rabelais. "In
1525", writes H. Clouzet <2) , "our philosopher lived in Liguge as an attache in the service of
Geoffrey dEstissac". "Jean Bouchet", adds Clouzet, "the procurator-poet who informs us so
well about the way of life at Liguge, in the priory of the reverend bishop, unfortunately, does
not specify Rabelais position. Secretary to the prelate? It is possible. But why not governor of
his nephew Louis V, who is only 18 years of age and does not marry until 1527? The author
of Gargantua and of Pantagruel brings about such developments in the education of his
heroes that we must assume that his scholarship was not purely theoretical but that it was also
the fruit of an earlier practice". Moreover, Rabelais seems never to have abandoned his new
friend perhaps his disciple for while in Rome in 1536, he sent, according to Clouzot, to
Madame dEstissac, the young niece of the bishop, "medicinal plants and a thousand cheap
little objects of curiosity", imported from Cypms, Candia, and Constantinople. It is still to the
castle of Coulonges-sur-lAutize called Coulonges-les-Royaux in the Fourth Book of
Pantagruel that our philosopher, pursued by the hatred of his enemies, came around 1550
to seek refuge at Louis dEstissac, heir of Rabelais protector, the bishop of Maillezais.

Be that as it may, this leads us to believe that the search for the philosophers stone in the 16th
and 17th centuries was more active than we tend to believe, and, that its fortunate owners did
not represent the tiny majority of the spagyric world that people usually tend to assign it. If
they remained unknown to us, it is much less because of a lack of documents relative to their
science, than due to our ignorance of traditional symbolism, which does not allow us to
recognize them easily. King Francis I, by prohibiting the use of printing through his decree of
1537, probably was the determining cause of this shortage of books, noteworthy in the 16th
century, and also was the unconscious promoter of the new symbolic development worthy of
the most beautiful medieval period. Stone takes the place of parchment, and sculpted
ornamentation comes to the aid of prohibited printing. This temporary return of thought to
monuments, of the written allegory to the stone parable, has given us some brilliant works of
real interest for the study o the artistic versions of the old alchemy.

As far back as the Middle Ages, the masters whose treatises we possess, were fond of
adorning their dwellings with hermetic signs and images. At the time of Jean Astruc (3) ,
physician to King Louis XV, that is to say, around 1720, there was a dwelling in Montpellier,

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in rue Cannau opposite the convent of the Capuchin monks, which, according to tradition, is
said to have belonged to Master Arnold of Villanova in 1280, or where he might have lived.
One could see on it, sculpted on the door, two bas-reliefs representing, one a roaring lion, the
other a dragon biting its own tail, acknowledged emblems of the Great Work. The dwelling
was destroyed in 1755. His disciple, Raymond Lully, returning from Rome, stopped in Milan
in 1296 to pursue his philosophical research. In the same town, in the 18th century, people
still showed the house in which Lully had worked; the entrance was decorated with
hieroglyphic figures pertaining to the science, as is indicated in a passage in Borrichius
treatise on The Origin and the Progress of Chemistry (4) . It is known that the houses, the
churches, and the hospitals built by Nicolas Flamel served as turning points for the
distribution of images of the sacred Art; his own dwelling, 'Thostel Flamel", built in the year
1376 on rue Marivaux close to the St Jacques Church in Paris, was, according to a chronicle,
"all beautiful with painted and gilded stories and mottoes".

Louis dEstissac, contemporary of Rabelais, Denis Zachaire, and Jean Lallemant, also wanted
to devote to the science which he dearly loved, a dwelling worthy of it. At age 35, he made
plans for a symbolic interior where the secret signs which had guided his works would be
found, skillfully distributed and hidden with great care. Once the topics were well-established
and appropriately veiled so that the layman could not discern their mysterious meaning
once the broad outlines of the architecture were decided upon, he entrusted its execution to an
architect who might have been Philibert de lOrme in any case it is Monsieur de
Rochebrunes opinion. Thus was born the superb castle of Coulonges-sur-lAutize (in the
district of Deux-Sevres), whose construction demanded 26 years, from 1542 to 1568, which
today offers but an empty interior with barren walls. The furniture, the porches, sculpted
stones, ceilings, and even quoin turrets have all been scattered. Some of these artworks were
acquired by the famous etcher, Etienne-Octave de Guillaume de Rochebrune, and were used
for the refurbishing and embellishment of his house in Fontenay-le-Comte, (in the district of
Vendee). In the castle of Terre-Neuve, where they are preserved today, we can admire and
study them at leisure. This castle, furthermore, by the abundance, the variety, and the origin of
the artistic works it contains, is more akin to a museum than to a private dwelling from the
time of Henry IV.

The most beautiful ceiling of the castle of Coulonges, which once upon a time ornamented the
hall and the treasure room, covers today the great salon of Terre-Neuve, called the Workshop.
It is composed of nearly 100 panels, all different; one bears the date of 1550 along with the
monogram of Diane de Poitiers, similar to the one found in the Castle of Anet. This detail led
people to suggest that the plans of the Castle of Coulognes could have belonged to the
architect-priest Philibert de lOrme (5) . Later, while studying a similar dwelling, we will come
back to the secret meaning of the ancient monogram adopted by the mistress of Henry II, and
shall point to the mistake that caused so many magnificent dwellings to be erroneously
attri buted to Diane de Poitiers.

A mere sharecropper farm at first, the castle of Terre-Neuve, in its current form, was built in
1595 by Jean Morison, on behalf of Count Nicolas Rapin, vice-seneschal of Fontenay-le-
Comte and "distinguished poet", as we leam from a handwritten monograph of the castle of
Terre-Neuve, probably by Monsieur de Rochebrunes hand. The inscription, in verse, which is
under the porch, was composed by Nicolas Rapin himself. We quote it here as an example,
keeping its original spelling and form:

86

Winds blow in all seasons
A good air into this house
May fever, plague or ills
Coming from envy, quarrels
Or suits never molest
Those who dwell here.

The castle of Terre-Neuve owes its rich collection to the aesthetic sense of the successors of
the poet-seneschal and above all to the sure taste of Monsieur de Rochebrune (6) for artworks.
Our intention is not to draw up a catalog of the curiosities it shelters; let us haphazardly
mention, for the pleasure of enthusiasts and amateurs, high-warp tapestries from the time of
Louis XIII, coming from Chaligny, near Sainte-Hermine (Vendee); a door from the great
salon, originally from Poitiers; the sedan chair of the Lord of Mercy, bishop of Lucon in
1773; gilded wood panels in the style of Louis XIV and Louis XV; a few beautiful wood
consoles from the castle of Chambord, an emblazoned panel of Gobelin tapestry (1670) given
by Luis XIV; very beautiful 15th century wood sculptures, coming from the library of the
Castle of Hermenault, also in the Vendee district; some Henry II curtains; three of the eight
panels of a series entitled Triumphs of the Gods, representing the triumphs of Venus, Bellone
and Minerva, woven in silk in Flanders and attri buted to Mantegna; a piece of Louis XIV
furniture, quite well preserved, and a piece of sacristy furniture from the time of Luis XIII;
engravings from the best masters of the 16th and 17th centuries; an almost complete
collection of all offensive weapons in use from the 9th to the 18th centuries; enameled glazes
from Avisseau; Florentine bronzes; Chinese dishes of the green period; a library containing
the works of the most famous architects of the 16th and 17th centuries: Ducerceau, Bietterlin,
Bullant, Lepautre, Philibert de FOrme, etc.

Of all these marvels, the one which most interests us is without question the monumental
fireplace of the Grand Salon, bought in Coulonges and rebuilt in the Castle of Terre-Neuve in
March 1884. More remarkable even, by the accuracy of the hieroglyphs which decorate it, the
finishing quality of the workmanship, the mastery, to the extent of virtuosity, of the carving,
and its surprising preservation, rather than by its artistic merit, it constitutes for the disciples
of Hermes a precious document, very useful to consult (Plate XIII).

The art critic would indeed be justified to aim at this stonework the reproach common to
decorative productions of the Renaissance, namely, that it tends to be heavy, inharmonious,
and cold in spite of its sumptuous appearance, and the display of a far too gaudy
luxuriousness. He could pick out the excessive weightiness of the mantle bearing on its
meager jambs, the panes poorly balanced among themselves, a poverty of form, of invention,
painfully masked under the brilliance of ornaments, moldings, or arabesques lavished in vain
ostentation. As for us, we voluntarily leave aside the aesthetic feeling of a brilliant albeit
superficial period, where affectations and mannerisms replaced missing thought and failing
originality, and we will concentrate on the initiatory value of the symbolism for which this
fireplace serves both as pretext and support.

The mantle, structured as an entablature filled with interlacing and symbolic figures, is carried
by two cylindrical and polished stone pillars. A fluted lintel is bearing on their abacus under a
quarter-round ovum and flanked by three acanthus leaves. Above, four girdled caryatids, two
men and two women, hold up the cornice; the womens girdles are ornamented with fruit
while those of the men show the mask of a lion biting a crescent moon, by way of a ring.
Between the caryatids, three frieze panels unfurl various hieroglyphs in a decorative form
designed to better veil them. The cornice is divided horizontally into two levels, by a jutting

87

FONTENAY-LE-COMTE - TERRE-NEUVE CASTLE
The Fireplace of the Grand Salon

Plate XIII

fillet covering four motifs: two vases filled with fire and two shield escutcheons bearing the
engraved date of execution, March 1563 1 2 3 4 5 6 (7) . They serve as a frame for three panels receiving
the three words of a Latin sentence: Nascnedo quotidie morumur. Finally, the upper part
displays six little panels, opposed two-by-two, from the extremities toward the center; there
we can see small kidney-shaped panels, bucranes, and near the median axis, some hermetic
shields.

Such are, briefly described, the most interesting emblematic pieces for the alchemist, that we
shall analyze in great detail.

(1) Gilbert Ducher, in one of his epigrams to philosophy (1538), remembers him as one of the faithful of the
divine science:

"In primis sane Raelaesum, principem eundem
Supremeum in studiis diva tuis Sophia".

(2) H. Clouzot: Vie de Rabelais (Life of Rabelais), biographical notice written for publication of Les Ouevres de
Rabelais (Works of Rabelais), Paris, Gamier Brothers, 1926.

(3) Jean Astruc: Memoires pour servir a IHistoire de la Faculte de Medecine de Montpellier (Memoirs to Serve
for the History of the Medical School of Montpellier)', Paris, 1767, p. 153.

(4) "Quod autem Lullius Mediolani etfuerit et chimica" etc. (Olaus Borichius, De Ortu et Progress Chemiae, p.
133)

(5) On September 5, 1550, Philibert de lOrme received a canonicate at Notre-Dame de Paris, around the same
time as Rabelais. Our architect canceled it in 1559, but his name is frequently mentioned in the capitularies of
the cathedral.

(6) Monsieur de Rochebrune, born at Fontenay-le-Comte in 1824 and who died at the Castle of Terre-Neuve in
1900, was the grandfa ther of the current owner. Monsieur de Fontenious

(7) When Louis dEstissac was 56 years of age

88

LOUIS DESTISSAC II

The first of the three panels separated by the caryatids, the one on the left, exhibits a central
flower, our hermetic rose, two comb-type shells, known as merelles de Compostelle (1) , and
two human heads, one of a very old man at the bottom, the other of a cherub at the top. We
uncover here a formal indication of the materials we need for the Work and the result the
artist should expect therefrom. The old mans mask is the emblem of the primary mercurial
substance to which, say the philosophers, all metals owe their origin. "You must know",
writes Limojon de Saint-Didier (2) , "that our old man is our mercury; that the name suits it
because it is the raw matter of all metals; the Cosmopolite says it is their water, and gives it
the name of steel and magnet, and he adds, to further confirm what I have just uncovered for
you: Si undecies coit aurum cum eo, emittit suum semen, el debilitatur fere ad mortem usque;
concipit chalybs, et generat filium patre clariorem " <3) .

On the west portal of the Chartres Cathedral, we admire a very beautiful 12th century statue
where the same esotericism is so luminously expressed. It is a tall old man of stone, crowned
and haloed which already signifies his hermetic personality draped in the ample mantle
of the philosopher. In his right hand he holds a zither (4) . In his left hand he raises a bulging
phial somewhat like the pilgrims calabash. Standing between the posts of a throne, he
tramples underfoot two intertwined human-headed monsters, one of which has wings and bird
feet (Plate XIV). These monsters represent the raw bodies whose decomposition and
assemblage into another form of volatile quality provides the secret substance we call mercury
and that suffices to single-handedly accomplish the entire work. The calabash, which contains
the beverage of the peregrinator, is the image of the dissolving qualities of the mercury,
cabalistically called pilgrim or traveler. In the motifs of our fireplace, the same is represented
by the scallop shells (5) , also used as, and called holy-water basins, because therein is kept
holy or blessed water, qualifications which the ancients applied to mercurial water. Here, in
addition to the purely chemical meaning, the two shells, still teach the seeker that the regular
and natural proportion demands two parts of the dissolving agent for one of the fixed body.
From this operation, accomplished according to the art, arises a new, regenerated body, of a
volatile nature, evoked by the cherub or angel (6) who dominates the composition. Thus, the
death of the old man gives birth to the child, and ensures its vitality. Philale thes advises us
that in order to achieve the goal we must kill the living so as to resuscitate the dead. "By
taking", he says, "the gold, which is dead, and the water, which is living, we form a
compound in which, after a brief decoction, the gold seed becomes alive while the living
mercury is killed. The spirit coagulates with the body and the two putrefy forming a silt-like
substance, until the constituent parts of the compound are reduced to atoms. Such is the nature
of our Magistery" (7) . This double substance, this perfectly matured, augmented and multiplied
compound becomes the agent of the marvelous transformations which characterize the
philosophers stone, rosa hermetica. The rose is sometimes white, sometimes red, depending
on the ferment, silver or gold, which serves to orient our first stone. Flamel describes for us
the two philosophers flowers, blooming on the same rosebush, Flamel describes for us in his
Book of Hieroglyphic Figures. They similarly embellish the title page of Mutus Liber, and are
seen blooming in a crucible, on the Gobille engraving illustrating the twelfth key of Basil
Valentine. It is known that the celestial Virgin wears a crown of white roses and it is also
known that the red rose is the signature reserved to the initiates of the higher order, the Rose
Cross (8) . Finally, explaining this term Rose Cross will allow us to complete the description of
the first panel.

89

/ V'Y

ww'-j&m

wmMrf** Ml

...

J.Cfl^Tnpa^T

CHARTRES CATHEDRAL - WEST PORTAL
Symbolic old man (12th Century)

Plate XIV

7

Apart from the alchemical symbolism whose meaning is even quite clear, we unveil in this
panel another hidden element, relating to the high rank occupied, in the initiatory hierarchy,
by the man to whom we owe the motifs of this hieroglyphic architecture. The fact that Louis
dEstissac had conquered the title par excellence of hermetic nobility is beyond doubt. The
central rose in fact appears in the center of the St Andrew cross, formed by the rising of stone
bandelettes which we can assume had previously covered and enclosed it. It is the great
symbol of manifested light (9) , which is indicated by the Greek letter X (khi), initial of the
words [*197-1] ( Chone ), [*197-2] ( Chrysos ), and [*197-3] ( Chronos ), crucible, gold, and
time, triple unknown of the Great Work. The cross of St Andrew ([*197-4] Chiasma ), in
the shape of an X, is the hieroglyph of luminous and divergent radiations, emanated from a
unique fire/center, reduced to its simplest expression. Therefore, it is clearly the graphic of the
spark. Its radiation can be multiplied, but it is impossible to further simplify it. These
intersecting lines produce the diagram of the shining of stars, of the radiating dispersion of all
that shines, lightens and irradiates. Thus it has been made the seal, the mark of illumination,
and, in a wider sense, of spiritual revelation. The Holy Spirit is always perpendicular to its
body, that is to say, in a cross. For the Greek cross and that of St Andrew have in hermetics an
exactly similar meaning. One frequently encounters the image of the dove completed by a
halo which specifies the hidden meaning, as can be seen in the religious scenes of our
Primitives and in a number of purely alchemical sculptures <10> . The Greek X and the French
X represent the writing of light by light itself, the trail of its passage, the manifestation of its
movement, the affirmation of its reality. It is its true signature. Until the 12th century, no
other mark was used to au thenticate old charters; from the 15th century on, the cross became
the signature of illiterates. In Rome, auspicious days were signed with a white cross and
unfavorable ones with a black cross. It is the complete number of the Work, because unity, the
two natures, the three principles, and the four elements give the double quintessence, the two
Vs joined in the Roman cipher X for the number ten. The number is the foundation of the
Pythagorean Cabala, or of the universal language, whose curious paradigm can be seen on the
last page of a little alchemy book (11) . Bohemians used the cross or the X as a sign of
recognition. Guided by this graphic traced on a tree or on some wall, they still camp exactly
on the spot occupied by their predecessors near the sacred symbol which they call Patria. One
could believe this word to be of Fatin origin and apply to the nomads this maxim which the
cats living objects of art strive to practice: Patria est ubicumque est bene wherever
we are comfortable, there is our country; but their emblem refers to a Greek word [*198-1]
(Patria), with the meaning of family, tribe, race. The cross of the Gypsies or Romanies
therefore indicates the place of refuge assigned to a tribe. Furthermore, almost all meanings
revealed by the sign X have a transcendent or mysterious value, and this fact is singular. In
algebra, X is the unknown quantity; it is also the problem to be solved, the solution to be
discovered; it is the Pythagorean sign of multiplication, and the element to cast out the nines
in arithmetic; it is the popular symbol of mathematics in what concerns higher or abstract
development. It characterizes that which, generally is excellent, useful, remarkable ([*198-2] -
Chresimos). In that sense, and in the slang of students, it serves to single out the French
Polytechnic School (12) by securing the superiority that the "taupins and dear comrades" (13) of
that school would not permit to be discussed or disputed. The best pupils, candidates to the
school, are united in each promotion or "taupe", by a cabalistic formula composed of an X
whose opposite angles the chemical symbols of sulphur and potassium hydrate are written:
SXKOH. This is pronounced, in slang of course, "souffre et potasse pour lX" (14> . The X is
the emblem of measure ([*199-1] metron ), taken in all its meanings: dimension, area,
space, duration, rule, law, boundary or limit. For this occult reason, the international standard
of the meter, made of platino-iridium and kept in the pavilion of Breteuil in Sevres, has the
shape of an X in its cross-section (15> . All bodies of nature, all beings either in their structure
or in their appearance, abide by this fundamental law of radiation, all are subjected to this

90

measure. The canon of the Gnostics applies this measure to the human body (16) ; and Jesus
Christ, spirit incarnate, St Andrew, and St Peter, personify its glorious and painful image.
Have we not noticed that the aerial organs of vegetables be they lofty trees or tiny herbs
show along with their roots the characteristic divergence of the branches of the X? In what
manner do flowers bloom? Section vegetable leaves, leafstalks, nervures, etc., examine the
cross-sections under a microscope and you will observe, with your own eyes, the most
brilliant, the most marvelous confirmation of this divine will. Diatoms, sea urchins, starfish
are other examples; but, without looking any further, open an edible shellfish be it cockle,
conch, scallop and the two valves opened flat will show you convex surfaces endowed
with grooves in the double fan shape of the mysterious X. Its whiskers gave the cat its name
(17) ; we do not doubt that they hide a meaning of high degree of knowledge and that this
gracious feline owes the honor of being raised to the rank of Egyptian deities to this secret
reason. Speaking of cats, many among us remember the famous Chat-Noir (Black Cat) (18) ,
which was so popular under Rodolphe Salis management; but how many knew what sort of
esoteric and political center was concealed there, what international masonry was hidden
behind the ensign of the artistic cabaret? On the one hand the talent of a fervent, idealistic
youth made up of aesthetes seeking glory, carefree, blind, and incapable of suspicion; on the
other, the confidences of a mysterious science mixed up with obscure diplomacy, a two-faced
tableau deliberately exhibited in a medieval framework. The enigmatic tableau deliberately
exhibited in a medieval framework. The enigmatic "tournee des grands dues" (19) signified by
a cat with scrutinizing eyes under its black coat, with its rigid, disproportionate X-shaped
whiskers, and whose heraldic posture gave to the wings of Montmartre mill a symbolic value
equal to its own <20) , was not a pleasure outing for princes! Whether held by the gods hands,
trampled underfoot by him or whether bursting out of the eagles claws, Zeus lightning bolts,
which make Olympus tremble and scatter terror among mythological humanity, do espouse
the graphic shape of radiation. It is the translation of celestial fire or terrestrial fire, of
potential or virtual fire which composes or disintegrates, engenders or kills, vivifies or
disrupts. Son of the sun which generates it, servant of man who liberate and feeds it, divine
fire, downfallen, imprisoned in heavy matter in order to determine its evolution and orient its
redemption, is Jesus on his cross, image of the igneous, luminous and spiritual radiation
incarnate in all things. It is the Agnus (lamb) sacrificed since the beginning of the world and it
is also Agni, Vedic god of fire (21) , but is the Lamb of God bears the cross on his banderole
just as Jesus bears it on hi shoulder, if he supports it with his foot, it is because he has the sign
of it inlaid in his very foot: image outside, reality inside (22) . Whoever receives in this way the
celestial spirit of the sacred fire, who bears it within himself and is marked by its sign, has
nothing to fear from elemental fire. These elects, disciples of Elias and children of Helios,
modem crusaders having for guide the star of their elders, go for the same conquest with the
same cry of God wills it ! (23) .

This higher and spiritual force, acting mysteriously amidst concrete substance, compels
crystal to take its form and its immutable characteristics; it is this force which is its pivot, its
axis, its generating energy, its geometric will. And this configuration, varying infinitely,
though always based on the cross, is the first manifestation of organized form, by
condensation and embodiment of light, soul, or fire. Owing to their same arrangements, spider
webs old back gnats, nets catch fish, birds, and butterflies without hurting them, fabrics
become translucent, wire gauze cuts off flames and oppose the inflammation of gases.

Finally, in space and time, the same immense ideal cross divides the 24 centuries of the cyclic
year ([*201-1] Chiliarmos ), and separates the 24 elders of the Apocalypse into four groups
of ages, of whom twelve sing the praises of God, while the other twelve bemoan the downfall
of man.

91

How many unsuspected truths remain hidden in the simple sign that Christians renew every
day on their own person without always understanding its meaning nor its hidden virtue! "For
the word of the cross is folly for those who go astray; but for those who save themselves, that
is to say for us, it is the instrument of Gods power. This is why it is written: 'I will destroy
the wisdom of the wise, and will bring to nothing the understanding of the prudent. What has
become of the wise? What has become of the doctors of law? What has become of those
spirits interested in the knowledge of this age? Has God not proved the wisdom of this world
to be foolishness?" (24) .

How many more know about it than the wild ass which saw the birth of the humble God-
Child in Bethlehem, transported him, triumphant, to Jerusalem, and received as a memento of
the King of Kings the magnificent black cross that it bears on its back? (25) .

In the alchemical domain, the Greek cross and the cross of St Andrew have come meaning
that the artist must know. These graphic symbols, reproduced on a great number of
manuscripts, and which are in certain texts the object of a special nomenclature, represent
among the Greeks and their medieval successors, the crucible of fusion that potters always
marked with a small cross ( crucibulum ), sign of good make and of tested solidity. The Greeks
also used a similar sign to indicate an ear thenware matrass. We know that this vessel was
destined for coction and we think that, because of its very material, its usage must have
differed little from that of a crucible. Moreover, the word matrass, used in the same sense in
the 13th century, comes from the Greek [*202-1], ( metra ) matrix, a word equally used by
puffers and applied to the secret vase serving in the maturation of the compound. Nicolas
Grosparmy, Norman Adept of the 15th century, gives an illustration of this spherical utensil,
laterally tabulated, which he also calls matrix. Furthermore, the X denotes sal ammoniac of
the sages or salt of Ammon ([*202-2] ammoniakos ), in other words, salt of the Ram (26) ,
which was formerly written, more accurately, harmoniac, because it realizes the harmony
([*202-3] assembling), the agreement of water with fire, because it is the mediator par
excellence between heaven and earth, the spirit and the body, the volatile and the fixed. It is
also the Sign, without any other qualification, the seal that reveals to man the intrinsic virtues
of the prime philosophical substance through certain superficial lineaments. Finally, the X is
the Greek hieroglyph for glass, purest of all matters, affirms the masters of the art, and the one
nearest to perfection.

We believe we have sufficiently demonstrated the significance of the cross, the depth of its
esotericism, and its predominance in symbolism in general (27) . As far as the practical
realization of the Work is concerned, it certainly offers no less value or teaching. It is the first
key, the most considerable and most secret of all the ones that can open the sanctuary of
nature to man. This key always appears in visible characters, outlined by nature herself,
obedient to the divine will on the cornerstone of the Work, which is also the fundamental
stone of the Church and Christian Truth. And so in religious iconography, a key is given to St
Peter as his particular virtue, allowing us to distinguish him among the apostles of Christ as
the one who was the humble fisherman Simon (cabalistically, [*205-1] C-monos the
only ray) and who was to become his earthly spiritual representative after the death of the
Savior. We find him represented in that same manner on a very beautiful 16th century statue
sculpted in oak wood and kept in the Church of St Etheldreda in London (Plate XV). St Peter,
standing up, holds a key and displays the Veronica, a peculiarity which makes this remarkable
image a unique work of exceptional interest. From the hermetic standpoint, symbolism is
certainly doubly expressed thereon, since the meaning of the key is repeated in the Holy Face,
miraculous seal of our stone. Furthermore, the Veronica is here presented to us as a veiled
replica of the cross, major emblem of Christianity and signature of the sacred Art. In fact, the

92

LONDON - SAINT ETHELDREDA CHURCH
Saint Peter and the Veronica

Plate XV

word veronica does not come from the Latin vera iconica (true and natural image) which
teaches us nothing as certain authors claimed, but from the Greek [*205-2] (pherenikos ),
he who procures victory (from [*205-3] phere to bear, produce, and [*205-4] nike
- victory). Such is the meaning of the Latin inscription: In signo vinces, "You will vanquish
by this sign", placed under the Christ monogram of the labarum of Constantine, which
corresponds to the Greek formula [*205-5] (En totu nike). The sign of the cross, monogram of
Christ, of which the X of St Andrew and the key of St Peter are two replicas of equal esoteric
value, is indeed the very mark capable of assuring victory by the sure identification of the
unique substance exclusively assigned to the philosophical labor.

St Peter holds the keys of Paradise, although only one is sufficient to insure access to the
celestial dwelling. But the first key becomes two, and these two intercrossed symbols, one of
silver, the other of gold, constitute, with the triple crown, the arms of the sovereign pontiff,
heir of Peters throne. The cross of the Son of Man, reflected in the keys of the Apostle,
reveals to men of good will the arcane of universal science and the treasures of the hermetic
art. It alone allows him who possesses its meaning, to open the gate of the closed garden of
Hesperides and to pick, without fear for his salvation, the Rose of Adepthood.

From what we have said about the cross and the rose, its center, or more exactly, its heart
this bleeding heart, radiant and glorious of Christ-matter it is easy to infer that Louis
dEstissac bore the high title of Rose Cross, mark of higher initiation, brilliant testimony of a
positive science made concrete in the substantial reality of the absolute.

Nevertheless, if no one could deny our Adept the grade of Rose Cross, one should not deduce
from this fact that he belonged to the hypothetical brotherhood of the same name. To so
conclude would be to commit an error. It is important to know how to discern the two Rose
Crosses so as not to confuse the true with the false.

We will probably never know what obscure reason guided Valentin Andraea, or rather the
German author called by this pseudonym, when he had the pamphlet entitled Fama
Fratemitatis Rosae-Crucis printed in FrankfurtOder, around 1614. Perhaps he was pursuing a
political motive, either attempting to counterbalance, through a fictitious occult power, the
authority of the Masonic lodges of his time, or wanting to provoke the grouping of the Rose
Crosses who were disseminated everywhere into one single fraternity, depository of all their
secrets. However it may be, if the Manifesto of the brotherhood was unable to realize any of
its objectives, it still contri buted to spread among the public news of an unknown sect,
endowed with the most extravagant attri butions. According to the testimony of Valentin
Andrae, its members, bound by an inviolable oath and submitted to a severe discipline,
possessed all the riches and power to accomplish all marvels. They called themselves
invisible, claimed they could make gold, silver, precious stones; cure paralytics, the blind, the
deaf, all the contagious, and the incurables. They pretended to possess the means to prolong
human life beyond its natural limits, to converse with higher and elementals spirits; to
discover even the most hidden things, etc. Such a display of prodigies had to strike the
imagination of the masses and justify the assimilation which was soon made of the Rose
Crosses, thus introduced, with magicians, sorcerers, Satanists, and necromancers (28) . A rather
disobliging reputation which they shared, moreover, in certain provinces with the Freemasons
themselves. Fet us add that the latter had hastened to adopt and introduce into their hierarchy
this new title out of which they made a rank without attempting to know its symbolic
significance or its true origin (29) .

93

In short, the mystical fraternity, in spite of the voluntary affiliation of a few learned
personalities whose good faith was taken by surprise by the Manifesto, never existed
anywhere else than in the desire of its author. It is a fable and nothing more. As for the
Masonic rank, it also has no philosophical significance whatsoever. Finally, if we mention,
without entering them, those little chapels where one get lazily promoted under the Rose
Cross banner, we will have uncovered the diverse modalities of the apocryphal Rose Cross.

Moreover, we will not maintain that Valentin Andraea exaggerated much the extraordinary
virtues that certain philosophers, more enthusiastic than sincere, give to the Universal
Medicine. If he attri butes to the brothers what could only belong to the Magistery, at least we
find therein the proof that his conviction was based upon the reality of the stone. Further, his
pseudonym clearly shows that he knew quite well what part of occult truth entered into the
symbol of the cross and the rose, the emblem used by the ancient magi and known by all
antiquity. To such an extent that after reading the Manifesto, we are led to see there a mere
alchemical treatise, whose interpretation is neither more difficult nor less expressive than so
many other writings of the same nature. The tomb of the Knight Christian Rosenkreuz (the
Christian and Rosicrucian cabalist) presents a singular identity with the allegorical cave,
furnished with a chest of lead, which is inhabited by the fearsome guardian of the hermetic
treasure (30) , that fierce genie whom the Songe Verd (Green Dream) calls Seganissegede (31) . A
light emanating from a golden sun lights the cave and symbolizes the incarnate spirit, divine
spark imprisoned in things, already discussed. Enclosed in the tomb are the numerous secrets
of wisdom and this cannot come as a surprise since, the principles of the Work being perfectly
known, the analogy naturally leads us to the discovery of connected truths and facts.

A more detailed analysis of this booklet would teach us nothing new except for a few
indispensable conditions of prudence, discipline, and silence for the use of Adepts; judicious
advice undoubtedly, but superfluous. True Rose Cross, the only ones who are worthy of
bearing this title and provide the material proof of their science, have no need of it. Living
isolated in their austere retreats, they do not fear ever being known, not even by their brothers.
A few, nevertheless, occupied important positions: dEspagnet, Jacques Couer, Jean
Lallemant, Louis dEstissac, the Count de St Germain are among those; but they knew how to
mask the origin of their fortune so skillfully that no one was able to recognize the Rose Cross
under the features of the gentleman. Which biographer would dare to certify that Philale thes
-this friend of truth was the pseudonym of the nobleman Thomas Vaughan, and that under
the epithet of Sethon (the wrestler) was hidden an illustrious member of a powerful Scottish
family, the Lords of Winton? By attri buting this strange and paradoxical privilege of
invisibility to the brothers, Valentin Andraea recognizes the impossibility of identifying them,
much as great lords traveling incognito in private dress and carriage. They are invisible
because unknown. Nothing characterizes them except modesty, simplicity, and tolerance,
virtues that are generally scorned in our conceited civilization prone to the ridiculous
exaggeration of personality.

Besides these highborn men we have just mentioned, how many other scientists preferred to
bear their Rosicrucian dignity without pomp, living among the working people in a voluntary
mediocrity, and the daily practice of professions without nobility! Such is the case of a so-
called Leriche, a humble blacksmith, unknown Adept and possessor of the hermetic gem. This
gentleman of an exceptional modesty would have been forever unknown if Cambriel 2) had
not taken the trouble to name him, telling in detail what he did to bring back to life the young
man from Lyon, Candy, an 18-year old whom a lethargic attack was about to kill (1774).
Leriche shows us what the true sage must be and how he must live. If all Rosicrucians had
maintained themselves in this prudent reserve, if they had observed the same discretion, we

94

would not have to deplore the loss of so many quality artists, carried away by blundering zeal,
blind faith, or pushed by the irresistible need to attract attention. This conceited desire for
glory led Jean du Chatelet, baron of Beausoleil, to the Bastille prison in 1640, where he died
five years later; Paykul, a Livonian (33) philosopher, transmutes before the Senate of
Stockholm and is condemned to be beheaded by Charles XII; Vinache, man of the lower
class, knowing neither how to read nor write, but on the other hand knowing the great Work
down to its smallest details, also painfully expiates his insatiable taste for luxury and
notoriety. It is to him that Rene Voyer de Paulmy dArgenson appeals to manufacture the gold
which the financier Samuel Bernard intends for the payment of the debts of France. Once the
operation is finished, Paulmy dArgenson, in gratefulness for his faithful services, captures
Vinache on February 17, 1704, throws him in the Bastille, and has his throat cut March 19th,
coming in person to make sure that the murder has been executed, and then has him
clandestinely buried March 22nd around six at night under the name of Etienne Durand, age
60 when Vinache was actually only 38 and completes his crime by publishing that he
died of a stroke! (34) . Who then, after reading this, would find it strange that alchemists refuse
to reveal their secrets and dared to prefer to remain shrouded in mystery and silence?

The pretended Brotherhood of the Rose Cross never had any social existence. Adepts bearing
this title are only brothers through knowledge and the success of their work. No oath compels
them, no statute binds them together, no rule apart from the hermetic discipline, freely
accepted, voluntarily observed, influences their free will. All that could have been written or
related according to the legend attri buted to the theologian de Cawle is apocryphal and worthy
at most of feeding the romantic imagination of a Bulwer Lytton. The Rose Cross did not know
one another; they had neither meeting place nor headquarters, nor temple, ritual, or external
mark of recognition. They did not pay dues and would never have accepted the title given to
some brothers, of Knights of the Stomach since banquets were unknown to them. They were
and still are isolated workers dispersed throughout the world, "cosmopolitan" searchers in the
narrowest meaning of the word. Since the Adepts do not recognize any hierarchic grade, it
follows that the Rose Cross is not a rank but the sole consecration of their secret works, that
of experience, positive enlightenment, whose existence had been revealed to them by strong
faith. True, some masters were able to assemble young aspirants around them and accepted
the mission of counseling them, directing them, orienting their efforts and creating some
small, sometimes recognized, often mysterious, initiation centers whose souls they were. But
we certify and very pertinent reasons allow us to say so that there has never been
among the possessors of the title any other connection but that of scientific truth confirmed by
the acquisition of the stone. If the Rose Cross are brothers through discovery, work, and
science, brothers through acts and works, it is in the manner of the philosophical concept
which considers all human beings members of the same human family.

In summary, the great classical authors who taught the precepts of our philosophy and the
arcane of the art in their literary or artistic works, those also who left irrefutable proofs of
their mastery, all are brothers of the true Rose Cross. And it is to these learned people,
famous, unknown, that the anonymous translator of a famous book (35) addresses himself
when he says in his Preface: "As it is only by the cross that the true faithful must be tried, it is
to you Brothers of the true Rose Cross, who possess all the treasures of the world, that I am
appealing. I defer entirely to your pious and wise advice; I know that it can be but good,
because I know how gifted you are with virtue above the rest of men. As you are the
dispensers of Science, and that consequently I owe you what I know, if I may say that I know
something, I want things to return whence they came (according to the institution that God
established in Nature). 'Ad locum', says the Preacher, 'uncle exeunt flumina revertuntur, ut
item fluant': All is yours, all comes from you, and so all will return to you".

95

May the reader excuse us for this digression which led us farther than we wished. But it
seemed necessary to us to clearly establish what is the true and traditional hermetic Order of
the Rose Cross, to isolate it from other common groups placed under the same banner (36) , and
to allow to single out the rare initiates from the imposters who draw vanity from a title whose
acquisition they could not justify.

(1) Scallop shells. In French the name relates to St James of Compostella see Translators note.

(2) Lettre aux Vrays Disciples dHermes (Letter to the True Disciples of Hermes), in the Triomphe Hermetique
(Hermetic Triumph).

(3) "If gold is joined eleven times with her (the water), it emits its seed and becomes debilitated to the point of
death; then the seed conceives and engenders a son, clearer than its father".

(4) It isnt rare to find alchemy characterized as the Art of Music in medieval texts. This name is the motif of the
effigy of the two musicians who can be noticed among the balasters completing the upper story of the Manor of
the Salamander at Lisieux. We have also seen them reproduced on the house of Adam and Eve at Le Mans, and
we can again find them in the Cathedral of Amiens (the kings-musicians of the high gallery), as well as in the
dwelling of the counts of Champagne, commonly called house of the musicians in Reims. In the beautiful plates
illustrating the Ampitheatrum Sapientiae Aeternae of Heinrich Khunrath (1610), there is one representing the
interior of a sumptuous laboratory; in the middle of this laboratory there is a table covered with musical
instruments and many musical scores. The Greek word [*194-1] ( musikos) has for root [*194-2] ( mythos ), fable,
apologue, allegory, which also means spirit, the hidden meaning of a tale.

(5) See Translator's note.

(6) In Greek [*194-3] ( aggelos ), angel, also means messenger, a position which the divinities of Mt Olympus
had reserved for Hermes.

(7) Philale thes: Introitus apertus ad occlusum Regis palatium, in Langlet-Dufresnoy, Histoire de la Philosophie
hermetique (History of Hermetic Philosophy), Paris, Coustelier, 1742, vol. II, ch. 13, 20.

(8) Translators Note: The author uses the adjective Rose Cross instead of Rosicrucian and explains why further
on.

(9) The symbol of light is found in the visual organ of man, window of the soul opened onto nature. It is the X-
shaped crossing of bands and the optic nerves which anatomists call chiasma (from Greek [*197-4] chiasma,
disposed as a cross, root [*197-5] chiazo, to cross in X). The intercrossed wicker of chairs led to the name of
Cayelles ([*197-6], ray of light) in the dialect of Picardie.

(10) The ceiling of Lallemants house in Bourges offers a remarkable example of this image.

(11) La Clavicle de la Science Hermetique (The Clavicle of Hermetic Science), written by an inhabitant of the
north during his leisure hours, 1732; Amsterdam, Pierre Mortier, 1751.

(12) Translators note: Famous French engineering school known as the X

(13) Translators note: Each promotion is referred to as taupe (mole in English), and the students of a promotion
are called taupin.

(14) Translators note: Literally sulphur and potash for X, but in French slang it means "suffer and swot up for
the school".

(15) We are not speaking here of the copy #8 kept in the Conservatory of Arts and Professions in Paris, which is
the legal standard, but of the international prototype.

96

(16) Leonardo da Vinci used and taught it, transporting it from the mystical domain to that of aesthetic
morphology.

(17) X, the Song of Light. The Picard dialect, guardian of the traditions of the sacred language like the
Provencal, has kept in English the hard primitive ka to designate the cat (chat in French).

(18) Translators note: Very famous cabaret in Montmartre in the 19th century.

(19) Translators note: Literally, "the round of the grand dukes", which means in French slang: to go out on a
spree.

(20) Rodolphe Salis imposed on the artist Steinlein, author of the vignette, the image of the Mill of the Galette,
that of the cat as well as the color of the coat, the eyes, and the geometric straightness of the whiskers. The
cabaret of the Black Cat, founded in 1881, disappeared at the death of its creator in 1897.

(21) The Hindu swastika, or in French croix grammee, cross with branches in the shape of a gamma g, is the sign
of divine, immortal, and pure spirit, the symbol of life and fire and not, as people wrongly believe, a utensil
designed to produce flame. [Translators note: This material was written before the existence of Nazi Germany].

(22) Let us not be accused of leading our reader into useless and vain reveries. We assert that we speak in a
positive manner, and initiates will not be mistaken by it. Let us say this for the others. Boil a sheeps foot in
water until the bones can be easily separated; you will find one among them which bears a medial furrow on one
side and separated; you will find one among them which bears a medial furrow on one side and a Maltese Cross
on the opposite side. This signed bone is the true knucklebone of the Ancient; with it Greek youth played their
favorite game (similar to jacks). This bone was called [*201-2] ( astragalos ), word formed from [*201-3] (aster,
starfish, star of the sea, because of the radiating seal we are talking about, and of [*201-4] ( galos ) used for
[*201-5] (gala), milk, which corresponds to Virgins Milk (maris Stella ) or Mercury of the Philosophers. We
will avoid speaking about another etymology even more revealing because we must obey philosophical
discipline which forbids is from unveiling the entire mystery. Our intention is therefore limited to awakening the
sagacity of the investigator, allowing him to acquire through personal effort that secret teaching whose elements
the most sincere authors have never wished to uncover. All their treatises being achromatic, the hope of finding
the least indication concerning the basis and foundation of the art is useless. For this reason we are attempting as
far as possible to render these sealed works useful by supplying the matter which formerly constituted the first
initiation, i. e. , the verbal revelation essential to understand them.

(23) A cabalistic expression holding the key to the hermetic mystery. Dieu le Vent (God wills it) is taken for
Dieu le Feu (God the Fire), which explains and justifies the badge adopted by the crusader knights and its color:
a red cross borne on the right shoulder.

(24) St Paul: I Corinthians 1:18-20

(25) This signature caused the donkey to be called St Christopher of Palm Sunday, because Jesus entered
Jerusalem on Palm Sunday, that very day when alchemists customarily begin their Great Work.

(26) Ammon-Ra, the great solar divinity of the Egyptians, was normally represented with a rams head, or, when
he kept his human head, with spiral horns that originated above his ears. This god, to whom the ram was
sacrificed, had a colossal temple in Thebes (Karnak); one entered it by following an avenue lined with crouching
rams. Remember that the ram is the image of the water of the sages, just as the solar disk, with or without the
uraeus another attri bute of Ammon is that of the secret fire. Ammon, saline mediator, completes the trinity
of the principles of the Work, of which he realizes the concord, unity, and perfection it realizes in the
philosophers stone.

(27) So it is that Gothic cathedrals had their facades built according to the essential lines of the alchemical
symbol of spirit and that their floor plan is a copy of the imprint of the redeeming cross. Inside they all show
these bold interesting ribs in the form of crosses whose invention properly belongs to the Freemasons,
enlightened builders of the Middle Ages. So that in the medieval temples the faithful find themselves situated
between two crosses, one lower and earthly on which they walk the image of their daily Calvary the other,
higher and celestial, towards which they aspire, but which only their eyes allow them to reach.

97

(28) Edouard Fournier, in his Enigmas des rues de Paris (Enigmas of the Streets of Paris), 1860, mentions "the
Sabbath of the Rosicrucian Brothers" which took place in 1623 in the country solitude of Menilmontant. On a
note he adds: "In a booklet of the time, Effroyables pactions (Awful pacts), etc., reproduced in vol. 9 of our
Varieties Plistoriques et Litteraires (Plistorical and Literary Varieties), it is said that they gathered 'sometimes in
the Montmartre quarries, sometimes along the springs of Belleville and there they set forth the lesson privately
before making them public"'.

(29) The grade of Rose Cross is the eighth of the French Masonic rite and the eighteenth of the Scottish rite.

(30) Cf. Azoth ou Moyen de faire IOr cache des Philosophes (Azoth or the Means to Make the Philosophers
Hidden Gold)', Paris, Pierre Molet, 1659.

(31) An anagram for Genie of the sages in French Genie des sages.

(32) See F.P.-Francois Cambriel: Cours de Philosophie Hermetique ou dAlchimie, en dix-neuf lecons (Course in
Hermetic Philosophy or Alchemy, in 19 Lessons)', Paris, Facour et Maistrasse, 1843.

(33) Translators note: Fivonia no longer exists today as a country; it was located between todays Estonia and
Fithuania, and its capital was Riga.

(34) Un Mystere a la Bastille, Etienne Vinache, medecin empirique et alchimique (A Mystery at the Bastille:
Etienne Vinache, Empirical and Alchemical Doctor), by Dr Roger Goulard, of Brie-Comte-Robert; Bulletin de la
Societe dHistoire de la Medicine (Bulletin of the French Society of the History of Medicine), vol 14, no. 11 and
12 .

(35) Le Texte dAlchymie et le Songe Verd (Book of Alchemy and the Green Dream)', Paris, Faurent dHoury,
1695. Preface, et seq.

(36) In the 19th century, two Rosicrucian Orders were created and quickly fell into oblivion: (1) The Kabbalistic
Order of the Rose Cross, founded by Stanislaus de Guaita; (2) The Order of the Rose Cross of the Temple and
the Grail, founded in Toulous around 1850 by the Viscount of Fapasse, spagyric physician, student of Prince
Balbiani of Palermo, supposedly a disciple of Cagliostro. Josephin Peladan, who gave himself the title of Sar,
was one of the aesthetic animators. This idealistic movement, lacking enlightened initiatic direction and a solid
philosophical basis, could only have a limited duration. The Rosicrucian Salon opened its doors from 1892 to
1897 and then ceased to exist.

98

LOUIS DESTISSAC III

Lets resume our study of the strange motif fancied by Louis dEstissac for the hermetic
decoration of his fireplace.

On the right panel, opposite the one we have just analyzed, we notice the previously identified
old mans mask, holding in his jaw two plant stems with leaves, each bearing a flower bud
about to open. These stems set a ki nd of open almond, inside which we can catch sight of a
vase decorated with scales and containing flower buds, fruit, and ears of corm. Here is the
hieroglyphic expression of vegetation, nutrition, and the growth of the newborn body
previously discussed. The com alone, purposely placed next to the flowers and fruit, is a very
revealing symbol. Its Greek name [*213-1] ( zea ) derives from the Greek [*213-2] (zao),
meaning to live, subsist, exist. The scaly vase represents the primitive substance which nature
offers to the artists, extracted from the mine and with which he begins his labor. From it he
extracts the diverse elements which he needs; with and through it his entire labor is
accomplished. Philosophers have described it in the image of the black dragon covered with
scales, which the Chinese call Loung, whose analogy with the hermetic monster is perfect.
Like the monster it is a kind of winged serpent with a horned head, emitting fire and flame
through its nostrils, with a black and scaly body borne on four stocky legs, each armed with
five claws. The gigantic dragon on Scythian banners was called Apophis. The Greek word
[*213-3] ( apophysis ), which means execresence, offspring, has for its root [*213-4]
(apophuo) with the meaning to put forth, grow, produce, be born from. The vegetative power,
indicated by the fructifications of the symbolic vase is therefore expressly confirmed in the
mythical dragon which divides into common mercury or solvent, Later the primitive mercury,
joined to some fixed body, renders it volatile, living, vegetative, and fructifying. It then
changes its name by changing its qualities and becomes the mercury of the sages, the humid
metallic radical, the celestial salt or the salt in bloom. "In mercurio est quicquid quaerunt
Sapientes" all that the sages are looking for s within mercury, our ancient authors vied with
each other in repeating. One could not better express on stone the nature and the function of
the vase which so many artists know without being aware of what it can produce. Without it,
without this mercury, drawn from our Magnesia, Philale thes affirms, lighting the lamp or the
furnace of the philosophers is useless. We will not say any more here because we will have
the opportunity to resume to topic and develop later on the major Arcanum of the great art.

99

LOUIS DESTISSAC IV

In front of the central panel, the observer cannot refrain from giving an involuntary start of
surprise due to its extremely unusual decoration (Plate XVI).

Two human monsters hold a crown formed of leaves and fruit which circumscribes a simple
French shield. One of the monsters shows the horrible face of a harelip on a hairless and
breasted torso. The other has the bright face of a mischievous and unruly boy, but with the
hairy chest of anthropoids. If the arms and hands present no other peculiarity than their
excessive emaciation, by contrast, the lower limbs, covered with thick long hairs, end, in one
monster, with feline claws and in the other with raptor claws. These nightmarish beings
endowed with long curved tails are covered with incredible helmets, one scaly, the other
striped, whose tops coil in the manner of an ammonite fossil. Between these stephanophores
of repulsive appearance and placed above them in the composition axis, a grimacing human
mask with round eyes and fuzzy hair burdening the already low forehead, holds in his bestial
open jaw the central shield with a light cord. Finally, a bucranium occupying the lower part of
the panel completes this apocalyptical, four part composition on a macabre note.

As for the shield, the bizarre figures it bears, seems to be taken from some old magicians
book. Upon first examination one could believe that they were borrowed from the somber
Clavicles of Solomon, images traced with fresh blood on virgin parchment, which indicate in
their frightening zigzags the ritual movements that the forked wand must perform under the
sorcerers fingers.

Such are the symbolic elements offered to the sagacity of the student and skillfully disguised
in the decorative harmony of this strange subject. We shall attempt to explain them as clearly
as possible, even if it entails asking the philosophical language for help or resorting to the
language of the gods, when we deem, without overstepping the mark, that we cannot push our
teaching any further.

The two gnomes (1) facing each other translate the reader will have guessed our two
metallic principles, first bodies or natures with whose help the Work is started, perfected and
completed. They are the sulpurous and mercurial genies appointed to guard the subterranean
treasures, nocturnal artisans of the hermetic work familiar to the sage whom they serve,
honor, and enrich with their unceasing labor. They are the possessors of earthly secrets and
revealers of mineral mysteries. The gnome, fictitious creature, deformed but active, is the
esoteric expression of metallic life, of the occult dynamism of raw bodies which the art can
condense into a pure substance. The rabbinical tradition reports in the Talmud that a gnome
cooperated with the building of the Temple of Solomon, which means that the philosophers
stone must have played some part in it. But nearer to us, dont our gothic cathedrals,
according to George Stahl, owe the inimitable coloration of their stained glass windows to it?
"Our stone", writes an anonymous author (2) , "has two other very surprising virtues; the first
on glass to which it gives internally all sorts of colors, such as in the windows of Sainte-
Chapelle in Paris, and those of the churches of Saint-Gatien and Saint-Matin in the city of
Tours".

Thus the obscure, latent, and potential life of the two primitive mineral substances is
developed through the contact, the fight, and the union of their opposite natures, one igneous,
the other aqueous. Those are our elements, and there are no others. When philosophers speak

100

- i 1

i t * ' *

FT ^ ^

nuSv

H *8

FONTENAY-LE-COMTE - TERRE-NEUVE CASTLE
The Fireplace of the Grand Salon - Central motif

of three principles by describing and purposely singling them out, they use a subtle artifice
meant to throw the neophyte into the most cruel uneasiness. We therefore certify with the best
authors that two bodies are sufficient to accomplish the magistery from beginning to end. "It
is impossible to acquire the possession of our mercury", says the Ancient War of the Knights ,
"in any other way than by means of two bodies one of which cannot receive the perfection it
requires, without the other". If we must admit a third, we shall find it in the one which results
from their combination and born from their mutual destruction. For no matter how much you
look and multiply the experiments, you will never find any other parents of the stone besides
the above mentioned two bodies, called principles from which comes the third one, heir of the
qualities and the mixed virtues of its parents. This important point is well worth being stated
precisely. These two principles, hostile because opposite, are so expressive on Louis
dEstissacs fireplace that even the beginner can recognize them without difficulty. We
recognize here, humanized, the hermetic dragons described by Nicolas Flamel, one winged
the hare-lipped monster the other wingless the gnome with the hairy torso.
"Contemplate these two dragons carefully", says the Adept (3) , "for they are the true principles
of philosophy which the Sages have not dared to show their own children. The wingless one
below is the fixed or the male and the one above is the volatile or the female, black and
obscure (4) , which will dominate for several months. The first is called sulphur or heat and
dryness. And the last is called quicksilver or coldness and humidity. They are the sun and the
moon, of mercurial source and sulphurous origin which, by means of continual fire, beautify
themselves with royal ornaments so as to vanquish, once they are united, and change any
metallic thing solid, hard, and strong into quintessence. They are the serpents and
dragons that ancient Egyptians painted as a circle, head biting the tail, to express that they
came from one and the same thing, which alone was enough, and that it perfected itself in its
contour and circulation. They are the dragons that the ancient poets charged with guarding
without sleeping the golden apples of the gardens of the Hesperide virgins. They are the same
ones on which Jason, during his adventure of the Golden Fleece, poured the juice prepared by
the beautiful Meda and whose discourse so filled the books of the philosophers, that no
philosopher ever existed who did not write about them, from the true Hermes Trismegistus,
Orpheus, Pythagoras, Artephius, Morienus and others up to myself. They are the two serpents
sent and given by Juno who is the metallic nature, which the strong Hercules, that is to say the
Sage, must strangle in his crib, that is to say vanquish and kill them so as to make them rot,
corrupt, and engender at the beginning of his Work. They are the two snakes attached around
the Caduceus and the stick of Mercury with which he wields his great power and transfigures
himself as he wishes. He, says Haly, who kills one of them will also kill the other because one
cannot die but with his brother. These two (which Avicenna calls Bitch of Khorassan and Dog
of Armenia), being then united in the vessel of the sepulcher, bite each other cruelly and
through their great venom and furious rage never leave each other from the moment they have
grabbed each other. They are the two sperms, masculine and feminine, described at the
beginning of my Philosophical Rosary which are engendered (says Rasis, Avicenna, and
Abraham the Jew) in the kidneys, entrails, and from the operations of the four elements. They
are the humidity of metals, Sulphur, and Quicksilver, not the common ones which are sold by
merchants and apothecaries, but those which give us so many beautiful and dear bodies which
we love so much. These two sperms, said Democritus, cannot be found on the earth of the
living".

Snakes or dragons, the hieroglyphic forms mentioned by the old masters as figurative of the
materials ready to be used in the work, present on the artwork of Fontenay-le-Comte some
very remarkable peculiarities due t the authors cabalistic genius and his very expensive
knowledge. That which esoterically signifies these anthropomorphic beings is not only their
griffin feet and their hairy appendages, but also and above all their helmets. The headgear

101

which ends in a horn of Ammon and is called in Greek [*220-1] ( cranos , because it covers the
head and protects the skull ([*220-2] cranion ), allows us to identify them. The Greek word
used to indicate used to indicate the head (cranion), already brings a useful indication since it
also marks the location of Calvary, the Golgotha where Jesus, Redeemer of men, had to suffer
his Passion in his flesh before transfiguring himself into spirit. And our two principles one of
which bears the cross and the other the lance which will pierce his flank (5) are an image, a
reflection of the Passion of Christ. Just like him, if they must resuscitate into a new clear,
glorious, and spiritualized body, they must together climb their Calvary, suffer martyrdom,
endure the torments of fire, and die of a slow agony at the end of a long hard fight ([*221-1]
- agonia).

It is known, on the other hand, that the puffers called their alembic, homo galeatus man
covered with a helmet because it was composed of a cucurbit, that is, an inflated part
covered with a helmet. Our two helmeted geniuses cannot represent anything other than the
alembic of the sages, or the two assembled bodies, the container and the contained, the matter
itself and its proper vessel. For if the reactions must be provoked by one (thee agent), they can
only happen by breaking the balance of the other (the patient) which is used as a receptacle
and a vase for the opposite energy of the adverse nature.

In the present motif the agent is indicated by its grooved, striped helmet. Indeed the Greek
[*221-1] ( rabdodes ), grooved, striped, has for a root word, [*221-2] ( rabclos ), little stick,
scepter, caduceus, lance, dart, javelin, needle. The different meanings characterize most of the
attri butes of the active, masculine, and fixed matter. It is first of all the stick that Mercury
throws between the grass snake and the serpent (Rhea and Jupiter), around which they curl
crating the Caduceus, emblem of peace and reconciliation. All hermetic authors speak of a
terrible fight between two dragons and Mythology teaches us that such was the origin of the
attri bute of Hermes who provoked their agreement by putting his stick between them. It is the
sign of union and of concord which one must be capable of realizing between fire and water.
And fire being represented by a triangle hieroglyph Delta and water by the same, but inverted
triangle, the two superimposed signs form the image of the star sure mark of union,
pacification and procreation, because the star (stella) means fixation of the sun (6) . And as a
matter of fact the sign can only be seen after the fight when everything has become calm and
when the first effervescences have stopped. The Seal of Solomon, geometric figure, resulting
from the assembly of the triangles of fire and water confirm the union of the sky and earth. It
is the messianic star announcing the birth of the King of Kings; moreover the Greek [*221-3]
(, kerukeion ), caduceus, derived from [*221-4] ( kerukeuo ), to publish, to announce reveals that
the distinctive emblem of Mercury is the sign of the good news. Among North American
natives the peace pipe, the calumet which they use in their civil and religious ceremonies is a
symbol similar to the caduceus by its form as well as by its meaning. "It is", says Noel <7) , "a
large smoking pipe of red, black, or white marble. It does resemble a mace; its head is very
well polished and the stem two and a half feet long is a rather long cane, ornamented with
feathers of all kinds of colors with several braids of womens hair interlaced in various
fashions. To it are attached two wings which makes it resemble the caduceus of Mercury or
the stick that peace ambassadors once upon a time carried. This cane is implanted in the necks
of ospreys, birds with white and black spots as big as our geese. This peace pipe is greatly
venerated among the savages who respect it as a precious gift that the Sun makes to man. And
so, it is a symbol of peace, the seal of all undertaking of important affairs and of public
ceremonies". Hermes stick is truly the scepter of the sovereign of our art, hermetic gold
vile, abject, despised, more sought after by the philosopher than natural gold; the stick that the
high priest Aaron changed into a serpent and the one which Moses (Ex. 17:5-6) imitated in
this by Jesus (8) smites the rock, in other words the passive matter, and pure water, hidden

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in its midst, springs forth; it is the ancient dragon of Basil Valentine whose tongue and tail
end with a sting, which brings us back to the symbolic serpent, serpens aut draco qui caudam
devoravit (9) .

As for the second body passive and feminine Louis dEstissac had it represented under
the shape of a harelipped gnome, equipped with breasts, head covered with a scaly helmet.
We already knew from the descriptions left by classical authors that this mineral substance as
it is extracted from its mine is scaly, black, hard, and dry. Some have called it leprous. The
Greek [*222-1] ( lepis, lepidos ), scale, has among its derivatives the Greek [*222-2] (lepra),
leprosy because this frightful infection covers the epiderm with pustules and scales. And so it
is essential to drive away the coarse and superficial impurity from the body by removing its
scaly envelope ([*222-3] lepizo), an operation which we easily realize with the aid of the
active principle, the agent with the grooved helmet. Taking as an example Moses gesture it
will suffice to sharply strike this rock ([*223-1] lepas) of arid and dry appearance three
times in order to see the mysterious water that it contains, spring forth. It is the first solvent,
common mercury of the sages, faithful servant of the artist, the only thing he needs and that
nothing can replace according to the testimony of Geber and of the most ancient Adepts. Its
volatile quality which allowed philosophers to assimilate this mercury to the common
hydrargyrum, is moreover emphasized on our bas-relief by the tiny lepidoptera wings (Greek
[*223-2], [*223-3] lepidos-pteron) affixed to the shoulders of the symbolic monster.
However, in our opinion, the best name that authors have given to their mercury seems to be
Spirit of magnesia. For they call magnesia (Greek [*223-4] magnes, magnet) the coarse
feminine matter which attracts by an occult virtue the spirit enclosed beneath the hard shell of
the steel of the sages. The latter, penetrating like a burning flame into the body of the passive
nature, burns, consumes its heterogeneous parts, drives away the arsenical (leprous) sulphur,
and animates the pure mercury it contains and which appears in the conventional form of a
liquor both humid and igneous the fire water of the Ancients which we call Spirit of
Magnesia and universal solvent.

"Just as steel pulls the magnet to itself", writes Philale thes (10) , "so the magnet turns toward
the steel. This is what the magnet of the sages does to their steel. This is why, having already
mentioned that our steel is the matrix of gold, we must equally point out that our magnet is the
true matrix of the steel of the sages".

Finally detail useless to the work, that we nevertheless indicate because it comes to prove
our examination a word close to [223-2] lepis, the word [*223-3], leporis, once indicated
the hare in the Eolian dialect (Fatin lepus, leporis ), hence this facial deformity, at first
inexplicable yet necessary for the cabalistic expression which stamps the face of our gnome
with its typical physiognomy.

Arrived at this point, we must stop for a moment and wonder; the path, bushy and covered
with brambles and thorns, becomes impassable. Instinctively we guess a gaping precipice,
barely a few steps away. Cruel uncertainty. To continue to advance, holding the disciples
hand, would be an act of wisdom? In truth Pandora accompanies us, but alas! What can we
expect from her? The fatal box imprudently opened is empty now. Nothing is left to us except
hope!

At this point, the authors who already are rather enigmatic about the preparation of the
solvent, remain obstinately silent. Shrouding the process of the second operation in secrecy,
they move directly into descriptions of the third one, namely the phrases and regimens of
coction. Then resuming the terminology used for the first one, they let the beginner believe

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that the common mercury is the same as Rebis or compost and as such must be evenly cooked
in a sealed container. Philale thes, although writing under the same discipline, pretends to fill
the void left by his predecessors. Upon reading his Introitus, we do not perceive any cuts, only
false manipulation make up for the lack of true ones. They fill the gaps in such a manner that
the ones and the others are connected and knit without leaving any trace of artifice. Such a
flexibility makes it impossible for the layman to separate the wheat from the chaff, the bad
from the good, the error from the truth. It is but necessary for us to assert how much we
disapprove of similar abuses which are, in spite of the rules, nothing better than disguised
mystification. The cabala and symbolism offer enough resources to express what must be
understood by only a few. Moreover we feel that silence is preferable to the most skillfully
presented lie. You might be surprised that we bear such a harsh judgment on a part of this
famous Adepts work but others before us have not been afraid to address to him the same
criticism. Tollius, Naxagoras, Limojon de Saint-Didier especially, unmasked the insidious and
perfidious formula and we are in complete agreement with them. Because the mystery veiling
our second operation is the greatest of all; it alludes to the elaboration of the philosophical
mercury which has never been taught openly. Some resorted to allegory, enigmas, and
parables, but most of the masters abstained from discussing this difficult question. "Truly",
writes Limojon de Saint-Didier (11) , "some philosophers seemingly quite sincere, nevertheless
throw the artists into error solemnly asserting that who does not know the gold of the
philosophers will however be able to find it in common gold cooked with the Mercury of the
Philosophers. Those are Philale thes sentiments. He affirms that Trevisan, Zachaire, and
Flamel have followed this path. He also adds that this is not the true path of the Sages
although it leads to the same end. But these affirmations, sincere as they appear, nevertheless
cannot but mislead artists who, eager to follow the same Philale thes through the purification
and the animation that he teaches of common mercury so as to turn it into the Mercury of the
Philosophers (a glaring error behind which he has hidden the secret of the mercury of the
Sages) and undertake, taking his word for it, a very arduous and definitely impossible work.
Thus, after a time-consuming work filled with difficulties and dangers, they obtain a mercury
only slightly more impure than before they started, instead of a mercury animated with the
celestial quintessence. A deplorable error that has lost, broken, and wills till ruin a great
number of artists". Yet the seekers who successfully overcome the first obstacles and have
drawn the living water from the ancient Fountain possess a key enabling them to open the
doors of the hermetic laboratory (12) . If they err, and get bored, if they multiply their attempts
without discovering the successful goal, it probably results from the fact that they have not
acquired an adequate knowledge of the doctrine. They should not despair however.
Mediation, study, and above all a strong unshakeable faith will finally bring Heavens
blessing upon their work. "For truly I say to you", says Jesus (Matt. 17:19), "if you have faith
as a mustard seed, you shall say to this mountain. Move from here to there, and it shall move;
nothing shall be impossible to you". For faith, spiritual certainty of truth not yet demonstrated,
prescience of what is feasible, is the torch that God has placed into the human soul to
enlighten, to guide, to instruct, and to elevate it. Our senses sometimes lead us astray; faith
never misleads us. "Faith only", writes an anonymous philosopher (13), "formulates a positive
will; doubt makes it neutral, and skepticism negative. Believing before knowing is cruel for
scientists, but what do you expect? Nature cant change her ways, not even for them and she
claims to impose faith upon us. As for myself, I admit that I have always found her generous
enough to overlook this whim of hers".

May the researchers, before incurring further expenses, learn that which differentiates the first
mercury from the philosophical mercury. Once one knows exactly what one is looking for, it
becomes easier to orient ones steps. May they know that their solvent or common mercury is
the result of Natures work while the mercury of the sages remains a product of art. When

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manufacturing the later, the artist, applying natural laws, knows what he wants to obtain. The
same does not hold true for common mercury, as God forbids men to penetrate its mystery.
No philosopher knows, and many admit it, in what manner the initial matters, while in contact
with one another, react, interpenetrate, and finally unite under the veil of darkness which
envelops, from beginning to end, the intimate exchanges of this peculiar procreation. This
explains why the writers proved so cautious about the topic of philosophical mercury, whose
successive phases the operator can follow, understand, and direct at his will. If the technique
requires a certain amount of time and demands some labor, it is on the other hand extremely
simple. Any layman who knows to feed a fire, will perform it as well as an expert alchemist.
It neither requires any special trick nor professional skill but only the knowledge of an
unusual artifice, which is the secret of secrets that has not been revealed and probably never
will be. About this operation, whose success ensures the possession of the philosophical
Rebis, Jacques le Tesson <13) , quoting Damascene, writes that the Adept at the time of
undertaking the work, "looked around the entire room to see if there were not some flies
therein, meaning thereby that it could not ever be kept in too much secrecy for the danger that
might result". Before going further let us say of this unknown artifice which from the
chemical viewpoint should be called preposterous, absurd, or paradoxical because its
inexplicable action defies all scientific rules that it marks the intersection where alchemical
science strays from chemical science. Applied to other bodies, it provides, in the same
conditions, just so many unpredicted results and so many substances endowed with surprising
qualities. This unique and powerful means thus allows a development of an unsuspected
scope by the multiple, new, simple elements and compounds derived from the same elements,
but whose genesis remains an enigma for the chemical rationale. This evidently should not be
taught. If we have entered this reserved domain of hermetics, if, bolder than our predecessors,
we have mentioned it, it is because we wanted to show: (1) that alchemy is a true science
likely, just like chemistry, to develop and progress, and not be the empirical acquisition of a
manufacturing secret of precious metals; (2) that alchemy and chemistry are two positive,
exact, and real sciences, although different from each other as much in practice as in theory;
(3) that, for these very reasons, chemistry could not claim an alchemical origin; (4) finally,
that in the innumerable, more or less marvelous properties attri buted in the lump by
philosophers to the sole philosophers stone all belong to the unknown substances obtained
from chemical materials and bodies but treated according to the secret technique of our
magistry.

It is not for us to teach what is the artifice used for the production of the philosophical
mercury. To our great regret and in spite of all the solicitude we feel for the Sons of Science,
we must imitate the example of the sages who deemed it wise to hold the remarkable word.
We will be content to say that the second mercury or next matter of the Work is the result of
the reactions of two bodies one fixed, the other volatile. The first, veiled under the epithet
of philosophical gold is by no means common gold; the second is our living water already
described under the name of common mercury. Through the dissolution of the metallic body
with the help of the living water the artist enters into possession of the humid radical of
metals, their seed, permanent water or salt of wisdom, essential principle, quintessence of the
dissolved metal. This solution, performed according to the rules of the art, with all the
required dispositions and conditions, is quite removed from analogous chemical operations. It
is not a bit like it. Apart from the length of time and the knowledge of the appropriate means
it demands many difficult repetitions. It is a fastidious work. Philale thes (15) himself claims it
when he says: "We who have worked and who know the operation certainly know that there is
no more boring work than the one for our first preparation" (16> . For that reason Morienus
warns King Calid that many Sages often complained about the boredom that this particular
Work caused them. This caused the famous author of the Secret Hermetique to say that the

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work required for the first operation was a work of Hercules. We should follow here the
excellent advice of the Triomphe Hermetique and "not be afraid to often drench the earth with
its own water and to dry it up as many times". Through repeated lixivations or Flamels
laveures or fire purifications, through frequent and renewed immersions, one progressively
extracts the viscous, oily, and pure humidity of the metal, "in which, affirms Limojon de
Saint-Didier, lies the energy and the greatest efficacy of the philosophical mercury". The
living water "more celestial than terrestrial", acting on the heavy matter breaks its cohesion,
mollifies it, renders it progressively soluble, attached itself only to the pure parts of the
disintegrated mass, abandons the other to the pure parts of the disintegrated mass, abandons
the others and rises to the surface, dragging along what it could grasp that conformed to its
own fiery and spiritual nature. This important characteristic of the ascension of the subtle by
the separation of the coarse gained the operation of mercury of the sages the name of
sublimation (17> . Our solvent, all spirit, plays the symbolic role of the eagle taking away its
prey and this is the reason why Philale thes, the Cosmopolite, Cyliani, dEspagnet, and several
others advise to let it fly away, emphasizing the need to make it fly. For the spirit rises and the
matter precipitates. What is cream if not the best part of milk? Now Basil Valentine teaches
that, "If the philosophers stone is made in the same manner that villagers make butter", by
churning or shaking the cream which represents, in this similarity, our philosophical mercury.
Therefore all the awareness of the artist must be focused on the extraction of the mercury
which is collected on the surface of the dissolved compound by creaming the viscous and
metallic unctuousness as it is being produced. This is moreover what the two characters of the
Mutus Liber (18) represent, where the woman can be seen skimming with a spoon the foam
from the liquid contained in an ear then pot that her husb and is holding within her reach.
"Such is", writes Philale thes, "the nature of our operation and such is our entire philosophy".
Hermes, indicating the basic and fixed matter by the solar hieroglyph and its solvent by the
lunar symbol, explains it in few words: "The sun", he says, "is its father and the moon its
mother". We also understand the secret meaning contained in the words from the same author:
"The wind bore it in its belly". Wind or air are names pertaining to living water which, in the
fire, its volatility causes to vanish without any residues. Since this water our hermetic
moon penetrates the fixed nature of the philosophical sun, which it holds back, assembling
its most noble particles, the philosopher is right to affirm tha the wind is the matrix of our
mercury, quintessence of the gold of the sages and pure mineral seed: "He who has mollified
the dry Sun", said Henckel <19) , "by means of the wet moon to the extent that one has become
similar to the other and that they remain united, has found the holy water which flows in the
Garden of the Hesperides".

Thus is accomplished the first part of the axiom: solve el coagula, by the constant
volatilization of the fixed and by its combination with the volatile; the body spiritualized itself
and the metallic soul, leaving behind its stained garment, takes on another, even more
precious, to which the ancient masters gave the name of philosophical mercury. It is the water
of the two champions of Basil Valentine, whose manufacture is taught by the engraving of his
second key. One of these bears an eagle on his sword (the fixed body); the other hides a
caduceus (the solvent) behind its back. The lower part of the drawing is entirely taken up by
two great spread wings, while in the center standing between the two combatants, appears the
god Mercury as a totally naked, crowned adolescent holding a caduceus in each hand. The
symbolism of this figure is easily penetrated. The large wings, which serve as boarded floor
for the fencers, indicate the goal of the operation, namely the volatilization of the pure parts of
the fixed element. The eagle indicates how to proceed, and the caduceus points out the one
who must attack the adversary, our dissolving mercury. As for the mythological youth, his
nakedness translates the complete stripping of the impure part, and the crown, the sign of his
nobility. Finally he symbolizes with his two caducei, the mercury duplex, epithet that some

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Adepts have substituted to that of philosophical mercury or common mercury, our living and
dissolving water (20) . It is the mercury duplex that is represented on the fireplace of Terre-
Neuve, by the symbolic human head which holds between its teeth the small cord of the
emblem-filled shield. The animal expression of the fiery-eyed mask, its energetic
physiognomy devoured with appetites render us responsive to the vital power, the generating
activity, all the power of production our mercury has received from the mutual collaboration
of nature and art. We have seen that it is collected on the surface of the water of which it
occupies the highest area; this drove Louis dEstissac to have its image positioned at the top
of the decorative panel. As for the bucrane sculpted in the same axis but at the bottom of the
composition, it indicates the foul and coarse caput mortuum, the impure, inert, and sterile
cursed earth of the body, that the action of the solvent separates, rejects, precipitates as a
useless and valueless residue. Philosophers have translated the union of the fixed and the
volatile, of the body and the spirit as the image of the serpent which devours its tail, The
Uroboros of the Greek alchemists ([*230-1], oura, tail, and [*230-2], boros , devouring),
reduced to its simplest expression, thus takes on the circular form, symbolic drawing of the
infinite, eternity as well as perfection. It is the central circle of mercury of the graphic
notation, and we notice the same on the bas-relief we are studying, but ornamented with
leaves and fruit to signify vegetative abilities and productive power. Furthermore, the sign is
complete in spite of the care our Adept took to disguise it. If we examine it carefully, we will
indeed see that the crown bears on its upper curve two spirated growths and on the lower
curve, the cross figured by the horns and the frontal axis of the bucrane, complements of the
circle in the astronomical sign of the planet Mercury.

All that is left for us to do is to dissect the central shield that we saw as we have noticed
being carried by the human head (therefore under its domination), image of the philosophical
mercury towering above the various motifs of the panel. This relationship between the mask
and shield fairly demonstrates the essential role played by the hermetic matter in the cabalistic
presentation of these singular coats of arms. The mysterious graphic signs express the entire
philosophical labor in a nutshell, using, rather than old forms borrowed from flora or fauna,
graphic notation figures. This paradigm constitutes thus an au thentic alchemical formula. Let
us first call attention to three stars, characteristic feature of the three stages of the Work, or
preferably of the three successive states of the same substance. The first of these asterisks,
isolated in the lower third of the shield, indicates our first mercury or the living water, whose
composition has been taught to us by the two stephanophore gnomes. By dissolving
philosophical gold which nothing indicates here or elsewhere (21) , we obtain philosophical
mercury composed of the fixed and volatile, not yet radically united, but able to coagulate.
The second mercury is expressed by the two interlaced Cs of the point, an acknowledged
alchemical symbol for the alembic. Our mercury is, we know it, the alembic of the sages,
whose inflated round bottom and helmet represent the two spiritualized and assembled
elements. Only with philosophical mercury do the sages undertake this long labor made up of
numerous operations (22) , which they called coction or maturation. Our compound, subjected
to the slow and continuous action of heat, distills, condenses, arise, goes down, swells,
impastes, contracts, diminishes in volume, and acting principle of its own cohobations,
progressively acquires a solid consistency. Thus raised by one gradation, this mercury, having
become fixed by familiarization with fire, again needs to be dissolved by the first water,
hidden here under the sign I, followed by the letter M, namely Spirit of Magnesia, another
name for solvent. In alchemical notation, any cross bar, whatever its direction, is the
conventional graphic signature for the spirit, a fact worth remembering, should one desire to
uncover what body is hidden under the epithet of philosophical gold, father of mercury, and
sun of the Work (23) . The capital letter M serves to identify our magnesia of which it is in fact
the first letter. This second liquefaction of the coagulated body is intended to increase it, and

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to fortify it by feeding it with the mercurial milk to which it owes being, life, and vegetative
power. It becomes volatile a second time, but regains, in contact with the heat, the dry and
hard consistency which it had previously acquired. We finally arrive at the top of the ascender
of the strange graphic, whose shape reminds us of the number 4, but which in reality figures
the path, the way which we must follow, Having reached this point, a third solution, similar to
the first two, brings us, still on the straight path, from the regimen to the linear way of fire, to
the second star, seal of the perfect and coagulated matter which it is sufficient to cook,
continuing up to the required gradations without ever straying from this linear path which is
completed by the cross bar of spirit, fire or incombustible sulphur. Such is the passionately
desired sign of the stone or medicine of the first order. As for the blooming branch of a star,
as an outwork, it demonstrates that by repeating the same technique the stone can be
multiplied in quantity and quality owing to the exceptional fecundity it has received from
nature and art. As its exuberant fertility comes from the primitive and celestial water which
gives metallic sulphur activity and movement in exchange for its coagulating virtue, it
becomes clear that the stone only differs from philosophical mercury in perfection rather than
in substance. The sages are therefore right to teach that "the stone of the philosophers, or our
mercury, and the philosophers stone are one and the same thing, of one and the same kind",
although one is more mature and more excellent than the other. Relative to this mercury,
which is also the salt of the sages and the comer stone of the Work, we quote an excerpt from
Khunrath (24) , quite clear in spite of its very pompous style and the abuse of parenthetical
sentences. "The Stone of the Philosophers", says our author, is Ruach Elohim (which rested
- incubebat on the waters [Gen. I], conceived by the mediation of heaven, (God alone,
through his pure goodness, thus wanted it), made true boy and falling under the influence of
senses, in the virginal uterus of the major primogenerated world, of the created chaos, that is,
the earth, empty and inane, and water; it is the son bom in the light of the Macrocosm, of vile
appearance (in the eyes of the ignorant), deformed and almost insignificant; however
consubstantial with, and similar to, its author (parens) little World (do not fancy that we
actually mean man or anything from or by him) catholic, three in one, hermaphrodite, visible,
sensible to the touch, hearing, olfaction, taste, local and finite, self-generatingly self-
manifested, and by means of the obstetrical hands of the art of physico-chemistry, glorified in
its body the moment it ascends; it can be used to almost infinite conveniences or usages and is
marvelously salutary to the microcosm and the macrocosm in the catholic trinity. O thou, Son
of Perdition, assuredly leave the quicksilver ([*232-2] ydragyon ) and all things with it,
whatever they may be, which have been prepared by thee as if elixirs. Thou are the type of the
sinner, not of the Saviour. Thou can and must be delivered, and thou cannot deliver. Thou art
the figure of the mediator who leads into error, ruin and death and not that of he who is good
and rules truth, growth and life. He has ruled, rules and shall naturally and universally rule
over all natural things. He is the catholic son of nature, the salt (know it) of satum, fusible
according to its peculiar constitution, permanent everywhere and always in nature by itself;
and universal by its origin and virtue. Listen and be attentive: this salt is the very ancient
stone. It is a mystery! Whose kernel (nucleus) is in the decimal. Like the child Horns, remain
silent! May whoever understands understand. I have spoken. The Salt of Wisdom, not without
serious cause, has been adorned by the Wise Man with many nicknames; they have said
nothing was more useful in this world, besides it and the sun. Study this!.

Before going further, we will take the liberty to pass a remark of some importance to our
brothers and to men of good will. Lor it is our intention to provide here the complement to
that which we have taught in a former book <25> . The most vested about traditional cabala,
among ourselves, have probably been struck by the relation existing between the way, the
path drawn by the hieroglyph which borrows the shape of the number 4, and the mineral
antimony or stibium, clearly signified by this topographic word. The Greeks called native

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antimony oxysulphide: [*233-1] ( stimuli), or [*233-2] ( stibia ) means the path, the way which
the investigator ([*233-3] stibeus) or pilgrim travels on during his voyage; it is the path he
tramples underfoot ([*233-4] steibo). These considerations, based upon an exact
correspondence of words have not escaped the old masters or modem philosophers, who,
backing them up with their authority, have contri buted to this spread of unfortunate error, that
common antimony was the mysterious subject of the art. Unfortunate misunderstanding,
invincible obstacle against which hundreds of seekers have run. From Artephius, who begins
his treatise (26) with these words: "Antimony comes from parts of Saturn", all the way to
Philale thes, who entitles on of his works: Experiments on the Preparation of Philosophical
Mercury through the Stellated and Silvery Martial Regulus of Antimony, not forgetting Basil
Valentines work: The Triumphed Chariot of Antimony, and Batsdorff s assertion dangerous
because of his hypocritical positivism: the number of those who have let themselves be caught
in this crude trap is simply prodigious. The Middle Ages saw puffers and archemists
volatilize, without any results, tons of mercury amalgamated with stibiated gold. In the 18th
century the learned chemist Jean-Frederick Henckel (27) admits in this Treatise of
Appropriation that, for a long time, he devoted himself to these costly and useless
experiments. "Regulus of antimony", he says, "is regarded as a means to unite mercury to
metals; here is the reason why, the regulus is no longer mercury and it is not yet a perfect
metal; it has ceased to be one and has begun to become the other. However, I could not pass
over the fact in silence that I uselessly worked, quite hard, to unite gold and mercury more
intimately by means of regulus of antimony". And who knows if some good artists are still
today following the deplorable example of the medieval spagyrists? Alas! Each one has his
idiosyncrasy, each one is attached to his idea and whatever we may say will not prevail
against such a tenacious prejudice. All the same, our duty being above all to help those who
do not indulge in idle dreams and fantasy, we will write for those only without worrying about
the others. Let us then recall that another similarity of words would allow us to infer that the
philosophers stone could come from antimony. It is known that alchemists of the 14th
century called their universal medicine Kohl or Kohol, from the Arabic words al cohol,
meaning subtle powder, words which later took on in our language the meaning of spirits (of
alcohol). It is said that in Arabic Kohl is the pulverized antimony oxysulfide with which
Muslim women used to dye their eyebrows black. Greek women used the same product which
was called: [*234-1] ( platnopthalmou ), large eye, because by using this artifice their eyes
appear larger (Greek root [*234-2] platus, large, and [*234-3] opthalmos, eye). Here
are, one might think, suggestive relationships. We could certainly agree if we did not know
that not the slightest molecule of stibnite is a part of the platyopthalmon of the Greeks
(sublimed mercury sulfide), the Kohl of the Arabs and the Cohol or Cohel of the Turks. The
last two, as a matter of fact, were obtained by the calcinations of a mixture of granulated tin
and gall nuts. Such is the chemical composition of the Kohl of oriental women, used by the
ancient alchemists as a term of comparison to teach the secret preparation of their antimony. It
is the solar eye Egyptians called oudja, which also figure among the Masonic emblems,
surrounded by a halo, in the center of a triangle (28) . This symbol offers the same meaning as
the letter G, seventh of the alphabet, initial of the common name of the Subject of the sages,
represented in the middle of a radiating star [N.B. gold, gur, galena, graphite, gabbro,
granite, gypsum, gneiss, garnet]. This matter is Artephius Saturnine Antimony, Tollius
regulus of antimony, and the true and only stibium of Michael Maier and all the Adepts. As
for mineral stibnite, it possesses none of the required qualities, and whatever the manner in
which we want to treat it, neither the secret solvent nor the philosophical mercury will ever be
obtained from it. If Basil Valentine gives philosophical mercury the nickname of pilgrim or
traveler ([*235-1] stibeus) (29) , because it must, says he, go through six celestial cities
before fixing its residence in the seventh; if Philale thes affirms it is our only path ([*235-2]
stibia), this is not sufficient to invoke that these masters claimed to designate common

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antimony as the regenerator of philosophical mercury. This substance is too far from
perfection, from purity, and the acquired spirituality of the humid root or metallic seed
which one could anyway not find on earth to be genuinely useful to us. The antimony of
the sages, raw matter directly extracted from the mine, "is not properly mineral, and even less
metallic as Philale thes <30) teaches us; but without partaking of these two substances it is
something between one and the other. It is not corporeal however, because it is entirely
volatile; it is not spirit because it liquefies like metal in fire. It is therefore a chaos which
stands in stead of mother to all metals". It is the metallic and mineral flower ([*235-3]
anthemon ), the first rose, black in truth, which has remained down here as a part of the
elementary chaos. From it, from this flower of flowers (flos florum) we first draw our frost
([*235-4] stibe) which is the spirit moving on the surface of the waters and the white
ornament of the angels; reduced to this bright whiteness, it is the mirror of the art, the torch
([*235-5] stilbe ), the lamp or lantern (31) , the brightness of stars and splendor of the sun
(splendor soils)', still, united to philosophical gold, it becomes the metallic planet Mercury
([*235-6] stilbonaster), the nest of the bird ([*235-7] stibas), our Phoenix and its small
stone ([*235-8] stia); finally it is the root, subject, or pivot (Latin, stipes, stirps) of the
Great Work and not common antimony. Know then, brothers, so as to no longer err, that our
term of antimony, derived from the Greek [*235-9] antemon, designates through a pun
familiar to philosophers, the ane-Timon (32) , the guide which in the Bible leads the Jews to the
Fountain. It is the mythical Aliboron, [*236-1], horse of the sun. One more word. You
probably know that in primitive language, Greek cabalists used to substitute numbers for
certain consonants, for words whose common meaning they wanted to veil under a hermetic
meaning. And so they used the epistimon ([*236-2] stagion) m> , Koppa, sampi, digamma
(34) , to which they granted a conventional value. The names modified by this process formed
genuine cryptograms, although their form and their pronunciation did not seem to have
undergone any alteration. Furthermore, the word, antimony, [*236-3], stimmi, when it was
used to signify the hermetic subject, was always written with the episemon ([*236-4],
equivalent of the consonants sigma and tau together. Written in this manner [*236-5]
simmi, it is no longer the stibnite of mineralogists, but indeed a matter signed by nature, or
still better, a movement, a dynamism, or a vibration, a sealed life ([*236-6 simenai ) so as
to allow a man to identify it, a very peculiar signature submitted to the rules of the number
six. In addition, a close term frequently used in phonetic cabala for assonance, the word
[*236-7] epistemon indicates one who knows, one whois informed of, one who is skilled
at. In Rabelais book Pantagruel, one of the main characters, the man of science, is called
Epistemon. He is the seret artisan, the spirit, the mind enclosed in raw substance as translated
by the Greek epistemon, because the spirit can single-handedly perform and perfect the entire
work without any other help apart from elementary fire.

It would be easy for us to complete what we have said about the philosophical mercury and its
preparation, but it is not up to us to entirely unveil this important secret. The written teachings
should never go beyond that which the proselytes received once upon a time in the lesser
Mysteries of Agra. And if we willingly yield to the difficult task of the ancient Hydranos, on
the other hand, the esoteric domain of the Great Eleusian Mysteries is absolutely forbidden to
us. Because before they receive the supreme initiation, the Greek mystes swore on their life
and in the presence of the Hierophant to never reveal anything of the truths which would be
entrusted to them. We do not speak here to some trustworthy and tested disciples in the
shadow of a closed sanctuary before the divine image of the venerable Ceres black stone
imported from Pessinonte or o the sacred Isis, seated on the cubic block; we discourse at
the threshold of a temple under the peristyle and in front of the crowd without exacting a
preliminary oath from our listeners. Confronted with such adverse circumstances, how could
one be surprised to see us demonstrate prudence and circumspection? True, we deplore the

110

fact that the initiatory institutions of Antiquity have forever disappeared and that a narrow
exotericism serves as a substitute for the open spirit of the Mysteries of yesteryears; for we
believe, along with the philosopher (35) , "that it is more worthy of human nature and more
instructive to first admit the marvelous by trying to extract from it what is true than to first
treat it as a lie or to canonize it as a miracle to avoid explaining it". These are useless regrets.
Time, which destroys everything, has made a clean sweep of ancient civilization. What
remains of them today besides the historical testimony of their greatness and power,
memories buried in the depth of papyri or piously exhumed from arid lands, peopled with
moving ruins? Alas! The last Mystagogues have taken their secret with them; and only to
God, Father of Light and dispenser of all truths, can we appeal for the grace of higher
revelations. We take the liberty to give advice to sincere investigators, to the sons of science,
on whose behalf we are writing. Only divine illumination will bring them the solution of the
obscure problem: where and how to obtain this mysterious gold, unknown body, capable of
animating and fertilizing water, first element of metallic nature? The ideographic sculptures of
Louis dEstissac stand mute about this essential point; but our duty being oriented toward
respecting the will of the Adepts, we shall limit our concern to report the obstacle by
replacing it in the context of practical work.

Before we examine the upper motifs, we must still say a word about the central shield, filled
with hieroglyphs, which we have just analyzed. The monograph quoted from the castle of
Terre-Neuve which we think was written by the late Monsieur Rochebrune, holds a rather
peculiar passage concerning these symbols. The author after a brief description of the
fireplace adds: "It is one of the beautiful works of stone executed by the decorators of Louis
dEstissac. The shield placed under that of the Lord of this beautiful castle is decorated in its
center with the monogram of the master image carver; it is surmounted with a four, symbolic
number, almost always coupled with all monograms of artists, engravers, printers, or glass-
painters, etc. We are looking for the key to this curious sign of the guilds". Here is in truth, a
rather surprising thesis. It is possible that its author occasionally encountered an initial in the
form of a four used to classify or identify certain works of art. As for us who have noticed it
on many curious objects of clearly hermetic characteristic engravings, stained glass
windows, enameled objects, goldsmiths works, etc. we cannot admit that this number
might constitute a sign of the guilds. It does not belong to any of the coats of arms of the
corporation because in this case they would have to show the tools and insignias specific to
the given corporations. In the same way this blazon cannot be classified in the category of
revealing arms or that of marks of nobility, since the latter do not obey the heraldic rules and
since the former are deprived of image meaning, characteristic of visual riddles. On the other
hand, we know pertinently that the artists entrusted by Louis dEstissac with the decoration of
his dwelling are totally forgotten; their names have not been preserved. Could this gap
authorize the hypothesis of the personal mark of an artist while the same characters have a
very precise meaning are often found in alchemical formulas? Further, how can we explain
the indifference of the learned symbolist scientist, the Adept of Coulonges, before his work,
when, himself content with a very modest shield, he abandons a field more spacious than his
own to the whims of his artisans? And what reason would allow the organizer, the creator of
such a harmonious hermetic paradigm, so consistent with pure doctrine, in its smallest details,
to tolerate the addition of foreign hieroglyphics if the latter were to be in glaring disagreement
with the rest of the work? We conclude that the hypothesis of any guilds sign cannot by
supported. There is no example where the thought of an artwork is concentrated in the very
signature of the artisan although this is the error made by a defective interpretation of the
analogy.

Ill

(1) The Greek word [*218-1 ( gnoma), phonetic equivalent to the French word gnome, means clue, which is used
to make a thing known, to classify it, to identify it. It is its distinctive sign. [*218-2] ( gnomon ) is also the sign
indicating the movement of the sun, the hand of sundials and our gnome. Meditate upon this; an important secret
is hidden beneath this cabala.

(2) Clef du Grand Oeuvre ou Lettres du Sancelrien Tourangeau (Key to the Great Work, or Letters from the
Author from Tourraine ); Paris, Cailleau, 1777, p. 65.

(3) Le Livre des Figures Hieroglyphiques (The Book of Hieroglyphic Figures ) by Nicolas Flamel; in Trois
Traitez de la Philosophie Naturelle (Three Treatises of Natural Philosophy)', Paris, G. Marette, 1612.

(4) This woman says of herself in the Song of Songs , ch. 1:5, "I am black but I am beautiful".

(5) Longin, in the Passion of our Lord Jesus Christ, plays the same tole as St Michael and St George; Cadmos,
Perseus, Jason make a similar gesture among the pagans. He pierces with a blow of his lance the side of Christ
just as the celestial knights and the Greek heroes pierce the dragon. This is a symbolic act whose positive
application to hermetic labor is pregnant with fortunate consequences.

(6) This esoteric truth is wonderfully expressed in the Hymn of the Christian Church:

The sun is hidden beneath the star.

The Orient in the setting sun;

The artisan is hidden in the work;

And through the help of grace,

He is given back and brought back
To his country.

(7) Fr. Noel: Dictionaire de la Fable ou Mythologie Greque, Latine, Egyptienne, Celtique, Persanne, etc.
(Dictionary of the Fable or Greek, Latin, Egyptian, Celtic, Persian, Mythology)', Paris, Le Normant, 1801.

(8) According to the Armenian version of the Gospel of Childhood, translated by Paul Peeters, Jesus during his
sojourn in Egypt renews in the presence of children of his age the miracle of Moses: "And Jesus, having gotten
up, stood among them and with a stick he struck the rock and at the same time a spring of abundant and delicious
water sprung from this rock and he gave it to them all to drink. This spring still exists today".

(9) Translators Note: A snake and a dragon which devour each other.

(10) Introitus apertus ad occlusum Regis palatium. Op. cit., chap. IV, I.

(11) Le Triomphe Hermetique, p. 71.

(12) This key was given to the neophytes in the ceremony of the Crater ([*225-1], kraterizo root, [*225-2],
krater, great cup, or fountain basin), which consecrated the first initiation in the mysteries of the Dionysiac cult.

(13) Comment VEsprit vient aux tables (How the Spirit Came to Tables), by a man who has not lost his mind;
Paris, New Library, 1854.

(14) Le Grand et Excellent Oeuvre des Sages (The Great and Excellent Work of the Sages) by Jacques Le
Tesson; Second Dialogue du Lyon Verd (Second Dialogue of the Green Lion), Ch. VI, ms. 17th century. Library
of Lyon, #971.

(15) Introitus apertus...', Ch. VIII, 3, 4.

(16) We can see that the Adept s speaking of the preparation of the philosophical Mercury as if it were the first
of all; he purposefully omits the one which procures the universal solvent. He assumes it is known and realized.
He is actually describing the first operation of the second work. This is a commonly occurring philosophical
artifice against we want to warn the disciples of Hermes.

112

(17) "You will separate earth from fire subtle from heavy, slowly with a lot of labor"; Hermes Trismegistus in
the Emerald Tablet.

(18) Mutus Liber, see also Alchimie by Canseliet, published by J.-J. Pauvert, p. 40 et seq.

(19) J.F. Hecnkel: Flora Saturnisans ; Paris, J.-T. Herissant, 1760, Ch. IV, p. 78.

(20) In the Twelve Keys of Philosophy by Basil Valentine, cf. above.

(21) "You must know that this solution and separation has never been described by any of the ancient Sage
Philosophers who have lived before me and who have known this Magistery. And if they have spoken of it, it
has been only through enigmas and symbols and not in an open fashion". Basil Valentine, Testamentum.

(22) The artists who believed that the third work to complete with a continuous coction requiring no other help
but a specific fire of equal and constant temperature were badly mistaken. The true coction is not accomplished
in such a manner, and it is the last stumbling block against which those who stumble, who after long and painful
efforts, have finally taken possession of the philosophical mercury. A useful note can correct them: the colors are
not the work of fire. They appear only by the will of the artist; they can only be observed through the glass, that
is in each coagulation stage. But will you be able to fully understand me?

(23) The father of the Greek Hermes was Zeus, the master God. And [*231-1] (Zeus) is close to [*231-2]
(Zeuxis), a word which marks the action of joining, uniting, assembling, marrying.

(24) Henri Khunrath: Ampitheatre de Ieternelle sapience; Paris, Chacornac, 1900, p. 156.

(25) Fulcanelli: Le Mystere des Cathedrales (The Mystery of the Cathedrals); Paris, J. Schemit, 1926.

(26) Le Livre Secret du Tres-Ancien Philosophe Artephius (The Secret Book of the Very Ancient Philosopher
Artephius) in Trois Traitez de la Philosophic Naturelle; Paris, G. Marette, 1612.

(27) J.F. Henckel: Opuscules Mineralogiques, ch. Ill, p. 404; Paris, Herissant, 1760.

(28) Translators Note; As seen on the American one dollar bill.

(29) Old engravings bearing the inscription Icon peregrini (icon of the travelers) represent hermetic Mercury in
the image of a pilgrim climbing a sharp and rocky path in a place filled with rocks and precipices. Wearing a
large flat hat he leans with one hand on a stick and holds in the other a shield where are represented the sun and
three stars. Sometimes young, alert, and well dressed; sometimes old, tired, and miserable, he is always followed
by a faithful dog which seems to share his good or his bad fortune.

(30) Introitus apertus..., Ch. II, 2.

(31) A pen and ink drawing made by the Adept Lintaut, in his manuscript called LAurore (Z)flw)(Biblio theque
de FArsenal, # 3020, 17th century), shows us the soul of a crowned king lying down, inert, on a large stone slab,
rising in the shape of a winged child towards a lantern suspended in the midst of dark clouds. We also mention
here for hermeticists what Rabelais said about the trip to the land of the Lantern People, the Lanternois, which he
had the heroes of his Pantagruel accomplish.

(32) Translators Note: The antimony which sounds like antimony and also in French like Ane Timon or the
donkey (named Timon, also the donkey bearing the beam of a plough.

(33) Translators Note: Episimon is like the sigma at the end of the word. The numerical value is 6.

(34) Translators Note: Letters in ancient Greek to which letters were attri buted.

(35) Comment VEsprit vient aux Tables, op. cit., p. 25.

113

LOUIS DESTISSAC V

A Latin inscription covering the entire width of the entablature can be read above the
symbolic panels which were up to now the subject of our study. It is composed of three words
separated one from the other two pyrogenous vases forming the following epigraph:

NASCENDO QUOTIDIE MORIMUR (1)

In being born, we die every day. A serious thought of Seneca, the philosopher, an axiom
which we would hardly expect to find here. Evidently, this profound albeit ethical truth,
seems conflicting and without direct relation to the surrounding symbolism. In the midst of
hermetic emblems what value could be attri buted to the severe exhortation, to have to
meditate on the unfortunate fate that life has in store for us, on the implacable destiny which
imposes death on humanity as the real goal of existence, the walk to the sepulcher as the
essential condition of the earthly sojourn, the coffin as the raison detre for the crib? Could it
be simply to remind us salutary distraction that is useful to keep in mind the image of
supreme anxieties and uncertainties, the fear of the troubling Unknown, necessary bridles to
our passions and our aberration? Or else, by incidentally provoking here an awakening of our
consciousness inviting us to ponder, to confront that which we fear most, did the learned
organizer of the building want to persuade us of the vanity of our desires, of our hopes, of the
uselessness of our efforts, of the emptiness of our illusions? We do not believe so. For, as
expressive, as rigorous, as the literal meaning of the epigraph might be for the average man, it
is certain that we must uncover another one, adequate and conforming to the esotericism of
this masterly work. We think, in fact, that the Latin axiom borrowed by Louis dEstissac from
Neros stoical governor, was not inappropriately put there. It is the only written word written
in the Mutus Liber. There is no doubt of its significance and that it was placed there on
purpose to teach what the image could not translate. A simple examination of the inscription
shows that of the three terms which contri bute to form it, two are preceded by a special sign,
the words quotidie and moimur. This sign, a little lozenge, was called by the Greeks [*240-1]
(rombos) from [*240-2] ( rembo ) to be mistaken, to go astray, to turn around. A deceptive
meaning likely to lead astray, to turn around. A deceptive meaning likely to lead us astray, is
very clearly indicated. Two signs were used to emphasize two meanings, ([*240-3]
amphibolos) in that diplomatic sentence. The same character engraved before quotidie and
morimur testifies that these words remain invariable and retain their ordinary meaning.
Nascendo, on the contrary, deprived of any clue, contains another meaning. By using it as a
gerund it invokes without spelling modification, the idea of production, of generation. We
should no longer read being born, but rather in order to produce or in order to generate. Thus
the mystery, free from its matrix, gives away the hidden reason for the amphibological axiom.
And the superficial formula, reminding man of his mortal origin is erased and disappears, now
symbolism figuratively addresses the reader and teaches him: in order to produce we die
every day. The parents of the hermetic child speak. Their language is true; they actually die
together not only to give it being, but also to ensure the growth and multiplication of the
stone. The child is born from their death and feeds on their corpses. We see how the
alchemical meaning proves to be quite expressive and enlightening. Therefore Limojon de
Saint-Didier states a primordial truth when he affirms: "The stone of the philosophers is bom
from the destruction of two bodies". We add that the philosophers stone or our mercury,
its next matter is also born from the fight, the mortification, and the ruin of two opposite
natures. Thus in the essential operations of the art we always have two principles producing a
third one and the generation depends upon a preliminary decomposition of its agents.

114

Furthermore, philosophical mercury itself, sole substance of the Magistery can never yield
anything unless it dies, ferments, and putrefies at the end of the first stage of the Work.
Finally, whether it is a matter of obtaining the sulphur, the Elixir, or the Medicine, we cannot
transform one or the other, whether in power or quantity as long as we have not made them
resume their mercurial state, next to the original rebis and as such directed toward corruption.
For there is a fundamental law in hermetics expressed by the old adage: Corruptio unius est
generatio alterius (2> . Huginus a Barma tells us, in the chapter about Hermetic Positions (3)
that: "Whoever does not know the means of destroying the bodies does not know wither the
means of producing them". Elsewhere the same author teaches that "if the mercury is not
tincted it will not tinct". And the philosophers mercury opens with the color black, seal of its
mortification, the chromatic series of the philosophical spectrum. It is its first tincture and it is
also the first favorable clue of the technique, harbinger of success, which sanctions the
artisans mastery. "Indeed", writes Nicolas Flamel in the Book of Hieroglyphic Figures,
"whoever does not see this blackness at the beginning of his operation, during the days of the
stone, whatever other colors he may see, he is totally failing the magistery and he can no
longer perfect it with this chaos. For he is not working well of he is not putrefying; all the
more because if consequently the stone cannot take on a vegetative life to grow and multiply".
Further, the great Adept asserts that dissolving the compound and liquefying it under the
influence of fire provokes the disintegration and liquefying it under the influence of fire
provokes the disintegration of the assembled parts whose black parts whose black color is a
sure proof. "Therefore", he says, "this blackness and color clearly teaches that in this
beginning the matter and compound are beginning to rot and to dissolve the matter and
compound are beginning to rot and to dissolve into a powder tinier than the atoms of the Sun,
later transforming themselves into permanent water. Envious (4) philosophers call this
dissolution death, destruction, and perdition, because the natures change forms, Whence came
so many allegories about the dead, tombs, and sepulchers. Others have called it Calcination,
Denudation, Separation, Trituration, Assation, because the compounds are changed and
reduced into very small pieces and parts. Others, Reduction into the first matter, Mollification,
Extraction, Commixtion, Liquefaction, Conversion of Elements, Subtiliation, Division,
Hunation, Impastation, and Distillation because the compounds are liquefied, reduced to seed,
mollified and circulated in a matrass, Others still, Xir, Putrefaction, Corruption, Cymmerian
Shadows, Abbyss, Hell, Dragons, generation, Ingress, Submersion, Complexion, Conjunction,
and Impregnation, because the matter is black and aqueous, the natures mix perfectly, and
mutually keep the ones from the others". A certain number of authors Philale thes in
particular demonstrated the necessity, the utility of death and of mineral putrefaction by
using a simile drawn from wheatseed. They probably got the idea from the parable collected
in St Johns Gospel (12:24); the apostle therein transcribes these words of Christ: "Verily, I
say unto you, if the grain of wheat does not die after it has been thrown into the earth, it
remains alone, but when it is dead it bears much fruit".

We believe to have sufficiently developed the secret meaning of the epigraph: Nascenclo
quotidie morimur, and demonstrated how this classical axiom, skillfully used by Louis
dEstissac throws a new light on the lapidary work of the hermetic scientist.

(1) Morimur is an ancient form of Moriemur.

(2) The corruption of the one is the generation of the other.

(3) Huginus a Barma: Le Regne de Satume change en Siecle dOr...\ Paris, P. Derieu, 1780.

(4) Translators note: In the old meaning of sparring with their words.

115

LOUIS DESTISSAC VI

Of the symbolic fireplace, only the comice is left to be discussed. It is divided into six oblong
panels, ornamented with symmetrical motifs repeated two by two and it summarizes the
essential points of experimentation.

Two kidney-shaped shields occupy the angles and their concave edge is stretched out in the
shape of a shell. Their field displays the image of a medusa head with its snake hair, out of
which two lightning bolts are flashing. These are the emblems of the initial matters, one
ardent, igneous, figures by the Gorgon mask and its lightning bolts; the other, aqueous and
cold, passive substance represented in the shape of a sea shell called Merelle by the
philosophers, from the Greek [*243-1] (meter) and [*243-2] ( ele ), Mother of Light. The
mutual reaction of these primary elements water and fire yield common mercury, of
mixed quality, which is this igneous water or aqueous fire that we use as a solvent in the
preparation of the philosophers mercury.

After the shields, the bucranes indicate the two mortifications marking the beginning of the
preliminary works: the first creates common mercury and the second gives birth to the
hermetic rebis, These fleshless heads of the solar oxen stand for human skulls and crossed
femurs, scattered bones or complete skeletons of alchemical iconography; like these they are
called crow heads. It is the common epithet applied to decomposing matters, matters being
corrupted, which are characterized in the philosophers work by an oily, greasy appearance, a
strong and disgusting odor, a viscous and sticky condition, a quicksilver-like consistency, a
blue, violet or black coloration. You will notice the bandlets connecting the bucranes horns;
they are crossed in the shape of an X, divine attri bute and first manifestation of light,
previously diffuse in the darkness of mineral earth.

As for the philosophers mercury, whose elaboration is never revealed, not even under the
hieroglyphics veil, we find nonetheless its image on one of the decorative shields adjacent to
the median acanthus. Two stars are engraved above the moon crescent, images of the mercury
duplex or Rebis that coction first transforms into white, semi-fixed and fusible sulphur. Under
the action of the elementary fire, the operation resumed and pursued, leads to the great final
realizations, figures on the opposite shield by two roses. These, as we know, mark the result
of the two, lesser and greater, magisteries, white Medicine and red Stone, whose fleur de lys
below them, sanction the absolute truth. It is the sign of perfect knowledge, the emblem of
Wisdom, the crown of the philosopher, the seal of Science and Faith united with the double
spiritual and temporal power of Knighthood.

116

THE MAN OF THE WOODS

MYSTICAL HERALD OF THIERS

A picturesque county town of the Puy-le-Dome district, Thiers offers a remarkable and very
elegant specimen of secular, 15th century architecture. It is the so-called house of the Man of
the Woods, a noggin building, reduced today to the first and second floors only. Its surprising
preservation makes it precious to art enthusiasts as well as to dilettantes of the Middle Ages

(Plate XVII)

Four bays closed with ogee arches, with filleted and suspate ribs, open on the facade. Engaged
little columns with capitals composed of grotesque masks which are covered with long-eared
head-dresses, separate them from one another and support as many figurines sheltered under
light, delicate, and perforated canopies. On the lower level, panels ornamented with
parchments correspond to the upper bays, but the beveled pillars which form a perpendicular
edge exhibit devouring snouts of dragons by means of capitals.

The main character which serves as a sign for this old dwelling is a character similar to the
one we have seen maneuvering a stump, on the comer sorb tree pillar of the manor of Lisieux.
Sculpted in the corresponding place with almost the same gestures, it seems to claim the same
tradition. We know nothing of him except that it getting close to five centuries old and, since
it has been built, generations of Thiers inhabitants have always seen him leaning against the
panel of his old dwelling. This large but rather rudimentary wooden bas-relief with a naive
design whose age and weathering emphasize the harsh character, represents a tall hairy man,
dressed with skins transversely sewn together, fur outside. Bare headed, he smiles, enigmatic,
somewhat distant; he leans on a long stick which bears at its upper extremity the face of a
hooded and quite ugly old woman. His bare feet bear on a lump formed of rough sinuosities
which cannot be identified due to the coarseness of execution. Such is this man of the Woods
called by a local chronicler the Sphinx of Thiers. "The local people", he writes, "are not
concerned about his origins, his gesture, or his silence. They only know one thing about him,
the name he bears in their memory, the wild and graceless name which they use to refer to
him and which perpetuates his memory throughout the ages. Foreigners and tourists are more
friendly and somewhat more curious. They stop before him as before an object of value. They
examine at leisure the features of his physiognomy and anatomy. They smell a history full of
local interest and perhaps of general interest. They question their guides. But these guides are
as ignorant and perhaps as mute as the local guardians of this solitary figure. And he avenges
himself on the ignorance of the ones and the stupidity of the others by keeping his secret".

People have wondered whether this image did not represent St Christopher facing the image
of the Child-Jesus that would have occupied the opposite and empty panel of the fagade.
Beyond the fact that no one has any memory of the subject which once upon a time hid the
nogging on the right if we even suppose that it might have existed one would still have
to admit that the pedestal bearing our hermit must have represented waves. Nothing is less
certain than such hypothesis. Indeed, how could we explain his miraculous position on the
water on waters whose surface would be convex? Furthermore, the very absence of Jesus
on the shoulder of the colossus justifies the exclusion of a possible resemblance with St
Christopher. Even if we suppose that he could have incarnated Offerus first personality of

117

THIERS (Puy-de-Dome)

House of the Man of the Woods ( 15 th Century)

Plate XVII

the Christian Giant before his conversion still we could not give any satisfying reason for
the monkey-like clothing which imprints its particular features on our sculpture. If the legend
asserts that the man who took Jesus across had to unearth a tree so as to fight against the
violence of the stream and the inexplicable heaviness of his divine burden, nowhere is it
pointed out that this tree had any kind of effigy in it, any kind of distinctive mark. Now we
know too well the high conscience, the scrupulous fidelity which medieval imagers conveyed
to the translation of their subjects to accept an evaluation with such slight foundation.

The Man of the Woods, the result of a clearly thought-out intent, necessarily expresses a
precise and powerful idea. We will agree that he could not have been created and placed there
without purpose, and that, from this standpoint, the decorative concern seems only to
intervene on a secondary level. In our opinion, what was meant to be asserted, what this bas-
relief of Thiers clearly indicates, is that it designates the dwelling of an unknown alchemist. It
officially stamps the ancient philosophers dwelling and reveals its mystery. Its indisputable
hermetic individuality is completed and further emphasized against the background of the
other accompanying figures. If they have neither the caliber nor the expressive energy
appropriate to the subject, the little actors of the Great Work are no less instructive to such an
extent that it would be quite difficult to solve the enigma if we did not compare these
symbolic characters among themselves. As for the correct meaning of the Man of the Woods,
it is mostly focused on the old womans head at the top of his rustic scepter. With a duenna
face, her skull bound by a hood, such appears here in its plastic form, a version of our crazy
Mother. With the name people used to designate in the times of the joyous parodies of the
Donkey Festival the high dignitaries and masters of certain secret institutions. The Dijon
Infantry or the Brotherhood of the Crazy Mother, a group of masked initiates, masked under
Rabelaisian appearance and committing Pantagruel-like eccentricities is the last example of it.
This mother of the insane, or crazy Mother is no other than the hermetic science itself, its
body of knowledge considered as a whole. As science provides whoever embraces it and
cultivates it with complete wisdom, consequently the tall insane man sculpted on the fagade of
the Thiers building is actually a wise man, as he leans on Sapience, dry tree and the scepter of
the crazy Mother. This simple man with abundant, disheveled hair, and unkempt beard, this
man of nature whose traditional knowledge leads him to despise the vain frivolity of the poor
insane people who think they are wise, stands head and shoulders above other men, just as he
stands above the mound of stones which he tramples underfoot (1> . He is the Enlightened one
for he has received the light spiritual enlightenment. Behind a mask of detached serenity, he
remains silent and protects his secret from conceited inquisitiveness and from the sterile
activity of the histrionic play-actors of the human comedy. He, the silent one, represents for
us the myste of Antiquity (in Greek [*251-1] mustes, head of the initiates) (2) , Greek
incarnation of the mystic or mysterious science ([*251-2] musterion, secret dogma,
esotericism)(Plate XVIII).

The Man of the Woods reveals yet another function, apart from his esoteric one demonstrating
what the alchemist should be: a learned man of simple spirit, an attentive investigator of
nature, always attempting to imitate, just as the monkey imitates man (3) . The other function
completes the first one. For the insane man, humanized emblem of the children of Hermes,
still evokes mercury itself, unique and proper matter of the sages. About this artifex in opere -
process in operation that the hymn of the Christian Church speak about, this artisan
hidden in the center of the work, capable of doing everything with the external aid o the
alchemist. This mercury or insane man who is the absolute master of the Work, the obscure
and never lazy worker, the secret agent and faithful and loyal servant of the philosopher. This
incessant collaboration of human foresight with natural activity, this duality of effort
combined and directed toward the same goal is expressed by the great symbol of Thiers. As

118

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for the means through which the philosophers mercury makes itself known and can be
identified, we are now going to disclose it.

In an old almanac which, with the Clavicles of Solomon and the Secrets of the Great Albertus,
constituted once upon a time the greater part of the scientific body (4) of colporteurs, an
interesting woodcut is found among the plates illustrating the text. It represents a skeleton
surrounded with images meant to mark out the planetary correspondences "with the parts of
the body which are connected with it and under their rule". In the drawing, while the Sun
exhibits its radiant face, and the Moon its profile crowned with a crescent. Mercury appears in
the shape of a court jester. Head covered with the pilgrims hood out of which prick up two
long ears just as the capitals which we have pointed out at the basis of the figurines he is
holding a caduceus instead of his jesters bauble. In order to avoid any misunderstanding, the
artist cared to write the name of each planet under its proper sign. It is, therefore, a genuine
symbolic formula, used in the middle ages for the esoteric translation of celestial Mercury and
quicksilver of the sages. Moreover, it suffices to remember that the French word sou (once
upon a time fol) meaning crazy comes from the Latin follies, bellows used to blow in
fires, to awaken the idea of the puffer, derogatory epithet conferred on medieval spagyrists.
Later still in the 17th century, it is not infrequent to encounter in the caricatures of Jacques
Callots rivals, grotesque figures drawn in the symbolic spirit whose philosophical
manifestations we are now studying. We remember a drawing representing a seated buffoon,
legs crossed and forming the sign X, and hiding behind his back a large bellows. We should
not be surprised that court jesters, among whom several have remained famous, have a
hermetic origin. Their multicolored costumes, their strange clothes they carried on their
belt a bladder which they called a lantern (5) their puns, their mystifications prove it, along
with the rare prerogative which they shared with philosophers, namely, to utter very bold
truths with impunity. Finally, due to its fickleness and volatility, the mercury called the Crazy
Man of the Great Work, has it meaning confirmed in the first card of the Tarot, called the
Joker, the Magician or sometimes the Alchemist (6) .

In addition, the Jesters bauble which is positively a rattle ([***-253-1] krotalon ) (7) ,
amusement for toddlers and toy of all firstborns, is not different from the caduceus. The two
attri butes share an obvious analogy, although the court fools bauble expresses, in addition,
the inborn simplicity possessed by children and that science demands from sages. One and the
other are similar images. Momos and Hermes carry the same instrument, revealing the sign of
mercury. Draw a circle on the upper extremity of a vertical line, add two horns to the circle
and you will have the graphic secret used by medieval alchemists to designate their mercurial
matter <8) . This diagram which rather faithfully reproduces both the jesters bauble and the
caduceus, was known in antiquity: it has been discovered, engraved on a Punic monument in
Lulybee <9) . In the final analysis, the rattle or jesters bauble seems to be a caduceus whose
esotericism is clearer than that of the stick with snakes, whether surmounted by a winged
figure or not. Its name, (marotte in French) diminutive of merotte, little mother according to
some, the universal mother of Mary, according to others, underlines the feminine nature and
the generating virtue of the hermetic mystery, mother and nourisher of our king.

The word caduceus is less evocative as it retains in the Greek tongue the meaning of the
announcer. The words [*254-1] ( kerukeion ) and [*254-2] (caduceus), both mean the herald or
public barter; only their common root [*253-3] ( kerux ) for rooster (because the bird
announces sunrise and the dawn of light), expresses one of the qualities of secret quicksilver.
For that reason the rooster, herald of the sun was consecrated to the God Mercury and appears
on our church steeples. If nothing in the bas-relief of Thiers reminds us of this bird, it cannot,
however, be denied that it is hidden in the word caduceus, which our herald is holding in both

119

hands. For the stick, or scepter, which the heraldry officers bore was called caduceus just like
the stick of Hermes. It is further known that it was among the heralds tasks to build as a sign
of victory or for happy events, commemorative monuments called Montjoie Mounts of Joy
(10> . These were simple cairns or heaps of stones. The Man of the Woods therefore, appears to
be both a representative of Mercury or natures jester, and the mystical herald, marvelous
worker whose masterpiece raises on the cairn (Mount of Joy), revealing sign of his material
victory. And if this king at arms, this triumpher, prefers his faun outfit to the opulent uniform
of the heralds, it is to demonstrate the straight path he was able to abide by, the indifference
which he manifests towards material goods and worldly glory.

Next to a subject of such noble bearing, the little characters which accompany it have but a
very unobtrusive role; we would be wrong, nevertheless, to neglect their study. No detail is
superfluous in hermetic iconography and these humble depositories of secrets, modest images
of ancestral thought, deserve to be questioned and examined with care. It is with less of an
ornamental aim than in the charitable intention to enlighten those who prove their interest for
them that they have been placed there. As for us we have never regretted devoting too much
time and attention to the analysis of hieroglyphs of this kind. Often they have brought us the
solution of the most abstruse problems and, in the practice, the success which we were
seeking in vain without the help of their teaching.

The figures sculpted under their canopies and supported by the jesters sticks of the capitals
are five in number. Four among them bear the mantle of the philosopher, which they open to
show the different emblems of their duties. The furthest one from the Man of the Woods is
standing in a comer formed by the angle of a modem gothic style niche which shelters behind
its windows a little statue of the Virgin. A very hairy man with a long beard holds in his left
hand a book and squeezes in his right hand the shaft of a lance or a fighting stick. These very
suggestive attri butes clearly show in form the two active and passive matters, whose mutual
reaction yields, at the end of the philosophers fight, the first substance of the Work. Some
authors Nicolas Flamel and Basil Valentine in particular have given to these elements
the conventional name of dragons; the celestial dragon which they represent with wings
designates the volatile body, the terrestrial wingless dragon indicates the fixed body. "Of
these two dragons or metallic principles", writes Flamel (11) , "I have said in my Summary
mentioned above that the enemy would enflame by his ardor the fire of his enemy and then if
we pay heed, one would see in the air a venomous fume of a bad odor, worse in flame and in
poison than the envenomed head of a snake and of a Babylonian dragon". Generally when
they only speak of a dragon philosophers think of the volatile. They recommend to kill it by
piercing it with the thrust o a lance; and this operation has become among them the subject of
numerous fables and various allegories. The agent is veiled under several names of similar
esoteric value: Mars, Martha, Marcel, Michael, George, etc., and these knights of the sacred
art, after a fierce fight which they always win, open in the flank of the mythical snake a large
wound out of which flows a dark, thick, and viscous blood <12> . Such is the secret truth which
proclaims, on his wooden throne, the secular herald, mute and silent, screwed in place on his
old dwelling.

The second character is more discreet and more reserved; he barely raises the flap of his coat,
but this gesture allows us to notice a large closed book that he is holding firmly against his
belt. We shall soon speak of him again.

After him comes a knight, energetic in his composure, who is clutching the hilt of his sword.
Necessary weapon that he will use to kill the earthly and flying lion or griffin, mercurial
hieroglyph we have studied on the manor of Lisieux. Here again is the emblematic statement

120

of an essential operation, that of the fixation of mercury and of its partial mutation into fixed
sulphur. "The fixed blood of the red Lion", says Basil Valentine (13) , on the subject, "is made
of the volatile blood of the green Lion because they are both of the same nature". Note here
that the version of the parable differs somewhat from those used by authors to describe this
work; most if them indeed are content to represent the duel of the knight and the lion as it can
be observed in the castle of Coucy (the tympanum of the dungeon gate) and on one of the bas-
reliefs of the golden Carroir (14) in Romorantin (Plate XIX).

Of the following figure we could not give an exact interpretation. It is unfortunately
mutilated, and we do not know what emblems it held in its hands, which are today broken.
Alone in the symbolic following of the Man of the woods, this haloed and meditative young
woman wearing a large open dress, takes on a clearly religious character and could possibly
represent a virgin. In this case we would see there the humanized hieroglyphic of our first
subject. But it is only a hypothesis and nothing allows us to develop a discourse. We will
therefore skip this gracious motif regretting that it is incomplete in order to study the last of
the figures, the Pilgrim.

Our traveler, without doubt, has traveled for a rather long time; yet his smile tells how happy
and satisfied he is to have accomplished his vow. For his empty bag, his pilgrim staff without
the calabash show us that this worthy son of the Auvergne province no longer has to worry
about food and drink. Further, the shell attached to his hat, special sign of the pilgrims of St
James of Compostella, proves that he comes straight back from Compostella. The tireless
pedestrian beings back the open book the book adorned with beautiful images which
Flamel did not know how to explain which a mysterious revelation allows him now to
translate and to put into action. This book, although quite common, and even though everyone
can easily acquire it, cannot be opened without previous revelation. God alone, through the
intercession of Monsieur St James, grants, only to those whom he deems worthy, the essential
enlightenment. It is the Book of Revelation, whose pages are closed with seven seals, the
initiatory book presented to us by the characters in charge of exposing the higher truths of
science. St James, disciple of the Savior, always keeps it. With the calabash, the blessed staff
and the shell, he possesses the attri butes necessary for the hidden teachings of the pilgrims of
the Great Work. Here is the first secret, the one which the philosophers do not reveal and
which they keep under the enigmatic expression of the Path of St James (15) .

This pilgrimage, all alchemists must undertake. Figuratively at least, for it is a symbolic
journey and whoever wants to gain from it, cannot leave the laboratory if only for a moment.
He must constantly watch the vase, the matter, and the fire. He must day and night stay at the
Work. Compostella, emblematic city, is not on Spanish ground, but in the very earth of the
philosophical subject. Difficult, painful road full of surprises and danger. Long and tiring road
by which the potential becomes realized and the occult manifest! The sages have veiled this
delicate preparation of the first matter or common mercury under the allegory of the
pilgrimage to the city of Compostella.

Our mercury, we believe it has been mentioned, is this pilgrim, this voyager to whom Michael
Maier has consecrated one of his best treatises (16) ! By using the dry path, represented by the
earthly road followed at first by our traveler, one can successfully but progressively exalt the
diffuse and latent virtue, transforming into activity that which was only potential. The
operation is completed when, on the surface, appears a shining star, formed of rays emanating
from a single center, prototype of the great roses of our gothic cathedrals. A sure sign that the
pilgrim has successfully reached the end of his first trip. He has received the mystical blessing
of St James, confirmed by the luminous imprint which radiated, it is said, above the tomb of

121

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, .

ROMORANTIN

The Golden Carroir (15th Century)

Plate XIX

the apostle. The humble and common shell which he bore on his hat turned into a shining star,
a halo of light. Pure matter whose hermetic star consecrates the perfection: it is now our
compost, the holy water of Compostella (Latin compos, who has received, possesses and
Stella, star) and the alabaster of the sages (albastrum contraction of alabastrum, white star). It
is also the vase of perfumes, the vase of alabaster (Greek [*260-1] alabastron, Latin
alabastrus ) and the newly blooming bud of the flower of wisdom, rosa hermetica, the
hermetic rose.

From Compostella the return can be made either by the same path, following a different
itinerary or by the wet or maritime path, the only way the authors indicate in their writings. In
this case the pilgrim choosing the maritime route boards under the leadership of an expert
pilot, a proven mediator captain capable of ensuring the safety of the vessel during the entire
crossing. Such is the difficult part played by the Pilote de VOnde Vive (17) because the sea is
full of reefs, and storms are frequent.

These suggestions help to understand the error into which many occultists have fallen by
taking literally the purely allegorical tales, written with the intention of teaching the ones what
ought to remain veiled for others. Albert Poisson allowed himself to fall into this strategem.
He believed that Nicolas Flamel, leaving Lady Perenelle, his wife, his school, and his
manuscript illuminations, had truly accomplished on foot and by the Spanish route, the vow
taken before the altar of St Jacques-la-Boucherie, his parish church. We certify and you
can trust our honesty that Flamel never left the cellar where his furnaces burned. He who
knows what the pilgrims; staff, the calabash, and the shell of the hat of St James are, also
knows that we are telling the truth. By substituting himself to the materials and by following
the example of the internal agent the Great Adept obeyed the rules of the philosophers
discipline and followed the example of his predecessors. Rayond Lully tells us that he made,
in 1267, immediately after his conversion and at the age of 32 the pilgrimage to St James of
Compostella. All masters, therefore, have used the allegory; and these imaginary accounts
which the laymen understood as realities or ridiculous tales according to the meaning of the
versions, are precisely the ones where truth asserts itself with the most clarity. Basil Valentine
ends his first book which serves as an introduction to the Douze Clefs (Twelve Keys ) by an
escapade into Mount Olympus. There he has the gods speak, and each one of them beginning
with Saturn, gives his opinion, his advice, and explains his own influence on the process of
the Great Work. Bernard Trevisan says very few things in forty pages; but the value of his
Livre de la Philosophie naturalle des metaux (Book on the Natural Philosophy of Metals) is in
the few pages composing in his famous Parabole (Parable) is in the few pages composing the
secret of the Work in approximately 15 lines in the Enigme du Mercure Philosophal (Enigma
of the Philosophical Mercury) found in the Trade du Ciel Terrestre (Treatise of the Terrestial
Sky). One of the most highly considered alchemical handbooks of the middle ages, Code de
Verite (Code of Truth), also called Turba Philosophorum, contains an allegory where several
artists play the chemical drama of the Great Work in a very poignant scene animated by the
Spirit of Pythagoras. A classical and anonymous work generally attri buted to Trevisan, the
Songe Verd (The Green Dream) exposes the practice under the traditional formula of the
artisan transported during his sleep to a celestial earth, peopled with unknown inhabitants
living amidst a marvelous flora. Each author chooses the theme which pleases him most and
develops it according to his fantasy. The Cosmopolite resumes the familiar dialogues of the
medieval period and is inspired by Jehan de Meung (18) . More modem, Cyliani hides the
preparation of mercury under the fiction of a nymph who guides and directs him in this labor.
As for Nicolas Flamel, he strays from the beaten paths and time-honored fables; more original
if not clearer, he prefers to disguise himself under the features of the subject of the sages and
leaves to whoever can understand, this revealing but assumed autobiography.

122

All the effigies of Flamel represented him as a pilgrim. As such he figured on the porch of the
Church of St Jacques-la-Boucherie, and also that of St Genevieve-des-Ardents, and he had
himself painted in that same disguise on the Arch of the Cemetary of the Innocents (19) . The
Dictionnaire Historique (The Historical Dictionary) of Louis Moreri mentions a painted
portrait of Nicolas Flamel which was seen exhibited at the time of Borel about 1650 at
the house of Monsieur Ardres, a physician. There again the Adept had donned the costume he
preferred above all. Unusual detail, "his hood was of three colors, black, white, red",
colorations of the three main stages of the Work. By imposing this symbolical formula on
sculptors and painters, the alchemist Flamel hid the middle class personality of Flamel the
writer, under that of St James the Great, hieroglyph of the secret mercury. These images no
longer exist today, but we can still have a rather exact picture of what they looked like by the
statues of the apostle, carved at the same time. A masterly work of the 14th century belonging
to the Abbey of Westminster shows us St James clothed with the mantle, a satchel by his side,
wearing a large hat ornamented with the shell. He holds in his left hand a closed book
protected by a cover forming a case. Alone, the pilgrims staff, on which he leaned with his
right hand, has disappeared (Plate XX).

The closed book, vivid symbol of the subject which alchemists use and take with them at the
beginning is the one which the second character of the man of the Woods is holding so
fervently. The book, signed with characters, which enables us to recognize it, to appreciate its
virtue, and its purpose. The famous manuscript of Abraham the Jew, of which Flamel takes
with him a copy of the images, is a work of the same nature and similar quality. Thus fiction,
substituted for reality, takes shape and asserts itself as the trip toward Compostella. We know
how much the Adept is stingy in giving information about his trip which he accomplished at a
stretch, "And so in the same fashion", he is content to write (20) , "I began my trip and I did so
well that I arrived at Mount Joy (the caim) and then at St James where with great devotion I
accomplished my vow". A description indeed reduced to its simplest expression. No itinerary,
no incident, not the least indication about the duration of the trip. At that time, the English
occupied the entire French territory: Flamel does not say one word about it. A single
cabalistic term, Mount Joy (the caim), that the Adept obviously uses on purpose. It is the clue
to the blessed phase of the trip, long awaited, long hoped for, where the book is finally
opened, the happy Mount Joy (the cairn) on whose summit shines the hermetic star 121 \ The
matter has undergone a first preparation, the common quicksilver has turned into
philosophical

hydrargyrum, but we learn nothing more. The road followed is knowingly kept secret.

The arrival in Compostella implies the acquisition of the star. But the philosophical subject is
yet too impure to undergo maturation. Our mercury must be progressively elevated to the
supreme degree of the required purity through a series of sublimations requiring the help of a
special substance before it is partially coagulated into living sulphur. To initiate his reader to
these operations, Flamel tells us that a merchant of Boulogne whom we identify with
the indispensable mediator put him in contact with a Jewish rabbi, Master Canches, "a man
quite learned in the sublime sciences". Therefore, our three characters have their respective
roles perfectly established. Flamel, we have said, represents the philosophical mercury; his
very name speaks like a pseudonym chosen on purpose. Nicolas, in Greek [*265-1]
(Nicolaus), means conqueror of the stone (from [*265-2], nike, victory, and [*265-3] laos,
stone, rock). Flamel is close to the Latin Flamma, flame or fire, expressing the igneous and
coagulating virtue the prepared matter possesses, a virtue enabling it to fight against the
fieriness of fire, to feed from it and to triumph over it. During the sublimation, the merchant
acts as an intermediary (23) , which requires a violent fire. In this case, [*265-4] emporos,
merchant, is put in for [*265-5] empuros, that which is worked on by means of fire. It is

123

LONDON - WESTMINSTER ABBEY
Statue of Saint James the Greater

Plate XX

our secret fire, called lunatic Vulcan by author of The Ancient War of the Knights. Master
Canches, whom Flamel introduces as his initiator, expresses the white sulphur, principle of
coagulation and dessication. The name comes from the Greek [*265-6] kagkanos, for dry,
arid, from the root [*265-7] kagkaino, meaning to heat up, to dry up, words whose
meaning expresses the styptic quality which the Ancients attri buted to the sulphur of the
philosophers. The esotericism is complete by the Latin word Candens, which indicates that
which is white, of a pure, shining white obtained by fire, that which is fiery and burning. One
could not, with one word, better characterize sulphur from a physico-chemical standpoint, or
the Initiate or Cathar from a philosophical standpoint.

Flamel and master Canches, united by an indestructible friendship, are not about to travel
together. The mercury, sublimated, manifests its fixed part, and the sulphurous basis marks
the first stage of coagulation. The intermediary is abandoned or disappears: he will no longer
be mentioned. The three are now reduced to two sulphur and mercury and realize what
is commonly called the philosophical amalgam, simple chemical combination not yet radical.
Here intervenes the coction, an operation whose task is to ensure the newly formed compost
with an indissoluble and irreducible union of its elements, and their complete transformation
into fixed red sulphur, medicine of the first order according to Geber.

The two friends agree to return by sea instead of using the terrestrial route. Flamel does not
tell us the reasons for this decision, which he simply submits to the appreciation of the
researchers. Be that as it may, the second part of the trip is long, dangerous, uncertain, and
vain, says an anonymous author, if the least error slips into it. Indeed, in our opinion, the dry
path would be preferable, but we have no choice. Cyliani warns his reader that he describes
the wet way, full of difficulties and surprises, only by duty. Our Adept deems the same, and
we must respect his will. It is notorious that a great number of inexperienced sailors,
underwent shipwrecks during their first crossing. One must always carefully watch the ships
orientation, maneuver with prudence, watch out for the gusts of wind, foresee the storm, be
constantly on the alert, avoid the abyss of Charybdus and the reef of Scylla, fight unceasingly,
night and day, against the roughness of the sea. To direct the hermetic ship is not a small task,
and master Canches, whom we suspect to have been pilot and conductor for the Argonaut
Flamel, must have been very skilled in the matter. Such also is the case with sulphur which
energetically resists the assaults, the detersive influence of mercurial humidity, but which
eventually is vanquished and dies under its blows. Thanks to his companion, Flamel was able
to disembark, safe and sound, in Orleans <24) , where the sea voyage was to naturally and
symbolically end. Unfortunately, barely on solid ground, Canches, the good guide, dies,
victim of great vomitings from which he had suffered on the waters. His grieving friend has
him buried in the church of Sainte-Croix, Holy Cross <25) and returns home alone, but
instructed, and happy to have attained the end of his desires.

The vomitings of sulphur are the best clues of its dissolution and mortification. Arrived at this
stage, the Great Work, on the surface, takes on the appearance of a fat soup sprinkled with
pepper, ibrodium saginatum piperatumi, say the texts. From then on, the mercury blackens
more and more each day and its consistency becomes syrupy, and then pasty. When the
blackness reaches its maximum intensity, the putrefaction of the elements is accomplished
and their union realized; everything appears firm in the vase until the solid mass cracks, chips,
crumbles, and is finally reduced to an amorphous powder, black as coal. You will then see",
writes Philale thes (26) , a remarkable black color and the entire earth will be dried up. The
death of the compound took place. The winds cease and all things come to rest. It is the great
eclipse of the sun and of the moon; no luminary shines on the earth any longer, and the sea
disappears". Thus we understand why Flamel relates the death of his friend; why the latter,

124

having undergone the dislocation of its parts by a sort of crucifixion, had his tomb placed
under the invocation and sign of the Holy Cross. What we understand less is the funeral
eulogy, rather paradoxical, pronounced by our Adept on behalf of the rabbi: "May God have
his soul", he cries out, "for he died a good Christian". He probably had only in mind the
fictitious torture endured by his philosophical companion.

Such are, studied in the very sequence of the account, the relationships too eloquent to be
more coincidences which have contri buted to establish our conviction. These unusual and
precise concordances demonstrate that the pilgrimage of Flamel is a pure allegory, a very
skillful and very ingenious fiction of the alchemical labor which the charitable and to which
the learned man devoted himself. What remains now is to speak of the mysterious work, of
the Liber which was the initial cause of the imaginary trip, and to say which esoteric truths it
is entrusted to reveal.

In spite of certain book-lovers opinions, we confess that it has always been impossible for us
to believe in the reality of the Book of Abraham the Jew, nor in what its fortunate owner
relates in his Figures Hieroglyphiques. In our opinion, this famous manuscript, as unknown as
it impossible to find, seems to be nothing more than another invention of the great Adept,
destined, like the preceding one, to instruct the disciples of Hermes. It is a summary of the
characteristics which distinguish the primal matter of the Work, as well as the properties it
acquires during preparation. About this topic, we will enter into some measure of detail
appropriately chosen to justify our thesis and to provide useful indications to enthusiasts of
the sacred art. Faithful to the rule we have imposed upon ourselves, we shall limit our
explanation to important points of the practice by carefully avoiding substituting new figures
for those that we have unveiled. We teach certain, positive and genuine things, things seen by
our own eyes, a thousand times touched by our hands, sincerely described, so as to direct
anew those onto the simple and natural path who have erred and who have been abused.

The legendary work of Abraham is only known to us by the description which Nicolas Flamel
left in his famous treatise (27) . Our bibliographical documentation is limited to this sole
narration, which includes an alleged copy of the title.

According to the testimony of Albert Poisson (28) , Cardinal Richelieu would have had it in his
possession; he buttresses hypothesis by the seizure of the papers of a certain Monsieur
Dubois, hanged after having been tortured, accounted, rightly or wrongly, to have bee
Flamels last descendant (29) . Nevertheless, nothing proves that Dubois inherited the unusual
manuscript, and even less proves that Richelieu seized it, since the book was never mentioned
anywhere since Flamels death. Sometimes, it is true, so-called copies of the Book of
Abraham are seen here and there on the market. These books, in very small number, have no
relationship among themselves, and are spread over a few private libraries. The ones that we
know are nothing more than attempts at reconstruction after Flamel. In all of them, we find
the title in French very exactly reproduced and conforming to the translation of the
Hieroglyphic Figures, but it entitles versions so different and above all so removed from
Hermetic principles, that they reveal ipso facto their sophistic origin. Flamel exalts the clarity
of the text, "written in beautiful and very understandable Latin", to the extent that he takes
legal cognizance of it and refuse to transmit the least excerpt to posterity. As a consequence,
no correlation can exist between the alleged original and the apocryphal copies we mention.
As for the pictures which would have illustrated the work in question, they also have been
done according to Flamels descriptions. Drawn and painted in the 17th century, they are
actually part of the French alchemical collection of the Biblio theque de lArsenal (30> .

125

As a summary, for the text as well as for the pictures, one must simply be content to respect,
in these attempts at reconstitution, the little information given by Flamel; everything else is
pure invention. Finally, since no bibliographer has ever been able to discover the original, and
since we are not materially able to correlate the Adepts account, we are forced to conclude
that it is a nonexistent and fictitious work.

Anyway, surprises lie in store for us in the analysis of Nicolas Flamels text. First, here is the
excerpt from the Hieroglyphic Figures which contri buted to spread among alchemists and
bibliophiles. The quasi-certainty of the reality of the book attri buted to Abraham the Jew.
"And so I, Nicolas Flamel, writer, thus after the death of my parents, earned my living in the
Art of Writing, drawing up Inventories, and all the accounting work for tutors and those not of
legal age, I came upon a book which was golden, rather old, and quite wide for the sum of
two florins; it was not made out of paper or parchment, as others are, but it was made out of
fine-laminated copper, entirely engraved with strange letters and figures; as for me, I think
that they might have been Greek characters or some similar ancient language. Since I did not
know how to read them and since I knew quite well that they were not Latin or Gallic letters
or numbers, for I understand a little of both. As for the inside, the bark pages were engraved
with a very great workmanship, written with an ion stiletto, in very beautiful and very clear
Roman letters which were colored. It contained 3 times 7 signets"...

Do we even need to mention the strangeness of a work constituted of such elements? Its
originality borders on the bizarre, even the extravagant. The book, very large, resembles in
this manner Italian-style picture books containing reproductions of landscapes, architecture,
etc., prints ordinarily presented in landscape format. It is, we are told, golden, although its
cover is of copper, which is not very clear. Le us pass over this detail. The pages are made of
the bark of young shrubby trees; Flamel probably wants to indicate papyrus, which would
give the book a respectable antiquity; but these barks, instead of having been written or
painted on directly, are engraved with an iron stiletto before their coloration. We no longer
understand. How could the narrator know that the stiletto which would have been used by
Abraham was made out of steel rather than wood or ivory? It is for us an enigma as
indecipherable as this other: the legendary rabbi wrote in Latin a treatise dedicated to his
fellow Jews. Why did he use Latin, the common scientific language in the Middle Ages? By
using the Hebrew tongue, which was less widespread in these days, he could have avoided
casting the anathema, and shouting out Maranatha to all those who tried study it. Finally, in
spite of Flamels affirmations, this old manuscript had just been written one cannot think
of everything when he acquired it. In fact, Abraham says he only want to reveal his secrets
so as to come to the help of the sons of Israel, persecuted at that same period when the future
Adept was reading his text: "To the Jewish people disbursed in the Gallic countries by the
wrath of God, Salut, cries out the Levite, prince, priest and Hebrew astrologer at the
beginning of his book.

And so, the great master Abraham, doctor and light of Israel, reveals himself, if we take him
literally, to be a bona fide mystifier and his work, fraudulently archaic, to have no
au thenticity, as if it were unable to hold through critical examination. However, if we consider
that the book and the author never had any other existence except in Nicolas Flamels fertile
imagination, we must think that all these things, so diverse, so unusual, hold a mysterious
meaning important to discover.

Let us begin the analysis with the presumed author of the fictitious book. Who is this
Abaham? The Patriarch par excellence, in Greek [*270-1] patriarches, is the fist author of
the family, from the roots [*270-2] pater, father, and [*270-3] circe, beginning,

126

principle, origin, source, foundation. The Latin name Abraham, which the Bible gives to the
venerable ancestor of the Hebrews, means Father of a multitude. He is therefore the first
author of created things, the source of all that lives on earth, the unique primordial substance
whose different specifications inhabit the three kingdoms of nature. The Book of Abraham is
consequently the Book of the Principle , and since this book is devoted, according to Flamel,
to alchemy, that part of science which studies the evolution of mineral bodies, we learn that it
deals with the original metallic matter, basis and foundation of the sacred art.

Flamel buys this book for the sum of two florins, which means the total price of the materials
and combustibles necessary for the work was valued at two florins in the 14th century. The
raw material alone, in sufficient quantity, was worth about 10 sols. Philale thes, who wrote his
treatise of the Introitus in 1645, brings the total cost to three florins. "And so", he says, "you
will see that the Work, in its essential materials, will not exceed the price of three ducats or
three gold florins. Further, the expense of making the water barely exceeds two crowns per
pound" (31) .

The volume, golden, rather old and quite wide, resembles ordinary books in no way; probably
because it is made and composed of another material. The gilding which covers it gives it a
metallic appearance. And if the Adept affirms that it is old, it is only to establish the high
antiquity of the hermetic subject. "I will therefore say", asserts an anonymous author (32) , "that
the matter from which the stone of the philosophers is made was immediately made when
man was first created, and its name is philosophical earth... But no one knows it, except the
true philosophers, who are the children of the Art". Although this misunderstood book is very
common, it includes many things and contains some great hidden truths. Flamel is therefore
right to say that it is wide; largus in Latin means abundant, rich, copious, a word derived from
the Greek [*271-1] la, considerable, much, and [*271-2] ergon, thing. Furthermore, the
Greek [*271-3] platus, large, also means in common use, widespread, well known,
exposed to all eyes. There is no better way to define the universality of the subject of the
sages.

Pursuing his description, our writer believes the book of Abraham to be made of the rolled
bark of young shrubby trees, at least so it seemed to him. Flamel is not very assertive about
this point, and for good reason: he knows very well that besides a few very rare exceptions,
for the past three centuries, medieval parchment had been substituted for Egyptian papyrus
(33) . And, although we cannot paraphrase this laconic expression, we must recognize that there
the author speaks very clearly. A shrub is a young tree, just a s a mineral is a young metal.
The bark of ganque which serves to envelop this mineral, allows man to identify it with
certainty, owing to the external characteristics it has taken on. We have already emphasized
the name given by the Ancients to their matter which they called liber, the book. Further, the
mineral presents a specific configuration; the crystalline laminae forming its texture are, as in
mica, superposed in the manner of the pages of a book. It owed to its external appearance the
epithet of leprous and that of Dragon covered with scales, because its matrix is scaly,
unpleasant and coarse to the touch. A simple piece of advice about this remark: preferably
choose samples whose scales are the largest and the most defined.

"Its cover was made out of fine laminated copper, entirely engraved with strange letters or
figures".

The ore often takes on a pale coloration like brass, sometimes reddish like copper; in any
case, its scales seem covered with intertwined lineaments having the appearance of bizarre
varied and ill-defined signs or characters. We called attention earlier to the obvious

127

contradiction existing between the golden book and its copper binding, for it cannot describe
here its internal structure. Likely the Adept wants to attract our attention, on the one hand, to
the metallic specification of the substance figured by his book, and on the other hand, to the
faculty possessed by this mineral to partially transmute itself into gold. This curious property
is indicated by Philale thes in his Commentary on the Epistle of Ripley addressed to King
Edward IV. "Without using the transmutative elixir", says the author speaking of our subject,
"I can easily extract the gold and silver it contains, which can be attested by those who have
seen it as well as I". This operation is not advisable, because it takes away any work value;
but we can assert that the philosophical matter truly contains the gold of the sages, imperfect,
white and crude gold, vile compared to precious metal, yet much higher to gold even when we
only consider the Hermetic labor. In spite of its humble copper cover with engraved scales,
the book of Abraham the Jew, is indeed a golden book, and it is the famous little book of fine
gold of which Bernard de Trevisan speaks in his Parable. Further, it seems that Nicolas
Flamel understood the confusion that could result in the readers mind from this duality of
meaning when he writes in the same treatise: "May no one blame me if he doesnt easily
understand me, for he will be more blameworthy than I, as he has not been initiated into these
sacred and secret interpretations of the first agent (which is the key opening of all sciences),
nevertheless he wants to understand the most subtle conceptions of the most envious (34)
philosophers, which are only written for those who already know these principles, principles
which can never be found in any book".

Finally, the author of the Figures Hieroglyphiques concludes his description by saying: "As
for the inside, the bark pages were engraved with a great workmanship, written with an iron
stiletto".

Here he no longer described the physical appearance, but rather the preparation of the same
subject. To reveal a secret of this magnitude and this significance could be to overstep the
limits which are imposed on us. Therefore, we shall not attempt to comment in clear
language, as we have done up to now, on the ambiguous and rather allegorical sentence of
Flamel. We will merely attract your attention on this iron stiletto, whose secret property
changes the intimate nature of our Magnesia, separates, orders, purifies and assembles the
elements of the mineral chaos. To successfully perform this operation, one must know the
affinities of things, have a lot of skill, and perform a lot of work, as the Adept leaves us to
understand. However, so as to provide some help to the artist in the resolution of this
difficulty, we would like to point out to him that, in the primitive language, which is archaic
Greek, all words containing the dipthong [*** 273-1] (er) must be taken into consideration.
[*** 273-2] (er) has remained, in phonetic Cabala, the sound expression dedicated to the
active light, to the incarnated spirit, to the manifest or hidden corporeal fire. [*** 273-2] (er),
contraction of [*** 273-3] ( e-ar ), is the birth of the light, springtime and morning, beginning,
dawn. Through the vibration of atmospheric air the dark waves emanate from the sun and
become luminous. Air in Greek [*** 273-4] ( aer ) is the support, the vehicle of light.
Through the vibration of atmospheric air the dark waves emanate from the sun and become
luminous. Ether or the sky ([*** 273-4] alter) is the chosen place, the abode of pure light.
Among metallic bodies, the one containing the highest proportion of fire, or latent light, is
iron ([*** 273-5] sideros). The ease with which internal fire, through shock or friction, can
fly out in the form of brilliant sparks is well known. It is important to communicate this active
fire to the passive subject: only it has the power to modify its cold and sterile complexion by
rendering it fiery and prolific. The sages call it green lion, wild and ferocious lion
cabalistically [***-273-6] leon pher (35) which is rather suggestive so as to dispense
from insisting any further.

128

In a previous work while describing a bas-relief from the basement of Notre-Dame de Paris
(36) we have pointed out the relentless fight which the bodies, placed in contact, engage in.
Another translation of the hermetic combat exists on the fagadc of a wooden house, built in
the 15th century at la Ferte-Bernard (Sarthe). There again we find the jester, the man with a
tree trunk, the pilgrim, familiar images which seem to be part of a formula applied towards
the end of the Middle Ages to the decoration of the modest dwellings of unpretentious
alchemists. We also see the Adept in prayer as well as the mermaid, emblem if united and
pacified natures, whose meaning has been commented upon elsewhere. That which especially
interests us because the subject is directly connected to our analysis are the two angry,
distorted and grimacing marmosets sculpted on the two outside supports of the cornice on the
third floor (Plate XXI and Plate XXII). Too far removed from each other to be able to come
to grips, they attempt to satisfy their native aversion for each other by throwing stones. These
grotesque figures have the same hermetic meaning as that of the children on the porch of
Notre-Dame. They attack each other with frenzy and try to stone one other. While in the
cathedral of Paris the indication of the opposite tendencies is given by the different gender of
the young fighters, it is only the aggressive character of the figures which appears on the
Sar the dwelling. Two men, of similar appearance and costume, express, one, the mineral
body, and two, the other the metallic body. This external similitude further reconciles fiction
with physical reality, but resolutely deviates from operative esotericism.

If the reader has understood what we wish to teach, he will find without difficulty in these
diverse symbolic expressions of the combat of the two natures the secret materials whose
reciprocal destruction opens the first door to the work. These bodies are Nicolas Flamels two
dragons, Basil Valentines eagle and lion, and Philale thes and the Cosmopolites magnet and
steel.

As for the operation by which the artist inserts into the philosophical subject the igneous agent
which is its animator, the Ancients have described it under the allegory of the fight of the
eagle and the lion, or of the two natures, one volatile, the other fixed. The Church has veiled it
in the dogma, entirely spiritual and rigorously true, of the Visitation. At the end of this
artifice, the book, opened, shows its engraved bark leaves. It then appears, to the eyes
astonishment and the souls joy, covered with admirable signs which manifest its
constitutional change.

Bow down, Magi o the Orient, and you, Doctors of the Law; bow your forehead, sovereign
princes o the Persians, of the Arabs and of India! Watch, adore and be silent, for you could
never understand. This is the divine Work, supernatural, ineffable, whose mystery no mortal
will ever penetrate, In the nocturnal, silent and deep firmament shines one single star, an
enormous heavenly body, resplendent, composed of all the celestial stars, your luminous
guide and the torch of universal Wisdom. See: the Virgin and Jesus are resting, calm and
serene under the palm tree of Egypt. A new sun irradiates the center of the center of the
wicker basket which the cystophores of Bacchus, the priestesses of Isis, the Ichthus of the
Christian catacombs bore once upon a time. The ancient prophecy is at last realized. Oh
miracle! God, master of the Universe, incarnates himself for the salvation of the world and is
born on mens earth in the frail form of a very little child.

(1) Remark in passing, that the piled-up stones or some fissured rocks are indeed reproduced here and not waters. We find the
obvious proof of this in a subject of the 16th century located in the same region: the bas-relief of Adam and Eve at
Montferr and (Puy-le-Dome). On it we notice our first parents, tempted by the human-headed snake, curled around the Tree of

129

a**:--

L

>? r '-y-ni

__

1 M

\

ft l

i

n i

LA FERTE-BERNARD (Sarthe) - 15th CENTURY HOUSE

Sculptures on the facade (right side)

Plate XXII

Paradise. The ground of this beautiful composition is treated in the same fashion and the tree of life develops its roots around
a pile in all ways similar to the one on top of which the Man of the Woods is standing.

(2) [*** 251-1] (mustes) has for root [*** 251-3] ( tnuo ) to be silent, to conceal, from which comes the old French word
musser which corresponds to the Picard word mucher, to hide, to dissimulate.

(3) This is the reason for the appearance of his clothing and his local name.

(4) Le Grand Calendrier ou Compost des Bergers...; Lyons, Louys Odin. 1633.

(5) Translator's Note: Origin of the French saying "to mistake bladders with lanterns", whose analog in English is: "to believe
that the moon is made of green cheese".

(6) Some occultists place the Jester or the Alchemist as the last of the 21 cards of the deck, that is to say, after the card The
World and it is given the highest value. Such an order would be without any great consequence the Jester having no
number, being out of the sequences if we did not know that the tarot, complete hieroglyph of the Great Work contained
the 21 operations or stages through which the philosophical mercury must pass before it reaches the final perfection of the
Elixir. Since the work occurs precisely thanks to the jester or the prepared mercury submitted to the will of the operator, it
seems logical to us to name the artisans before the phenomena which must be born from their collaboration.

(7) In Greek [*** 253-1] krotalon, rattle, corresponds to our crotale, or rattle snake, and we know that, in the hermetic
science, all snakes are hieroglyphs of the mercury of the sages.

(8) It is only in the 16th century that a crossing bar was added to the original vertical line so as to represent the cross, image
of death and resurrection.

(9) Philippe Berger: Revue Archaeologique (Archaeological Review), April 1884.

(10) Translators Note: Montjoie is the name the French gave to cairns or heaps of stone and it can translate as mounds of joy
or my joy or mounts of joy as all these interpretations sound the same in French.

(11) Le Livre des Figures Hieroglyphiques, op cit.

(12) The myth of the dragon and of the knight who attacks it, plays an important role in the heroic or popular legends as well
as in the mythologies of all people. The Scandinavian tales as well as the Asian ones describe to us these exploits. In the
middle ages the knight Gozon, the knight of Belzunce, St Romain, etc., fight and kill the dragon. The Chinese fable is closer
to reality. It tells us of the famous alchemist Hujumsin, ranked among the gods for having discovered the philosophers stone;
he had killed a horrible dragon which ravaged the country and he had attached the corpse of this monster on the top of a
pillar, "which can still be seen today", says the legend. After which the alchemist was raised to the sky.

(13) Les Douze Clefs de Philosophie, op. cit. II, p. 140.

(14) The golden Square House (Carroir), a dwelling of wood, built in the 15th century has a ground floor of which only the
structure remains and a gabled attic, added later. Houses, just like books and men, often have a strange destiny. An
unfortunate fate caused this beautiful mansion to lose its comer towers. Built at the intersection of two streets, it forms a cut
off corner, and we know how medieval builders could take advantage of such a layout, by beveling edges, by rounding off
the lateral juttings of the corbelled parts with turrets, barizans, and watchtowers. We can assume that this golden square
house, if we judge by the elongated shapes of its corner pillars in an out of plumb position, must have looked like the
harmonious and original type of building which was favored by medieval esthetics. Unfortunately nothing remains of it
except some sculpted corbels, crude, half-worm-eaten, miserable bony extensions, fleshless patella of a wooden skeleton.

(15) Thus it is still called the Milky Way. The Greek mythologists tell us that the gods walked this Way to go to the Palace of
Zeus and that the heroes also used it to enter into Mount Olympus. The path of St James is the starry road, accessible to the
elect ones, to the brave, knowledgeable, and persevering mortals.

(16) Viatoroum: Hoc est de Montibus Planetarum septem sen metallorum ; Rouen. Hean Berthelin, 1651.

(17) Pilot of the Live Wave, which is the title of an alchemical work by Mathurin Eyquem, Esquire of Marineau published by
Jean dHoury.Paris 1678.

(18) Translators Note: Author of the Roman de la Rose.

130

(19) Translators Note: A cemetery for lost children who died in Paris.

(20) In other words, in the disguise of a pilgrim; he had himself later represented at the Charnal house of the Innocents
wearing the same disguise.

(21) The legend of St James told by Albert Poisson, contains the same symbolic truth. "In 835 Theodomir. bishop of Iria, was
told by a mountain dweller that, on a wooded hill some distance west of Mt Pedrose, one could see at night a soft slightly
bluish star with marvelous shining quality above the same place. Theodomir went with his entire clergy to this hill; they
searched in the indicated place and they found in a marble coffin a perfectly preserved body, which certain clues proved to be
that of the apostle, St James". The present cathedral, destined to replace the early primitive church, destroyed by the Arabs in
997, was built in 1082.

(22) Boulogne presents some analogy with the Greek [*** 265-7] (boulaios), the one who presides over councils. Diana was
nicknamed [*** 265-8] (boulaia), goddess of good advice.

(23) [*** 265-9] ( mesites ), root [*** 265-10] ( mesos ), that which is in the middle, which stands between two extremes. It is
our Messiah who in the Work fulfills the mediators function of Christ between the Creator and his creature, between God
and man.

(24) Orleans, French town; the name sounds like "or leans", which in old French means "gold is here", or "there is gold her".

(25) Similar to that of Christ, the passion, the martyrdom of sulphur which dies to redeem its metallic brothers, ends with the
redemptive cross.

(26) Introitus apertus ad oclusum Ragis palatium , op cit., XX, 6.

(27) Nicolas Flamel: Le Livre des Figures Hieroglyphiques ; translated from Latin to French by P. Arnauld in Three Treatises
of Natural Philosophy, Pairs, G. Marette, 1612.

(28) Albert Poisson: LAIchimie au XlVe siecle. Nicolas Flamel (Alchemy in the 14th Century Nicolas Flamel)', Paris,
Chacomac, 1893.

(29) Flamel died on March 22, 1418, holiday for the traditional alchemists. On that day the spring equinox opens the time for
the Great Work.

(30) Recueil de Sept Figures Peintes (Memoir about Seven Painted Figures ); Biblio theque de 1Arsenal. #3047 (153 S.A.F.).
On the back of the folio A there is a note from the secretary of Monsieur de Paulmy, to whom the book belonged, note
corrected by Palmys hand which says: "The seven illuminated figures of this volume are the famous figures which Flamel
found in a book authored by Abraham the Jew".

(31) Introitus apertus ad oclusum Ragis palatium, op cit.

(32) Discours dAutheur incertain sur la Pierre des Philosophes (Discourse from an Uncertain Author about the
Philosophers Stone)', Manuscript of the Biblio theque Nationale, Paris, dated from 1590. # 19957 (Former French St
Germain). A manuscript copy of the same treatise dated from April 1, 1696, belongs to the Biblio theque de P Arsenal, # 3031
(180, S.A.F.).

(33) The use of papyrus was completely abandoned at the end of the 11th century or at the beginning of the 12th.

(34) Translators Note: Envious in the old meaning of sparring with their words.

(35) Translators Note: [*** 273-9] leonfer, is a phonetic rendering in Greek for the French lion vert (green lion).

(36) See Le Mystere des Cathedrales, p. 79 (1926 edition) or p. 95 (1957 ed.)

131

THE SPELLS AND WONDERS OF THE CASTLE OF DAMPIERREI

In the Santoine region to which Coulonges-sur-lAutize, the county town where once stood
Louis dEstissacs beautiful dwelling belongs, the forewarned tourist can discover yet another
castle whose preservation and significantly singular decoration renders it even more
interesting: the castle of Dampierre-sur-Boutonne (in the French Department of Charente-
Inferieure). Built at the end of the 15th century under Francois de Clermont (1) , the castle of
Dampierre is presently the property of Dr Texier from Saint-Jean-dAngely (2> . By the
abundance and the variety of the symbols which it offers, like so many enigmas, to the
sagacity of the seeker, the castle deserves to be better known and we are pleased to
particularly commend it to the attention of the disciples of Hermes.

In outer architecture, though elegant and in good taste, remains very simple and presents
nothing remarkable; but it is with buildings as it is with certain people: their unobtrusive
bearing and the modesty of their appearance only serve to veil that which in them is of a
higher essence.

In between round towers covered with machiolated conical roofs lies the Renaissance-style
main body of the building whose fagade opens onto the outside through ten flattened vaults.
Five of them form a colonnade on the ground level while the other five, directly superposed
on the lower ones, let the light pour into the second story. These openings light up covered
walks giving access to inner rooms and the whole gives the effect of a wide loggia crowning
the ambulatory of a cloister. Such is the humble cover to the magnificent picture album of
which the stone pages ornament the vaults of the higher gallery (Plate XXIII).

While we may know today the name of who built the new buildings destined to replace the
old feudal fortress of Chateau-Gaillard (3) , we are still ignorant of the unknown and mysterious
individual to whom Hermetic philosophers owe the symbolic pieces which they shelter.

It is almost certain, and on this point we share Feon Palustres opinion, that the paneled
ceiling of the higher gallery, where all of Dampierres fascination lies, was executed between
1545 or 1546 and 1550. Fess certain however is the attri bution of this work to individuals, no
doubt well known, but who nevertheless are total strangers to it, certain authors suggested the
emblematic motifs emanated from Claude de Clermont, baron of Dampierre, governor of
Ardres, colonel of the Grisons and gentleman of the Privy Chamber. Now, in his Vie des
Femmes Illustres (4) , Brantome says that during the war between the king of England and the
king of France, Claude de Clermont was ambushed by the enemy and died in 1545. Therefore
he could not have been even remotely involved in works undertaken after his death. His wife,
Jean de Vivonne, daughter of Andrew de Vivonne, Ford of the Chateignereaye, of Esnandes,
and of Arelay, Counselor to and Chamberlain of the king, Seneschal of Poitou, etc., and of
Fouise de Daillon de Fude, was bom in 1520. She became a widow at 20. Her wit, her
distinguished personality and her high virtue gained her a reputation such that, just like
Brantome de Daillon duFude, was bom in 1520. She became a widow at 20. Her wit, her
distinguished personality and her high virtue gained her a reputation such that, just like de
Brantome who praised the scope of her learning, Feon Palustre (5) honors her with being the
instigator of the bas-relief of Dampierre. "There", he says, "Jeanne de Vivonne took pleasure
in having an entire series of more or less understandable compositions executed by sculptors
of rather ordinary talents". Finally, a third attri bution is not even worth retaining. Abbot
Nogues (6) , by producing the name of Claude-Catherine de Clermont, daughter of Claude and

132

_J

-A*

p '1

jOLk

DAMPIERRE-SUR-BOUTONNE (Charente-Inferieure)

The 16 th Century Castle

Plate XXIII

Jeanne de Vivonne, expresses a totally unacceptable opinion, as Palustre says: "This future
chatelaine of Dampierre, born in 1543, was but a child at the time the work was being
completed".

So, not to be guilty of any anachronism, are we forced to grant the paternity of the symbolic
decor of the higher gallery to Jeanne de Vivonne alone. And yet, as convincing as this
hypothesis may seem, it is impossible for us to endorse it. We strongly refuse to acknowledge
a woman of 25 as the beneficiary of a science demanding more than twice as many years of
sustained efforts and persevering studies. Even supposing that, in her prime and in defiance of
all philosophical rules, she could have been the recipient of an oral initiation from some
unknown Artist, it remains, nonetheless, that she would have had to control, through obstinate
and personal toil, the truth of the teaching. Now, nothing is more trying, and more
disheartening than to pursue, for many long years, a series of experiments, trials and attempts
demanding a constant zeal, and the renouncing of all public matters, relationships, and
external preoccupation. Voluntary seclusion, and renouncing the world are indispensable
conditions should one wish to acquire, along with practical knowledge, notions of a yet more
secret symbolic science, that covers and occults them from the common people. Was Jeanne
de Vivonne perhaps subjected to the requirements of an admirable mistress, lavishing infinite
treasures, but uncompromising on all her worshippers implicit obedience and staunch loyalty?
Nothing in her that we can find justifies such a conclusion. On the contrary, hers is a totally
worldly life. Admitted to the court, writes Brantome "at the early age of eight, she was raised
there and forget nothing of it; and it was good to hear her speak as I have seen our kings and
queens take pleasure in hearing her do so for she knew nothing of it; and it was good to hear
her speak as I have seen our kings and queens take pleasure in hearing her do so for she knew
everything of her time and of the past; so much so that she was accepted as an oracle. So our
most recent king, Henry III of France, made her lady-in-waiting to the queen, his wife".
During her stay at the court, she saw five kings succeed to the throne in rapid sequence:
Frances I, Henry II, Francis II, Charles IX and Henry III. Her virtue is recognized and well-
known to the point of having been respected by the disrespectful Tallamant des Reaux; as for
her learning, it exclusively of a historical nature. Facts, anecdotes, chronicles and biographies
forming its sole content. In the final analysis, she was a woman with the gift of an excellent
memory, who had listened, memorized much, and to such an extent that Brantome, her
nephew and historiographer, speaking of Madame de Dampierre, says that "she was a genuine
court register". The image is eloquent; Jeanne de Vivonne was a register, no doubt pleasant
and instructive for consultants, but she was not anything else. Thrown so young into the
intimacy of kings of France, did she even later on inhabit her castle of Dampierre at all? That
was what we wondering about while going through Jules Robuchanons (7) beautiful book,
when an account by Monsieur Georges Musset, alumnus of the Ecole des Chartres in Paris (8)
and member of the Societe des Antiquaires de lOuest, appeared just in time to solve the
problem and serve as a back up to our conviction, "But", writes G. Musset, "some heretofore
unpublished documents have surfaced that seem to complicate the issue and produce
inconsistencies. A recognition of Dampierre is written to the King because of his castle of
Niort, on the 9th of August 1547 at the crowning of Henry II. The vassals are Jacques de
Clermont, his independent son, for the bare ownership. The duty consisted of a bow made
from the wood of a yew, and a sheaf of arrows without groove. It seems to result from this
deed: (1) that Jeanne de Vivonne does not enjoy Dampierre nor her daughter Catherine who
owns it; (2) that Claude de Clermont had a younger brother, Francois, who was under age but
emancipated in 1547. There are no grounds for supposing that Claude and Francois were one
and the same person, since Claude died during the campaign of Boulogne, that ended, as we
know, by the treaty signed by Francis I and Henry VIII, on June 7, 1546. What happened then
to Francois who isnt mentioned anywhere by Anselm? What happened to this land from 1547

133

to 1558? What happened to this land from 1547 to 1558? How could, out of such a stunning
association of incapacities of ownership, whether usufructaries or under age individuals,
emerge such a luxurious dwelling? These are mysteries that we cannot solve. We believe it is
a great deal even to be able to glimpse some of the issues at play".

And so the opinion is confirmed according to which the philosopher to whom we owe all
the embellishments of the castle paintings and sculptures is unknown to us and will
perhaps remain so forever.

(1) Recueil de la Commission des Arts et Monuments Historiques de la Charente Inferiure, Vol XIV, Saintes,
Frances, 1884.

(2) Dr Jean Texier died May 22, 1953. His son, M. J. Texier, the present owner, specifically told us, in his letter
dated January 15, 1965: "I am aware that at the time (1928) you exchanged several letters with my father and
that is the reason why I gladly granted your publisher permission to takes several pictures of the castle". We
warmly thank M. J. Texier.

(3) "Formerly, we could admire above the threshold of the Maison Richard, rebuilt approximately 15 years ago,
a stone of respectable dimensions on which the following Greek word was carved in capital characters: [***
282-1], in other words, that which is impregnable. It apparently came from the old castle. This stone was later
used to build a pillar for the shed". In R ecault de la Commission des Arts et Monuments Historiques de la
Charente-Inferieure, (Records of the Commission for Art and Historical Monuments of the Lower Charente),
note written by M, Senior, with a forward by M. Fragnaud.

(4) Life of Illustrious Ladies.

(5) Leon Palustre: La Renaissance en France; Aunis et Saintonge (Renaissance on the French regions ofAunis
and Saintonge), p. 293.

(6) Abbot Nogues: Dampierre-sur-Boutonne. Monographie Historique at arcliaologique (Dampierre-sur-
Boutonne Historical and Archaeological Monograph), Saintes, Fracne, 1883, p. 53.

(7) Paysages et Monuments du Poitou (Landscapes and Monuments of the Poitou Region), photographs by Jules
Robuchon, vol. IX: Dampierre-sur-Boutonne, by Georges Musset, Paris, France, 1893, p. 9.

(8) The School of Paleontology and Librarianship and The Society of Antique Dealers of the West of France.

134

THE CASTLE OF DAMPIERREII

In a spacious room on the second story, we can notice in particular a large and rather beautiful
fireplace, gilded and covered with paintings. Unfortunately, a hideous reddish wash covers,
on the main frame of the mantelpiece, the subjects which once decorated it. Only a few isolate
letter remains on the lower part. On the other hand, the two sides have kept their
ornamentation and make us deeply regret the loss of the main composition. The pattern is the
same on both dies. At the top, a forearm appears, the hand of which holds a raised swords and
a pair of scales. Toward the middle of the sword, the central part of a floating phylactery is
coiled, bearing on the inscription:

DAT. JVSTVS.FRENA.SVPERBIS (1) .

Two golden chains, joining on top of the scale, are connected below one to the collar of a
mastiff, and the other to the tether ring of a dragon whose tongue is darting out of its open
mouth. Both raise their heads and glance in the direction of the hand. Both scales held rolls of
gold coins. The letter L topped by a crown is marked in one of the rolls. On another roll, there
is a hand holding smaller scales and underneath the picture of a dragon with a threatening
appearance.

Above these large patterns, that is to say, on the uppermost part of the sides, two medallions
are painted. The fist depicts a Maltese cross, with fleur-de-lis at its angles; the second bears
the effigy of a graceful figurine.

The composition as a whole presents a paradigm of the hermetic science. Mastiff and dragon
hold the place of the two material principles assembled and held in check by the gold of the
sages, in accordance with the proper ratio and natural equilibrium, such as the image of the
scales teaches us. The hand is that of the craftsman, steady when handling the sword a
hieroglyph for a penetrating, mortifying which modifies the properties of matter cautious
when apportioning substances according to the rules of the philosophers weights and
measures. As for the rolls of gold coins, they clearly indicate the nature of the final result and
one of the objectives of the Work. The mark made up of a crowned L has always been the
traditional sign, in graphic notation, to mean projection gold, that is to say, alchemically
produced gold.

Just as vivid are the little medallions of which one represents Nature, always to be used as a
guide and mentor by the artist, while the other proclaims the qualification of Rose-Cross
which the learned author of these various symbols had acquired. The heraldic fleur-de-lis
indeed corresponds to the hermetic rose, as an ensign and a coat of arms for the practicing
knight who, thanks to divine grace, achieved the philosophers stone. However, while this
emblem brings us proof that the unknown Adept of Dampierre had knowledge, it also
convinces us of the futility, the uselessness of any of our attempts to identify his true
personality. We know why Rosicrucians used to call themselves invisible; therefore it is likely
that, during his lifetime, ours invariably surrounded himself with the indispensable
precautions and took all appropriate measures to conceal his identity. He had wanted the man
to keep in the background of the science, and his lapidary work to contain no other signature
than the high, albeit anonymous, title of Rosicrucian and Adept.

135

On the ceiling of the same room where the large fireplace stands, there used to be a beam
ornamented with this curious Latin inscription:

"Illustrious deeds, a magnanimous heart, a glorious renown which does not end in shame; a
modest wealth properly acquired, honorably increased and always considered as a gift of God,
here is that which injustice and envy cannot grant you, and which always should be a glory
and an example for the family".

About this text already long gone, Dr Texier, the physician, has been kind enough t give us a
few precise details: "The inscription about which you speak", he writes us, "was carved on a
beam found in a second story room which, because it fell into decrepitude, had to be changed
about sixty or eighty years ago. The inscription was recorded in its exact words but the beam
fragment where it was written in golden letter was lost. My father-in-law, to whom this castle
used to belong, remembers quite well having seen it" (2) .

Paraphrasing Solomon in Ecclesiastes 3:13, where it is said that "every man should eat and
drink, and enjoy the good of all his labour, it is the gift of God", this fragment defines in a
positive way, and is sufficient to explain, the mysterious occupation to which the enigmatic
lord of Dampierre was, under cover, devoting himself. In any case the inscription reveals in
its author an unconventional wisdom. No labor, whatever it may be, can obtain a better
acquired prosperity; the worker receives from nature herself the entire salary he is entitled to,
and this salary is computed in proportion to his skill, his efforts and his perseverance. And as
practical science that has always been recognized as a genuine gift of God by all the
possessors of the Magistery, the fact that this profession of faith considers an acquired fortune
as a gift of God is enough to point to its alchemical origin. Its gradual and honorable increase
could not, in these conditions, surprise anyone.

Two other inscriptions coming from the same dwelling are worth mentioning here. The first,
painted on the mantle of a fireplace, contains a six-line stanza under a work of art composed
of the letter H holding two interlaced Ds decorated with human faces in profile, that of an old
man, and that of a young man. This little piece, cheerfully written, glorifies the happy
existence, bearing the stamp of calm and serenity, and of kind hospitality, which our
philosopher led in his attractive dwelling.

DVOLCE.EST.LA.BIEN.SVYVRE.

EMMY. S O YET .PRINTANS. S O YET. HYVERS.

S O VB S .BLANCHE. NEIGE. O V. RAME A VX. VERTS.

QVAND. VRAYS .AMIS .NO VS .LA.FONT. VIVRE.

AINS .LEVR.PLACE. A.TOVS .EST.ISI.

C OMME. A VX. VIE VLS. A VX. LE VNES. A V SSI.

SWEET IS LIFE WHEN IT IS WELL LED,

BE IT SPRING, BE IT WINTER,

UNDER WHITE SNOW OR GREEN BOUGHS,

WHEN TRUE FRIENDS LIVE IT WITH US.

AND EVERYONES PLACE IS HERE
THE OLDS AND YOUNGS ALIKE.

The Second one, which decorated a larger fireplace covered with ornaments of red, gray and
gold, is a simple proverb of a beautiful ethical nature but which the superficial and
presumptuous human beings of our time are loath to practice:

136

SE.COGNESTRE.ESTRE.ET.NON.PARESTRE.

To know oneself, to be and to not show off.

Our Adept is right; knowing oneself is what enables us to acquire the knowledge, the purpose
and the meaning of life, the basis of all genuine values, and this power, which raises the hard
working man who can acquire it, incites him to live in a modest and noble simplicity, the
outstanding virtue of higher minds. It was an axiom that masters used to repeat to their
disciples, and through which they signified to them the only means of attaining the highest
knowledge: "If you want to know wisdom", they used to say, "know thyself well and you will
know it".

(1) The just dampens the proud one.

(2) Much later, the wooden slab bearing the inscription which we reproduce was found, amongst other pieces of
wood, in a sheep pen used as a separation partition.

137

THE CASTLE OF DAMPIERRE III

The upper gallery, whose ceiling is so curiously ornamented, takes up, between the two
towers, the entire length of the building. As we have mentioned, daylight pours in through
five bay windows separated by squat columns, each fitted inside with engaged supports
securing the springing of the arches. Two windows with straight transoms and rectilinear
lintels open at both ends of the gallery. Transversal ribbed moldings take on the flattened arch
form of the bay windows and are crossed by two lengthwise parallel ribbed moldings, thus
marking the frame of the panels which are the object of out study (Plate XXIV). They were
described by Louis Audiat (1) long before us. However, knowing nothing of the science to
which they refer and of the essential cause linking together so many bizarre images, he
endowed his book with a character of inconsistency that the figures themselves take on for the
layman. When reading the Epigraphie Santone, it would seem that whim, fantasy and
extravagance presided over its execution. And so the least that can be said about this work is
that it does not appear very serious, lacks any depth, is odd, and without any interest save an
excessive peculiarity. Certain unaccountable mistakes further add to the unfavorable
impression it makes upon us. Thus, an example, the author mistakes a cubic stone, cut, and
placed on the water (Series I, Panel 5) for "a ship on rough water"; elsewhere (Series IV,
Panel 7) a stooped woman planting pits near a tree becomes for him "a traveler who tramps
wearily across a desert". In the first panel of the fifth series may our female readers forgive
him this involuntary comparison he sees a woman in place of the devil himself, hairy,
winged, homed, perfectly clear and visible. Such mistakes denote an inexcusable heedlessness
in an epigraphist conscious of his responsibility and the accuracy required by his occupation.

According to Dr Texier, to whom we are obliged for this information, the figures of
Dampierre were never published in totality. Nevertheless, a reproduction of them exists,
drawn after the original and kept at the museum of Saintes. It is to this drawing that we have
resorted for some patterns lacking in precision and so as to make our description as thorough
as can be.

Apart from the subject which is sculpted in a bas-relief form, almost all the emblematic
compositions include an inscription engraved within a phylactery. While the image refers
straight to the practical side of the science, the epigraph mainly proposes a moral or
philosophical meaning; it appeals to the worker rather than to the work and, using now an
apothegm, now a parable, it defines a quality, a virtue the artist must possess, or appoint of
doctrine he ought no to ignore. And, by the very fact that they are provided with phylacteries,
these figures reveal the scope of their secrecy, and their being assigned to some occult
science, In fact, the Greek [*296-1] (phulakterion ), formed from [*296-2], to keep, maintain,
and from [*296-3] ( terein ), to preserve, indicates the function of this ornament, in charging of
keeping and preserving the occult and mysterious meaning hidden behind the natural
expression of the composition it accompanies. It is the sign, the seal of this Wisdom which is
on guard against the wicked, as Plato says: [***296-4] ( Sophia e peri tus ponerus phulaktiche
Wisdom has been placed above all as guardian). Whether it bears an epigraph or not, it
suffices to find a phylactery on any subject to be assured to the seeker and marked by its mere
presence. And the truth of this meaning, the reality of this significance are always to be found
in the hermetic science termed eternal wisdom by the ancient masters. Therefore, one should
not be surprised to find streamers and parchments abundantly represented among the
attri butes of religious scenes or profane compositions of our great cathedrals as well as in the
less restrictive framework of lay architecture.

138

Lined up in three rows perpendicular to the axis, the panels of the upper gallery are 93 in
number. Of this number, 61 refer to the science, 24 offer monograms intended to separated
them into series, 4 represent only geometric ornaments, executed at a later date, and the last 4
show an empty and smooth slab. The symbolic panels where the interest of the ceiling of
Dampierre is concentrated, form a set of figures dispatched into seven series. Each series is
isolated from the next three panels laid in a transverse line, and alternatively decorated with
the monogram of Henry II and the interlaced crescents of Diane de Poitiers or Catherine de
Medici, monograms which can be found on may buildings of the same period. We eventually
came to the conclusion, a rather surprising one, that most mansions or castles bearing the
double D linked to the letter H and the triple crescent have a decoration of indisputable
alchemical character. But why are these same dwellings coined by the authors of monographs
with the title of "castles of Diane de Poitiers" based on the sole presence of the monogram in
question? Yet neither the dwelling of Louis dEsissac at Coulonges-dur-lAutize nor that of
the Clermonts, both placed under the protection of the kings too famous favorite, ever
belonged to her. Furthermore, what reason could be invoked for the monogram and the
crescents that could justify their presence among hermetic emblems? To what thought, to
what tradition could the initiates of the nobility have yielded when they placed their painted
and sculpted hieroglyphic works under the fictitious protection of a king and his concubine
objects of public disapproval? "Henry II", writes the Abbot of Montgaillard <2) , "was a foolish,
brutal prince showing a deep lack of concern for the well-being of his subjects; this wicked
king was constantly dominated by his wife and his old mistress; he left the reins of the state to
them and did not shrink from any of the cruelties exerted on the Protestants. Of him it can be
said that he extended the reign of Francis I in matters of political despotism and religious
intolerance". It is therefore impossible to admit that well-read philosophers, men of education
and high ethics, would have entertained the thought of offering their works as a token of
esteem to the royal couple whose debauchery was to render them shamefully famous.

The truth is different, for the crescent belongs neither to Diane de Poitiers nor to Catherine de
Medici. It is a symbol issuing from ancient times, known to the Egyptians and the Greeks,
used by the Arabs and Saracens long before it was introduced into our Western Middle Ages.
It is the attri bute of Isis, of Artemis or Diane, of Selene, of Phoebe and of the Moon, the
spagyric emblem of silver and the seal of the color white. It has a triple meaning: alchemical,
magical, cabalistic, and this triple hierarchy meaning, synthesized in the image of interlaced
crescents, embraces the scope of ancient and traditional knowledge. Consequently we should
be less surprised to see the symbolic triad represented close to obscure signs, since it provides
them with its support and permits to indicate to the investigator the science to which they
belong.

As for the monogram, it can easily be explained, and it shows once again how the
philosophers have used emblems of known meaning, and endowed them with a special,
usually unknown, sense. It was the surest means they had at their disposal to hide from the
layman a science figuratively exposed in full view: a revived Egyptian method whose
teaching, translated in hieroglyphics on the outer walls of temples, remained worthless to
those who did not possess the key. The historical monogram is formed of two Ds, intertwined
and connected by the letter H, the initial of Henry II. Such at least is the lay formulation of a
cipher which veils under its image an altogether different meaning.

It is known that alchemy is based on the physical metamorphoses brought about by the spirit,
a designation given to the universal vitality which emanates from the divinity, which
maintains life and motion, provokes its arrest or death, evolves the substance and asserts itself
as the only life-giver of all that which is. Now, in alchemical notation, the sigh of the spirit is

139

none other than the letter H of the Latins and of the letter eta (H) of the Greeks. We will
provide later, when examining one of the panels where this character is depicted with a crown
(Series VII, 2), some of its symbolic applications. For the time being, it suffices to say that the
spirit, the universal agent, constitutes, in the accomplishment of the work, the main unknown,
the determination of which ensures full success. However this unknown, which is beyond all
bounds of human understanding, can only be acquired through divine revelation. The masters
used to say again and again, "God gives wisdom to whom he pleases and transmits it through
the Holy Ghost, the light of the world; that is why the science is said to be a Gift of God,
formerly solely for his ministers, hence the name sacerdotal Art which it originally bore". Let
us add that during the Middle Ages the Gift of God applied to the Secretum secretorum
(Secret of Secrets), which precisely signifies the secret par excellence, that of the universal
spirit.

And so, the Donum Dei (Gift of God) revealed knowledge of the science of the Great Work,
key to the materializing of the spirit and the light ([*298-1] Helios), appears incontestably
in the form of the monogram of the double D (Donum Dei) united with the sign for the spirit
(H), Greek initial for the sun, the Father of Light, Helios. Nothing could better indicate the
alchemical character of the figures of Dampierre than the study of which we shall now
proceed to undertake.

(1) Louis Audiat: Epigraphie Santone et Aunisonne\ Paris, J.B. Dumoulin , and Niort, L. Clouzot, 1870.

(2) Abbot of Montagaillard: Histoire de France, vol. I, p. 186; Paris, Moutardier, 1827.

140

CASTLE OF DAMPIERREIV

First Series (Plate XXV)

Panel 1 Two trees of same size and similar thickness appear next to each other on the same
ground; one is green and vigorous ( , the other inert and dried-up. The streamer which seems
to bind them together bears these words:

.SOR.NON.OMBIBUS.AEQVE.

Fate is not equal for all.

This truth, which applies within the limits of human existence, seems to us all the more
relative because destiny, whether dismal or successful, easy or unsettling, leads us all, without
distinction or privilege, towards death. But if we transpose this truth within the hermetic
domain, it takes on a definite positive sense, one which ought to have secured its being chosen
by our Adept.

According to the alchemical doctrine, ordinary metals, tom out of their ore bearing earth to
satisfy the demands of industry, forced to yield to mans whims, seem in fact to be the victims
of a glaring evil spell. As an ore, they lived deep within the rock and slowly evolved toward
the perfection of native gold, they are now condemned to die as soon as they are extracted,
and perish under the ill-fated action of a reducing fire. The smelting process, while separating
them from the nutritive elements associated with the mineralizing elements responsible for
maintaining their activity, kills them by fixing the temporary and transitory form which they
had acquired. Such is the meaning of the two symbolic trees, one expressing mineral vitality,
the other metallic inertia.

From this simple image, the intelligent and sufficiently well-read investigator of the arts
principles will be able to draw useful and profitable conclusions. If he remembers that the old
masters recommended to begin the work at the very point where nature completes here; if he
knows how to kill the living in order to revive the dead, he will no doubt discover which
metal he must take and what mineral he should choose in order to begin his first labor. Then,
pondering Natures operations, he will learn from her the manner of uniting the revivified
body to another living body for life desires life and, if he has understood us, he will see
with his eyes and touch with his hands the material evidence of a great truth.

These words are perhaps too succinct and we regret it; but our obedience to the rules of
traditional discipline does not permit us to be more precise nor to elaborate any further.

Panel 2 A fortress, raised on a glacis, crowned with crenels and machiolations, provided
with loopholes, and capped with a dome, is pierced by a narrow barred window and a firmly
bolted door. This edifice, of a powerful and forbidding appearance, receives from large clouds
a shower which the inscription refers to as a rain of gold:

.AVRO.CLAVSA.PATENT.

Gold opens closed doors.

141

CASTLE OF DAMPIERRE-SUR-BOUTONNE
Panels of the Upper Gallery - First Series

Plate XXV

Everyone knows that. But this proverb, whose application is at the basis of privilege,
favoritism and all unfair promotions, cannot have, in a philosophers mind, the figurative
meaning we know it to possess. Corrupting gold is not the point here, but rather the mythical
hermetic episode found in the fable of Jupiter and Danae. Poets tell us that this princess, the
daughter of Acrisius, king of Argos, was imprisoned in a tower because an oracle had foretold
her father that he would be killed by his grandson. Now, the walls of a prison, however thick
they may be, could not constitute a real obstacle to a gods will. Zeus, a great lover of
romantic episodes and of metamorphoses, ever preoccupied with deceiving Heras vigilance
and enlarging his progeny, noticed Danae. Little troubled by the choice of means, he crept in
by her side under the form of a golden shower, and, at the termination of the required time,
the prisoner brought forth into the world a son who received the name of Perseus. Acrisius,
most unhappy with this news, had mother and child shut up in a chest which was jettisoned.
Fishermen found the unusual vessel, carried by the currents all the way to the island of
Seriphus, opened it and presented King Polydectes with the contents, who welcomed Danae
and Perseus with great hospitality.

Under the guise of this wonderful tale an important secret is hidden, that of the preparation of
the hermetic subject or the Works raw material, and the obtaining of the sulfur, the stones
primum ens.

Danae represents our crude mineral, such as it is extracted from the mine. It is the earth of the
sages which contains within it the active and hidden spirit, alone capable, says Hermes. Of
realizing "by these things the miracle of only one thing". As a matter of fact, the word Danae
comes from the Dorian Greek [*303-1] (Dan), earth, and [*303-2] (ae), breath, spirit.
Philosophers teach that their raw material is a fragment of the original chaos and it is indeed
what is meant by the name Acrisius, king of Argos and Danaes father: [*303-3] (Akrisia), is
confusion, disorder; [*303-4] (Argos), means coarse, uncultivated, incomplete. As for Zeus, it
denotes the sky, the air, and the water; to such extent that the Greeks, to express the action of
raining, said: [***303-5] ( Gei o Zeus), Jupiter sends rain, or, more simply, it rains. Therefore
this god appears as the personification of water, of a water capable of penetrating bodies, of a
metallic water, for it is of gold or at least golden. It is precisely the case of the hermetic
solvent, which, after undergoing fermentation in an oak barrel, assumes, upon decantation, the
appearance of liquid gold. The anonymous author of an unpublished 18th century manuscript
<2) writes on the subject: "If you let this water run, you will see with your very eyes the gold
shining in its first being with all the colors of the rainbow". The very union of Zeus and
Danae indicates the manner in which the solvent must be applied; the body, reduced to a fine
powder, put to digestion with a small quantity of water, is then dampened, watered little by
little, gradually as it becomes absorbed a technique the sages called imbibation. Thus a
softer and softer paste is obtained which becomes syrupy, oily, and eventually fluid and clear.
Then subjected, under certain conditions, to the action of fire, a part of this liquor coagulates
into a mass which falls to the bottom and is to be collected with care. This is our precious
sulphur, the newborn child, the little king, and our Dauphin (or dolphin) (3) , symbolic fish
otherwise called echeneis, remora or pilot fish, Perseus or fish of the Red Sea (in Greek [***
303-6] Perseus), etc.

Panel 3 Four blooming flowers, erect on their stems, are in contact with the cutting edge of
a bare saber. This small design has for motto:

.N VTRI.ETIAM. RES PONS A .FER VNTVR.

Likewise develop the announced oracles.

142

It is a piece of advice given the artist so that, by applying it, he can be assured of properly
conducting the coction, or the Magisterys second operation. Nutri etiam responsa feruntur,
entrusts him with the spirit of our philosophy by the intermediary of the petrified characters of
his work.

These oracles, four in number, correspond to the four flowers or colors which appear during
the evolution of the Rebis and reveal outwardly to the alchemist the successive stages of the
inner work. These stages, diversely colored, bear the name of Regimens or Reigns.
Ordinarily, they are reckoned to be seven. To each regimen the philosophers have attri buted
on of the higher divinities of the Olympus and one of the celestial planets, whose influence is
felt parallel to theirs, at the time they become dominant. According to the widely-held
opinion, planets and divinities develop their power simultaneously in a fixed hierarchy. To the
reign of Mercury ([*304-1] Hermes basis, ground work), the first stage of the work,
succeeds that of Saturn ([*304-2] Chronos the old man, the fool); then Jupiter governs
([*304-3] Zeus union, matrimony), then Diana ([*304-4] Artemis whole,
fulfilled), or the Moon, whose shiny robe is now woven of white hair, now made with snow
crystals; Venus, vowed to green ([*304-5] Aphrodite beauty, grace), then inherits the
throne, but soon Mars chases her away ([*304-6] Ares fit, fixed) and this warlike
prince, whose clothes are dyed with coagulated blood, is himself overthrown by Apollo
([*304-7] Apollo the victorious), the Sun of the Magistery, emperor clothed in shiny
scarlet, who definitely establishes his sovereignty and power over the ruins of his
predecessors (4) .

Some authors, comparing the colored stages of the coction of the seven says of creation, have
coined for the complete labor the expression Hebdomas hebdomadum, the Week of weeks, or
simply the Great Work, because the alchemist must closely follow, for his microcosmic
realization, all the circumstances which accompanied the Great Work of the Creator.

However the various regimens are more or less clear, and vary considerable as far as duration
and intensity is concerned. So the masters limited themselves to mentioning only the four
essential and preponderant colors because they present more sharpness and permanence than
the others, namely: black, white, yellow or citrine, and red. These four flowers of the hermetic
garden must be cut be cut successively, in sequence and at the end of their flowering, which
explains the presence of the weapon in our bas-relief. Consequently, too much haste is to be
feared, in the vain hope of shortening the duration, sometimes quite long, by exceeding the
degree of heat necessary for the regimen of the time. The ancient authors advise prudence and
warn apprentices against a too detrimental impatience; praecipiatio a diabolo (precipitous
action goes to the devil), they say; for in seeking to reach the goal too quickly, they only
succeed in burning the flowers of the compost and provoking the irremedial loss of the work.
It is therefore better, as the Adept of Dampierre teaches, to develop the oracles, which are the
colored predictions or forebodings of the regular operation, with patience and perseverance,
for as long as nature may demand it.

Panel 4 An old demolished tower, whose door has been yanked out, allows free access.
This is how the image maker represented the open prison. Inside one can still see a pair of
shackles in position, as well as three stones shown in the upper part. Two other shackles,
extracted from the prison, can be seen besides the ruin. This composition marks the
completion of Gebers three stones or medicines, obtained sequentially and designated by the
philosophers by the names of philosophical Sulphur for the first; Elixir or potable Gold for the
second; Philosophers Stone, Absolute or Universal Medicine for the last. Each one of these
stones has to undergo coction in the Athanor, the prison of the Great Work, and this is the

143

reason why the last pair of shackles is still sealed inside. The two preceding ones, having
accomplished their time of "mortification and penance", have left their fetters, visible on the
outside.

The small bas-relief has for motto the saying of the apostle Peter (Acts 12:11), who was
miraculously delivered from his prison by an angel:

.NV(N)C.SCIO.VERE.

Now I know of a surety!

Speech of sheer joy, outburst of intimate satisfaction, cry of cheerfulness which the Adept
utters before the certainty of the marvel. Until then, doubt could yet have assailed him; but in
the presence of the perfect and tangible realization he no longer fears error; he has discovered
the way, recognized the truth, inherited the Donum Dei (Gift of God). Nothing of the great
secret is unknown to him any longer. Alas! How many among the crowd of seekers can
congratulate themselves on reaching the goal, on seeing with their eyes the prison opening up,
a prison forever closed for the greatest number of them!

The prison also serves as an emblem of the imperfect body, initial subject of the Work, in
which the aqueous and metallic soul is firmly attached and held. "It is this imprisoned water",
says Nicolas Valois (5) , "that unceasingly cries out: Help me, and I shall help you, that is,
release me from my prison, and if one day you can liberate me, I shall make you master of the
fortress where I am. And so the water locked up in this body is of the same water-nature as
that which we gave it to drink, which is called Mercury Trismegistus, and that Parmenides
understands when he says: Nature contains Nature. For this imprisoned water revels in its
companion who comes to deliver it from its iron shackles, blends with it and finally,
converting the same prison into themselves, rejecting that which is contrary to them and
that is the preparation are both converted into mercurial and permanent water. It is
therefore right that our divine Water is called the Key, Light, Diana who shines in the thick of
night. For it is the entrance to the entire Work and that which illuminates mankind".

Panel 5 For having ascertained it experimentally, the philosophers certify that their stone is
nothing else but a complete coagulation of mercurial water. The fact is translated by our bas-
relief, where we see the cubic stone of ancient Freemasons float on the sea waves. Although
such an operation seems impossible, it is nevertheless natural because our mercury carries
within itself the sulphurous principle, rendered soluble, to which it owes its subsequent
coagulation. It is, however, unfortunate that the extremely slow action of this potential agent
does not allow the observer to register the least sign of any reaction whatsoever in the
beginning of the work. This is the cause of many artists failure, who, quickly disappointed,
abandon a difficult work which they deem to be in vain, although they have followed the right
path and operated on the proper materials, canonically prepared. To them are addressed the
words of Jesus, walking on the waters, to Peter, and which St Matthew recounts (Matt. 14:31):

.MODICE.FIDEI.QVARE.DVBITASTO.

O thou of little faith, wherefore didst thou doubt?

In truth we cannot know anything without the help of faith, and whosoever does not possess it
cannot undertake anything. We have never seen skepticism and doubt build anything stable,
noble or durable. We must often remember the Latin saying: Mens agitat molem (The mind

144

puts the mass into motion), for it is the deep conviction in this truth that will lead the wise
worker to the happy end of his labor. It is from it, from this stout faith, that he will draw the
virtues indispensable for the solution of this great mystery. The term is not exaggerated: we
indeed find ourselves before a real mystery. The term is not exaggerated: we indeed find
ourselves before a real mystery, as much by its development contrary to chemical laws, as by
its obscure mechanism a mystery which the most learned scientist and the most expert
Adept are unable to explain. For it is so true that nature in her simplicity seems to delight in
proposing enigmas, before which our logic recoils, our reason gets confused, and our
judgment misled.

Now the cubic stone, which the industrious nature engenders out of water alone the
universal matter of the Peripatics and of which the art must sculpt the six facets according
to the rules of occult geometry, appears in a formative stage in a curious bas-relief of the 17th
century decorating the fountain of Vertbois in Paris (Plate XXVI).

As the two subjects are closely related, we will study here the more detailed Parisian emblem,
thus hoping to cast some light on the symbolic expression of the image in Saintonge, which is
too concise.

Built in 1633 by the Benedictine monks of St Martin-des-Champs, this fountain was
originally erected inside the priory leaning against the surrounding wall. In 1712 the monks
offered it to the city of Paris, for public use, along with the grounds needed to rebuild it,
provided "that the site would be established in one of their convents ancient towers and that
an outer door would be placed there" <6> . The fountain was thus placed against the so-called
Tower of Vertbois, located on rue St Martin and took the name of St Martins fountain which
it kept for more than a century.

The small structure, restored at the expense of the government in 1832, is made up of "a
shallow, rectangular niche flanked by two Doric pilasters, with vermiculated embossments,
which support an architraved cornice. On the cornice is built a kind of small helmet crowned
by a winged cartouche. A sea conch tops the cartouche. The upper part of the niche is
occupied by a frame in the center of which a vessel is sculpted" <7) . The stone bas-relief
measures 80 cm in height by 105 cm in width; the author is unknown.

And so it is that all the descriptions of the fountain of Vertbois, in all likelihood copied one
from the other, are content to mention without further description, a vessel as the main motif.
The drawing by Moisy, who was commissioned to illustrate Amaury Duvals account, doesnt
enlighten us any further. His purely fanciful vessel, represented in profile, bears no trace of its
singular freight, and one would seek in vain among the winding of marine volutes the large
and beautiful dolphin accompanying it. Moreover, a good many people, unconcerned about
details, see in this subject the heraldic ship <8) of Paris without suspecting that it proposes to
the inquiring mind the enigma of an altogether different truth and of a less general order.
True, the accuracy of our remark could be questioned, and, where we identify an enormous
stone, trimmed to the ship of which it is an integral part, one could but notice an ordinary
package of some kind of merchandise. In this case however, one would be at a loss to explain
the raised sail, incompletely brailed up on the mainmasts yard, a peculiarity which sheds
light on the unique and voluminous package, thus unveiled on purpose. Hence is the intention
of the works creator manifest; it is an occult cargo, normally veiled to indiscreet surveys,
rather than a package traveling on the deck.

145

PARIS - MUSEUM AND COLLEGE OF ARTS AND CRAFTS
Original Bas-relief of the Fountain ofVertbois (1633)

Plate XXVI

Furthermore, viewed from the rear, the ship seems to move away from the onlooker and
shows that its displacement is ensured by the mizen-sail (9) , exclusive of the others. Alone it
has the wind dead aft; alone, it transmits the energy of the ship gliding over the water. Now
the cabalists write artimon (mizzen-mast) and pronounce antemon or antimony, a vocable
behind which they hide the name of the subject of the sages. Anthemon in Greek means
flower, and it is known that the raw material is called the flower of all the metals; it is the
flower of flowers (flos florum); the root of this word, [*311-1] (anthos) also conveys youth,
glory, beauty, the most noble part of things, everything that possesses luster and shines like
fire. We should not be surprised that Basil Valentine in his Triumphal Chariot of Antimony
gave to the prime substance of the particular work he describes Fire Stone. As long as it
remains fixed to the hermetic ship (10) , this stone, as we have said, must be considered as
being in the process of elaboration. It is therefore essential to help it pursue the crossing so
that neither tempests nor rocks (11) nor the thousand incidents of the journey can delay its
arrival at the blessed haven its traveler, to anticipate, to avert possible causes of shipwreck, to
maintain the vessel loaded with the precious cargo straight on its route, such is the task of the
artisan. This progressive, slow development explains why the stone is represented here in the
appearance of a roughhewn block meant to receive the ultimate cutting in order to become our
cubic stone. The cables fastening it to the ship clearly indicate, by their being crossed on its
visible facets, the transitory condition of its evolution. It is known that the cross in the
speculative order is figurative of the spirit, the dynamic principle, while it is used, in the
practical domain, as the graphic sign for the crucible. Within it, within this vessel, the
concentration of the mercurial water is brought about by bringing together its constituent
molecules under the will of the metallic spirit and owing to the permanent help of fire. For
spirit is the only force capable of changing dissolved bodies into new compact masses, in the
same way that it compels crystals born of mother solutions to take on the specific, invariable
form by which we can identify them. This is why the philosophers have compared the
molecular binding of the mercurial solid, under the secret action of spirit, to that of a bag
firmly compressed by criss-crossed bindings. The stone appears tied like a schina (from the
Greek [*311-2] sekadzo to lock, to close) and this corporification is made perceptible by
the cross, the image of the Passion, i.e., during work at the crucible, each time that heat is
cautiously applied at the required degree and following the appropriate rhythm. We should
then make explicit sense of cable, which the Greeks called [*311-3] kalos homonymous
with the adverb [*311-3] kalos meaning in an appropriate and effective manner. It is the
most critical stage of the work, the one when the stones first coagulation, greasy and light,
makes its appearance on the surface and floats on the waters. At that time, we must redouble
precaution and prudence in the application of fire if we dont want to redden it prematurely
and precipitate it. At first it manifests in the shape of a thin film, very fast broken, of which
the fragments detached from the edges shrink, join together, thicken, and take on the form of a
flat iron the isle of the Cosmopolite and the mythical land of Delos animated with
gyratory movements and subjected to ceaseless shiftings. This isle another image of the
hermetic fish, bom from the sea of the Sages our mercury that Hermes calls mare patens
- the pilot fish of the Work, the first solid state of the embryonic stone. Some have called it
echeneis, according to legend, held back and fixed the largest of ships, the dolphin, whose
head we see emerging in our bas-relief, possesses just as positive a meaning. Its Greek name,
[*312-1] ( delphis ), indicates the matrix, and no one ignores that philosophers call mercury the
receptacle and matrix of the stone.

Nevertheless, and so that no one is mistaken, let us say once more that we are not at all
speaking of common mercury here, although its liquid quality could put us on a false trail and
allow comparison with the secret water, the metallic humid radical. Being the masterful
initiate that he was, Rabelais (12) gives in a few words the true characteristics of the

146

philosophical mercury. In his description of the subterranean temple of the Holy bottle
(.Pantagruel , Bk. 5, Ch. 42) (13) , he speaks of a circular fountain which occupies the center and
deepest part of the temple. Around this fountain stand seven columns "these are the stones",
says the author, "assigned by the ancient Chaldeans and magi to the seven heavenly planets;
and in order that we should understand this in a less subtle sense, above the first and exactly
perpendicular to the center of the sapphire hung a figure of Saturn holding his scy the with a
golden crane at his feet, most cunningly enameled in the proper colors of Saturnine bird, in
their proper order. Above the second, or hyacinthine, was Jupiter in Jovetian tin, facing left,
with a golden eagle enameled in its natural colors on his breast. Above the third was Phoebus
in refined gold, with a white cock on his right hand. Above the fourth, in Corinthian (14)
bronze, Mars with a lion at his feet. Above the fifth Venus in copper, the same metal as that of
which Aristonides made the statue of Athamas. At her feet was a dove. Above the sixth was
mercury in quicksilver, fixed, firm and malleable with a stork at his feet". The text is
categorical and cannot lend itself to misunderstanding. The mercury of the sages, as all
authors certify, presents itself as a body of metallic appearance, with the consistency of a
solid, and consequently immobile compared to quicksilver, of mediocre volatility in the fire,
and finally liable to fix itself by a simple coction in a sealed vessel. As for the stork which
Rabelais attri butes to mercury, its meaning is drawn from the Greek word [*313-1]
( pelargos ), stork, formed from [*313-2] (pelos ), pallid brown or black, and [*313-3] ( argos ),
white, which are two colors of the bird and of the philosophical mercury; [*313-1] (pelargos)
also designates a pot made of white and black clay, the emblem of the hermetic vase, i.e., of
mercury whose water, alive and white, loses its light, its brightness, mortifies itself and
becomes black, surrendering its soul to the stones embryo that is born from its decomposition
and is nourished by its ashes. So as to bear testimony to the fact that the fountain of Vertbois
was originally consecrated to the philosophical water, the mother of all metals and basis of the
sacred Art, the Benedictine monks of St Martin-des-Champs had the diverse attri butes relative
to this fundamental liquor sculpted on the comice which serves as a support to the bas-relief.
Two oars and one caduceus intercrossed bear Hermes petasus, represented under the modern
form of a winged helmet, upon which a little dog watches. Some ropes coming out of the
visor spread their coils on the oars and the winged wand of the god of the Work. The Greek
[*313-4] (plate ) by which the oar (15) was designated simultaneously proposes the meaning of
vessel and of winnowing basket. The latter is a kind of wicker shell attri buted to Mercury and
which the cabalist writes "vent" (wind) (16) . This is why the Emerald Table, speaking of the
stone, allegorically conveys that "the wind carried it in its belly". This "van" (winnowing
basket) is none other than the matrix, the vessel carrier of the stone, the emblem of mercury
principal subject of our bas-relief. As for the caduceus, it is well known that it is the property
of the messenger of the gods with the winged helmet and talaria. We will only say that the
Greek word [*314-1] (k erukeion), caduceus, by its etymology recalls the cock, [*314-2]
(keruss), consecrated to Mercury as the herald of the light. All these symbols evidently
converge towards one and the same object, also indicated by the small dog positioned on top
of the small helmet, whose special meaning ([*314-3] kranos head, summit) marks the
important part, in other words the culminating point of the Art, the key to the Great Work.
Noel, in his Dictionnaire de la Fable , writes that "the dog was consecrated to Mercury as the
most vigilant and most clever of all the gods". According to Pliny, the flesh of young dogs
and served at the meals prepared for them. The image of the dog positioned on the helmet,
shield of the head, furthermore constitutes a genuine rebus still suitable to mercury. It is a
figurative translation of cynocephalus ([*314-4] kunokephalos that which has a dogs
head), a mystical form highly worshipped by the Egyptians, who granted it to a few higher
deities, and especially to the god Thoth, who later became the Hermes of the Greeks, the
Trismegistus of the philosophers, the Mercury of the Romans.

147

Panel 6 A gambling die is placed on a little garden table; in the foreground grow three
herbaceous plants. As sole sign this bas-relief bears the Latin adverb:

.VTCVMQVE.

That is to say, i.e., in an analogous fashion, which could lead us to believe that the discovery
of the stone might be due to chance and that knowledge of the Magistery would remain
dependent on a fortunate cast of the dice. But we know for a fact that the science, the true gift
of God, the spiritual light obtained through revelation, cannot be prone to such hazards. Not
that one could not fortuitously discover, in this case as in any other, the flick of the wrist
required by such a difficult operation; however, of alchemy amounted only to the acquisition
of a special technique, of some laboratory artifice, it would amount to very little and would
not exceed the value of a simple formula. Now, the science goes much beyond the synthetic
fabrication of precious metals, and the philosophers stone itself is but the first positive step
enabling the Adept to raise himself all the way to the most sublime knowledge. Even if we
remain in the physical domain, which is that of material manifestations and fundamental
certainties, we can assert that the Work is not subject to the unexpected. It has its laws,
principles, conditions, secret agents, and is the result of too many combined actions and
diverse influences to obey empirical laws. It must be unveiled, its process must be understood,
its causes and its accidents well known before proceeding with its implementation. And
whoever cannot see it "in spirit" wastes his time and his energy in wishing to find it through
practice. "The wise mans eyes are in his head", says Ecclesiastes 2:14, "but the fool walketh
in darkness". The gambling die therefore has another esoteric meaning. Its shape, which is
that of the cube ([*315-1] kubos gambling dice, cube), designates the cubic or chipped
stone, our philosophers stone and the cornerstone of the Church. But to be properly raised,
this stone requires three successive repetitions of the same series of seven operations, which
brings the total to 21 operations. This number corresponds exactly to the sum of the points
marked on the dies six faces, since by adding up the first seven numbers one obtains 21. And
the three series of seven are once again arrived at by adding up the same numbers of points by
boustrophedon writing (17) :

1-6-3

6-5-4

Positioned at the intersections of the sides of an inscribed hexagon, these numbers will
translate the circular motion appropriate to the interpretation of another figure, emblematic of
the Great Work, that of the serpent Ouroboros, aut serpens qui caudam devoravit (the
Ouroboros serpent, or the serpent which devours its tail). In any case, this arithmetic figure, in
perfect agreement with the work, consecrates the attri bution of the cube or die to the symbolic
expression of our mineral quintessence. It is the Isiac table carried out by the cubic throne of
the great goddess. By analogy, it is therefore sufficient to throw the die thrice on the table
which amounts in praxis to redissolving the stone three times to obtain the latter with all its
qualities. These are three growing stages which the artist has represented here by three plants.
Finally, the reiterations essential to the perfection of the hermetic labor provide the reason for
the composition of the hieroglyphic book of Abraham the Jew, Flamel tells us, of three times
seven leaves. Likewise, a splendid illuminated manuscript, made at the beginning of the 18th
century (18), contains 21 painted figures, each conforming to the 21 operations of the Work.

(1) At the foot of this tree in full foliage, the soil has been dug in the shape of a basin, so as to better retain the
water that is poured. In the same way, the metal, dead by reduction, will be revived through frequent imbibitions.

148

(2) La Clef du Cabinet Hermetique (The Key to the Hermetic Cabinet), "manuscript copied from the original
belonging to M. Desaint, physician. Rue Hyacinth in Paris".

(3) Translators Note: Traditionally in French history, since 1349, the heir to the king of France, usually the first
male offspring, was called the Dauphin, because he reigned over the Dauphine in the Alps, as the heir to the
kings of England reigns over Wales. Dauphin in French also means dolphins, which is no longer considered a
fish nowadays but a mammal.

(4) We restrict ourselves to enumerate the successive stages of the second Work without proposing a particular
analysis. Great Adepts, and Philale thes particularly in his Introitus, have provided a thorough study of the
subject. Their descriptions reveal such awareness of the subject that it would be impossible for us to say more or
to say it better.

(5) Nicolas Flamel: Les Cinq Livres (The Five Books), Book I: De la Clef du Secrets des Secrets, Ms., op cit.

(6) Fontaines de Paris (Fountains of Paris), drawn by Moisy. Captions and comments by Amaury Duval, Paris,
1812.

(7) Inventaire General des Richesses dArt de la France. Paris. Monuments civils (Comprehensive Survey of the
Art Treasures of France. Paris. Secular Monuments), Paris, Plon, 1879, vol. 1.

(8) Translators Note: The author uses the word "nef in French which means both a ship and the nave of a
cathedral.

(9) Translators Note: Mizen-sail is in French "voile dartimon".

(10) Translators Note: The word "nef" is used here, meaning both a ship and the nave of a cathedral.

(11) Translators Note: The term "ecueil" used in French also means pitfalls.

(12) His works are signed by the pseudonym Alcofribas Nasier, the anagram of Francois Rabelais, followed by
the title Abstractor of Quintessence, which in the Middle Ages used to designate in the popular language the
alchemists of the time. The famous doctor and philosopher unquestionably declares himself to be an Adept and a
Rosicrucian and put his writings under the aegis of the sacred Art. Moreover, in the Prologue to Gargantua,
Rabelais indicates rather clearly that his work belongs to the category of hermetic and acroamatic closed books,
the understanding of which requires an extensive knowledge of symbols.

(13) Garagantua and Patagruel, by Rabelais; Translated by J.M. Cohen, Penguin Classics, 1955.

(14) The attri bution of bronze to Mars proves that Rabelais knew the alchemical correspondence between planets
and metals perfectly. In Greek, [*313-4] ( kalkos ), meaning either copper or bronze, was used by the ancient
Hellenic poets to define not copper or one of its compounds, but indeed iron. The author is thus right to assign it
to the planet Mars. As for the Corinthian bronze, Pliny asserts that it presented itself under three forms. It has
sometimes the luster of silver, sometimes that of gold, and could also be the result of an alloy of gold, silver and
copper in approximately equal ratios. This last bronze was believed to have been accidentally produced by the
fusion of precious metals with copper during the Corinth fire started by Mummius (146 BC).

(15) In phonetic cabala, rame (French for oar), equivalent to aviron (French for paddle), also designates the
philosophical water. [*313-5] ( rama ), used for [*313-6] (rasma), signifies sprinkling, watering, from the root
[*313-7], meaning to flow.

(16) Translators Note: "Van" (winnowing basket) and "vent" (wind) have the same pronunciation in French.

(17) Translators Note: Boustrophedon, an ancient form of writing in which the lines run alternately from right to
left and left to right.

(18) La Generation et Operation du Grand-Oeuvre (The Generation and Operation of the Great Work),
manuscript from the Palais des Arts Library, in Lyons, Lrance, #88 (Delandine, 1899), folio.

149

THE CASTLE OF DAMPIERRE V

Second Series (Plate XXVII)

Panel 1 Thick clouds intercept the light of the sun and cast a shadow over a wild flower
accompanied by the motto:

.RE VERTERE. ET .RE VERTER.

Return, and I shall return.

This quite legendary herbaceous plant was called Baraas by the Ancients. It was appropriately
found on the flanks of Mt Lebanon above the path leading to Damascus (i.e., cabalistically,
leading to mercury as the feminine principle: [*319-1], Damar, woman, wife). It was seen
blooming solely in the month of May, when Spring removes from the earth its shroud of
snow. As soon as night fell, says Noel, "the plant starts to burst into flames and gives off a
light like a small torch; but as soon as the day appears, this light disappears, and the herb
becomes invisible; even the leaves that we have wrapped in handkerchiefs are no longer there,
which sanctions the opinion of those who say that this plant is haunted by demons, because
according to them it possesses an occult property that breaks charms and spells. Others assert
that it has the power to transmute metals into gold, which is the reason why the Arabs call it
the herb of gold; but they would not dare to pluck it or even come near it because it is said
that they have experienced, several times, that this plant causes the sudden death of anyone
who plucks it from the earth without taking the necessary precautions, and, since they are
ignorant of these precautions, they leave it aside and dont touch it".

From this little theme, the artifice of the dissolution of the sulphur by the mercury is
esoterically drawn: the plant expresses the vegetative virtue of the latter and the sun, the fiery
nature of the former. The operation is all the more important because it leads to the
acquisition of the philosophical mercury, a living, animated substance derived from a pure
sulphur, radically united to the primitive and celestial water. We have previously stated that
the outer mark allowing the certain identification of this water is a starred and radiant shape
which coagulation caused to appear on its surface. Furthermore the astral signature of the
mercury, as it was common to call the mark in question, asserts itself with even more clarity
and vigor as the animation progresses and becomes more complete.

The two paths of the Work require two different manners of undertaking the animation of the
initial mercury. The first belongs to the brief way and requires only one technique by which
the fixed is gradually dampened because any dry matter avidly drinks its own humidity
until the repeated affusion of the volatile on the body causes the compound to swell and turn
into a pasty or syrupy mass, as the case may be. The second method consists on digesting the
totality of the sulphur in three or four times its weight in water, decanting the resulting
solution, then drying up the residue and reiterating the operation with a proportional quantity
of fresh mercury. When the dissolution is complete, the feces, if any, are separated and the
collected liquors are subjected to a slow distillation in a bath. Thus the superfluous humidity
is released, leaving the mercury at the required consistency without any loss of its qualities,
and ready to undergo hermetic coction.

This second practice is that which our bas-relief symbolically expresses.

150

It can easily be understood that the star the outer manifestation of the inner sun recurs
each time a fresh portion of mercury is bathing the undissolved sulphur and the latter
immediately ceases to be visible only to reappear during decantation, i.e., at the departure of
the astral matter. "Return", says the fixed, "and I shall return". In seven successive repetitions
the clouds conceal from view now the star, now the flower, according to the phases of the
operation, so that the artist can never, in the course of the work, glimpse simultaneously the
two elements of the compound. And this truth happens to be confirmed until the end of the
Work, since the coction of the philosophical mercury otherwise called heavenly body or
star of the wise transforms itself into fixed sulphur, the fruit of our emblematic plant,
whose seed is thus multiplied in quality, quantity and virtue.

Panel 2 At the center of this panel a fruit, which is usually taken to be a pear, but could as
likely be an apple or a pomegranate, draws its meaning from the caption beneath which it
appears:

.DIGNA.MERCES.LABORE.

Work worthily rewarded.

This fruit is none other than the hermetic gem, the philosophers stone of the Great Work or
the Medicine of the ancient sages, also called the Absolute, Little Coal or precious Carbuncle
(carbunculus), the shining sun of our microcosm and the star of eternal wisdom.

It is a double fruit for it is picked from the Tree of Life when specially reserved for
therapeutic uses, and from the Tree of Knowledge if the preferred use is metallic
transmutation. These two properties correspond to two states of the same product, the first
characterizing the red stone, translucent and diaphanous, destined for medicine as potable
gold, and the second, the yellow stone, whose metallic orientation and fermentation by means
of natural gold have rendered it opaque. For this reason, De Cyrano Bergerac , in his
description of the emblematic tree at the foot of which he rests, endows the fruit of the
magistery with two colors. "It was", he writes, "a plain Country, and so open that as far as my
sight could reach, I did not discover so much as one Bush; and nevertheless when I awoke, I
found myself under a Tree, in respect of which the tallest Cedars would but appear as Grass.
The Trunk of it was of Massive Gold, its Branches of Silver, and its Leaves of Emeralds,
which upon the resplendent Verdure of their precious surface, represented, as in a Looking-
Glass, the Images of the Fruit that hand about them. But judge ye whether the fruit owed
anything to the Leaves; the enflamed Scarlet of a large Carbuncle, composed one half of each
of them; and the other was in suspense, whether it held its matter of a Chrysolite, or of a piece
of gilt Amber; the blown Blossoms were large Roses of Diamonds, and oriental Pearls the
Buds".

According to the artisans skill, care, and prudence, the philosophical fruit of the tree of
knowledge shows a more or less important virtue. For it is undeniable that the philosophers
stone used for the transmutation of metals is never endowed with the same power. Historical
projections provide us with certain evidence of it. In the operation performed by J.B. van
Helmont in his laboratory at Vilvorde near Brussels in 1618, the stone transmuted into gold
18,740 times its weight in flowing mercury. Richtausen, with the help of a product given by
Labujardiere, obtained a result equivalent to 22,334 times per unit. The projection achieved
by Seton in 1603 at the house of the merchant Koch of Frankfurt-am-Main was acted on a
proportion equal to 1,155 times. In Dippels retort, the powder Lascaris gave to Dierbach
transmuted approximately 600 times its weight of quicksilver. However, another piece given

151

by Lascaris displayed more efficacy; n the operation performed at Vienna in 1716 in the
presence of Counselor Pantser von Hess, Count Charles-Emest von Rappach, Count Joseph
von Wurben and Freudenthal, and the brothers Count and Baron von Metternich, the ratio
reached a power in the vicinity of ten thousand. Furthermore, it is not useless to know that the
maximum production is achieved by the use of mercury, and that the same quality of stone
gives variable results depending upon the nature of the metals used as the basis for the
projection. The author of Fetters of the Cosmopolite affirms that if one part of Elixir converts
into perfect gold a thousand parts of common mercury, it will only transform twenty parts of
lead, thirty of tin, fifty of copper and one hundred of silver. As for the white stone, it will, in
the same degree of multiplication, act on approximately half of these quantities.

But while the philosophers spoke little of the variable yield of the chrysopeus, on the other
hand they displayed more prolixity toward the medical properties o the Elixir, as well as on
the surprising effects that it enables one to obtain in the plant kingdom.

"The white elixir", says Batsdorff (2) , "enables marvels on illnesses of all animals and
especially on those women suffer from, for it is the true potable moon of the Ancients". The
anonymous author of The Key to the Great Work (3> mentioning Batsdorffs text once more,
asserts that "this medicine possesses other even more incredible virtues. When it is at the
white stage of the Elixir, it has so much sympathy with women that it can renew their bodies
and render them as robust and vigorous as they were in their youth. For this effect, a bath is
first prepared with several fragrant herbs with which they should scrub themselves clean; then
they go into a second bath without herbs, but in which 3 grains of the white elixir were
dissolved in a pint of wine spirit and then poured into the water. They remain in this bath for a
quarter of an hour, after which, without drying themselves, a great fire is to be prepared to dry
this precious liquor. The ladies then feel so strong within themselves, and their body is
rendered so white that they could not imagine it without having experienced it. Our godfather
Hermes agrees with this operation, but besides these baths, desires that, at the same time and
for seven consecutive days, this Elixir be taken internally; and he adds, if a lady does the same
thing every year, she will live exempt from all diseases to which other ladies are subject
without experiencing any discomfort".

Huginus a Barma certifies that "the stone fermented with gold can be used in medicine in this
manner: one scruple or 24 grains are to be taken, dissolved according to the art in two ounces
of spirit of wine, and two to three and up to four drops will be prescribed depending on the
illness requirements, in a little wine or in some other suitable vehicle" (4) . According to the
ancient authors, all ailments are radically healed in one day that lasted for a month; in twelve
days if they are a year old; in a month if they appeared more than a year ago.

But for this, as for many other things, we must know how to put ourselves on guard against
excess imagination; the too enthusiastic author of The Key to the Great Work sees marvels
even in the spirituous dissolution of the stone: "Burning golden sparks", says the writer, "must
come out of it and an infinity of colors must appear in the vase". It is going a little too far I the
description of phenomena which no philosopher points out. Furthermore, he does not
acknowledge any limits to the virtues of the Elixir: "Leprosy, gout, paralysis, kidney stone,
epilepsy, dropsy could not resist the virtue of this medicine". And as the healing of these
reputedly incurable diseases doesnt seem sufficient to him, he eagerly adds to the list even
more admirable properties. "This medicine causes the deaf to hear, the blind to see, the mute
to speak, the lame to walk; it can totally renew a man by causing his skin to change, his teeth,
fingernails and white hair to fall out, in stead of which now ones will grow, in the color
desired". We are now drifting into humor and buffoonery.

152

Going by what the majority of sages say, the stone can give excellent results in the plant
kingdom, particularly in what concerns fruit trees. In the spring, if we pour a solution of the
Elixir highly diluted with rain water on the sol close to their roots, they can be made resistant
to all causes of decay and barrenness. They produce even more and bear healthy and delicious
fruits. Batsdorff goes so far as to say that it could be possible, using this process, to cultivate
exotic vegetables in our latitude. "Delicate plants", he writes, "which have difficulty growing
in climates of an opposite temperament to that which is natural to them, by being watered
with it, become as vigorous as if they were in their native soil proper and set by nature".

Among the other marvelous properties attri buted to the philosophers stone, some ancient
authors quote many examples of the transformation of crystal into ruby and quartz into
diamond by means of a kind of progressive soaking. They even consider the possibility of
rendering glass ductile and malleable, a thing which, in spite of Cylianis assertion (5) , we will
take care not to certify because the Elixirs proper mode of action contraction and
hardening seem contrary to obtaining such an effect. Be that as it may, Christophe Merret
quotes this opinion and speaks about it in the Preface to his treatise (6) in the following way:
"As for the malleability of glass", he says, "upon which alchemists base the possibility of their
Elixir, it seems to be corroborated, albeit not very firmly, by the following passage from
Pliny, Book XXXVI, Ch. LXXVI: Moreover, it is said, that during the reign of Tiberius the
Emperor, there was devised a certain temper of glass, which makes it pliable and flexible to
wind and turn without breaking: but the artificer who devised this was put down, and his work
house, for fear lest vessels made of such glass should take away the credit from the rich plate
of brass, silver, and gold, and make them of no price: and verily this bruit hath run current a
long time (but how true, it is not so certain)'.

"Other authors recounted the same fact after Pliny, but with somewhat different
circumstances. Dio Cassius, Book LVII (7) , says: About this time one of the largest porticos
in Rome began to lean tone side, and was set upright in a remarkable way by an architect
whose name no one knows because Tiberius, jealous of his wonderful achievement, would not
permit it to be entered into the records. This architect, then, whatever his name may have
been, first streng thened the foundations round about, so that they should not collapse, and
wrapped all the rest of the structure in fleeces and thick garments, binding it firmly together
on all sides by means of rope; then with the aid of many men and windlasses he raised it back
to its original position. At the time Tiberius both admired and envied him; for the former
reason he honored him with a present of money, and for the latter he expelled him from the
city. Later the exile approached him to crave pardon, and while doing so purposely let fall a
crystal goblet; and though it was bruised in some way or shattered, yet by passing his hands
over it he promptly exhibited it whole once more. For this he hoped to obtain pardon, but
instead the emperor put him to death. Isidore confirms the same thing; he only adds that the
emperor, indignant, threw the glass on the pavement, but the workman, having taken out a
hammer and having fixed it, was asked by Tiberius whether anyone else knew the secret, and
after the workman assured him under oath that none other than himself knew it, the emperor
had his head cut off for fear that if he divulged it, gold would fall into contempt and metals
would lose their value".

When taking exaggeration and legendary additions into account, it remains true nevertheless
that the hermetic fruit carries in itself the highest gift which God, through nature, can give to
men of good will on earth.

Panel 3 The effigy of the Ouroboros serpent stands on the capital of an elegant column.
This curious bas-relief is characterized by the axiom:

153

.NOSCE.TE.IPSUM.

The Latin translation of the Greek inscription which was represented on the fronton of the
famous temple at Delphi:

Know thyself!

We have already encountered, in some ancient manuscripts, the same maxim thus
paraphrased: "You who want to know the stone, know thyself well and you shall know it".
Such is the statement of the law of analogy which gives in effect the key to the mystery. Now
that which precisely characterizes our figure is that column responsible for the emblematic
serpents support is reversed in relation to the inscriptions direction. An intentional,
deliberate, and premeditated arrangement giving to the whole the appearance of a key as well
as of the graphic sign with which the Ancients used to record their mercury. Key and pillar of
the Work are moreover epithets applied to mercury, because it is the mercury that the
elements assembled in appropriate proportions and natural quality; from it everything
proceeds because it alone has the power to dissolve, mortify and destroy the bodies, to
dissociate them, to separate their pure parts, and to join them with spirits and this to generate
new metallic beings different from their parents. The authors are therefore right to assert that
everything that the sages search for can be found in mercury per se, and this should indicate
the alchemist to direct his efforts to the acquisition of this indispensable body.

However in order to succeed we advise him to act methodically and to study in a simple, and
rational fashion, the manner in which nature operates in living beings in order to transform the
absorbed food, rid it of useless substances through the digestion process, into black blood, and
then into red blood, the generator of organic tissues and vital energy. Nosce te ipsum. The
alchemist will thus recognize that the mineral producers of mercury, which are also the
authors of its feeding, growth and life, must first be chosen with discernment and worked with
care. For, although theoretically everything can be used for this composition, nevertheless
some are too far removed from the active metallic nature to be truly useful to us, either
because of their impurities or because their maturation was arrested or pushed beyond the
required term. Rocks, stones, and metalloids belong to the first category; gold and silver enter
the second one. The agent we need lacks vigor in the metalloids and its debility cannot help us
in any way; in gold and silver, on the other hand, we would search in vain: nature has
separated it from the perfect bodies during their appearance on the physical plane.

By expressing this truth, we do not mean to say that gold and silver should absolutely be
proscribed, or claim that these metals are excluded from the Work by masters of the science.
But we fraternally warn the disciple that neither gold nor silver, even modified, enter into the
composition of mercury. And were we to discover, in some classical authors, a contrary
assertion, we should never believe that the Adept, such as Philale thes, Basil Valentine,
Nicolas Flamel, and Bernard Trevisan, actually meant philosophical gold or silver, and not the
precious metals with which they neither have nor show anything in common.

Panel 4 Lying on the bottom of an upside down bushel, a candle burns. The epigraph of
the rustic motif reads:

.SIC.LVCEAT.LUX.VESTRA.

May your light so shine.

154

For us, the flame points to the metallic spirit which is the purest, and clearest part of the body,
its soul and light proper, although its essential part is the least in terms of quantity. We have
often said that the quality of the spirit, being airy and volatile, always forces it to rise and that
its nature is to shine as soon as it is separated from the coarse and corporal opacity which
coats it. It is written that one does not light a candle to put it under a bushel but to place it in a
candlestick so that it can light everything which surrounds it (8) . In the same way we see in the
Work the need to render manifest this inner fire, this light or this soul invisible under the hard
crust of heavy matter, The operation used by the ancients philosophers to reach this goal, they
called sublimation, although it has but a very remote connection with the ordinary sublimation
of spagyrists. For the spirit, ready to disengage itself as soon as it has been given the means,
cannot however totally abandon the body; but it creates for itself a garb closer to its nature,
more adaptable to its will, from the clear and purified particles it can gather around itself so as
to use it as its new vehicle. It then reaches the outer surface of the blended substance and
continues to move upon the face of the waters, as it is said in Genesis 1:2, until there was
light. From then on, through coagulation, it takes on a white shiny color, and its separation
from the mass has become exceedingly easy, since the light of itself has moved on the bushel,
leaving it to the artist to collect it.

Let us learn also, in order for the student to ignore nothing of the practice, that this separation,
or sublimation of the body and manifestation of the spirit, must occur gradually and must be
reiterated as many times as deemed expedient. Each of these reiterations takes the name of
eagle, and Philale thes asserts that the fifth eagle resolves the moon, but seven to nine eagles
need to be performed in order to attain the characteristic splendor of the sun. The Greek word
[*327-1] ( aigle ), wherefrom the sages have drawn the term of eagle, means brilliance, sharp
clarity, light, torch. To make the eagle fly, according to the hermetic expression, is to make
the light shine by uncovering it from its dark envelope and bringing it to the surface. We
should add that, contrary to chemical sublimation, the spirit being in small quantity compared
to the body, our operation yields little of the vivifying and organizing principle which we
need. So, according to the philosopher of Dampierres advice, the prudent artist will strive to
make the hidden manifest and to "make that which is below to be above", if he wishes to see
the inner metallic light radiate outwardly.

Panel 5 A moving streamer reinforce here the symbolic meaning of a drawing which today
has disappeared. If we believe the Epigraphy from the Saintonge Region, it represented "a
hand holding a pike". All that is left today is the phylactery and its inscription reduced by the
last two letters:

.NON.SON.RALES.NVS.AMOR[ES].

These are not our loves.

But this lone Spanish phrase of vague meaning does not authorize any serious commentary.
Rather than spread an erroneous interpretation, we would prefer to remain silent about this
incomplete motif.

Panel 6 The causes for impossibility invoke for the preceding bas-relief are equally valid
for this one. A little quadruped, which the scaly state of the limestone does not allow us to
identify, seems to be enclosed in a bird cage. This motif has suffered much. From its motto
barely two words can be read:

LIBERTA.VER

155

Belonging to the sentence preserved by some authors:

. AMP AN S A. LIB ERT A. VERA. C API. INTV S.

This is where the abuse of freedom gets you.

The topic is in all likelihood the spirit, at first free, and then imprisoned inside the body as in a
very strong cage. However it also seems obvious that the animal, in the usual attitude of a
bird, brought through its name or its species a special, precise meaning easy to identify in the
work process. As these elements, essential for an exact interpretation, are lacking, we are
forced to move to the next panel.

Panel 7 Lying on the ground, an unhooked lantern whose little half-open door reveals its
extinguished candle. The phylactery marking the subject contains a warning reserved for the
use of the impatient and fickle artist:

.SIC.PERIT.INCONSTANS.

So perishes the inconstant one.

Like the lantern without a light, his faith ceases to shine; easily defeated, unable to react, he
falls and in vain seeks in the surrounding darkness this light which can only be found within.

But while the inscription presents no ambiguity, the image, on the other hand, is much less
clear. This stems from the fact that the interpretation can be given in two ways in
consideration of the method employed, and also of the path followed. We first discover an
allusion to the fire of the wheel, which, for fear of its ceasing resulting in the loss of the
matters, should not for even one moment cease its activity. Already in the long way, a slowing
down of its energy, a lowering of the temperature constitute accidents detrimental to the
regular progress of the operation; for, even if nothing is lost, the length of time, already
substantial, is increased even more. An excess of fire spoils everything; however, if the
philosophical amalgam is merely reddened and not calcined, it is possible to regenerate it by
redissolving it, according to the Cosmopolites advice, and by resuming the coction with more
caution. Completely extinguishing the fire on the other hand causes the irremediable ruin of
the content, although if analyzed the latter does not seem to have undergone any change.
Therefore, during the entire course of the work the hermetic axiom told by Lintaut must be
remembered which teaches that "gold, once dissolved into spirit, if it feels the cold, is lost
with the entire Work". Consequently, do not activate the flame inside your lantern too much
and watch that you do not let it go out: you would be between Scylla and Charybdis (9) .

Applied to the short way, the symbol of the lantern provides another explanation to one of the
essential points of the Great Work. It is no longer the elemental fire, but the potential fire
the secret flame of the matter itself which the authors veiled from the layman in the form
of this familiar image, What then is this mysterious, natural, and unknown, fire which the
artist must be capable of introducing into his subject? Here is a question that no philosopher
has wished to resolve, even by resorting to the help of an allegory. Artephius and Pontanus
speak of it in such an abstruse fashion that this important thing remains incomprehensible or
goes unnoticed. Limojon de Saint Didier asserts that this fire is of the nature of limestone.
Basil Valentine, ordinarily more verbose, is content to write: "Then light the lamp of wisdom
and seek with it the gross thing that was lost". Trismosin is barely clearer: "Build", he says, "a
fire in your glass or in the earth which holds it enclosed". Most of the other authors designate

156

this inner light, hidden within the darkness of substance, by the epithet of fire of the lamp.
Batsdorff describes the philosophical lamp as one always needing to be abundantly supplied
with oil and its flame as always needing to be fed by way of an asbestos wick. The Greek
[*329-1] ( asbestos ) means inextinguishable, of unlimited duration, tireless, inexhaustible,
qualities attri buted to our secret fire, which says Basil Valentine, "whines in the darkness,
although it does not burn". As for the lamp, we find it in the Greek term [*329-2] (, lamptern ),
lantern, torch, which used to designate the fire vase where wood was burned to provide light.
Such indeed is our vase, dispensing the fire of the sages, that is, our matter and its spirit, or, to
say it all, the hermetic lantern. Finally, a term close to [*330-1] ( lampas ), lamp, the word
[*330-2] ( lampe ), expresses all that which rises and comes to the surface, scum, foam, scoria,
etc. And this indicates, for whomever possesses a smattering of hermetic knowledge, the
nature of the body, or, if you prefer, of the mineral casing containing this fire of the lamp
which only needs to be stirred up by ordinary fire to perform the most surprising of
metamorphoses.

Yet another word for the benefit of our brothers. Hermes, in his Emerald Table, utters these
solemn, true, and important words: "You separate the earth from the fire, the subtle from the
gross, gently, with great industry. It rises from the earth to the sky, gently, with great industry,
and then descends from the sky into the earth and thus receives the virtue of higher and lower
things". Note therefore that the philosopher recommends to separate, to divide, and not to
destroy or sacrifice one to save the other. For if it were so, we ask you, from which body
would the spirit rise and into which earth would the fire descend to again?

Pontanus affirms that all superfluities of the stone are converted under the action of fire into a
unique essence and that as a consequence whoever claims to separate anything however small
understands nothing about our philosophy.

Panel 8 Two vases, one in the form of an embossed and engraved flagon, the other a
common ear then pot, are represented in the same frame occupied by this saying of St Paul:

. ALIVD. V AS. IN .HONOREM. ALIVD. IN. CONT VMELIAM.

One vessel for honorable uses, another for base uses.

"But in a great house", says the Apostle (10) , "there are not only vessels of gold and of silver,
but also of wood and of earth; and some to honor, and some to dishonor".

Our two vases appear well defined, clearly marked and in absolute agreement with the
precepts of hermetic theory. One is the vase o nature made of the same red clay God used to
form the body of Adam with. The other is the case of the art, whose entire material is
composed of pure, clear, red, incombustible, fixed, and diaphanous gold, of an incomparable
brightness. And these are our two vessels which truly represent only two distinct bodies
containing the metallic spirits, the only agents we need.

If the reader is acquainted with the traditional manner of writing of the philosophers which
manner we try to imitate correctly so that the Ancients can be explained through us and se we
can be controlled by them, it will be easier for him to understand what the hermeticists meant
by vessels. For these vessels represent not only two matters, or rather one matter in two states
of its evolution, but they also symbolize our two ways based on the use of these different
bodies.

157

The first of these ways which uses the vase of the art is time-consuming, painstaking,
thankless, accessible to wealthy people, but is in a place of great honor in spite of the
expenditures it entails, because it is the one which authors preferably describe. It s used as a
support for their reasoning as well as for the theoretical development of the Work, requires an
uninterrupted labor of twelve to eighteen months, and starts with natural gold prepared and
dissolved in the philosophical mercury which is then cooked in a glass matrass. This is the
honorable vase reserved for noble use of these precious substances which are the exalted gold
and mercury of the sages.

The second way demands, from beginning to end, only the help of a coarse clay abundantly
available, of such a low cost that in our time ten francs are sufficient to acquire a quantity
more than enough for our needs. It is the clay and the way of the poor, of the simple and the
modest, of those whom nature fills with wonder even by her most humble manifestations.
Extremely easy, it only requires the presence of the artist, for the mysterious labor perfects
itself by itself and is achieved in seven to nine days at the most. This way, unknown to the
majority of practicing alchemists, is elaborated from start to finish in one crucible made of
fireproof clay. It is the way that the great masters called womans work and childs play; it is
to it that they apply the old hermetic axiom: una res, una via, una dispositione. One matter,
one vessel, one furnace. Such is our ear then vase, a despised, plain vase of common use,
"which everyone has before his eyes, which costs nothing, which can be found at everyones
house, yet which nonce can recognize without a revelation".

Panel 9 Cut through its middle, a snake, in spite of the fatal nature of its wound, yet
believes itself able to survive for a long time in this sate:

. D VM. S PIRO. S PER AB O.

He is made to say:

As long as / breath, I hope.

The serpent-like image of mercury, by its two sections, represents the two parts of the
dissolved metal which will become fixed later, one by the other, and whose joining will give
it its new nature, its physical individuality, its efficiency.

For the sulphur and mercury of metals, when extracted and isolated under the disintegrating
energy of our first agent, or secret solvent, on their own by simple contact are reduced to the
form of a viscous oil a fatty and coagulable smoothness which the ancients called metallic
humid radical and mercury of the sages. It is evident from this that it can logically be
considered as representing a liquefied and reincrudated metal, i.e., artificially put back into a
state close to its original form. But as these elements are merely associated and not radically
united, it seems reasonable that our symbolist thought of representing mercury in the shape of
a sectioned reptile whose two parts each keep their activity and their reciprocal virtues. And
this is what justifies the statement the statement of faith affixed on the stone emblem: As long
as I breathe, I hope. In this state of simple mixture, the philosophical mercury keeps the
balance, the stability, and the energy of its constituents, although the latter are yet destined to
mortification, and decomposition which prepare and achieve their mutual and perfect
interpenetration. As long as the mercury has not felt the grip of the igneous mediator, it can be
indefinitely preserved provided it is carefully kept away from the combined action of air and
light. This is what certain authors give us to understand when they assert that philosophical
mercury always keeps its excellent qualities if it is kept in a tightly sealed bottle", and it is

158

known that in alchemical language every container is said to be closed, stoppered or luted,
when it is kept in complete darkness

(1) De Cyrano Bergerac, The Comical History of the States and Empires of the World of the Sum, translated by
A. Lovell, Henry Rhodes, London, 1687, p. 81.

(2) Batsdorff: Le Filet dAriadne, pour entrer avec seurete dans le Labirin the de la Philosophic Hermetique;
Paris, L. dHoury, 1695, p. 136.

(3) Le Clef du Grande-Oeuvre, ou Lettre du Sancelrien Tourangeua (The Key to the Great Work or Letters from
the inhabitant o the Sancerre and Tours Region)', Paris, Cilleau, 1777, p. 54.

(4) Huginus a Barma: Le Regne de Saturne change en Siecle dOr (Saturns Reign turned into a Golden
Centrury); Paris, P. Derieu, 1780, p. 190.

(5) "I shall not describe here the very strange operations I performed, to my great surprise, in the vegetable and
animal kingdoms, as well as the means to render glass malleable, and making pearls and precious stones more
beautiful than those of nature not wanting to be a perjurer nor to seem to exceed the limits of human
understanding"; Cyliani: Hermes Devoile (Henries Unveiled)

(6) Neri, Merret and Kunckel: LArte de la Verrerie (The Art of Glassmaking)', Paris, Durnad et Pisot, 1752.

(7) Dio Cassius: Dios Roman History, translated by E. Carey, Harvard University Press, Cambridge, 1924,
BookLVII, vol, 7, pp. 173-4.

(8) Matt. 5:15; Mark 4:21; Luke 8:16.

(9) Translators note: In other words, you would fall out of the frying pan into the fire. The expression was left as
is because if the reference to the Roman locations, and mythological monsters.

(10) II Timothy 2:20.

159

THE CASTLE OF DAMPIERRE VI

Third Series (Plate XXVIII).

Panel 1 Raised on its stand and half plunging into the bucket, a grindstone awaits only the
knife grinder to be put into motion. However, the subjects epigraph which should emphasize
its meaning, conversely seems not to bear any connection with it; we cant help being
surprised to read this curious inscription:

.DISCIPVLV S .POTIOR.MAGISTRO.

Is the student superior to the master?

We will readily agree that there is no need of an exhaustive apprenticeship to have a
grindstone turn, and we have never heard that the most skilled of low-wagers with his
rudimentary machine had earned the right to fame, As useful and honorable as it is, the
occupation of knife grinder does not lay claim to the contri bution of an innate talent, special
knowledge, a rare technique, or any masters certificate. It is therefore certain that the
inscription and the image have another sense, clearly esoteric, whose interpretation we intend
to provide (1) .

Envisioned in its different uses, the grinding stone is one of the philosophical emblems meant
to express the hermetic solvent, or the first mercury without which it is completely useless to
undertake anything nor hope for anything profitable. It is our only matter capable of setting
into motion, animating, and revivifying common metals, because the latter easily dissolve in
it, divide themselves there, and adapt themselves under the influence of a mysterious affinity.
Although this primitive subject possesses neither the quality nor the power of philosophical
mercury, it nevertheless possesses everything it needs to become so, and indeed becomes so,
provided the metallic seed, which it lacks, is added to it. Thus art comes to help nature, by
allowing this skillful and marvelous worker to perfect that which, for lack of means, materials
or favorable conditions, she had to leave unfinished. This initial mercury, the subject of the art
and our true solvent, is precisely the substance which the philosophers named the unique
matrix, the mother of the Work; without her, it would be impossible for us to achieve the
preliminary decomposition of metals nor, consequently, to obtain the humid radical or
mercury of the sages, which truly is the stone of the philosophers. In such a way that whoever
claims to make the mercury or the stone with all the metals as well as whoever asserts the
unity of the first matter and mentions it as the only thing necessary is indeed speaking
truthfully.

It is not by chance that the hermeticists chose the grinding stone (2) as the hieroglyphic sign of
the subject and our Adept certainly obeyed the same traditions by providing a place for it in
the panels of Dampierre. We know that grinding stones have a circular form and that the
circle is the conventional signature of our solvent and so of all the bodies susceptible to
evolve by fiery rotation. We again find mercury represented in this fashion on three pates of
The Art of the Potter (3) , that is to say, in the shape of a millstone, sometimes moved by a mule
cabalistic image of the Greek word [*336-1] (mule), grinding stone sometimes by a
slave or a person of rank dressed like a prince. These engravings translate the twofold power
of the natural solvent which acts on metals like the grinding stone on grains or the sharpening
stone on steel: it divides them, crushes them, sharpens them. So much so that, after having

160

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Plate XXVIII

dissociated and partially digested them, the natural solvent becomes acidified, takes on a
caustic quality and becomes more penetrating than it was before.

Medieval alchemists used the verb acuer (to sharpen) to express the operation that gives the
solvent its cutting properties. Now acuer comes from the Latin acuo, to sharpen, to whet, to
make cutting and penetrating, which corresponds not only to the new nature of the subject, but
equally agrees with the role of the sharpening stone.

Of this work, who is the master? Obviously the one who sharpens and moves the grinding
stone around this knife grinder missing from the bas-relief that is to say, the active
sulphur of the dissolved metal. As for the disciple, he represents the first mercury, with a cold
and passive quality, which some call faithful and loyal servant and others, die to its volatility,
servus fugitivus, the fugitive slave. We could therefore answer the philosophers question by
saying that, given the very difference in their conditions, the student will never rise above the
master; but on the other hand it can also be asserted that with time, the disciple in turn
becomes master, will become his tutors alter ago. For while the master lowers himself down
to the level of his inferior in the dissolution, he will raise it along with him in the coagulation,
and the fixation will make them similar tone another, equal in virtue, in valor, and power.

Panel 2 The head of Medusa, placed on a pedestal, shows its stern rictus and its hair
intertwined with serpents; it is ornamented with the Latin inscription:

.CVSTOS .RERUM. PR VDENTIA.

Prudence is the guardian of things.

But the word prudential has a more extended meaning than prudence or foresight; it further
denotes science, wisdom, experience, knowledge. In this bas-relief, epigram and figure are in
accord to represent the secret science concealed under the multiple and varied hieroglyphs of
the panels of Dampierre.

Indeed, the root of the Greek name [*337-1] ( Medusa ) is [*337-2] (medos) and expresses the
thought which concerns us, our favorite study; medos further formed [*337-3] ( medusone )
whose meaning evokes prudence and wisdom. On the other hand, mythologists teach us that
Medusa is known to the Greeks under the name of [*337-4] (Gorgon), which also served to
qualify Minerva or Pallas, the goddess of Wisdom. We would perhaps discover in this
connection the secret reason for the aegis the shield of Minerva, covered with the skin of
Almathea, that was the she-goat, wet nurse of Jupiter, and decorated with the mask of the
serpent-headed Medusa (4> . Apart from the connection which can be established between the
goat and the ram the latter bearer of the golden fleece and the former provided with the
cornucopia we know that Athenas attri bute had the power to petrify. It is said that Medusa
changed into stone those whose eyes met hers. Finally, the very names of Medusas sisters,
Euryale and Stheno, also contri bute their part to the revelation. Euryale, in Greek [*338-1]
(.Euralos ), means that of which the area is large, vast, spacious; Stheno comes from [*338-2]
(, Sthenos ), force, power, energy. And so the three Gorgons symbolically express the idea of
power and scope proper to the natural philosophy.

These converging connection which we are forbidden to exhibit more clearly, allow us to
conclude, apart from the fact, esoterically precise but which we have barely touched upon,
that our motif has the purpose of pointing to wisdom as the source and guardian of all our

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knowledge, the infallible guide of the laborer to whom she will reveal the secrets hidden in
nature.

Panel 3 Lying on the altar of sacrifice, a forearm is consumed by fire. The sign of this fiery
emblem holds in two words:

.FELIX. INF ORTVNIVM.

Happy unhappiness!

Although the topic seems a priori quite obscure and without equivalent in the hermetic
literature and iconography, yet it yields to analysis and perfectly agrees with the Great Works
technique.

The human forearm, which the Greeks simply called the arm [*338-1] ( brachion ), is the
hieroglyph for the short, abridged way (ars brevis ). As a matter of fact, our Adept, toying
with words as the learned cabalist he is, hides under the substantive brachion, arm, a
comparative of [*338-2] ( brachus ), written and pronounced in the same fashion. The latter
means short, brief, of short duration, and forms several compounds, including [*338-3]
(brachutes), brevity. Thus the comparative brachion, meaning brief, the homonym of
brachion, arm, takes on the specific meaning of brief technique, ars brevis.

But the Greeks used yet another expression to qualify the arm. When they evoked the hand,
[*338-4] ( cheir ), they applied by extension the idea to the entire upper limb and gave it the
figurative value of a skilled artistic production of a special process, of a personal style of
work, in short, a tour de main, a flick of the wrist, whether acquired or revealed. All these
acceptations of the word exactly characterize the fine points of the Great Work in its swift,
simple and direct realization, for it only requires the application of a very energetic fire to
which the flick of the wrist boils down. Now this fire on our bas-relief is represented not only
by the flames, it is also represented by the limb itself which the hand indicates as being the
right arm; and it is well known from the proverbial expression that "to be the right arm"
always applies to the agent responsible for the executing of the will of a superior the fire in
the present case.

Apart from these reasons which are necessarily abstract because they are veiled in the form
of a stone with a concise image there is another one, practical, which comes to uphold and
conform in the practical domain the esoteric affiliation of the first ones. We shall state it by
saying that whosoever being ignorant of the flick of the wrist of the operation yet takes the
risk to undertake it, must fear everything from the fire; that person is in real danger and can
hardly escape the consequences of a thoughtless and reckless action. Why then, one could say
to us, not to provide this means? We will answer this by saying that to reveal an experiment of
this sort would be to give the secret of the short way and that we have not received from God
nor from our brothers the authorization to uncover such a mystery. It is already much that,
prompted by our solicitude and charity, we warned the beginner whose lucky star leads to the
threshold of the cave, that he should be on his guard and redouble his prudence. A similar
warning is rarely encountered in the books, and quite succinct as to what concerns the Ars
Brevis, but which the Adept of Dampierre knew as perfectly as Ripley, Basil Valentine,
Philale thes, Albertus Magnus, Huginus a Barma, Cyliani, or Naxagoras.

Nevertheless, and because we deem it useful to warn the neophyte, it would be wrong to
conclude that we are trying to dishearten him. If he wants to risk the adventure, let it be for

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him the trial by fire to which the future initiates of Thebes and Hermopolis had to be put
through before receiving the sublime teachings. Isnt the inflamed arm on the altar the
expressive symbol of the sacrifice, of the renunciation the science demands? Everything is
paid for down here, not with gold, but with work, with suffering, often by leaving a part of
oneself; and one could not pay to much for the possession o the least secret, of the tiniest
truth. Therefore should the candidate feel endowed with faith and armed with the necessary
courage, we fraternally wish him to come forth safe and sound from this difficult experience,
which most often ends with the explosion of the crucible and the projection of the furnace.
And then he could cry out, like our philosopher: Happy unhappiness! For the accident, forcing
him to ponder the mistake he committed, will undoubtedly lead him to discover the means to
avoid it and the flick of the wrist for the proper operation.

Panel 4 Affixed on a tree trunk covered with leaves and laden with fruits, an unfolded
streamer bears the inscription:

. MELIV S. S PE. LICEB AT.

Indeed, one could have hoped for better.

This is an image of the solar tree which the Cosmopolite mentions in his allegory of the green
forest, which he tells us belongs to the nymph Venus. About this metallic tree, the author,
recounting the way the old man Saturn works in the presence of the lost puffer, says that he
took some fruit from the solar tree, put it into ten parts of a certain water very rare and very
hard to find and easily performed its dissolution.

Our Adept means here to speak of the first sulphur, which is the gold of the sages, the green,
unripe fruit of the tree of knowledge. While the Latin phrase betrays some disappointment
relative to a normal result, which may artists would very much like to obtain, it is because by
means of this sulfur the transmutation can no longer be hoped for. Indeed, the philosophical
gold is not the stone, and Philale thes carefully warns the student that it is only its first matter.
And since this sulfur principle, according to the same author, requires an uninterrupted work
of approximately 150 days, it is logical and particularly humane to think that such an
apparently mediocre result could not satisfy the artist who anticipated reaching the Elixir in
one bound, as it can happen in the short way.

Arrived at this point, the apprentice must recognize the impossibility of continuing the work,
by pursuing the operation which gave him the first sulfur. If he wants to go on further he must
retrace his steps, undertake a second cycle of new trials, work for a year, sometimes longer,
before he reaches the stone of the first order. But if discouragement does not overtake him, let
him follow the example of Saturn and redissolve in the mercury, according to the indicated
proportions, this green fruit which divine goodness has allowed him to pluck. And he will
them with his own eyes, see all the appearances of a progressive and perfect maturation
follow each other. We could not remind him too much, however, that he is committed to a
long, difficult path covered with thorns and dug with potholes; that as the art plays a larger
part than nature, the opportunities for mistakes and the schools are more numerous. Let
him preferably concentrate his attention on the mercury, which the philosophers sometimes
called double, not without cause, sometimes ardent or sharp and actuated with its own salt. He
must know before he accomplishes the dissolution of the sulphur that his first water the
one that gave him the philosophical gold is too simple and too weak to serve as
nourishment for the solar see. And in order to overcome the difficulty, let him try to
understand the allegory of the Massacre of the Innocents by Nicolas Flamel, as well as the

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explanation which Limojon (5) gives of it as clearly as a master of the art can do it. As soon as
hell know, in terms of metals, what are these spirits of the bodies designated by the blood of
the slaughtered innocents, and the manner in which the alchemist operates the differentiation
of the two mercuries, he will have passed the obstacle and nothing, later on, except his
impatience could frustrate him from the anticipated result.

Panel 5 Two pilgrims, each carrying a rosary, meet in the vicinity of a building a
church or chapel which can be noticed in the background. Of these two men, quite old,
bald, wearing a long beard and the same kind of clothes, one helps himself walking with a
staff, the other, whose skull is protected by a thick hood, seems to show a sharp surprise at the
adventure, and cries out:

.TROPT.TART.COGNEV.TROPT.TOST.LAISSE.

Known too late, abandoned too early.

Words of a disappointed puffer, happy to finally recognize at the end of his long road the so
ardently desired humid radical, yet grieved to have lost in vain the physical vigor
indispensable for the realization of the Work with this better companion. For it is indeed our
faithful servant, mercury, which is here represented under the appearance of the first old man.
A slight detail catches the acute students attention; the rosary he holds forms, with his
pilgrims staff, the image of the caduceus, Hermes, symbolic attri bute. On the other hand, we
have often said that the dissolving matter is commonly acknowledged, among all
philosophers, as the old man, the pilgrim, the traveler of the great Art, as taught by Michael
Maier, Stolcius and numerous other masters.

As for the old alchemist, so happy about this meeting, while he knew not up to now where to
find the mercury, now shows rather well how familiar this matter is to him, since his own
rosary, a very eloquent hieroglyph, represents the circle surmounted by the cross, a symbol of
the terrestrial globe and the signature of our little world. We then understand why the
unfortunate artist regrets such a belated knowledge as well as his ignorance of so common a
substance that he had within reach without ever having thought that it could procure him the
mysterious water he vainly sought elsewhere.

Panel 6 In this bas-relief three trees of equal height are represented next to each other.
Two of them show their dried up trunks and branches while the last, which remained healthy
and vigorous, seems to be both the cause and the result of the others death. This motif is
ornamented with the motto:

.SUN. VIRIDE. IN .ARID O. QUID.

If such is the case in green things, what would it be in dry things?

Our philosopher thus poses the principle of the analogical method, the unique means, the only
resource the hermeticist has at his disposal for the resolution of natural secrets. So it could be
answered, according to this principle, that that which occurs in the vegetable kingdom must
find its equivalent in the mineral kingdom. As a consequence, if the dry and dead leaves yield
their part of nourishment and vitality to the survivor planted next to them, it is logical to
consider the latter as being their heir, the one to whom, in dying, they gave the complete
enjoyment of the means from which they drew their sustenance. Seen from this angle and
point of view, it appears to us as their son or descendant. The three trees also constitute a clear

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symbol of the way in which the stone of the philosophers, the first being or subject of the
Philosophers Stone, is bom.

The author of Le Triomphe Hermetique (6) , rectifying the erroneous assertion of his
predecessor, Pierre-Jean Fabre, asserts without ambiguity that "our stone is born from the
destruction of two bodies". We will specify that, of these bodies, one is metallic, the other
mineral, and that they both grew in the same earth. The tyrannical opposition of their opposite
temperaments prevents them from ever coming t terms with each other except when the
artists will forces them to, by submitting these absolute antagonists to the violent action of
fire. After a long and arduous battle they die exhausted. From their decomposition a third
body is engendered, the heir of the vital energies and compounded qualities of its deceased
parents.

Such is the origin of our stone, equipped ever since its birth with a dual metallic
predisposition, which is dry and igneous, and with the dual mineral virtue, whose essence is to
be cold and humid. Thus can the stone realize in its state of perfect equilibrium the union of
the four natural elements encountered at the basis of all experimental philosophy. The heat of
the fire is tempered by the coldness of the air, and the dryness of the earth is neutralized by
the humidity of the water.

Panel 7 The geometric figure which we encounter here frequently ornamented the
frontispieces of medieval alchemical manuscripts. It was commonly called Solomons
Labyrinth, and we mentioned elsewhere that it was reproduced on the stone floors of our great
Gothic cathedrals. This figure bears as a motto:

.FATA.VIAM.INVENIENT.

The fates will well find their way.

Our bas-relief, specifically characterizing the long way, reveals the formal intention,
expressed by the plurality of Dampierres motifs, to primarily teach the other drawings of the
same subject usually show three, which entrances, by the way, correspond to the three porches
of the gothic cathedrals placed under the invocation of the Virgin mother. One entrance,
absolutely straight, leads directly to the median chamber where Theseus slayed the
Minotaur without encountering the least obstacle; it conveys the short, simple, easy way of
the Work of the Poor. The second, which likewise leads to the center, only opens onto it after
a series of detours, twists and turns, and convolutions; it is the hieroglyph for the long way
and we have said that it refers to the preferred esotericism of our Adept. Finally, a third
gallery of which the opening is parallel to that of the preceding ones, ends abruptly as a dead
end a short distance from the threshold, and leads nowhere. It causes the despair and ruin of
those who have gone astray, of the presumptuous ones, and of those who, without serious
study and solid principles, nevertheless set out on the way and chanced the adventure.

Whatever their shape, whatever the complexity of their layout, the labyrinths are eloquent
symbols of the Great Work, considered with regard to its material realization. Therefore we
understand them as being in charge of expressing the two great difficulties which the Work
contains: (1) having access to the inner chamber; (2) having the possibility of getting out of it.
Of these two points, the first concerns the knowledge of matter which ensures entry and
that of its preparation which the artist accomplishes in the center of the maze. The second
concerns the mutation of the prepared matter with the aid of the fire. The alchemist thus
retraces, in the opposite direction, though with prudence, slowness and perseverance, the

165

course he quickly followed at the beginning of his labor. So as not to get lost, the philosophers
advise him to mark his path from his starting point for the operations, which we could call
analytical with the help of this Thread of Ariadne, without which he would be at great risk
as he would not be able to make it back that is to say, he would become lost in the work of
synthetic unification. It is to the second stage or period of the Work which the mazes Latin
inscription applies. As a matter of fact, from the moment when the compost, formed of the
vitalized bodies, begins its evolution, the most impenetrable mystery covers with its veil the
order, the measure, the rhythm, the harmony and the progress of this admirable
metamorphosis, that man has the ability neither to comprehend not to explain. Resigned to its
own fate, submitted to the torture of the fire in the darkness of its narrow prison, the
regenerated mater follows the secret path mapped out by destiny.

Panel 8 Erased drawing, sculpture of which the relief is vanishing. Only the inscription
remains and the clarity of its engraving contrasts with the bare uniformity of the surrounding
limestone; there one can read:

.MICHI.CELVM.

The sky is mine!

Exclamation of passionate enthusiasm, exuberant joy, proud cry, one would say, of an Adept
in possession of the Magistery. Perhaps. But is it really what the authors thought wanted to
convey? Allow us to doubt it, for, founding our opinion on so many serious and positive
motifs, of epigraphs with level-headed meanings, we prefer to see here the expression of a
radiant hope directed towards the knowledge of celestial things rather than the presumptuous
and odd idea of an illusory conquest of the empyrean.

It is obvious that the philosopher, having reached the tangible result of the hermetic labor, no
longer ignored the power, the preponderance of the spirit, or the truly prodigious influence it
exercises over inert substance. Strength, will, even knowledge belong to the spirit; life is the
consequence of its activity; movement, evolution, and progress are its results. And as
everything partakes of its nature, as everything is generated and is unveiled by it, it is
reasonable to believe that in the final analysis everything must necessarily return to it. It then
suffices to observe its manifestations in heavy matter, to study the laws it seems to abode by,
to know its guidelines, in order to acquire some notions about the primary things and laws of
the universe. So can we keep hoping to obtain, by the simple examination of spiritual labor in
the hermetic work, the elements of a less vague conception of the divine Great Work, of the
Creator, and of created things. That which is below is like that which is above, Hermes said; it
is by the persevering study of all that is accessible to is that we can raise our intelligence up to
the comprehension of the inaccessible. There is the newly-bom idea, in the philosophers
ideal, of the fusion of human and divine spirit, of he return of the creature to the Creator, of
the unique, pure, and ardent fire, from which the industrious, immortal, martyred spark must,
by order of God, have escaped in order to be joined to vile matter until the completed
accomplishment of its earthly periplus.

Panel 9 Our predecessors only recognized in this little subject the symbol attri buted to the
King of France, Henry II. It is made of a simple lunar crescent, accompanied by this motto:

. DONEC .TOT VM. IMPLE AT. ORB EM.

Until it fills the entire earth.

166

We do not believe that the interpretation of this emblem, to which Diane de Poitiers remains a
total stranger, can lend itself to the last ambiguity. The newest of the "sons of science" does
not ignore that the moon, the spagyric hieroglyph for silver, marks the final goal o the white
stage of the Work and the transition period of the red stage of the Work. It is during the reign
of the moon that the characteristic color of silver, that is to say white, appears. Artephius,
Nicholas Flamel, Philele thes, and numerous other masters teach that, at this early stage of the
coction, the rebis offers the appearance of a thin and silky threads, of hair spreading on the
surface and progressing from the periphery towards the center, Hence the name capillary
whiteness, which is used to designate this coloration. The moon, say the texts, is then in its
first quarter. Under the influence of fire, the whiteness gains in depth, overtakes the entire
mass and turns lemon-yellow on its surface. It is the full moon; the crescent has enlarged to
form the perfect lunar disk: it has completely filled the orb. The matter is provided with a
certain degree of fixity and dryness, sure signs of the completion of the little Magistery. If the
artist wishes to go no further or if he cannot pursue the Work all the way to the red stage, all
he needs to do is to continue to multiply the stone by repeating the same operation in order to
raise its power and virtue. And these reiterations can be repeated as many times as the matter
permits, that is, until it becomes saturated with its spirit and until this spirit "fills the entire
earth". Past the saturation point, its properties change; too subtle, it can no longer be
coagulated; it remains then as a thick oil, luminous in darkness, henceforth without any action
on living beings as on metallic bodies. What is true of the white stage of the Work is also true
of the great Magistery. In the latter, it suffices to increase the temperature as soon as the
lemon-yellow whiteness is obtained, without touching or opening the vessel however, and
provided that, in the beginning, the red ferment was substituted for the white sulfur. This, at
least, is what Philale thes recommends and that Flamel does not, although their apparent
disagreement is easily explained if one masters the guidelines concerning the paths and
operations. Be that as it may, by pursuing the action of the fourth degree of fire, the compost
dissolves by itself, new colors follow one another until a weak red, called peachtree flower,
becoming gradually more intense as the dryness spreads, announces the success and
perfection of the work. Cooled, the matter shows a crystalline texture made, it seems, of small
agglomerated rubies, rarely free, always of heavy density and bright luster, frequently coated
with an amorphous, opaque, and reddish mass called by the ancients the cursed earth of the
stone. This residue, easy to separate, is of no use and must be discarded.

(1) Well never blame enough those who, hidden and almighty, decided at Paris the unexplainable destruction of the very
ancient street named Nonnains dHyeres, which was in no way breaching public health regulations and presented the
remarkable harmony of its 18th century facades. This vandalism, committed at a large scale, resulting in the loss of the
curious sign that used to ornament the building located at the civic number 5, approximately at the height of the second floor,
at the comer of the narrow rue Hotel-de-Ville. Emerging out of the stone, as a round boss, the motif of large size, which
preserved its original colors, showed a knife grinder in the dress of the time: black three-corned hat, red redingote, white
stocking, The man applied himself to sharpening iron, in front of his sturdy wheelbarrow, putting the two major elements into
motion, the hidden fire of his grindstone and the rare water that appears to be distributed by a large clog as a thin trickle.

(2) Translators note: "Meule", the word used in the French text means both the grinding stone and the millstone.

(3) Cyprian Piccolpassi: Les Trois Livres de VArt du Potier ; transl. By Master Claudius Popelyn; Paris, Libr. Internationale,
1861.

(4) Translators Note: The author uses the term Medua Ophiotrix.

(5) Limojon De Saint Didier: Lettre aux vrays Disciples dHerrnes, in Le Triomphe Hermetique\ Amsterdam, H. Wetstein,
1699.

(6) Ibid., p. A4.

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THE CASTLE OF DAMPIERRE VII

Fourth Series (Plate XXIX)

Panel 1 This bas-relief shows us a rock that a raging sea is attacking, and threatens to
swallow up; but two cherubs blow on the waves and still the tempest. The phylactery
accompanying this figure exalts "Constancy in Peril":

. IN. PERIC VLIS .CONS TNTIA.

A philosophical virtue which the artist must know to keep during the course of the coction,
and especially at its beginning, when the unleashed elements collide with one another and
violently push back each other, Later, in spite of the length it this thankless stage, the yoke is
less painful to bear, for the effervescence quiets down and peace finally emerges as a result
from the triumph of the spiritual elements air and fire symbolized by the little angels,
the agents of our mysterious elemental conversion. But about this conversion, perhaps it is not
superfluous to give here some precise details about the manner in which the phenomenon is
accomplished, about which subject, in our opinion, the Ancients remained excessively non
committal.

Every alchemist knows that the stone is formed of the four elements united by a perfect
cohesion, in a state of natural and perfect equilibrium. What is less known is the manner in
which these four elements are resolved into three physical principles which the artist prepares
and assembles according to the rules of the art, taking into account the required conditions.
And these primary elements, represented in our panel by the sea (water, the rock (earth), the
sky (air), and the cherubs (light, spirit, fire), are reduced into salt, sulphur, and mercury, the
material and tangible principles of our stone. Of these principles, two are reputed to be
simple, sulfur and mercury, because they are found naturally combined in the body of metals;
only one, the salt, appears to be constituted partly of a fixed substance, partly of a volatile
matter. We know, from chemistry, that salts, formed from an acid and a base, reveal through
decomposition the volatility of the one and the fixity of the other. As salt partakes both of the
mercurial principles by its cold and volatile humidity (air), and of the sulphurous principle by
its fiery and fixed dryness (fire), it therefore serves as a mediator between the sulphur and
mercury components of our embryo. Thanks to it double quality, the salt enables the
realization of the conjunction, which would otherwise be impossible without it, between one
and the other antagonists, the actual parents of the hermetic little king. Thus, the four primary
elements are assembled two by two in the stone during its formation because the salt
possesses in itself the fire and air needed for the combination of the sulfur-earth and the
mercury-water.

Yet, even though saline compounds are close to sulfurous and mercurial natures (because fire
always seeks terrestrial food and air mixes readily with water) they do not have such an
affinity for the material and ponderable principles of the Work, the sulfur and the mercury,
that their presence alone, their catalysis, would be capable of preventing any discord in this
philosophical marriage. On the contrary, it is only after long disputes and numerous shocks
that air and fire, breaking their saline association, act together to restore concord between
enemies that a simple difference of evolution had separated.

168

CASTLE OF DAMPIERRE-SUR-BOUTONNE
Panels of the Upper Gallery - Fourth Series

Plate XXIX

Henceforth we must conclude, in the theoretical explanation of the conversion of elements
and their indissoluble (1) union at the stage of the Elixir, that the salt is the unique instrument
of a durable harmony, the instigator of a stable peace prolific in fortunate results. And this
peaceful mediator, not content to ceaselessly intervene during the slow, tumultuous and
chaotic elaboration of our mixtion, still contri butes his own substance to nourish and fortify
the newly formed body. The image of the Good Shepherd who gives his life for his sheep, the
philosophical salt, is role finished, dies so that our young monarch can live, grow, and extend
his supreme will over the entire metallic nature.

Panel 2 Humidity had eaten away the back slab, and deprived it of the relief it once
possessed. The imprecise and rough rugosity which still exists could belong to some plants.
The inscription has suffered much; only certain letters have resisted the ravages of time:

..M.RI...V.RV..

With so few elements, it is impossible to reconstruct the phrase; however, according to the
work entitled Landscapes and Monuments of Poitou, which we have already cited, the pants
would be ears of wheat and the inscription should read:

.MIHI.MORI.LVCRVM.

Death is a gain for me.

It is an allusion to the necessity of our mineral seeds mortification and decomposition. For,
just has the grain of wheat could not germinate, produce, and multiply if putrefaction had not
previously liquefied it into the earth. Similarly it is indispensable to provoke the
disaggregation of the philosophical rebis where the seed is included, in order to generate a
new being of a similar nature. Yet capable of augmenting itself in weight and volume, as well
as in power and virtue. In the center of the compound, the imprisoned, living, immortal spirit,
always ready to manifest its action, is only waiting for the decomposition of the body, the
dislocation of its parts, to accomplish the purification and then the rebuilding of the cleansed
and clarified substance with the aid of fire.

Thus it is the still coarse matter of the philosophical mercury which speaks in the epigraph
Mihi mori lucrum. Not only does death grant it the physical benefit of a bodily envelope much
more noble than the first, bit it moreover gives it a vital energy which it did not possess and a
generative faculty of which a bad constitution had previously deprived it.

Such is the reason why our Adept, in order to provide an appreciable image of the hermetic
regeneration, by the death of the compost, has the ears sculpted, under the motto in parables,
of this little subject.

Panel 3 Issuing from thick clouds, a hand whose forearm is ulcerated, holds an olive
branch. This coat of arms, of a morbid character, bears the sign:

.PRVDENTI.LINITVR.DOLOR.

The Sage knows how to assuage his pain.

The olive branch, a symbol of peace and concord, marks the perfect union of the generating
elements of the philosophers stone. Now this stone, by the certain knowledge it brings, by the

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truths it reveals to the philosopher, enables him to overcome the moral sufferings which affect
other men and to vanquish physical pains by suppressing the cause and the effects of many
illnesses.

The very elaboration of the Elixir demonstrates to him that death, a necessary transformation,
albeit not a real annihilation, must not distress him. Much to the contrary, the soul, freed from
the burden of the body, enjoys in full flight a marvelous independence totally bathed in this
ineffable light only accessible to pure spirits. He knows that the phases of material vitality and
spiritual existence succeed one another according to the laws that rule their rhythm and their
periodicity. The soul leaves its earthly body only to animate a new one. Yesterdays old man
is tomorrows child. The vanished are met again, the lost ones are found, the dead are reborn.
And the mysterious attraction which binds together beings and things of a similar evolution,
reunites, without their knowledge, those who still live and those who no longer are. For the
initiate, there is no genuine, absolute separation, and mere absence cannot cause him grief. He
will easily recognize his affections even though they are donned in a different envelope
because the spirit, of immortal essence and gifted with eternal memory, knows how to cause
him to discern them...

These certainties, materially controlled throughout the labor of the Work, assure him an
indefectible moral serenity, a calm amidst excitements, a contempt for mundane pleasures, a
resolute stoicism, and, above all, this powerful comfort granted him by the secret knowledge
of his origins and destiny.

On the physical plane, the medicinal properties of the Elixir shelter its fortunate possessor
from physiological defects and misery. Thanks to it, the sage knows how to assuage his pain.
Batsdorff <2) certifies that it cures all outer illnesses of the body ulcers, scrofula,
excresences, paralysis, wounds and such other afflictions, when dissolved in an appropriate
liquor and applied to the wound by means of a cloth soaked in the liquor. On the other hand,
the author of an illuminated alchemical manuscript (3> also praises the high virtues of the
medicine of the sages. "The Elixir", he writes, "is a divine ash, more miraculous than not,
giving of itself as can be seen according to necessity, refusing itself to no one, as much for the
health of the human body and the nourishment of this decaying and transitory life, as for the
resurrection of the imperfect metallic body" In truth, it surpasses all the theriaca and the most
excellent medicines that men could possibly make, however subtle they might be. It renders
the man who possesses it blessed, sober, prosperous, distinguished, daring, robust,
magnanimous". Finally, Jacques Tesson (4) advises the new converts wisely on the use of the
universal balm. "We have spoken, says the author by addressing the subject of the art, about
the fruit of blessing which have come out of you; now we will say how you must apply to
yourselves; it is to help the poor and not for worldly display; it is to heal the needy and the
handicapped, and not the great and powerful of the world. For we must be careful to whom
we give it and know whom we must heal among the infirmities and illnesses that afflict the
human species. Administer this powerful remedy only under an inspiration from God who
sees all, knows all, ordains all".

Panel 4 Here is now one of the major symbols of the Great Work: the figure of the Gnostic
circle formed by the body of the snake which devours its tail, having for motto the Latin word

.AMICITIA.

Friendship.

170

The circular image is indeed the geometric expression of unity, affinity, equilibrium and
harmony. All the points of the circumference being equidistant from the center and in close
contact with one another they create a continuous, enclosed orb which has no point of
beginning, and cannot have not an end, just as God in metaphysics is infinity in space and
eternity in time.

The Greeks called this serpent the Ouroboros, from the words [*353-1] ( oura ), tail, and
[*353-2] (boros), devouring. In the Middle Ages it was likened to the dragon by imposing on
it an esoteric attitude and value similar to those of the Hellenic serpent. Such is the reason for
the association with reptiles, whether natural or legendary, which were almost always found
among the old authors. Draco aut serpens qui caudam devoravit; serpens aut lacerta viridis
quae propriam caudam devoravit, (5) etc., they frequently wrote. On monuments, on the other
hand, the dragon, allowing more movement and vividness in the decorative composition,
seemed to be more favored by artists; it is the one preferably represented. This can be
observed on the north portal of the church Saint-Armel at Ploermel (in the Department of
Morhiban, Brittany, France) where several dragons, hooked in the sloping of the gables, form
a wheel by biting their own tails. The famous stalls of Amiens also offer the curious figure of
a dragon with the head of a horse and a winged body, ended by a decorative tail, the extremity
of which the monster is devouring.

Given the significance of this emblem it is, with the seal of Solomon, the distinctive sign
of the Great Work its meaning remains susceptible to various and sundry interpretations.
The hieroglyph for the absolute union, for the indissolubility (6) of the four elements and the
two principles restored to unity in the philosophers stone, this universality allows the use and
attri bution to the various stages of the Work, since all of them aim at the same goal and are
oriented towards the assemblage, the homogeneity of the first natures, towards the mutation of
their native antipathy into a solid and stable friendship. Generally, the head of the dragon or
of the Ouroboros marks the fixed part and its tail the volatile part of the compound. So does
the commentator of Marc Fra Antonio (7) understand it: "This earth", he says, "while speaking
of sulphur, by its igneous and innate dryness, attracts to itself it own humidity and consumes
it; and because of it, it is compared to the dragon which devours its tail. Besides, it attracts
and assimilates its humid counterpart only because it is o the same nature". Other
philosophers make a different application, for example Linthaut (8) , who connects it to the
colored periods: "There are", he writes, "three principal colors which must show themselves
in the Work, the black, the white, the red. The blackness, the first color, is called venomous
dragon by the Ancients when they say: the dragon will devour its own tail". The esotericism
is equivalent in The Most Precious Gift of God by Georges Auruch. David de Planis Campy,
farther removed from the doctrine, only sees in it a version of the spagyric cohobations.

As for ourselves, we have always understood the Ouroboros as a complete symbol of the
alchemical work and of its result. But, whatever the opinion of the scientists of our time may
be about this figure, we can nevertheless be certain that all the attri butes of Dampierre placed
under the aegis of the serpent biting its tail, are exclusively related o the Great Work and
present a specific character conforming to the secret teaching of the hermetic science.

Panel 5 Yet another vanished subject about which nothing can be deciphered. Only a few
incoherent letters appear on the disintegrating limestone:

...CO.PIA...

171

Panel 6 A large six-ray star is shining on the waves of a moving sea. Above it the streamer
bears this Latin motto engraved on it whose first word is written in Spanish:

. L VZ. IN. TENEB RIS.LVCET.

Light shines in the darkness.

You might wonder why we hold to be water what others consider to be clouds. But by
studying the manner in which the sculptor represents water and clouds elsewhere, you will
readily be convinced that there is not on our part any error, mistake or dishonesty. By this
marine star, nevertheless, the author of the picture does not intend to represent the commons
asterias, vulgarly called starfish. The latter only has five radiating rays, whereas ours has six
distinct branches. We must therefore see here an indication of a starry water, which is none
other than our prepared mercury, our Virgin mother and her symbol, Stella maris (the Star of
the Sea), the mercury obtained in the form of a white and shining metallic water which
philosophers denominate star once more (from the Greek [*355-1] aster brilliant,
shining). Thus the work of the art renders manifest and external that which before was diffuse
in the coarse, vile, and dark mass of the primitive subject. From the obscure chaos, it makes
the light flash forth after having assembled it and, from that point on, this light shines in the
darkness like a star in the night sky. All chemists have known and know this subject although
very few know how to obtain it from the radiant quintessence so deeply buried in the
earthiness and the opacity of the body. This is why Philale thes (9) recommends to the student
not to despise the astral signature, revealer of the prepared mercury. "Direct your course by
the aspect of the North Star, which our Magnet will cause to appear to thee. The Wise man
will rejoice, but the Fool will disesteem these things, nor will he leam Wisdom, even though
he behold the Central Pole turned outwards, marked with the notable sign of the Omnipotent".

Strongly intrigued by the star, the significance and meaning of which he could not fathom,
Hoefer (10) turned to the Hebrew Cabala. "Iesod ([*356-1])", he writes, "signifies at once the
basis and the mercury, because mercury is the basis, the foundation of the art of
transmutation. The nature of mercury is indicated by the name: [*356-2] (Living God), whose
letters produce, by addition of their numerical values, the number 49, which is also given by
the sum of the letters [*356-3] ( cocaf ), star. But what interpretation can we give of the word
cocaf? Let us listen to the Kabbala: The characteristic of the true mercury consists in
covering itself, through the action of heat, with a film more or less approximating the color of
gold; and this can be done in the space of a single night. Here is the mystery indicated by the
word cocaf, star". This exegesis does not satisfy us. A film, whatever color it might be, does
not in any way resemble a starred radiation and our own works answer for an effective
signature which presents all the geometric and regular characteristics of a perfectly drawn
star. And so do we prefer the less chemical but truer language of the ancient masters to this
kabalistic description of the red oxide of hydrargyrum. "It is in lights nature", said the author
of a famous book (11) , "to not be able to appear to our eyes without being clothed with a body
of some kind, and this body must also be appropriate to receiving light; therefore where light
is there must necessarily also be the vehicle of this light. Here is the easiest means to not err.
Look then, with the light of your spirit, for the light clothed with darkness, and learn from it
that the most vile of all subjects in the ignoramus opinion". In an allegorical tale concerning
the preparation of mercury, Trismosin (12) is yet more categorical; he asserts as we do, the
visual reality of the hermetic seal. "At daybreak", says our author, "above the person of the
king a very bright star was seen to come out and the light of the say illuminated the darkness".
As for the mercurial nature of the support of the star (which is the sky of the philosophers),
Nicolas Valois (13) makes it rather clear in the following passage: "The sages", he says, "name

172

their sea the entire Work, and as soon as the body is reduced to water, the same one from
which it was originally made, the latter being called sea water because it is truly a sea in
which several helmsmen were shipwrecked, not having this celestial body as their guide,
which will never fail those who have known it once. It is this star which led the wise men to
the birth of the Son of God, and the same one which makes us see the birth of this young
king". Finally, in his Catechism or Instruction for the Rank of Adept, an appendix to his work
called the Flaming Star, Baron Tschoudy informs us that the Freemasons called the heavenly
body of the philosophers in that particular manner. "Nature", he says, "is not visible although
it acts visibly, for it is but a volatile spirit, that operates in bodies and that is animated by the
universal spirit we know in common Masonry under the respectable emblem of the Flaming
Star".

Panel 7 At the bottom of a tree loaded with fruit, a woman is planting several pits into the
earth. On the phylactery, one extremity of which is connected to the trunk and the other is
unfolding above the person, we can read this Latin phrase:

TV.NE.CEDE.MALIS.

Do not succumb to errors.

It is an encouragement to persevere in the path followed and in the method used, which our
philosopher is giving to the good artist, which artist takes pleasure in naively imitating the
simplicity of nature, rather than vainly chasing moonbeams <14) .

The ancients often called alchemy the celestial agriculture, because it offers in its laws,
circumstances and conditions the most intimate of connection with terrestrial agriculture.
There is scarcely a classical author who does not draw his examples from, and does not
establish his demonstrations on agricultural labor. The hermetic analogy thus appears founded
on the art of the farmer. Just as one needs a seed to obtain an ear of corn nisi granum
frumenti (if not with the seed of wheat) in the same way, it is essential first to possess the
metallic seed, in order to multiply the metal. Now each fruit bears its seed within itself and
each body, whatever it may be, possesses its own. This difficult point, which Philale thes calls
the pivot of the art, consists in knowing how to extract, from metals or from minerals, this
first seed. It is the reason why the artists, at the beginning of his work, must completely
decompose that which has been assembled by nature because whosoever ignores the means of
destroying metals also ignores the means of perfecting them. Having obtained the ashes of the
body, these undergo calcinations, which will bum their heterogeneous, combustible parts, and
will only leave the central salt, an incombustible and pure seed the flame cannot vanquish.
The sages have given it the names of sulphur, first agent, or philosophical agent.

But any seed capable of germinating, growing, and fructifying requires proper soil. The
alchemist also has need of a proper soil appropriate to the species and the nature of the seed;
once more he has to ask the mineral kingdom for it. Yes, the second work will cost him more
fatigue and time than the first. And this is also in agreement with the art of the farmer. Do we
not see all the farmers care directed toward the perfect and exact preparation of the soil?
While the sowing is done quickly and effortlessly; the earth, on the other hand, demands to be
tilled and ploughed several times, requires a fair spreading of the fertilizer, etc., a hard, long,
and exacting work and its analogy can be found in the Philosophical Great Work.

Let then the true disciples of Hermes study all the simple and efficient means likely to
separate the metallic mercury, the mother and wet nurse of this seed from which our embryo

173

is to be bom; let them apply themselves to purifying this mercury and to exalting its powers,
after the fashion of the farmer who increases the fecundity of the humus by frequently airing
it out and by incorporating into it the necessary organic products. Above all, let them beware
of the sophistic processes, capricious formulas used by ignorant or greedy ones. Let them ask
nature, let them observe in what way it operates, let them know how to discern what its
fashions are, and let them exercise their wits to imitate it closely. If they do not allow
themselves to be rebuffed and if they do not succumb to errors profusely distributed even in
the best of books, they will doubtlessly eventually see success crown their efforts. The totality
of the art can be summed up in discovering the seed, sulphur, or metallic nucleus, in casting
out into a specific earth or mercury and then in submitting these elements to fire according to
a regimen of four increasing temperatures which constituted the four seasons of the Work.
However the greatest secret ios the one of the mercury, and it is in vain that one will search
for its operation in the books of the most famous authors. Therefore, it is preferable to go
from the known to the unknown by the analogical method, should one desire to approach the
truth about a subject which caused the despair and ruin of so many investigators more
enthusiastic than profound.

Panel 8 This bas-relief only bears the image of a circular shield and the historical
injunction of the Spartan Mother:

.AVT.HVNC.AVT.SVPER.HVNC.

Either with him or on him.

Nature is addressing here the son of science preparing himself to undertake the first operation.
We have already said that this quite tricky, practical operation invokes a real danger, since the
artist must provoke the old dragon, the guardian of the orchard of the Hesperides, force it to
fight, and then slay it without mercy if he does not want to be slain. To vanquish or die, such
is the veiled meaning of the inscription. Our champion, in spite of his valor, could not use too
much prudence for the future of the Work and his own destiny depends upon this first success.

The figure of the shield in Greek [*359-1] ( aspis ), shelter, protection, defense indicates
to the student the need for a defensive weapon. As for the attacking weapon, it is the spear
[*359-2] ( logche ), fate, destiny or tuck [*359-3] ( clialepsis ), separation which he must
use. Unless he would rather resort to the means used by Bellerophon, riding Pegasus, to kill
the Chimera. Poets claim that he buried, deep in the monsters throat, a wood stake, hardened
with fire and covered with lead. The Chimera, irritated, would vomit flames; the lead melted,
flowed into the beasts entrails, and this simple strategem got him the upper hand.

We shall, above all, call the beginners attention to the spear and shield which are the best
weapons a knight, expert and sure of himself, can use; the weapons that will signify, should
he emerge victorious from the fight, his symbolic coat of arms by securing him the possession
of our crown.

Thus does one, from a farmer, become a herald[*359-4] kerus the rot of another Greek
word [*359-5] kerukiophoros one who bears the Caduceus). Others, of the same
courage and convinced of their own strength, abandoned the sword, the spear and the glaive
for the cross. Those were even more victorious for the material and demonic dragon never
resisted the spiritual and almighty effigy of the Savior, the ineffable sign of the Spirit and of
Light Incarnate: In hoc signo vinces (15) .

174

It is said that for the wise ones, a few words suffice and we deem that we already have said
enough for those who will take the trouble to try and understand us.

Panel 9 A country flower with the appearance of a poppy receives the light from the sun
which is shining above it. This bas-relief has suffered from unfavorable atmospheric
conditions or perhaps from the bad quality of the stone; the inscription which ornamented a
streamer, traces of which we can still see, has been completely erased. As we have previously
analyzed a similar object, (Series 2, panel 1), and as this motif can be the subject of several
very different interpretations, we will keep silent for fear o a possible error, given the absence
of its specific inscription.

(1) Translator's Note: In French "indissoluble" and "insolubl" are the same words, thus referring both to the
physical and abstract properties.

(2) Le Filet d'Ariadne (Ariadne's Net), op. cit., p. 1.

(3) La Generation et Operation du Grande-Oeuvre (The Creation and Operation of the Great Work), Library of
Lyons, France. Ms. quoted.

(4) Jacques Tesson: Le Grande et Excellent Oeuvre des Sages,,, (The Great and Excellent Work of the Sages...),
Ms from the 17th century. Library of Lyons #971(900).

(5) Dragons or serpents devouring their tails; serpents or green lizards devouring their own tails.

(6) Translator's Note: "indissolubility" also indicates "insolubility" as both ideas are expressed by the same word
in French.

(7) La Lumiere sortant par soy-mesme des Tenebres, ou Veritable Theorie de la Pierre des Philosophes (The
Light coming by itself out of the Darkness, or True Theory of the Stone of the Philosophers), written in Italian
verses; Paris, Libr, d. Houry, 1687, p. 271.

(8) Henri de Linthaut: Commentaire sur le Tresor des Tresors de Christophe de Gramont (Commentary on the
Treasure of Treasures by Christophe de Gramont); Paris, Claude Morillon, 1610, p. 133.

(9) Translator's Note: Eirenaeus Philale thes, Alchemical Works, Secrets Revealed: or, An Open Entrance to the
Shut Palace of the King, ch. 4.

(10) Ferdin and Hoefer: Histoire de la Chimie (History of Chemistry); Paris, Firmin Dido, 1866, p. 248.

(11) La Lumiere sortant par soy-mesme des Tenebres (The Light coming by itself out of the Darkness), op. cit.

(12) Salomon Trismosin: La Toyson d'Or (The Golden Fleece); Paris, Ch. Sevestre, 1612.

(13) Les Cinq Livres de Nicholas Valois (The Five Books of Nicolas Valois), ms. cit.

(14) Translator's Note: or, chimera.

(15) With this sign, you shall overcome.

175

THE CASTLE OF DAMPIERRE VIII

Fifth Series (Plate XXX)

Panel 1 A horned and hairy vampire, equipped with membranous, nervate, and clawed
wings, with feet and hands in the shape of talons, is represented squatting. The inscription has
this nightmarish character speak in Spanish verses:

.MAS .PENADO.MAS.PERDIDO. Y.MENOS.AREPANTIDO.

The more prejudicial you have been to me, the more you lost me, and the less I repented it.

This devil, an image of material coarseness as opposed to spirituality, is the hieroglyph for the
first mineral substance such as it is found in metal-bearing deposits where miners go in order
to tear it therefrom. It was formerly represented as the figure of Satan, in Notre-Dame de
Paris, and the faithful, as a token of their scorn and aversion, came to put out their candles by
plunging them in its mouth, that it held open. It was for the people, Master Pierre of Coignet
(1) , our corner stone and the original block on which the entire Work is built.

It must be agreed that to be symbolized under such a deformed and monstrous appearance
dragon, serpent, vampire, devil, Tarasqu. Etc. this unfortunate subject must have fallen into
disgrace with Nature. In truth, its appearance has nothing seductive about it. Black, scaly,
often covered with red spots or a yellow, crumbly and dull coating, having a strong and
nauseous odor which the philosophers define as toxicum et venenum, it stains fingers when it
is touched and seems to assemble within itself all that which can displease. Yet it is, this
primitive subject of the sages, vile and despised by the ignorant ones, which is the only one,
the sole dispense of the celestial water, our first mercury, and the great Alkahest <2) . It is it, the
loyal servant and the salt of the earth, what Madame Hillel-Erlanger calls Gilly and which
causes his master to triumph over the influence of Vera (3) . Thus it has been called the
universal solvent, not because it is capable of dissolving all bodies in nature as many
wrongly believe but because it can do everything in the small universe which the Great
Work constitutes. In the 17th century, a time of impassioned discussions between chemists
and alchemists on the principles of the old sciences, the universal solvent was the subject of
ardent controversies. J.H. Pott (4) , who applied himself to noting the many formulas of
menstrual, and who strove to provide their rationale, brings us, more than anything, the proof
that none of the formulas inventors understood what the Adepts meant by their solvent.
Although they certified that our mercury is metallic and homogeneous to metals, most of the
seekers persisted in extracting it from matters more or less removed from the mineral
kingdom. Some thought they were preparing it when they saturated the ruinous volatile spirit
(ammonia) with any acid, and then circulated this mixture; others exposed thickened urine to
air with the purpose of introducing the airy spirit into it, etc. Becher ( Physica Subterranea,
Frankfurt 1669) and Bohn (De Alcali et Acidi Insufficienta - Letter on the Insufficiency of
Acid and Alkcdi ) think that "the alkahest is the purest mercurial principle which can be
removed either from mercury or from sea salt by specific processes". Zobel ( Margarita
Medicinalis) and the author of Lullius Redivivus prepare their solvent by saturating the Spirit
of Sal Ammoniac (hydrochloric acid) with the Spirit of Tartar (potassium tartrate) and some
crude tartar (impure potassium carbonate). Hoffman <5> and Poterius volatilized the salt of
tartar by first dissolving it in water, exposing the liquor to putrefaction in an oak-wood vessel,
and then submitting the precipitated earth to sublimation. "A solvent which leaves all the

176

CASTLE OF DAMPIERRE-SUR-BOUTONNE
Panels of the Upper Gallery - Fifth Series

Plate XXX

other ones far behind, assures Pott, is the precipitate resulting from the mixture of the
corrosive sublimate and the sal ammoniac. Whosoever knows how to us it properly, will be
able to consider it a true alkahest". Le Fecre, Agricola, Robert Fludd, de Nuysement, Le
Breton, Etmuller, and others still prefer the spirit of dew as well as analogous extracts that
have been prepared "with stormy rains or with the fatty film which floats on mineral waters".
Finally, according to Lenglet-Dufresnoy, (6) , Olaus Borrichius (De Origine Chemiae et in
conspectus Chemicorum Celebriorum, num. XIV) "notes that Capt. Thomas Parry, an
Englishman, saw this same science (alchemy) practiced in 1662 at Fez in Barbary, and that
the great alkahest, the first matter of all the philosophers has been known for a long time in
Africa by the most skilled Mohammedan artists".

To sum it up, all alkahest recipes proposed by authors who above all aim at the liquid form
attri buted to the universal solvent are useless, if not false, and only good for spagyrics. Our
first matter is solid; the mercury which it provides always presents itself as saline in
appearance and with a hard consistency. And this metallic salt, as Bernard Trevisan quite
rightly said, is extracted from the Magnesia "by the reiterated destruction of the latter, by
dissolving and by sublimating". With each operation the body fragments itself, disaggregates
little by little, without apparent reaction, by abandoning many impurities; the extract, purified
by sublimations, also loses heterogeneous parts so that its virtue becomes condensed in the
end into a small mass of a volume and weight much inferior to that of the original mineral
subject. This is what the Spanish axiom quite exactly justified, for the more reiterations, the
more the broken and dissociated body is wronged and the less the quintessence which comes
from it has reason to repent of it; on the contrary, it augments in strength, in purity, and in
activity. By this very act our vampire acquires the strength of penetrating metallic bodies, of
attracting their sulphur, or their true blood, and allows the philosopher to liken it to the
nocturnal vampire of oriental legends.

Panel 2 A crown made of leaves and fruit: apples, pears, quince, etc., is also tied by ribbons
the knots of which are also tightening four little laurel twigs. The epigraph which frames it
teaches us that no one will obtain it if he doesnt abide by the laws of combat.

NEMO.ACCIPIT.QVI.NON.LEGITIME.CERTAVERIT.

Monsieur Louis Audiat sees in this subject a laurel crown; this should not surprise us; his
observations are often imperfect and he is not preoccupied by the study of details. In fact, it is
not the ivy wreath with which poets of Antiquity were crowned, nor the sweet laurel on the
foreheads of victors, nor the palm leaves dear to the Christian martyrs, nor the myrtle, vine
leaves, olive branches of the Gods, that are represented here, but quite simply the fruit-bearing
crown of the sage. His fruit marks the abundance of his earthly goods acquired by the skillful
practice of celestial agriculture: so much for profit and utility; a few laurel twigs, of such a
discrete relief that they are barely noticed: so much for the honor of the hard-working artist.
And yet this rustic garl and which wisdom offers to the learned and virtuous investigators is
not easily won. Our philosopher says it straight out: hard is the battle the artist must wage
against the elements if he wants to overcome the great trial. Like the knight-errant, he must
direct his steps toward to mysterious garden of the Hesperides and provoke the horrible
monster defending the entrance. Such is, in keeping with the tradition, the allegorical
language through which the sages intend to reveal the first and the most important of the
Works operations. In truth, it is not the person of the alchemist who defies and fights the
hermetic dragon, but another beast, equally robust, in charge of representing him and that the
artist, as a prudent spectator, always ready to intervene, must encourage, help, and protect. He
is the fencing master of this strange and merciless duel.

177

Few authors have mentioned this first encounter and the danger it represents. To our
knowledge, Cyliani is without doubt the Adept who went the farthest in the metaphoric
description he presents of it. However, we have found nowhere else as detailed a tail, i.e., as
exact in its images, as near to the truth and to reality as the great hermetic philosopher of the
modern times: de Crano Bergerac. This brilliant man is not known enough, whose work,
purposely mutilated, probably encompassed the entire scope of the science. As for us, we
scarcely need M. de Sercys testimony (7) , asserting that Cyrano "received from the Author of
Light and from the Master of Sciences (Apollo) lights which nothing can darken and
knowledge at which no one can arrive", to recognize in him a true and powerful initiate.

De Cyrano Bergerac stages two fantastic beings representing the principles of Sulphur and
Mercury, issuing from the four primary elements: the sulphurous Salamander, which thrives
in the midst o flames, symbolizes the air and fire of which the sulphur possesses the dryness
and the igneous ardor, and the Remora, the mercurial champion, heir to the earth and water
and its cold and humid qualities. These names chose on purpose owe nothing to whim or
fantasy. [*367-1] ( Salamandra ) in Greek seems formed of [*367-2] (sal), the anagram for
[*367-3] (i als ), salt, and of [*367-4] ( mandra ), stable; it is the salt of the stable, the salt of
urine of the artificial saltpeter bed, the saltpeter of the old spagyrists sal petri, salt of stone
which they still designate under the name of Dragon. The Remora, in Greek [*367-5]
(< echeneis ), is this famous fish which was supposed to stop (according to some) or to direct
(according to others) ships sailing in northern seas, subject to the influence of the North Star.
It is the echeneis of which the Cosmopolite speaks, the royal dolphin which the characters of
the Mutus Liber exert themselves to capture, the same one which accompanied and pilots, on
the bas-relief ornamenting the fountain of Vertbois, the ship loaded with an enormous hewn
stone. The echeneis if the pilot of the running waters, our mercury, the faithful friend of the
alchemist, the one which has to absorb the secret fire, the igneous energy of the Salamander
and finally, remains stable, permanent, always victorious, under the safekeeping and
protection of his master. These two principles, of opposite natures and tendencies, of contrary
disposition exhibit a relentless antipathy against each other, and an irreducible aversion for
one another. Face to face, they furiously attack each other, defend themselves ruthlessly, and
the truceless and merciless fight only ceases with the death of one of the antagonists. Such is
the esoteric duel, appalling yet real, which the illustrious Cyrano (8) related in these terms"

"I had advanced about 400 Furlongs, when I perceived in the middle of a great Plain, as it
were, two Bowls, which having rustled and turned a long time round one another, approached
and then recoiled: And I observed that when they knocked one against the other, then were
these great Claps heard; but going a little further on, I found that what at a distance I had
taken for two Bowls, were two Animals; one of which, though round below, formed a
Triangle about the middle, and his lofty head with ruddy locks, which floated upwards, spired
into a Pyramide; his Body was bored like a Sieve, and through these little holes, that served
him for Pores, thin flames glided, which seemed to cover him with a Plume of Fires.

"Walking about there, I met with a very venerable old Man, who observed that famous
conflict, with no less curiosity than myself. He made me a sign to draw nigh, I obeyed, and
we sat down by one another...

"He thereupon spake to me in this manner: In this Globe where we are, we should see the
Woods very thin sown, by reason of the great number of the fiery Beasts that destroy them;
were it not for the Animals Frozen-Noses, which are at the desire of the Forests their Friends,
come daily to cure these Sick Trees: I say cure, for no sooner have they, from their Icy Mouth,
blown upon the coals of that Plague, but they put it out.

178

"In the World of the Earth, from whence both you and I come, the fiery Beast is called the
Salamander; and the Animal Frozen-Nose, is known by the name of Remora. Now you must
know; that the Remoras lived toward the extremity of the Pole, at the bottom of the Mare
Glaciale; and it is the cold of these Fishes, evaporated through their Scales, which makes the
Sea Water in these quarters to freeze, though it be Salt...

"That Stygian-Water wherewith the Great Alexander was poisoned, and whose Coldness
petrified his Bowels, wa the Piss of one of these Animals... And so much for the Animals
Frozen-Nose.

"But as to the Fiery Beasts, they lodge on Fand under Mountains of burning Bitumen, such as
Aetna, Vesuvius and other. The Pimples which you see upon the Breast of this beast, that
proceed from the Inflammation of his Fiver, are...

"Here we put a stop to our Talk, that we might be more attentive to that famous Duel. The
Salamander attacked with much ardour; but the Remora defended impenetrable. Every dash
they gave one another, begot a clap of Thunder; as it happens in the Worlds there abouts,
where the Clashing of a hot Cloud with a cold, causes the same Report. At every glance of
Rage which the Salamander darted against its Enemy, out of its Eyes flashed a reddish Fight,
that seemed to rekindle the Air in flying; it sweat boyling Fight, that seemed to kindle the Air
in flying; it sweat boyling Oyl, and pissed Aqua-fortis. The Remora on the other hand, that
gross, square and heavy Animal, presented a Body scaled all over with Ysicles. Its large Eyes
lookt like two Chrystal-plates, whose glances conveyed so chilling a light, that on what
member of my Body it fixed them, I felt a shivering Winter-cold. If I though to put my Hand
before me, my Fingers were nummed; nay, the very Air about infected with its quality,
condensed into Snow, the Earth hardened under his Steps; and I could reckon the Footings of
the Beast, by the number of Chil-blancs, that welcomed me when I trade upon them.

"In the beginning of the Fight, the Salamander by the vigorous activity of its first heat, had
put the Remora into a sweat; but at length that Sweat cooling again, glazed all the Plain with
so slippery an Enamel, that the Salamander could not get up to the Remora without falling.
The Philosopher and I knew very well, that the trouble of falling and rising so many times,
had made it weary; for these Thunderclaps so dreadful before, that proceeded from the shock
he gave its Enemy, were no more than the dull Sound of those little After claps, which denote
the end of a Storm; and that dull Sound, deadened by degrees, degenerated into a Whizzing,
like that of a hot Iron plunged into cold Water. When the Remora perceived, that the Fire was
near an end, by the Weakness of the shock which was hardly felt by it, it raised it self upon an
Angle of its Cube, and with all its weight fell upon the Breast of the Salamander with so good
success, that the heart of the Salamander, wherein all the rest of its heat was contracted,
bursting, made so fearful a Crack, that I know nothing in nature to compare it to. Thus died
the Fiery Beast, under the lazy resistance of the Animal Frozen-nose.

"Sometimes after the Remora was gone, we approached the place of Battle; and the old Man
having daubed his hands over with the Earth laid hold on the Dead Body of the Salamander.
Give me but the Body of this Animal, said he, and Ive no need for Fire in my Kitchen; for
provided it be hung upon the Pot-hood, it will Boyl and Roast all thats laid upon the Hearth.
As for the Eyes, Ill carefully keep them; if they were cleaned from the Shades of Death,
yould take them for two little Suns. The Ancients of our World knew well what use to make
of them; they called them burning-lamps (9) , and never hung them up but in the Pompous
Monuments of the Illustrious Persons. The Moderns have found some of them, by digging

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into these famous Tombs; but their ignorant Curiosity made them put them out, thinking to
find behind the broken membranes, the Fire which they saw shine there".

Panel 3 A 16th century piece of artillery is represented at the moment of firing. It is
surrounded with a phylactery bearing this Latin sentence:

.SI.NON.PERCVSSERO.TERREBO.

While I may reach no one, at least I will terrify.

It is of course obvious that the creator of this subject meant to speak figuratively. We
understand that he is directly addressing lay-people, investigators lacking science, therefore
incapable of understanding these compositions, but who nevertheless will be surprised, by
their number as well as by their singularity and their lack of coherence. The contemporary
sages will take this ancient work to be that of an insane person. And just as a canon wrongly
aimed only surprises by its noise, our philosopher thinks with reason that if he cannot be
understood by all, everyone will be astonished by the enigmatic, strange, and discordant
characteristics which so may inexplicable symbols and scenes take on.

Thus do we believe that the curious and picturesque aspect of these figures holds the attention
of the spectator without enlightening him. This is what seduced M. Louis Audiat as well as
the other authors who turned their attention to Dampierre; in the final analysis, their
descriptions are nothing but the noise of confused, vain, and insignificant words. Albeit
useless to the instruction of the curious one, they nevertheless bring us the testimony that, in
our opinion, no observer has been able to discover the general idea hidden behind those
motifs nor the far-reaching scope of the mysterious teaching which emerges from them.

Panel 4 Narcissus strives to catch, in the basin where he admired himself, his own image,
the cause of his metamorphosis into a flower, so that he can relive thanks to the water that
brought him death:

VT.QVAS.PERIIT.VIVERE.POSSIT.AQVAS.

Narcissuses are plants with white or yellow flowers, and these flowers are what made
mythologists and symbolists distinguish them; indeed they offer the respective colorations of
the two sulfurs charged with orienting the two magisteries, All alchemists know white sulphur
should be exclusively used for the silver Work and yellow sulphur for the solar Work,
carefully avoiding to mix them according to Nicholas Flamels excellent piece of advice or a
monstrous generation without future and without virtue would otherwise result from it.

Narcissus is here the emblem of the dissolved metal. Its Greek name [*371-1] ( Narkissos )
comes from the root [*371-2] ( Narke ) or [*371-3 ( Narka ), numbness, torpor. Reduced metals,
whose life is latent, concentrated, and somnolent, appear for this very reason to remain in a
state of inertia analogous to that of hibernating animals or patients under the influence of a
narcotic ([371-4 narkoticos Greek root [*371-5] Narke). They are said to be dead
compared to alchemical metals which the art has exteriorized and vivified. As for the sulphur,
extracted by the solvent the mercurial water of the basin it remains Narcissus sole
representative, i.e., the dissociated and destroyed metal. But just as the image reflected in the
waters mirror bears all the apparent characteristics of the real object, in the same way the
sulphur keeps the specific properties and the metallic nature of the decomposed body. So that
this sulphur principle, the true seed of metal finding nutritive, living, and vivifying elements

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in the mercury, can thereafter generate a new being, similar to itself, however, of a superior
essence, and capable of obeying the will of evolutionary dynamism.

It is therefore with reason that Narcissus, metal transformed into flower, or sulphur for
sulphur, say the philosophers, is the flower of all metals hopes to regain existence, thanks
to the specific virtue of the waters which provoked its death. If he cannot extract his image
from the water which imprisons it, this latter at least will enable hi to materialize it as a
"double" in which he will have been preserved.

Thus that which causes the death of one of the principles gives life to the other, as the initial
mercury, the metallic living water, dies so as t provide the dissolved sulphur of the metal, the
elements of its resurrection. This is why the ancients have always asserted that the living had
to be killed for the dead to be resuscitated. The practical application of this axiom assures the
sage of the possession of the live sulphur, principal agent of the stone and of the
transformations which are to be expected from it. It allows him yet to realize the second
axiom of the Work: to join life to life, by uniting the mercury, the first bom from nature, to
this active sulphur so as to obtain the mercury of the philosophers, a pure, subtle, responsive,
and living substance. Here is the operation that the sages have reserved under the expression
of chemical wedding, or mystical marriage of the brother and the sister for they both are of
the same blood and of the same origin of Gabritius and Beya, of the Sun and the Moon, of
Apollo and Diana. This last word provided cabalists with the famous sigh of Apollonius of
Tyana, under which one thought to recognize a so-called philosopher although the miracles of
this fictional character, of incontestably hermetic characteristics, were for the initiates marked
with the symbolic seal, and devoted to alchemical esotericism.

Panel 5 Noahs ark floating on the waters of the Flood while near it a small boat threatens
to sink. In the sky of the subject the following words can be read:

.VERITAS .VINCIT.

Truth is victorious.

We believe we already mentioned that the ark represents the totality of the materials, prepared
and united under the names of compound, rebis, amalgam, etc., and which properly constitute
the molten core of the earth (archaeus), the igneous matter, basis of the philosophers stone.
The Greek word [*372-1] ( arke ) means beginning, principle, source, origin. Under the agency
of an external fire, exciting the inner fire of the archaeus, the entire compost becomes liquid
and this liquid substance that fermentation agitates and puffs up, takes among the authors the
characteristics of a powerful flood. First yellowish and muddy, it is given the name of brass
which is none other than the name of the mother of Diana and Apollo, Latona <10> . The Greeks
called her [*372-2] (leitos), with the Ionic sense of common good, common possession,
common house ([*372-3] to leiton), meaning the protective envelope, common to the
double embryo (11) . Let us note in passing that the cabalists, with one of the puns for which
they were famous, have taught that fermentation had to occur by means of a wooden vessel or
better yet, in a cask cut in half to which they applied the qualifier of hollow oak tree. Latona,
the princess becomes in the language of the Adepts, La Tonne (French for the tun), le tonneau
(French for the cask), which explains why beginners have such a difficult time identifying the
secret vessel where our matters are fermenting.

After the required length of time, one can see ascending to the surface, floating and
ceaselessly moving under the effect of boiling a very thin film, as a meniscus, which the sages

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have named the island of the philosopher (12) , the first manifestation of the thickening and
coagulation. This is the famous island of Delos, in Greek [*373-1] {Delos), that is to say
apparent, clear, certain, which assures an unhoped for shelter for Latona fleeing Junos
persecutions and fills the artists heart with pure joy. This floating island which Poseidon with
one blow of his trident caused to emerge from the bottom of the sea is also Noahs saving ark
carried by the waters of the Flood. "Cum viderem quod aqua sensim carassoir" , said Hermes,
"duriorque fieri inciperet, gaudebam; certo ebim sciebam, ut invenirem quod querebam " (13) .

Progressively and under the continuous action of an internal fire the film develops, thickens,
and spreads until it covers the entire surface of the melted glass. The moving island is then
fixed and this spectacle gives to the alchemist the assurance that, for Latona, the time for
labor has come. At that moment, mystery reassumes its right. A heavy, dark, blackish-blue
cloud rises and passes off into the air from the hot and stabilized island, covers with darkness
this parturient earth, envelopes and hides all things with its opacity, fills the philosophical sky
with Cimmerian darkness ([*373-2] kimbericon mourning clothes) and, in the great
eclipse of the sun and the moon, it conceals from the eyes the supernatural birth of the
hermetic twins, the future parents of the stone.

The Mosaic tradition says that God, towards the end of the Flood, caused a hot wind to blow
on the waters which evaporated them and lowered their level. The mountain tops then emerge
from the huge sheet of water and the Ark then comes and lands on Mount Ararat in Armenia.
Noah, opening the vessels windows releases the crow, which is for the alchemists, and in his
own minute genesis, the replica of the Cimmerian darkness, of these sinister clouds that
accompany the hidden elaboration of new beings and regenerated bodies.

By this agreement of evidences, and the physical evidence of the work itself, truth is
victorious in spite of those who deny, of the men of little faith always ready to dismiss into
the domain of illusion and fantasy, the positive reality of which they could not understand
because it is not known, and taught even less.

Panel 6 A woman kneeling at the foot of a tomb, on which this bizarre word can be read,
TAIACIS, seems to be moved by the deepest despair. The streamer embellishing this figure
bears the inscription:

VICTA.JACET.VIRTVS.

Virtue lies vanquished.

Andre Cheniers (14) motto, says Louis Audiat as an explanation, without taking into account
the time elapsed between the Renaissance and the French Revolution. The topic here is not
the poet but the virtue of the sulphur, or the gold of the sages which rests under the stone,
waiting for the total decomposition of its perishable body. For the sulphurous earth, dissolved
in the mercurial water, prepares through the death of the compound the release of this virtue,
which is actually the sulphurs soul, or fire proper. And this virtue is a temporary prisoner of
the bodily envelope or the Spirit of God moves upon the face of the waters, until the
formation of the new body, just as Moses teaches in Genesis 1:2.

It is therefore, the hieroglyph for the mortification that we have before our eyes, and one that
recurs in the engravings of the Pretiosa Margarita novella with which Petrus Bonus of
Lombardy has illustrated his drama of the Great Work. Many philosophers took up this mode
of expression and veiled under funereal or macabre topics, the putrefaction specifically

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applied to the second Work, that is to say the operation charged with decomposition and
liquefying the philosophical sulphur, issuing from the first labor, into a perfect Elixir. Basil
Valentine shows us a skeleton standing in its own coffin, in one of his Twelve Keys and he
depicts a burial scene in another. Flamel not only illustrated the humanized symbols of the
Great Art in the Cemetery of the Innocents, but he also decorated his tombstone that is now
exhibited in the Chapel of the Museum of Cluny with a corpse eaten by worms, and this
inscription:

From the earth have 1 come and unto the earth I return.

Senior Hadith locks up inside a clear sphere a fleshless, dying person. Henri de Lintaut draws,
on a page of the manuscript Aurora, the inanimate body of a crowned king lying down on a
tombstone while his spirit, in the shape of an angel rises toward the lantern lost in the clouds.
As for us, in the fashion of these great masters, we have exploited the same theme in the
frontispiece of The Mystery of the Cathedrals.

As for the woman who, on the tomb of our panel, translates her regrets with disorganized
gestures, she represents the metallic mother of sulphur; the curious word engraved on the
stone covering her child: Taiacis belongs to her. This baroque term. Issuing perhaps from our
adepts whim, is in truth but a Latin sentence with the words grouped together and written
backwards so as to be read starting from the end: Sic cd at, alas! Thus, at least (can he be
reborn). Supreme hope within supreme grief. Jesus himself had to suffer in his flesh, die, and
remain three days in his sepulcher, in order to redeem mankind, and to finally resuscitate in
the glory of his human incarnation, and in the accomplishment of his divine mission.

Panel 7 Represented in full flight, a dove holds in its beak an olive branch. This subject is
distinguished by the inscription:

.SI.TE.FATA. VOC ANT.

If Fate ccdls you to it.

The emblem of the dove with the green branch is given to us by Moses in his description of
the universal Flood. He says indeed (Gen. 8:11) that Noah, having sent forth a dove, it came
in to him in the evening, bringing the green branch of an olive tree. This is par excellence the
sign if the true path and the proper progression of the operations. For as the labor of the Great
Work is a short version and a reduction of Creation, all the circumstances of the divine work
must be found on a smaller scale in that of the alchemist. As a consequence, when the
Patriarch sets forth the crow from the Ark, we must understand that in our work it has to do
with the first durable color, that is to say black, because when the death of the compound
becomes effective, the matters putrefy and take on a very dark blue coloration whose metallic
reflection allows comparison with the feathers of a crow. Furthermore, the biblical tale
speculates that this bird, held back by corpses, does not come back to the ark. Nevertheless,
the analogical reason that makes us attri bute the term crow to the color black, is not only
founded on a resemblance; the philosophers have also given to the compost that has reached
the point of decomposition the expressive name of "corps bleu" (blue body that gave the
old French medieval curse) and the cabalists that of "corps beau" (15) (beautiful body) not that
it is pleasant to see but because it brings the first evidence of activity of the philosophical
matters. However, in spite of the sign of auspicious presage which the authors agree to
recognize in the appearance of the black color, we recommend only to greet these
demonstrations with reserve, by attri buting to them no more value, even in the midst of

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foreign substances, provided these substances are treated according to the rules of the art. This
criterion then is insufficient, although it justifies the well known axiom that all dry matter
dissolves and corrupts in the humidity which is natural and homogeneous to it. This is the
reason why we warn the beginner and we advise him, before giving way to a short-lived joy,
to prudently wait for the manifestation of the color green, the symptom of the dryness of the
earth, the absorption of the water, and the growth of the newly formed body.

And so, brother, if heaven deigns to bless your work and, in the word of the adepts, si te fata
vacant, if fate calls you to it, you will first obtain the olive branch, the symbol of peace and
union of the elements; then the white dove which will have brought it to you. Only then will
you be sure to posses this admirable light, this gift of the Holy Ghost which Jesus sent on the
50th day ([*376-1] Pentekoste) to his beloved apostles. Such is the material
consecration of the initiatory baptism and the divine revelation. "And straightway coming up
out of the water", says St Mark (1:10) "John saw the heavens opened, and the Spirit like a
dove descending upon him".

Panel 8 Two forearms whose hands are joining, emerge out of a row of clouds and bear the
motto:

.ACCIPPE.DAQVE.FIDEM.

Receive my word and give me yours.

This motif is on the whole nothing but a translation of the sign used by the alchemists to
express the element water. Clouds and arms compose a triangle with its summit directed
downward, a hieroglyph for water, opposed to fire, which is symbolized by a similar triangle,
but directed upward.

Surely we could not recognize our first mercurial water in this emblem of union, since the two
hands holding each other in a pact of fidelity and attachment belong to two separate
individualities. We have said, and we repeat here, that the initial mercury is a simple product
and the first agent in charge of extracting the sulpurous and igneous part from metals.
However, while the separation of sulphur by this solvent allows it to retain a few portions of
mercury or allows this latter to absorb a certain quantity of sulphur, although these
combinations can receive the denomination of philosophical mercury, nevertheless, we should
not hope to achieve the stone by means of this mixture alone. Experience demonstrates that a
philosophical mercury that has been subjected to distillation easily abandons its fixed body,
leaving the pure sulphur at the bottom of the retort. On the other hand, and in spite of the
assertions of authors who agree to give mercury preponderance in the work, we notice that the
sulphur designates itself as the essential agent, since in the final analysis, it is the sulphur
which remains exalted in the final product of the work under the name of Elixir, or multiplied
under that of the philosophers stone. So, whatever it may be, mercury remains submitted to
sulphur because it is the servant and the slave which, allowing itself to be absorbed,
disappears and merges with its master. Consequently, as the universal medicine is resulting
from a true generation, and as generation can only be accomplished with the help of two
factors, of similar species bt different sex, we must recognize that the philosophical mercury
is powerless to produce a stone, because it is alone. Yet it holds in the work the role of
female, but this latter, say dEspagnet and Philale thes, must be united to a second male, if we
want to obtain the compound known under the name of Rebis, the first matter of the
Magistery.

184

This is the mystery of the hidden word, or verbum dismissum, which our Adept received from
his predecessors, and that he passes on to us under the veil of the symbol, and for the
preservation of which he asks us for ours, that is to say the oath not to uncover that which he
deemed needed to be kept hidden: accipe daque fidem (Receive my word and give me yours).

Panel 9 On a rocky soil two doves unfortunately beheaded, stand opposite each other.
They have as an epigraph the Latin proverb:

.CONCORD IA.NVTRIT.AMOREM.

Concord nourishes love.

Eternal truth whose application we find everywhere on earth and that the great Work confirms
by the most striking examples that it is possible to encounter in the order of mineral things.
The hermetic work as a whole is indeed nothing but a perfect harmony, realizes in accordance
with the natural tendencies of inorganic bodies among themselves, of their chemical affinity,
and, if the word is not too excessive, of their reciprocal love.

The two birds composing the subject of our bas-relief represent the famous Doves of Diana,
objects of despair for so many seekers and the famous enigma devised by Philale thes to cover
the artifice of the double mercury of the sages. By proposing this obscure allegory to the
sagacity of work candidates, the great adept did not give detail as to the origin of these birds;
he only teaches in the briefest fashion that "the doves of Diana are inseparably enveloped in
the eternal embraces of Venus". Diana with "the lunar horns", this first mercury of which we
have spoken many times under the name of universal solvent. Its whiteness, its silvery luster,
also brought it the name of Moon of the Philosophers and Mother of the Stone; it is this sense
that Hermes means when he says, speaking of the Work "the Sun is its father and the Moon its
mother". Limojon de Saint-Didier, to help the investigator decipher the enigma writes in The
Interxiew Between Eudoxus and Pvrophilus: "Finally consider the means by which Geber
teaches us to make the required sublimations of the art; as for myself I cannot do more than to
make the same wish that another philosopher made: Sidera Veneris, et corniculatea Dianae
tibi propitia sunto" (16) . Therefore the Doves of Diana can be seen as the two parts of the
dissolving mercury the two points of the Lunar crescent as opposed to one point for
Venus who must hold her favorite doves very closely embraced. The correspondence is
confirmed by the dual quality, volatile and airy, of the initial mercury whose emblem has
always been taken among birds and from the very matter out of which mercury comes, a
chaotic, sterile, rocky earth on which the doves are resting. When, say the Scriptures, the
Virgin Mary had accomplished, in conformity to the law of Moses, the seven days of
purification (Ex. 13:2), Joseph accompanied her to the temple of Jerusalem so as to introduce
the Child and to present an offering, in accordance with the law of the Lord (Lev. 12: 6,8) that
is to say, two little turtledoves or two young pigeons. Thus appears in the sacred text the
mystery of the Ornithogal, this mystery milk of birds [*379-1] Omithon ) of which the
Greeks spoke as a most extraordinary and extremely rare thing. "To milk the milk of birds
([*379-2] Omithon gala amelgein ) was among them a proverb which meant to succeed, to
know the favors of destiny and success in all undertaking. And we must agree that one must
be chosen by Providence to discover the Doves of Diana and to possess the ornithogals, the
Hermetic synonym of the milk of the virgin, dear to Philale thes. [*379-3] ( Ornis ), in Greek,
not only indicates a bird in general, but more specifically, the rooster and the hen from which
perhaps the word [*379-4] ( ornithos gala), hens milk (17> has been derived, obtained by
shaking an egg yolk in hot milk. We will not dwell on these relationships because they would
unveil the secret operation hidden behind the expression of Doves of Diana. Let us

185

nevertheless say that the plants called ornithogals are bulbed lilaceae, with flowers of a
beautiful white color, and it is known that the lily is, par excellence, the emblematic flower of
Mary.

(1) Translators note: The name given to it. Master Pierre of Coignet, means literally, the Master Stone of the Comer.

(2) The term alkahest, attri buted sometimes to Van Helmont, sometimes to Paracelsus, would be the equivalent of the Latin
alcali est and would provide the reason why so many artists have worked to obtain it by starting to work with alkalies. For us,
alkahest derives from the Greek words [364-1] ( alka ), a Dorian word used for [*364-2] ( alke ), strength, vigor, and [*** 364-
3] ( eis ), place or still from [*364-4] ( astria ), hearth, the place or the hearth of energy.

(3) Irene Hillel-Erlanger: Voyages en Kaleidoscope (Travels in Kaleidoscope J; Paris, G. Cres, 1919.

(4) J. H. Pott: Dissertations Chymiques; Dissertation sur les Soufres des Metaux ; thesis defended in Hall in 1716; T.
Herissant, Paris, 1759

(5) Hoffman: Notes sur Poterius in Opera Omnia ; 16 vol., Geneva 1748-1754.

(6) Histoire de la Philosophic Hemietique', Paris, Coustelier, 1742, vol. 1, p. 442.

(7) Dedication to the French edition of The Comical History of the States and Empires of the World of the Sun ; Paris, Bauche,
1910, addressed by M. de Sercy to M. de Cyrano Mauvieres, brother of the author.

(8) De Cyrano Bergerac: The Comical History of the States and Empires of the World of the Sun: History of the Birds ;
translated by A. Lovell, H. Rhodes, London, 1687, p. 160-168.

(9) The ardent lamps, also said to be perpetual or inextinguishable, are one of the most surprising realizations of hermetic
science. They are made of liquid Elixir, brought to a radiant state and maintained in a vacuum pushed as far as possible. In
his Dictionairre des Art et des Sciences , Paris, 1731, Th. De Corneille says that in 1401, "a peasant unearthed near the Tiber
river some distance from Rome, a lamp of Pallas which had been burning for more than 2000 years and, as was mentioned by
the inscription, that nothing could put out. As soon as a hole was made in the clay the flame was immediately extinguished".
Under Pope Paul Ill's pontificate (1534-1549), a perpetual lamp was also discovered in the tomb of Tullia, daughter of
Cicero, which was still burning and giving a bright light although the tomb had not been opened for 1550 years. The Rev. S.
Mateer of the Missions of London, reports a lamp from the temple of Trevaudrum of the kingdom of Travancore (S. India);
"This lamp, made of gold, has been shining in a hollow covered by a stone for more than 1230 years and is still burning
today".

(10) Translators note: Brass in French is "laiton", very close to the word Lato or Latone meaning Latona.

(11) Linguists believe, moreover, that Leto is close to Lathein, secondary aorist infinitive form of Lanthanein, meaning kept
hidden, concealed to the eyes, to be hidden or unknown, which is in accordance with the dark sentence we will soon see.

(12) Cf . in particular The Cosmopolite in Traite du Sel (Treatise on Salt), p. 78, and the author of the Songe Verd (Green
Dream).

(13) When I saw this water gradually thickening and hardening, then I rejoiced for I jknew for certain that I would find what I
was looking for.

(14) Translators note: Andre Chenier (1762-1794) was a French poet who died during the French Revolution. He lived
roughly 200 years after the panels at Dampierre were carved.

(15) Translators note: Corbeau (raven, crow) and Corps beau (beautiful body) sound exactly alike in French.

(16) "May the stars of Venus and the horn of Diana be favorable to you".

(17) Translator's note: The French for eggnog is "laite de poule" (i.e., hens milk).

186

THE CASTLE OF DAMPIERREIX

Sixth Series (Plate XXXI)

Panel 1 Piercing the clouds, a mans hand throws seven sphere against a rock and they
rebound toward him. This bas-relief is ornamented with the inscription:

.CONCVDSSVS.SVRGO.

Hit, I bounce back.

An image and reaction just like the hermetic axiom: Solve et coagula, dissolve and coagulate.

A similar subject can be found at Bourges on one of the ceiling panels of the Chapel
Lallemant; but the spheres are replaced by chestnuts. Yet this fruit, which, because of its
spiky pericarp, was given the common name of hedgehog (Greek [*383-1] echino
urchin, sea urchin), is a rather exact figuration of the philosophers stone such as it can be
obtained through the brief way. Indeed it appears to be made of a sort of crystalline and
translucent, more or less spherical nucleus, of a color similar to that of balas ruby, enclosed in
a more or less thick, russet, opaque, dry capsule covered with asperities, which at the end of
the Work is often cracked, sometimes even opened like the hull of walnuts and chestnuts.
These are indeed the fruits of the hermetic labor that the heavenly hand throws against the
rock, the emblem of our mercurial substance. Each time the fixed and perfect stone is taken
again by the mercury in order to dissolve itself in it, to nourish itself from it once more, to
augment not only in weight and volume, but also in energy, it returns through the coction to
its original state, color, and appearance. It can be said that after having such the mercury it
goes back to its starting point. These are stages of falling and rising, of solution and
coagulation characterizing the successive multiplications that give for each rebirth of the
stone a theoretical power twice that of the previous one. Nevertheless, and although many
authors envision no limit to this exaltation, we think with some other philosophers that it
would be unwise, at least as far as transmutation and medicine are concerned, to go beyond
the seventh reiteration. This is the reason why Jean Lallemant and the Adept of Dampierre
have only represented seven spheres or chestnuts on the motifs about which we speak.

Unlimited for the speculative philosophers, the multiplication however is limited for practical
considerations. The more the stone progresses the more penetrating it becomes and the
quicker its elaboration; at each stage of augmentation, it only requires the eighth of the time
required for the preceding operation. Generally and we are talking here about the long way
the fourth reiteration requires seldom more than two hours; the fifth thus takes a minute
and a half, while twelve seconds would suffice to achieve the sixth; the instantaneousness of
such an operation would make it unpractical. On the other hand, the intervention of the
continuously increasing weight and volume would force us to keep aside a great part of the
resulting product, for want of the required corresponding ration of mercury, the preparation of
which is time-consuming and fastidious. Finally, the stone multiplied to the fifth and sixth
degrees would demand, given its igneous power, an important mass of pure gold to orient it
toward the metallic otherwise we would be liable to lost the whole thing. From any
standpoint, it is preferable not to push the subtlety too far of an agent already gifted with such
a considerable energy, unless, leaving aside the scope of metallic and medical possibilities,
you want to possess this Universal Mercury, shiny and luminous in darkness, in order to make

187

fWA tf Jv

#1

.tJv Y J ' vL Jlf

J|nH

a perpetual lamp. But the passing from the solid to the liquid state which must be
accomplished here, as it is eminently dangerous, can only be attempted by a very learned and
most skillful master.

From that which proceeds, we must conclude that the material impossibilities mentioned
about transmutation tend to ruin the thesis of an increasing and indefinite geometric
progression based on the number ten, dear to pure theoreticians. Let us guard against
thoughtless enthusiasm and never let our judgments be outwitted by the specious arguments
and the brilliant but hollow theories of the lovers of the marvelous. Science and nature keep
enough marvels in store to satisfy us, without it having to feel the need to add to it the vain
fantasies of imagination.

Panel 2 This bas-relief presents a dead tree with cut branches, and pulled out roots. It bears
no inscription save two signs of alchemical notation engraved on a cartouche; one, a
schematic figure of a level, expresses Sulphur; the other an equilateral triangle pointing up,
indicated Fire.

The dried up tree is a symbol of the common metals reduced from their ores and molten. The
high temperatures of metallurgical ovens have caused all the activity they possessed in their
natural mineral bed to be lost. This is why the philosophers qualify them as dead and
recognize them as being improper to the labor of the Great Work until they have been
revivified or reincrudated, to use the expression hallowed by usage, by this inner fire, which
never completely leaves them. For the metals, fixed in the industrial form we know them to
have, yet preserve at the very depth of their substance, the soul that common fire has caused
to cave in and condense but was not able to destroy And this soul, the sages have named fire
or sulphur because it is truly the agent of all the mutations, of all the accidents observed in
metallic matter, and the incombustible seed that nothing can totally ruin, neither the violence
of strong acids, not the fire of the furnaces. This great principle of immortality charged by
God Himself to ensure and maintain the perpetuity of the species, and to reform the perishable
body, subsists and can be found even in the ashes of calcined metals when the latter undergo
the disaggregation of their parts and see the consumption of their bodily envelopes.

Therefore the philosophers deemed, not without reason, that the refractory qualities of the
sulphur, its resistance to fire, could only belong to fire or to some spirit of an igneous nature.
This is what led them to give it the name under which it is designated and which certain artists
believe to come from its appearance although it bears no relation whatsoever to common
sulphur. In Greek sulphur is said [*385-1] ( theion ), a term whose root is [*385-2] ( theios ),
which means divine, marvelous, supernatural; [*385-3] {to theion) not only expresses divinity
but also the magical, extraordinary aspect of a thing. As for the philosophical sulphur,
considered the God and animating force of the Great Work, it reveals by its actions a
formative energy comparable to that of the divine Spirit. So, and although we should yet
attri bute precedence to mercury in order to remain in the sequence of the successive
acquisitions we must acknowledge that it is to sulphur, the incomprehensible soul of
metals, that our practice owes its mysterious and somehow supernatural nature.

Therefore, look for sulphur in the dead trunk of common metals and you will obtain at the
same time the natural and metallic fire which is the main key of the alchemical labor. "This
is", says Limojon de Saint-Didier, "the great mystery of the art since all the others depend
upon the understanding of this one. I would be satisfied, adds, the author, if I were allowed to
unequivocally reveal this secret to you, but I cannot do that which no philosopher believed to
be in his power to do. All that you can reasonably expect from me is to tell you that the

188

natural fire is a potential fire which does not burn the hands but renders its efficiency apparent
whenever it becomes excited by an external fire".

Panel 3 An hexagonal pyramid, made of riveted sheet metal, bears, hooked on its side
panels, various emblems of chivalry and hermeticism, pieces of a suit of armor and honorable
pieces: targes, armet, arm-guard, gauntlets, crown, and garlands. Its epigraph is taken from a
verse of Virgil (Aeneicl XI, 641):

.SIC.ITVR. AS .ASTRA.

Thus is one immortalized.

This pyramidal construction, the shape of which recalls the hieroglyph adopted to designate
fire, is note other than the Athanor, a word by which the alchemists signified the philosophical
furnace essential to the Works maturation. Two side doors have been installed, facing each
other: they block out glass windows which allow observation of the phases of the work.
Another one, placed at the basis gives access to the fire; finally, a little cover near the top
serves as a heat register and exhaust vent for the gases produced by the combustion. Inside if
we rely on the very detailed descriptions given by Philale thes, Le Tesson, Salmon, Pierre
Vicot, Huginus a Barma, etc., the Athanor is designed so as to receive an ear then or metallic
plate called nest or arena because the egg undergoes incubation in the warm sand (Latin
arena, sand). As for the combustible agent used for heating, it often varies although many
authors admit they prefer thermogenic lamps.

At least this is what the masters teach about their furnaces. But the Athanor, the dwelling of
the mysterious fire, claims kinship with a less common design. It is more in accordance with
hermetic esotericism, it seems to us, to understand that it is through this secret furnace the
prison of an invisible flame that the substance is prepared, the amalgam or the rebis, used
as an envelope ad matrix of a central core where these latent capabilities are sleeping, which
the common fire will soon activate. As matter alone is the vehicle of the natural and secret
fire, the immortal agent of all our achievements, it alone remains for us the true and unique
Athanor (from the Greek [*** 386-1] ( athanatos ), which renews itself and never dies).
Philel thes tells us about the secret fire, which sages could not do without as it is the one
responsible for all metamorphoses within of the compounds, that it is of metallic essence and
sulphurous origin. It is acknowledged as a mineral because it is bom from the primary
mercurial substance, the unique source of all metals; and sulphurous because this fire during
the extraction of the metallic sulphur has taken on the specific qualities "of the father of
metals". It is therefore a twofold fire the twofold fiery man of Basil Valentine who
contains at once the attractive, agglutinating, and organizing virtues of mercury and the
drying, coagulating, and fixative properties of sulphur. Whoever has at all any smatterings of
philosophy, will easily understand that this twofold fire, the animating agent of the rebis, as it
only needs heat to go from potentiality to actuality and to make its power effective, could not
be the one of the furnace although it metaphorically represents our Athanor, that is to say the
topos of energy, of the principle of immortality enclosed in the philosophical compound. This
twofold fore is the pivot of the art, and according to Philale thes expression, the first agent
which causes the wheel to turn and the axle to move", and so it is often called fire of the
wheel, because it seems to develop its action according to a circular fashion, whose aim is the
conversion of the molecular structure, a rotation symbolized by the wheel of fortune and by
the Ouroboros.

189

And so matter destroyed, mortified, then recomposed into a new body, thanks to the secret
fire which is aroused by the one of the furnace, gradually raises itself with the help of
multiplications, up to the perfection of the pure fire, veiled under the figure of the immortal
Phoenix: sic itur ad astra (thus is one immortalized). Similarly, the workman, faithful servant
of nature, acquires with the knowledge of the sublime, the high title of knight, the esteem of
his peers, acknowledgement by his brothers, and the honor, which is more enviable than all
worldly glory, to be among Elias disciples.

Panel 4 Closed by its narrow lid, with a fat albeit split belly, a common clay pot fills with
its plebian and cracked majesty the surface of this panel. Its inscription states that the vase of
which we see the image, must open by itself and manifest by its destruction the completion of
that which it holds:

.INTVS.SOLA.FIENT.MANIFESTA.RVIN A.

Only the inside makes the ruin manifest.

Among so many diverse figures, so many emblems with which it fraternizes, our subject
seems to be all the more original because its symbolism relates to the dry path, also called the
Work of Saturn, as rarely translated into iconography as it is described in texts. Based upon
the use of solid and crystallized materials, the brief way {ars brevis) only requires the help of
a crucible and the application of high temperatures. This truth, Henckel (1> had glimpsed,
when he remarks that the "artist Elias, quoted by Helvetius, claims that the preparation of the
philosophers stone is accomplished, from start to finish, in four days time; and that he has
indeed shown the stone still adhering to the sides of the crucible; it seems to me, the author
continues, that it would not be so absurd to question whether that which the alchemists called
long months, would not really be only days that is to say a very short period of time and
whether there did not exist a method whereby the entire operation would consist in holding,
for a very long time, the matters in a great degree of fluidity which could be obtained by a
violent fire maintained by the action of bellows; but this method cannot be undertaken in all
laboratories and perhaps not everyone would find it practical".

Nevertheless, contrary to the humid way, whose glass utensils allow for easy control and
accurate observation, the dry way cannot enlighten the operator at any time in the process of
the Work. So, although the time factor reduced to a minimum constitutes a serious advantage
in the practice of the ars brevis , the necessity of high temperatures, on the other hand,
presents the serious inconvenience of an absolute uncertainty as to the progress of the
operation. Everything happens in the deepest mystery inside the crucible which is carefully
sealed, buried at the core of the incandescent coals. It is therefore important to be very
experienced and to know the fires behavior and power well as one could not find in it, from
the beginning to the end the least of indication. All the characteristic reactions of the humid
way having been indicated among the classical authors, it is possible for the studious artist to
acquire indications precise enough to allow him to undertake his long and difficult work. Here
on the contrary, it is without any guide that the traveler, brave to the point of rashness, enters
this arid and burnt desert. No road laid out, no clue, no landmark; nothing save the apparent
inertia of the earth, of the rock, of the sand. The shiny kaleidoscope if the colored stages does
not brighten up his uncertain walk; it is as a blind man that he continues his path, without any
other certainty save that of his faith, without any other hope but his confidence in divine
mercy.

190

Yet at the end of his path, the investigator will notice a sign, the only one whose appearance
indicates success and confirms the perfection of the sulphur by the total fixation of mercury;
this sign consists in the spontaneous bursting of the vessel. Once the time has elapsed, by
laterally uncovering a part of its side, we notice, when the experiment has succeeded, one or
more lines of a dazzling clarity, clearly visible on the less brilliant background o the envelope.
These are the cracks revealing the happy birth of the young king. Just like at the end of
incubation the hens egg breaks under the effort of the chick, similarly the shell of our egg
breaks as soon as the sulphur is produced. There is, among these results, an evident analogy in
spite of the different causes, for in the mineral Work, the breaking of the crucible can
logically be attri buted only to a chemical action, unfortunately impossible to conceive or
explain. Let us note however that the rather well known fact often occurs under the influence
of certain combination of lesser interest. Thus, for example, while leaving aside, after having
cleansed them well, new crucibles which have only been used once, for the fusion of metallic
glass, the production of hepar sulphuris, or diaphoretic antimony, they are found cracked after
a few days without one being able to explain the obscure reason of this late phenomenon. The
considerable spacing of their bulges shows that the fracture seems to occur by the push of an
expansive force acting from the center towards the periphery at room temperature and long
after the actual use of these vessels.

Finally, let us also point out the remarkable match which exists between the motif of
Dampierre and that of Bourges (Hotel Lallemant, in the ceiling of the chapel). Among the
hermetic panels of the latter, one can also see an ear then pot tilted, whose opening, bell
mouthed and rather wide, is enclosed with a parchments membrane tied on the edges. Its
belly with holes in it lets beautiful macles of different sizes escape from it. The indication of
the crystalline form of the sulphur obtained by the dry way is thus very clear and confirms by
its added details, the esoteric quality of our bas-relief.

Panel 5 A celestial steel-clad hand brandishes the sword and the spatula. On the phylactery
one can read these Latin words:

. PERC VTIAM. ET. S AN AB O.

1 shall wound and I shall heal.

Jesus said the same thing: "I shall kill and I shall resuscitate". An esoteric thought of the
utmost importance in the performance of the Magistery. "It is the first key", declares Limojon
Saint-Didier (2) , "the one that opens the dark prisons in which the sulphur is imprisoned, it is
the one which knows how to extract the seed from the body and which forms the stone of the
philosophers by the conjunction of the male with the female, of the spirit with the body, of the
sulphur with the mercury. Hermes obviously demonstrated the operation of this first key by
these words: De cavernis metallorum occultus est, qui lapis est venerabilis, colore
splendidus, mens sublimes el mare patens"' <3) .

The cabalistic artifice under which our Adept has hidden the technique that Limojon means to
teach us, consists in the choice of a double instrument represented on our panel. The sword
that wounds, the spatula used to apply the healing balm are in truth but one and the same
agent endowed with the twofold power of killing and resurrecting, of mortifying and of
regenerating, of destroying and of organizing. Spatula in Greek is [*390-1] (spate), and this
word also means glaive, sword and has its root in another Greek word [*390-2] ( spao ), to pull
out, to root out, to extract. Therefore we indeed have here the exact indication of the hermetic
meaning given by the spatula and by the sword. From then on, the investigator in possession

191

of the solvent, the sole factor susceptible of having an action on the bodies, of destroying
them and of extracting the seed from them, will only need to look for the metallic subject
which will seem to be the most appropriate to fulfill his task. And so the dissolved and
pulverized metal, "broken to pieces", will yield to him this fixed and pure seed, the spirit
which it bears within itself, the brilliant gem decked with magnificent colors, the first
manifestation of the stone of the sages. Phoebus nascent, and the effective father of the Great
Elixir. In an allegorical dialogue between a monster withdrawn at the bottom of a dark cavern,
equipped with "seven horns filled with water" and the alchemist-errant plying the good-
natured sphinx with questions. Jacques Tesson (4) , has this mythical representative of the
seven vulgar metals speak in these terms: "You must understand, says the sphinx, that I have
come down from the celestial regions, and that I have fallen down here in these caves of the
earth, where I have nourished myself for a while, but that I do not desire anything more than
to return there and that the means to do this is that you kill me, and then that you resuscitate
me, and with the instrument with which you kill me, you shall also resuscitate me. For as the
white dove says, whoever has killed me will make me live again".

We could make an interesting remark about the means or instrument expressly represented by
the arm-guard the celestial arm is equipped with, because no detail should be neglected in a
study of this type, but we deem it is appropriate not to say everything and would prefer to
leave it to whoever will want to trouble himself to decipher this additional hieroglyph. The
alchemical science is not taught; everyone must learn it by himself, not in a speculative way,
but indeed with the help of a persevering work, by multiplying trials and errors, so as to
always submit the products of thinking to the control of experience. Whoever fears this
manual labor, the heat of the furnaces, the dust of coal, the danger of unknown reactions, and
the wakefulness of long vigils, will never know anything.

Panel 6 An ivy plant is represented coiled around a trunk of a dead tree whose branches
have all been cut by human hands. The inscription which completes this bas-relief bears the
words:

.INIMICA.AMICITIA.

The Enemy Friendship.

The anonymous author of the Ancienne Gurre des Chevaliers (Ancient War of the Knights) in
a dialogue between the stone, the gold and the mercury has gold say that the stone is a worm
filled with venom and accuses it of being the enemy of man and of metals. Nothing is more
true; so much so that others reproach our subject to contain a frightful poison whose very
odor, they insist, would suffice to cause death. Yet it is from this toxic mineral that the
universal medicine is made, which no human illness can resist, no matter how incurable it is
thought to be. But that which gives it all its value and makes it infinitely precious in the eyes
of the sage is the admirable virtue it possesses, of revivifying metals which have been reduced
and molten and of losing its poisonous properties by granting them its own activity. And so
does it appear as the instrument of resurrection, and of redemption of the metallic bodies,
dead by the violence of a reducing fire, the reason for which it bears in its coat of arms, the
sign of the Redeemer, the cross.

By what we have just said the reader will have understood that the stone, that is to say our
mineral subject, is represented on the present motif by the ivy, a perennial plant with a strong,
nauseating odor, while the metals representative is the inert and mutilated tree. For here we
are not looking at a dry tree simply devoid of foliage and reduced to its skeleton: it would

192

then express for the hermeticist, the sulphur in its igneous dryness; on the contrary, it is a
trunk, willfully mutilated which the saw has amputated of its major branches. The Greek verb
[*392-1] (jjrio ), meaning both to saw off, to cut with a saw, and to grasp, to squeeze, to
strongly tie is the same word. Our tree being at the same time, sawed and grasped, we may
think that the creator of these images wished to clearly indicate the metal and the dissolving
action exercised upon it. The ivy, embracing the trunk as if to strangle it, very well construes
the dissolution of the prepared subject as being full of vigor and vitality; but this dissolution
instead of being ardent, effervescent, and quick seems slow, difficult, always imperfect. It is
because the metal, although entirely attacked, is only partly solubilized; thus it is
recommended to frequently reiterate the effusion of water on the body to extract from it the
sulphur or seed "which constitutes all the energy of our stone". The metallic sulphur receives
life from its very enemy as amends for its enmity and its hate. This operation, which the sages
have called reincrudation or return to the primitive state, has above all for object the
acquisition of sulphur and its revivification by the initial mercury. This return to the original
matter of the treated metal should therefore not be taken literally since the greater part of the
body, made up of coarse heterogeneous, sterile, or mortified elements is no longer susceptible
to regeneration. Be that as it may, it is enough for the artist to obtain this sulphur principle,
separated from the open and revivified metal, owing to the incisive power of our first
mercury. With this new body, where friendship and harmony replace aversion for the
respective virtues and properties of the two contrary natures are melted in, and merge within it
he can hope to obtain first the philosophical mercury by the mediation of this essential
agent, and then the Elixir, the object of his secret desires.

Panel 7 When Lois Audiat recognizes the face of God the Father, we simply see that of a
centaur, which a streamer, bearing the symbol of the Senate and the people of Rome, has half
hidden, The whole thing decorates a flag, the staff of which is solidly planted in the earth.

It is therefore a Roman ensign and we can conclude that the ground on which it floats is itself
Roman. Further, the letters .S.P.Q.R., the abbreviation for Senatus Populusque Romanus (5)
usually accompany the eagles and form with the cross the coat of arms of the Eternal City,

This ensign, placed on purpose to indicate a Roman earth, leads us to believe that Dampierres
philosopher was not ignorant of the symbolism specific to Basil Valentine, Senior Zadith,
Mynsicht, etc. For these authors called Roman earth and Roman vitriol the earthly substance
which provides our solvent, and without which it would be impossible to reduce metals into a
mercurial water or, of you prefer, into a philosophical vitriol, According to Valmont de
Bomare (6) , "Roman vitriol, also called Vitriol of the Adepts, is not green copperas (ferrous
sulfate), but a double vitriolic salt of iron and copper". Chambon agrees and gives as an
equivalent the vitriol of Salzburg which is also a cupro-ferric sulfate. The Greeks called it
[*393-1] ( soru ), and the Hellenic mineralogists describe it as being a salt, of a strong and
unpleasant odor, which, when crushed, became black and took on a spongy and greasy
appearance.

In his Testamentum (Last Will and Testament), Basil Valentine points out the excellent
properties and the rare virtues of vitriol, but the truthfulness of his words can only be
recognized if one knows beforeh and of which body he means to speak. "The vitriol is a
noteworthy and important mineral to which none other in nature could be compared and this
because vitriol familiarizes itself with all metals more than any other thing; it very closely
relayed to them since from all metals one can make a vitriol or crystal; for vitriol and crystal
are note recognized except for one and the same thing. It is why I did not want to idly defer its
merit as reason requires it, since vitriol is preferable to other minerals and since the first rank

193

after metals must be given to it, For, although metals and minerals are gifted with great
virtues, vitriol is, nevertheless, the only one sufficient to extract and make the blessed stone,
which no other in the world could accomplish in its imitation". Later our Adept resumes the
same topic by providing details on the double nature of Roman Vitriol: "I say here about this
that you must imprint very clearly this argument in thy spirit and that you entirely bare your
thoughts on the metallic vitriol, and that you remember that I have entrusted this knowledge
to you that one can from Mars and Venus make a magnificent vitriol in which the three
principles can be found which often serve to the birthing and production of our stone".

Let us consider a rather important remark made by Henckel <7) and regarding vitriol. "Among
all the names given to vitriol", says this author, "not one has any connection to iron; it is
always called chalcanthum, chalcitis, cuperosa, or cupri rosa, etc. And it is not only the
Greeks and the Romans that deprived iron of the role it takes in the vitriol; the same has been
done in Germany. And still today to all the vitriols in general and especially to that containing
the most iron, the name of KupferWcisser (copper water) is given or, which amounts to the
same thing, that of copperas".

Panel 8 The subject of this bas-relief is rather singular; a young gladiator is seen here,
almost a child, persisting in carving, with great thrusts of the sword, a beehive filled with
honey combs and whose lid he has taken off. Two words make up the inscription:

.MELITV S .GIADIV S.

The honeyed sword.

This bizarre act of an impetuous youth carried away, giving battle to bees just as Don Quixote
did to mills, is but the symbolic translation of our first work, an original variant of the well
known and so often exploited hermetic theme of the striking of the rock. We know that after
their departure from Egypt, the children of Israel had to encamp at Rephidim (Ex. 17:1, Num.
33:14), "and there was no water for the people to drink". Following the Lords advice (Ex.
17:6), Moses smote the rock in Horeb three times with his rod and water came out of the dry
stone. Mythology also offers us a few examples of the same prodigy. Callimachus ( Hymn to
Jupiter , 31) says of the Goddess Rhea, that as she struck the Arcadian Mountain with her
scepter, it opened in two and water came out of it in abundance. Apollonius of Alexandria
(The Argonautica, 1146) recounts the miracle of Mount Dindymus and asserts that the rock
had never before produced the smallest springs. Pausanias attri butes a similar deed to
Atalanta, who, in order to quench her thirst, caused a spring to well up by striking a rock in
the neighborhood of Cyphanta, in Laconia, with her javelin.

In our bas-relief, the gladiator takes the place of the alchemist, represented elsewhere with the
features of Hercules, hero of the 12 symbolic labors or yet with the appearance of a
knight armed to the teeth, as can be seen on the portal of Notre-Dame de Paris. The
youthfulness of the character expresses this simplicity which has to be abided by throughout
the entire work process by imitating and following Natures example very closely. On the
other hand, we must believe that if the Adept of Dampierre gives his preference to gladiators,
it is without doubt to indicate that the artist must work or fight alone against the matter. The
Greek [*395-1] (monomachos), which means gladiator, is composed of two words, [*305-2]
(monos), alone, and [*395-3] (machomai), to fight. As for the beehive, it owes the privilege of
representing the stone to the cabalistic artifice which makes the French word ruche (beehive)
derive from the French word roche (rock) by permutation of the vowels. The philosophical
subject, our first stone in Greek [*395-4] (petra) appears clearly under the image of the

194

beehive or rock because [*395-5] (petra), also means rock, a word used by the sages to
signify the Hermetic subject.

In addition, our swordsman by soundly thrashing the emblematic beehive and by randomly
cutting its honey combs makes an amorphous, heterogeneous mass out of it, of wax, propiolis,
and honey, an incoherent magma, a true meli-melo (muddle), to use the language of the gods,
from which honey is flowing to the point of covering his sword, substituted for Moses staff.
This then, the second chaos, the result of the primal clash which we cabalistically call meli-
melo, because it contains honey ([*395-6] meli), the viscous and glutinous water of metals,
that is always ready to flow ([*395-7] niello). The masters of the Art state that the entire
work is a labor of Hercules and that, first, one must strike the stone, rock, or beehive, our first
matter, with the magic sword of the secret fire so as to cause the flowing of this precious
water which is enclosed within. For the subject of the sages is but a congealed water,
henceforth it received the name of Pegasus (from [*395-8] pegas, rock, ice, congealed
water, or hard and dry earth), and the fable teaches us that Pegasus, among other deeds,
caused the fountain of Hippocrene to flow by kicking it. The word [*395-9], Pegasus has for
a root [*395-10] (pege ), source so that the winged steed of the poets is merged with the
hermetic fountain of which it possesses the essential qualities: the mobility of spring waters
and the volatility of spirits.

As an emblem of the first matter, the beehive can often be seen in decorations that borrow
their elements from the science of Hermes. We have seen it on the ceiling of the Hotel
Lallemant and among the panels of the alchemical stone of Winterthur. It also occupies one of
the squares of the Game of the Goose (8) , a popular representation of the labyrinth of the secret
Art and collection of the main hieroglyphs of the Great Work.

Panel 9 The sun, piercing the clouds, darting its rays towards a meadow pipits nest (9) that
contains a small egg placed on a grass-covered knoll. The phylactery which gives this bas-
relief its meaning bears the inscription:

.NEC.TE.NEC.SINE.TE.

Not thee, but nothing without thee.

It is an allusion to the Sun, the Father of the Stone, following in this belief Hermes, and the
many hermetic philosophers. The symbolic heavenly body represented in its radiant splendor,
holds the place of the metallic sun, or sulphur which many artists have believed to be natural
gold. It is a serious mistake; all the les excusable because all other authors clearly establish
the difference existing between the fold of the sages and the precious metal. It is indeed of the
sulphur of metals that the masters speak when they describe the manner of extracting and of
preparing this first agent, which furthermore offers no physico-chemical resemblance to
common gold. And it is also this sulphur joined to mercury which contri butes to the
generation of our egg by giving it its vegetative faculty. This real father of the stone is
therefore independent from it since the stone comes from it, hence the first part of the
inscription: nec te (not you), and since it is impossible to obtain anything without the help of
sulphur, the second proposition is also justified: nec sine te (nothing without you). And what
we say of sulphur is true of mercury. So that the egg, the manifestation of the new metallic
form emanated from the mercurial principle, while it owes its substance to mercury or the
hermetic Moon, draws its vitality and its potential growth from sulphur, or the Sun of the
sages.

195

To sum it up, it is philosophically accurate to assert that the metals are composed of sulphur
and mercury as Bernard Trevisan teaches us: that the stone, though made of the same
principles, does not give birth to a metal; that finally the sulphur and mercury, seen as
separate entities, are the only parents of the stone, but cannot be mistaken for it. We will
allow ourselves to draw the readers attention to the fact that the philosophical coction of the
Rebis yields a sulphur, and not an irreducible compound of its components, and that this
sulphur, by completely assimilating the mercury, takes on special properties, which tend to
estrange it from the metallic species. And this constancy of result is the basis for the technique
of multiplication and growth because the new sulphur remains always capable of absorbing a
determined and proportional quantity of mercury.

(1) J.F. Henckel: Traite de I'Appropriation (Treatise on Appropriation) in Pyritologie ou Histoire Naturelle de
la Pyrite (Pyritology or Natural History of Pyrites)', Paris, J.-T. Herissnat, 1760, p. 370, para. 416.

(2) Le Triomphe Hermetique. Lettre aux Vrays Disciples d'Hermes (The Hermetical Triumph. A Letter to the
True Discipes of Hermes), op. cit., p. 127.

(3) "The sulphur is hidden within the greatest depths of metals, it is the venerable stone of bright color and
eleated soul, and a vast sea".

(4) Jacques Tesson: Le Lyon Verd ou I'Oeuvre des Sages (The Green Lion or the Work of the Sages). First
Treatise, Ms. cit.

(5) Roman Senate and People.

(6) Valmont de Bomare: Mineralogie ou Nouvelle Exposition du Regne Mineral (Mineralogy or New Treatise on
the Mineral Kingdom); Paris, Vincent, 1774.

(7) J.F. Henckel: Pyritologie (Pyritology), ch. 7, p. 184, op. cit.

(8) Translator's Note: The "jeu de loie" (Game of the Goose which also sounds like Game of the Law in
Frnech) could be compared to "snakes and ladders". There is a spiral drawn on a board (a spiral resmebling the
labyrinth on the floor of the Cathedral of Chartres) with 63 boxes. The idea is to go to the center of the spiral.

(9) The meadow pipit (Anthus Pratensis) is a small bird related to the skylark. It nests in the grass. The Greeks
call it Anthos, but this word has another meaning of a clearly esoteric nature. Anthos also designates the flower
and the most perfect, the most distinguished parts of a thing; it is also the efflorescence, the frot r foam of
solutions of which the lighter parts rise to the surface and crystalize. Thi is enough to provide a clear idea of the
birth of the little bird whose sole egg must engender our Phoenix.

196

THE CASTLE OF DAMPIERRE X

Seventh Series (Plate XXXII)

Panel I The tables of the hermetic law on which a French sentence can be read, but so
singularly presented that M. Louis Audiat could not discover its meaning:

.EN.RIEN.GIST.TOVT.

Within nothing, everything lies.

A primordial motto which the ancient philosophers loved to repeat and by which they meant
the absence of value, the commonness, the extreme abundance of the basic matter from which
they drew everything they needed. "Then you will find the All-in-All, which is the styptic
force of all metals and minerals derived from salt and sulphur, and twice bom of Mercury",
writes Basil Valentine in the book of the Twelve Keys.

Thus does true wisdom teach us to not judge things according to their price, the pleasure
received from them, or the beauty of their appearance. It leads is to value in man personal
merit rather than the outer or the social conditions, and in bodies the spiritual quality they
keep hidden within them. To the eyes of the wise, iron, this pariah of human industry, is
incomparably more noble than gold, and gold more despicable than lead; for this bright light,
this ardent, active, and pure water that common metals, minerals, and stones have preserved,
is lacking only in gold. This sovereign to which so many people pay homage, for which so
many consciences demean themselves in the hope of obtaining its favors, has of wealth and
preciousness only the clothes. A sumptuously dressed king, the gold is but an inert, albeit
magnificent, body, a brilliant corpse compared to copper, iron, or lead. This usurper, that an
ignorant and greedy crowd raises to the rank of god, cannot even claim to belong to the old
and powerful family of metals; stripped of its coat, it then reveals the baseness of its origin
and appears to us as a simple metallic resin, dense, fixed, and fusible, a triple quality which
renders it obviously improper to the realization of our objective. Thus we can see how vain it
would be to work on gold, for whoever has nothing can evidently give nothing. It is therefore
to the raw and vile stone that we must address ourselves without repugnance for its miserable
appearance, its disgusting odor, its black coloration, its sordid rags. For these same rather
unattractive characteristics allow us to recognize it and caused people to always looks at it as
the primitive substance, issued from the original chaos and that God, during the Creation and
organization of the universe, would have reserved for his servants and his chosen ones. Drawn
from the Void, it bears its imprint and its name: Nothing. But the philosophers have
discovered that in its elementary and disorganized nature, consisting all of darkness and of
light, of bad and of good, assembled in the worst of confusion, this Nothing contained All
they could hope for.

Panel 2 The capital letter H surmounted by a crown that M. Louis Audiat presents as being
the heraldic signature of the king of France, Henry II, offers today only a partly hammered out
inscription, but which used to read:

. IN. TE. OMNIS. DOMIN AT A. REC VMB IT.

In you rests all might.

197

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CASTLE OF DAMPIERRE-SUR-BOUTONNE
Panels of the Upper Gallery - Seventh Series

Plate XXXII

C hamtiaan

We had previously the opportunity of mentioning that the letter H, or at least the graphic
character linked to it, had been chosen by the philosophers to designate the spirit, the
universal soul of things, or the active and almighty principle which is recognized to be, in
nature, in perpetual motion and in active vibration. It is in the shape of the letter H that the
builders of the Middle Ages built the facades of the cathedrals, the temples glorifying the
divine spirit, the magnificent interpreters of the aspirations of the human soul in its rising
towards the Creator. This character corresponds to eta (H), seventh letter of the Greek
alphabet, the initial of the solar word, the dwelling of the spirit, the heavenly dispenser of
light: [*402-1] ( Helios ) the sun. It is also the head of the prophet Elijah in Greek [*404-2]
( Helicis ) solar who, claim the Scriptures, has ascended to the heavens as a pure spirit, in a
chariot of light and fire. It is also the center and heart of one of the monograms of Christ: HIS,
abbreviation of Iesus Hominum Salvator, Jesus, Savior of Men. It is also the sign used by the
medieval Freemasons to designate the two columns of Solomons temple at the feet of which
the workmen received their salary: Jachin and Boaz, columns of which the towers of the
metropolitan churches are but a free, albeit bold and powerful, translation. It is finally the sign
of the first rung of the ladder of the sages, scala philosophorum, of the acquired knowledge of
the hermetic agent, the mysterious promoter of the transformations of the mineral nature and
that of the newly gained secret of the lost word. This agent was once upon a time called
among Adepts by the name of magnet or the attractive. The body charged with this magnet
was also called Magnesia, and it is it, this body, that served as an intermediary between the
sky and the earth, feeding on astral influences or celestial dynamism which it transmitted to
the passive substance, by attracting them in the manner of a true magnet. De Cyrano Bergerac
(1) in one of his allegorical tales this speaks of the magnesian spirit, about which he seems
quite well informed as well as about its preparation and about its usage.

"You have not forgot my name [I believe], writes our author, [it is Helias], seeing it is not
long since I told it to you. You shall know then, that I lived in your world with Elyseus, a jew
like me], on the agreeable Banks [of the Jordan]; where amongst my Books, I lead a Life
pleasant enough, not to be lamented, though it slipt away fast enough. In the mean while, the
more I encreased in [the light of Knowledge, the more [grew the knowledge of] my
Ignorance. Our learned [Priests never reminded me] of the famous [Adam], but the thoughts
of his perfect Philosophy [that he had possessed] made me to Sigh. I was despairing of being
able to attain to it, when one day, [after having sacrificed myself for the penance of the
weakness of my mortal being, I fell asleep and the Angel of the Lord appeared to me in a
dream; as soon as I awoke, I did not fail but to work according to the directions he had given
me]. I took a piece of Lode-Stone about two Foot square, which I put into a Furnace; and then
after it was well purged, precipitated and dissolved, I drew the calcined Attractive [from it, I
calcined the whole Elixir], and reduced it to the size if an ordinary [ball].

"After these preparation, I got a very light Medicine of Iron made, [and after a few months, all
my equipment having been completed, I stepped in my laborious carriage. You may ask me
what is the use of all this equipment. Know that the Angel told me in a dream that if I wanted
to acquire the perfect science as I so desired, that I should ascend to the World of the moon
where I would find Adams Paradise, the Tree of Knowledge, because as soon as I should
taste its fruit, my soul would be enlightened of all the truths as a creature could know. This is
therefore the trip for which I had built my chariot. Finally I climbed in it,] and when I was
well [and firmly] seated in my place, I threw this Magnetic [ball], as high as I could, up into
the Air. Now the Iron Machine, which I had purposely made more massive in the middle than
at the ends, was presently elevated, and in a just Pose; because the middle received the
greatest force of Attraction. So then as I arrived at the place, whither my Lode-Stone had

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attracted me, and as soon as I had jumped up to there, I threw up my Bowl in the Air over me
again...

"The truth is, it was a very surprising Spectacle to behold; for the Steel of that flying House,
which I had very carefully Polished, reflected on all sides the light of the Sun, with so great
life and luster, that I thought myself to be [carried away on a chariot of fire]. When I reflected
since upon this Miracle, I imagined that I could not have vanquished by occult virtues of a
simple natural body the vigilance of a Seraphim that God has ordained for the guard of the
paradise. But because He is sometimes pleased to use secondary causes I believe that He had
inspired me with this means to enter into it just as He was kind enough to use the rib of Adam
to make a woman out of him; although he could have formed her out of earth just a swell as
He did with him".

As for the crown which completes the important sign we are studying, it is not that of the king
of France, Henry II, but rather the royal crown of the chosen ones. That crown is seen to
adorn the head of the Redeemer on the crucifix of the 11th, 12th, and 13th centuries, in
particular in Amiens (a Byzantine Christ called "Sainte-Sauve") and in Notre-Dame de Treves
(on the top of the portal). The horseman of the Apocalypse (Rev. 6:1), seated on a white
horse, an emblem of purity, receives as the distinctive attri butes of his high virtues a bow and
a crown, gifts of the Holy Ghost. Our crown the initiates know what we speak of is
precisely the favorite dwelling place of the spirit. It is a worthless substance, as we
mentioned, barely materialized, but which contains an abundance of the latter. And this is
what the philosophers from Antiquity have fixed in their corona radiata (radiant crown),
ornamented with protruding rays only attri buted to God, or to deified heroes. So shall we
explain that this matter, the vehicle of the mineral light, reveals itself, thanks to the radiant
signature of the spirit, as the promised land reserved for the chosen ones of Sapience.

Panel 3 It is an ancient and often used symbol that we find in this place: a dolphin curled
around the arm of a sea anchor. The Latin epigraph which serves as its ensign gives the reason
for it:

.SIC.TRISTIS.AVRA.RESEDIT.

Thus does this terrible storm subside.

We had several times the opportunity to note the important role filled by the fish on the
alchemical scene. Under the name of dolphin, echeneis, or remora, it characterizes the humid
and cold principle of the Work which is our mercury, and which gradually coagulates in
contact with and by the effect of the sulphur, an agent of desiccation and of fixity. The latter
is represented here by the sea anchor, the stabilizing organ of vessels, for which it provides a
point of resistance and support against the efforts of the waves. The long operation which
permits completion, the progressive turning into a paste, and the final fixing of the mercury
offers a great analogy with sea crossings, and the tempests which greet them. This rather
rough and swelling sea represents, on a smaller scale, the constant and regular boilings of the
hermetic compost. The bubbles burst on the surface and constantly succeed each other; heavy
vapors fill the atmosphere of the vessel, and condense into droplets trickling down on the
effervescent mass. Everything contri butes to give the spectacle of a small scale storm. Raised
up from all sides, thrown around by the winds, the ark nevertheless floats under torrential
rains. Asteria prepares to form Delos, the hospitable country that saved Latonas children. The
dolphin swims on the surface of the impetuous waters and this agitation lasts until the remora,
the invisible host of the deep sea, finally puts to rest, as would a powerful anchor, the ship

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gone adrift. Calmness then reappears, the air is purified, the water recedes, vapors are
reabsorbed. A film covers the entire surface and, thickening and firming day by day, marks
the end of the flood, the time for the arks landing, the birth of Diana and of Apollo, the
triumph of earth over water, of the dry over the wet, and the era of the new Phoenix. In the
midst of the general upheaval and the clash of the elements is this permanent peace acquired,
this harmony resulting from the perfect equilibrium of the principles symbolized by the fish
fixed on the anchor: sic tristis aura resedit.

This phenomenon of absorption and coagulation of the mercury by a much smaller proportion
of sulphur seems to be the first cause for the fable of the remora, the little fish to which
popular imagination and hermetic tradition attri buted the capability of stopping the largest of
ships in their progress. Further, here is, in an allegorical and very instructive discourse, what
the philosopher Rene Francois (2) says about it: "The Emperor Caligula thought one day to go
mad with impatience, upon returning to Rome with a powerful naval force. All the well-
armed, well-spurred, superb ships sailed at leisure, the wind from the rear filled all the sails,
the waves and the sky seemed to be on Caligulas side, helping his plan, and, as everything
seemed to be for the best, the commanding imperial galley stopped short. The other ships
were flying on the waters. The emperor got angry, the pilot blew his whistle louder, four
hundred strokes of galley and galiots who were on the oars, five on each bench, became
sweaty by dint of pushing on the oars; the wind became stronger, the sea angry from this
affront, everyone wondered about this miracle, when the emperor came to imagine that some
sea monster was stopping him in this place. And so, many dove into the water, and swam
under the surface, going all around this floating castle; they finally found a mean little fish
about half a foot long, which had attached itself to the tiller, taking the time to stop the very
ship that was taming the universe. It seemed as if it wanted to mock the emperor of the human
race who fidgeted with so much impatience with his hordes of soldiers and his iron
thunderbolts, which made him lord of the earth. Here, it is said in its fish language, is a new
Hannibal at the gates of Rome, who is detained in a floating prison, Rome and its emperor;
Rome the princess will lead on earth the captive king in triumph, and I will lead in marine
triumph, by the provinces of the ocean, the Prince of the Universe. Caesar will be king of
men, and I will be the Caesar of Caesars; all the power of Rome is now my slave and can
spend itself to the last drop, for as long as I want, I will hold it in this royal jail. By playing
and joining myself to this galleon, I will do more in one moment than they did in 800 years,
slaying the human race and depopulating the world. Poor emperor! How wide you are of the
mark with all of your 150 millions of income and 300,000,000 men in your pay; an uncouth
little fish has made you its slave! Even if the sea gets upset, even if the wind becomes furious,
even if everyone becomes a galley slave and all the trees become oars, they could not go
forward by one foot without my sea pass and my leave. Here is the true Archimedes of the
fish, for it alone stops the entire world; here is the animated magnet which imprisons all the
iron and weapons of the foremost Monarchy of the world; I do not know who calls Rome the
Golden Anchor of the human race, but this dish is the anchor of anchors O marvel of God!
This little fish shames not only the Roman greatness, but also Aristotle who loses credibility
here and philosophy which goes bankrupt, for they find no reason for this strength, that a
mouth without teeth could top a ship pushed by the four elements, and stops it in the midst of
the strongest of storms. Pliny says that all of nature is hidden and stands sentry and dwells
garrisoned in the smallest of creatures; I believe it, and I for one think that this little fish is
flying the flag of Nature and of all its soldiers; it is Nature which nabs and stops these galleys;
it is it which bridles, however without any other bridle than the snout of a little fish, that
which cannot be bridled Alas! Why do we not bring down the horns of our vain arrogance,
with such a holy consideration; for if God making games can, with a little buccaneer of the
sea and the pirate of nature, arrest and stop all of our plans, which are flying with full sails

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from one pile to the other, to what point will he reduce our affairs if he used all his might? If
out of nothing he does everything and out of a fish or out of a little nothing, swimming and
acting like a fish, he can overwhelm our hopes, alas! Whenever he will use all of his might
and all the hosts of his justice, well, where will we be then?".

Panel 4 Near the tree with the golden fruit, a robust and stout dragon exercises his
vigilance at the entrance of the Garden of the Hesperides. The phylactery specific to the topic
bears this engraved inscription:

.AB.INSOMNI.NON.CVSTODITA.DRACONE.

Beside the dragon, which is watching, things are not guarded.

The myth of the dragon in charge of the surveillance of the famous orchard and of the
legendary Golden Fleece is known well enough to prevent us the trouble of repeating it. It
suffices to point out that the dragon is chosen as the hieroglyphic representative of the crude
mineral matter with which we must begin the Work. That is to indicate its significance, the
care that we must bring to the study of the outer signs and of the qualities likely to make its
identification possible, to help us recognize and distinguish the hermetic subject among the
many minerals which nature places at our disposal.

In charge of guarding the marvelous field, where philosophers go and get their treasures, the
dragon is known to never sleep. His fiery eyes remain constantly open. He knows neither rest
nor weariness and could not overcome the insomnia which characterizes it and grants it its
true raison detre. This is actually what the Greek name it bears expresses. [*408-1] ( Drakon)
has for root [*408-2] ( derchomai ) to look and see, and by extension to live, a word close to
[*408-3] ( derchenes ) who sleeps with open eyes. Primitive language reveals through the cloak
of symbols, the idea of an intense activity, of a perpetual and latent vitality enclosed in the
mineral body. Mythologists name our dragon Ladon, a word whose assonance comes close to
Laton and which can be assimilated to the Greek [*408-4] ( Leto ) to be hidden, unknown,
ignored like the matter of the philosophers.

The dragons general appearance, its well-known ugliness, its ferocity, and its unusual vital
power correspond exactly to the external characteristics, properties and capabilities of this
subject. The special crystallization of the latter finds itself clearly indicated by the scaly skin
of the dragon. So are its colors, for the matter is black, spotted red or yellow as is the dragon,
which is its likeness. As for the volatile quality of our mineral, we see it translated by the
membranous wings with which the monster is equipped. And because it is said that it vomits
fore and smoke when attacked and that its body ends in a snakelike tail, poets, for these
reasons, had him be bom of Typhon and Echidna. The Greek [*408-5] ( Tuphaon ) a poetic
term for [*408-6] ( Tuphon ) or [*408-7] ( Tuphos ) the Egyptian Typhon means to fill
with smoke, to light, to set aflame. [*408-8] ( Echidna) is nothing else than the viper. Hence
we can conclude that what the dragon takes after from Typhon is its hot, ardent, and
sulphurous nature while it owes to its mother its cold and wet complexion with the
characteristic form of the ophidians.

While the philosophers have always hidden the common name of their matter under an
infinity of qualifiers, they were, on the other hand, often quite prolix as far as describing its
form, its virtues, and sometimes even its preparation. By common consent, they assert that the
artist must hope to discover nothing, nor produce anything outside of the subject because it is
the only body in nature capable of providing him with the essential elements. To the exclusion

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of other minerals and other metals, it preserves the principles necessary to the elaboration of
the Great Work. By its monstrous albeit expressive figuration, this primitive subject appears
clearly as the guardian and the unique dispenser of the hermetic fruits. It is their depository,
their vigilant preserver, and our Adept speaks wisely when he teaches us that apart from this
solitary being, philosophical things are guarded by no one, since we might look in vain for
them elsewhere. And about this first body, fragment of the original chaos and common
mercury of the philosophers, Geber exclaimed: "Blessed be the Almighty, who created our
mercury and who gave it a nature to which nothing resists; for, without it, the alchemists
painstaking efforts would be in vain, all their labor would become useless".

But, asks another Adept (3) , "Where then is this aurific mercury which, resolved into salt and
sulphur, becomes the humid radical of metals, and their animated see? It is imprisoned in a
jail so strong that nature itself could not pull it out, if the industrious art did not facilitate the
means for it".

Panel 5 A swan majestically poised on the calm water of a pond, has its neck pierced by an
arrow. And it is its ultimate lament that the epigraph of this small, so agreeably executed,
subject translates for us:

.PROPRIIS .PEREO .PENNIS.

1 die by my own feathers

The bird indeed provided one of the matters of the weapon that will be used to kill it; the
feathers of the arrow assuring its direction, makes it accurate and the feathers of the swan,
fulfilling the same purpose thus contri bute to its undoing. This beautiful bird whose wings are
symbolic of volatility, and whose snowy whiteness is the expression of purity, possesses the
two essential qualities of the initial mercury or our dissolving water. We know that it must be
vanquished by the sulphur issuing from its own substance which it has itself generated
so as to obtain after its death this partly fixed, partly volatile philosophical mercury, which the
subsequent maturation will raise to the degree of perfection of the Great Elixir. All the authors
teach that the living must be killed if the dead is to resurrected; this is why the good artist will
not hesitate to sacrifice the bird of Hermes and to initiate the mutation of it mercurial
properties into sulphurous qualities since any transformation remains subject to a preliminary
decomposition and cannot be completed without it.

Basil Valentine states that "the twofold fiery man must be fed a snowy swan" and he adds
"then the swan roasted will become food for the King". No philosopher, to our knowledge,
has lifted the veil which covers this mystery and we wonder whether it is advisable to
comment upon such serious words. However, recalling the long years during which we
ourselves remained stuck before this door, we think that it would be charitable to help the
worker, who has arrived at this point, to get over the threshold. Let us therefore, give him a
helping hand and disclose, within the permitted boundaried, what the greatest masters have
believed prudent to hide.

It is obvious that Basil Valentine, by using the expression of the twofold fiery man, means to
speak of a secondary principle resulting from the combination of two agent of hot and ardent
disposition, consequently being of the nature of metallic sulphurs. Hence we can conclude
that under the simple name of sulphur, the Adepts, at a given time in the progress of the work
conceive two conceived bodies, of similar properties, but of different specificity,
conventionally taken to be a single one. This being proposed, what would the substances

202

capable of yielding these two products be? Such a question has never received an answer.
However, if we consider that the emblematic representatives of metals are figured by
mythological deities, now masculine, now feminine; that they owe these particular attri butions
to the sulphurous qualities proven by experiment, the symbolism the fable will likely shed
some light on these dark matters.

Everyone knows that iron and lead are placed under the rule of Aries and of Chronos, and that
they receive their respective planetary influences from Mars and from Saturn; tin and gold,
ruled by Zeus and Apollo, take up the vicissitudes of Jupiter and the Sun. But why do
Aphrodite and Venus rule copper and silver, the subjects of Venus and of the Moon? Why
does mercury owe its disposition to the messenger of Mount Olympus, the God Hermes,
although it is deprived of sulphur and fulfills the functions reserved to the chemico-hermetic
women? Must we accept these relationships as true and is there not, in the distribution of the
metallic divinities and of their astral planetary correspondences a set, deliberate confusion? If
we are able to be questioned on this point we would answer in the affirmative without
hesitation. Experience categorically demonstrates that silver possesses a magnificent sulphur,
as pure and bright as that of gold, yet without having its fixedness. Lead yields a mediocre
product of a rather equal color, but less stable and quite impure. The sulphur of tin, flawless
and bright, is white and would incite us to put this metal under a goddess protection rather
than a gods authority. Iron on the other hand, has a lot of fixed sulphur of a dark, dull, filthy
and so imperfect red that I spite of its fire-proof quality, we would not really know what to do
with it. And yet, with the exception of gold, we would vainly search in the other metals for a
more luminous, more penetrating, and more manageable mercury. As for the sulphur of
copper, Basil Valentine describes it rather accurately in the first book of his Twelve Keys (4) :
"Amatory Venus is clothed with abundant color, and her whole body is almost completely
made of a tincture or color similar to the one of the Sun, which, because of its abundance,
closely borders on red. But [since] her body is leprous and sick and affords no permanent
substratum to the fixed tincture, [when the body perishes, the tincture perishes with it, unless
it is joined to a fixed body, in which it could elect its seat and dwelling in a stable and
permanent fashion]".

Having well understood what the famous Adept wanted to convey and having carefully
examined the relationships existing between the metallic sulphurs and their respective
symbols, one will have very little trouble in reestablishing the esoteric order in accordance
with the Work. The enigma will be easy to decipher and the issue of the twofold sulphur will
be easily solved.

Panel 6 Two horns of cornucopia intersect on mercurys caduceus. As epigraph, they bear
this Latin maxim:

. VIRTVTI.FORTVNA.COES.

Wealth accompanies virtue.

Uncommon axiom of which the truth is questionable when applied to true merit where
wealth quite seldom regards virtue that it would be appropriate to look elsewhere for its
confirmation and its rule. Yet it is of the secret virtue of the philosophical mercury,
represented here by the image of the caduceus, that the author of these symbols intends to
speak. The horns of cornucopia translate the totality of material wealth that the possession of
mercury insures to the good artists. By their intersecting as an X, they indicate the spiritual

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quality of this noble and rare substance whose energy shines like a pure fire, at the center of
the accurately sublimated body.

The caduceus, attri buted to the god Mercury, should not give rise to the least ambiguity, as
much in terms of its secret meaning as from the vantage point of its symbolic value. Hermes,
the father of the hermetic science, is considered both as creator and as creature, master of
philosophy and matter of the philosophers. His winged scepter bears the explanation of the
enigma he proposes, and the revelation of the mystery hiding the compound of the compound,
the masterpiece of nature and of art, under the common name of mercury of the sages.

Originally the caduceus was a mere stick, the primitive scepter of some sacred or legendary
characters belonging more to tradition than to history, Moses, Atalanta, Cybele, Hermes use
this instrument, endowed with a sort of magic power, in similar conditions, and generating
equivalent results. The Greek [*412-1] ( rabdos ) is actually a stik, a wand or the staff of a
javelin, a dart and Hermes scepter. This word derives from [*412-2] (passo ), which means to
strike, to split, to destroy. Moses smites with this stick the dry rock which Atalanta, following
Cybeles example, pierces with her javelin. Mercury separates and kills the two snakes
engaged in a furious duel, by throwing on them the wand of the [*412-3] (pterophoroi) that is
to say of the couriers and messengers, called wing bearers because they had, as distinctive
mark of their duty, wings on their carp. Hermes petasus therefore justified his function of
messenger and mediator of the gods. The addition of snakes to the stick, completed by the hat
([*412-4] petasos ) and the talaria ([*412-5] tarsoi), gave the caduceus its final form,
with the hieroglyphic expression of the perfect mercury.

On the panel of Dampierre, the two snakes show dog-like heads, one of a dog, the other of a
bitch, an image of the two contrary active and passive, fixed and volatile principles, put in
contact with the mediator represented by the magic stick, our secret fire. Artephius named
these principles Fog of Khorassan and Bitch of Armenia, and they are the very same serpents
that Hercules choked in his crib as a child, the only agents whose assembling, fight and death,
accomplished with the help of the philosophical fire, give birth to the live and animate
hermetic mercury. And since this twofold mercury possesses double volatility, the wings of
the petasus, opposite those of the talaria on the caduceus, serve to express these two reunited
qualities in the clearest and most revealing fashion.

Panel 7 In this bas-relief, Cupid, a bow in one hand and an arrow in the other, is riding the
chimera on a cluster of starry clouds. The phylactery which underlines this subject indicates
that Eros is here the eternal master:

. AETERNVS .HIC.DOMINVS.

Nothing could be more true, and other panels have taught us the same. Eros, the mythological
personification of concord and love, is par excellence, the lord, the eternal master of the
Work. He alone can realize the agreement of enemies whom an unrelenting hate ceaselessly
prompts to devour one another. He fulfills the peaceful duty of the priest who is seen to unite
upon an engraving in Basil Valentines Twelve Keys the hermetic king and queen. It is still
he who, in the same book, darts an arrow towards a woman holding an enormous matrass
filled with cloudy water.

Mythology teaches us that the Chimera bore three different heads on a lion body which ended
as a snake tail: the head of a lion, another of a goat, and the third of a dragon. Of the
constituting parts of the monster, two are predominant, the lion and the dragon, because they

204

bring to the whole one the head and the body, the other, the head and the tail. By analyzing
the symbol in the order of the successive acquisitions, the first place belongs to the dragon
which is always confused with the serpent; we know that the Greek used [*412-1] ( drachon)
for the dragon rather than for the snake. This is our initial matter, the very subject of the art,
considered in its first being and in the state nature offers it to us. The lion comes next, and
although it is the child if the subject of the sages, and of a decaying metal, it surpasses by far
its own parents in vigor and quickly becomes sturdier than its father. Unworthy son of an old
man and of a very young woman, it gives evidence since birth of an inconceivable aversion
for its mother. Unsociable, ferocious, and aggressive, nothing could be expected from this
violent and cruel heir if it were not, by means of a providential accident, brought back to more
calm and balance. Encouraged by his mother Aphrodite, Eros, already unhappy with the
particular character, let fly a bronze arrow and severely wounds it. Half paralyzed, it is then
brought back to its mother who, to help this ungrateful son recover, nevertheless gives it of
her own blood, even a part of her flesh, and dies after having saved it. "The mother", says the
Turba Philosophorum, "always feels more pity for the child than the child for the mother".
Out of this close and prolonged contact of the lion sulphur with the solvent dragon, a
new being is formed in some way regenerated; with mixed qualities symbolically represented
by the goat, or if you will, by the Chimera herself. The Greek word [*413-1] ( Chimera ) for
Chimera, also means young goat, (cabalistically, [*413-2] Chi-meter). Now this young
goat, which owes its excellence and its outstanding qualities to the timely intervention of
Eros, is none other that the philosophical mercury, born from the union of the sulphur and
mercury principles, which possesses all the required abilities to become the famous ram with
the golden fleece, our Elixir and our Stone. And it is the entire order of the hermetic labor
which is revealed by the ancient Chimera, and as Philale thes put it, this is also our entire
philosophy.

The reader will hopefully excuse us from having used the allegory so as to clearly pinpoint
the important points of the practice, but we have no other means and we follow in that way an
old literary tradition. And if, in this tale, we silence the essential part, which by right falls to
the little Cupid master of the Work and lord in this house it is only be obedience to the
discipline of the Order and not to perjure ourselves. Besides, the perspicacious reader will
find, deliberately disseminated in the pages of this book, complementary indications about the
role of the mediator, of which we must not speak further here.

Panel 8 We find here a motif we already encountered elsewhere, particularly in Brittany. It
is an ermine represented in a small enclosure, bordered by a circular hurdle, personal symbol
of Queen Anne, wife of Charles III and of Louis XII. It is represented next to the emblematic
porcupine of Louis XII, on the mantle of the great fireplace of the Lallemant mansion in
Bourges. Its epigraph contains the same meaning and uses almost the same words as the
famous motto of the Order of the Ermine: Malo moro quam fedari, I prefer death to blemish.
This Order of Chivalry, founded first in 1381 by John V, Duke of Brittany, was to disappear
in the 15th century. Later reinstituted by the King of Naples, Ferdin and I, in the year 1483, the
Order of the Ermine, having lost all hermetic characteristic, was only forming a more or less
coherent association of aristocratic chivalry.

The inscription engraved on the banner of our panel bears:

.MORI.POTIVS. QVAM .FED ARI.

Death rather than blemish.

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Beautiful and noble maxim of Anne of Brittany; a maxim of purity, applied to the little flesh-
eating animal, whose white fur is, it is said, the object of the assiduous care of the elegant and
supple animal that wears it. But in the esoteric symbolism of the sacred Art, the ermine, image
of the philosophical mercury, indicates the absolute clarity of a sublimated products, that the
addition of sulphur, or metallic fire, contri butes to brighten even more.

In Greek, ermine is [*414-1] (pontichos ), a word derived from [*414-2] (pontos ), pit, abyss,
sea, ocean; it is the pontic water of the philosophers, our mercury, the sea purged again with
its own sulphur, sometimes simply the water of our sea, which must be read as the water of
our mother (5) , i.e., the primitive and chaotic matter called subject of the sages. The masters
teach us that their second mercury, this pontic water of which we speak, is a permanent water
which, contrary to liquid bodies "does not wet the hands", and is their source which flows into
the hermetic sea. To obtain it, they say, it is advisable to strike the rock three times, so as to
extract from it the pure water mixed with the coarse and solidified water, usually represented
by rocky masses emerging from the ocean. The word [*414-1] ( pontios ) specifically expresses
all that which inhabits the sea; it calls to mind the hidden fish which the mercury has caught
and kept in the mesh of its net, the one that the ancient custom of the celebration of the
Twelfth Night offers us in its own form (sole, dolphin) or sometimes in the shape of the
"bather" (6) or the bean hidden in the layers of the flaky Twelfth Night cake (7) . The pure and
white ermine thus appears as the expressive emblem of the common mercury united to the
sulphurous-fish in the substance of the philosophical mercury.

As for the hurdle, it reveals which are the external signs that, according to the Adepts,
constitute the best criterion of the secret product and bear witness to a canonical separation
conforming to natural laws. The woven hurdle, serving as an enclosure for the ermine and
actually as an envelope for the animated mercury, should suffice to explain the drawing of the
stigma/stigmata (8) in question. However as our aim is to define them unequivocally, we will
say that the Greek word [*415-2] ( characoma ), fence, derived from [*415-3] ( charasso ), to
trace, to engrave, to mark with an imprint, possesses in fact an origin similar to that of the
word [*415-4] ( character ) which means carved lineament, distinctive form, characteristic.
And the specific characteristic of mercury is precisely to create on its surface a network of
intercrossing lines, woven in the manner of wicker baskets ([*415-5] kalatos) frails, crates,
two-handled baskets, and open baskets. These geometric figures all the more apparent and all
the more engraved because the matter is purer, are the effect of the all-powerful will of the
Spirit or of the Light. And this will imprints on the substance an external cross-like
disposition ([*415-6] Chiasma ), and gives mercury its effective philosophical signature.
This is the reason why this envelope is compared to the mesh of the net used to catch the
symbolic fish; to the characteristic basket that the [*415-7] ( Ichtus ) of the Roman Catacombs
bears on his back; to Jesus manger, the crib of the Holy Ghost incarnated as mens Savior; to
Bacchus cist, said to contain some mysterious object; to Hercules crib as the child choked
the two snakes sent by Juno, and to that of Moses, saved from the waters; to the Twelfth
Night cake, bearer of the same characteristics; to the cake of Little Red Riding Hood, perhaps
the most charming creation of these hermetic fables called the Tales of Mother Goose, etc.

But the most significant imprint of the animated mercury, the superficial mark o the work on
the metallic spirit, can only be obtained after a series of operations, or long, difficult,
forbidding purifications. So, if you want to be assured of success, no pain, no effort should be
spared, and time and strain should not be feared. Whatever you may do or attempt to do,
never will the spirit remain stable in a filthy or insufficiently purified body. The quite spiritual
motto which accompanied our ermine proclaims it: Death rather than blemish. May the artist
remember one of the greatest labors of Hercules, the cleaning of the Augean stables: "All the

206

waters of the flood", say the sages, must pass through our earth. These are expressive
images of the labor demanded by the perfect purification, a simple, easy work but so tedious
that it discouraged many alchemists who were more greedy than industrious, more
enthusiastic than persevering.

Panel 9 Four horns out of which flames escape, with the motto:

.FRVSTRA.

In vain.

It is the succinct translation, engraved in stone, of the four fires of our coction. The authors
who spoke of it, describe them as so many different and proportionate degrees of the
elementary fire acting in the midst of the Athanor, on the philosophical rebis. At least, such is
the meaning suggested to beginners, and that they hurry to put into practice without much
further thought.

And yet the philosophers themselves attest that they never speak more obscurely than when
they seem to express themselves with precision; their apparent clarity deludes those who let
themselves be seduced by the literal meaning, and who do not attempt to make sure whether it
agrees or not with observation, reason and the possibility of nature. This is why we must warn
the artists, who will try to accomplish the work according to this process that is to say, by
submitting the philosophical amalgam to the increasing temperatures of the four regimens of
fire, that they will certainly be the victims of their ignorance and frustrated from the desired
results. They should first strive to discover what the Ancients meant by the metaphoric
expression of fire and that of the four successive degrees of its intensity. For indeed we are
not speaking of a cooking fire here, of a fireplace fire, or of a blast furnace fire. "In our work",
asserts Philale thes, "common fire only serves to keep away the cold and the accidents it could
cause". In another section of the treatise, the same author positively affirms that our coction is
linear, i.e., equal, constant, regular, and uniform from the beginning to the end of the work.
Almost all philosophers have used as an example this fire of coction or maturation, the
incubation of a hens egg, not in terms of the temperature to be used but in terms of
uniformity and permanence. And so we very strongly advise people to consider before
anything else the relationship that the sages have established between the fire and the sulphur,
so as to obtain this essential notion that the four degrees of the first must infallibly correspond
to the four degrees of the second, which is to say much in a few words. Finally in his so
minute description of the coction, Philale thes does not forget to point out how much the real
operation is removed from its metaphoric analysis because instead of being directed as one
generally believes it to be, it has seven stages or regimens, simple reiterations of one and the
same technique. In our opinion, these represent the most sincere words that have been said
about the secret practice of the four degrees of fire. And, although the order and the
development of these works are guarded by the philosophers and always shrouded in silence,
the special characteristic which the coction, understood in that way, takes on will nevertheless
allow the wise artist to rediscover this simple and natural means, which ought to favor its
operation.

Monsieur Louis Audiat, whose rather amusing fantasies have been pointed out during this
study, had not asked the ancient science for a plausible explanation of these curious panels.
He writes: "There is such a mischievousness in a single word: Frustra, Flaming horns! (9) It is
in vain that one tries to keep his wife!".

207

We do not believe that the author, moved by compassion before what he took to be the
"testimony" of this unfortunate Adept, meant to show the least irreverence for the memories
of the latters wife. But ignorance is blind and misfortune is bad counselor. M. Louis Audiat
should have known better and abstained from generalizing.

(1) Cyrano Bergerac: The Comical History of the States and Empires of the World of the Moon. Translated by A.
Lovell. H. Rhodes, London, 1687, pp. 28-34. (The part in brackets is where the translation was modified).

(2) Rene Francois: Essay des Merveilles de nature et des plus nobles artifices (Essay on the Marvels of Nature
and on the Most Noble Artiicesf Lyon, J.Huguetan, 1642, ch. 15, p. 125.

(3) La Lumiere sortant par soy-mesme des Tenebres (Light Coming by Itself out of Darkness), Ch. 2, Song V, p.
16, Op. cit.

(4) Basil Valentine: The Twelve Keys of Philosophy

(5) Translators Note: In French, "mer" (sea) and "mere" (mother) sound alike.

(6) Translators Note: Literally, a "swimmer", a small china doll included in the Twelfth Night cake. Whoever
finds it becomes the king or queen.

(7) Fulcanelli: Le Mystere des Cathedrales, Paris, J. Schmidt, 1926, p. 126.

(8) Translators Note: The French "stigmates" translates both as stigma and stigmata.

(9) Translators Note: In France, a cuckold is said to bear the horns: these flaming horns must have inflamed M.
Audiats imagination.

208

THE CASTLE OF DAMPIERRE XI

The eight and last series contains only one panel devoted to the science of Hermes. It
represents abrupt rocks of which the wild silhouette rises in the middle of the sea. This stone
image bears as ensign:

.DONEC.ERVNT.IGNES.

As long as fire will last.

An allusion to the power of action that man owes to the igneous principle, the spirit, essence,
or light of things, the unique factor of all material mutations. Of the four elements of the
philosophy of Antiquity, only three are represented here: earth pictured by the rocks, water by
the sea waves, air by the sky of the sculpted landscape. As for fire, the animating and
modifying agent of the three other elements, it seems to be excluded from the subject only to
underline its preponderance, its power, its necessity, as well as the impossibility of any action
whatsoever on the substance without the help of this spiritual force capable of penetrating it,
of moving it, of changing into the actual that which it bore as a potential.

As long as fire will last, life will radiate in the universe; bodies subjected to the laws of
evolution, of which it is the essential agent, will accomplish the different cycles of their
metamorphoses up to their final transformation into spirit, light, or fire. As long as fire will
last, matter will not cease to pursue its difficult ascent toward integral purity by passing from
the compact and solid form (earth) to the liquid form (water), and from the gaseous state (air)
to the radiant state (fire). As long as fire will last, man will be able to exercise his industrious
activity on the things that surround him and thanks to the marvelous igneous instrument, to
submit them to his own will, to bend the, to subject them to uses of his own. As long as fire
will last, science will benefit from vast possibilities in all domains of the physical plane; and
will see the fields of its knowledge and accomplishments broaden. As long as fire will last,
men will be in direct contact with God and the creature will know his Creator better.

No subject of meditation seems to be more profitable to the philosopher; nothing solicits more
the exercise of his thought. Fire surrounds us and bathes us from everywhere; it comes to us
through air, water, and even the earth, which are its preserving agents and different vehicles;
we encounter it in everything to which we come near; we feel its action within us for the
entire duration of our earthly existence. Our birth is the result of its incarnation; our life, the
effect of its dynamism; our death the consequence of its disappearance. Prometheus steals fire
from heaven to animate the man who he had, like God, formed from the mud of the earth.

Vulcan creates Pandora the first woman to whom Mineva gives movement by insufflating into
her the vital fire. A simple mortal, the sculptor Pygmalion, desiring to marry his own work,
implores Venus to animate, by means of the celestial fire, his statue of Galatea. But to try to
discover the nature and essence of fire is to try to discover God, whose real presence is always
revealed in a fiery manifestation. The burning bush (Ex. 3:2), and Mount Sinai "altogether on
a smoke" during the speaking of the Ten Commandments (Ex. 19:18) are two manifestations
whereby God appeared to Moses. And it is in the shape of a being of jasper, of a flaming
color, seated on an incandescent and flashing throne that St John describes the Master of the
Universe (Rev. 4: 3, 5). "Our God is a consuming fire", writes St Paul, in his Epistle to the
Hebrews 12:29. It is, then, not without reason that all religions have considered fire as the

209

clearest image and the most expressive emblem of divinity. "One of the most ancient
symbols" said Pluche , "as it became universal, is the fire that was perpetually maintained in
the place where the different peoples used to assemble. Nothing was more appropriate to give
them a tangible idea of the power, beauty, purity, and eternity of the being that they had come
to adore. This magnificent symbol had been in use in all of the Orient. Persians saw it as the
most perfect image of divinity. Zoroaster did not introduce its use under Darius Histarpes, but,
by new perspectives, he improved the practice which had been established long before him.
The Pryantheum of the Greeks were perpetual fires. The Vesta of the Etruscans, of the
Sabines, and of the Romans was nothing more. The same custom was found in Peru and in
other parts of America. Moses kept the practice of a perpetual fire in the holy place as part of
the ceremonies he chose and described in detail to the Israelites. And the same symbol, so
expressive, so noble and so unlikely to prompt man into illusion still exists today in all our
temples".

To claim that fire results from combustion is to notice a fact commonly observed, yet without
providing its explanation. The gaps in modern science for the most part result from this
indifference, voluntary or involuntary, toward such an important and widespread agent. What
would we think of this strange obstinacy that certain scientists maintain, in failing to
recognize the point of contact it constitutes, the connecting link it creates, between Science
and Religion? If heat is born from movement, as it is claimed, who then, shall we ask,
generates and maintains the movement productive of fire, if not fire itself? A vicious circle
out of which materialists and skeptics will never be able to escape. As for us, fire could not be
the result or effect of combustion, but rather its true cause. It is by disengagement from the
heavy matter which held it imprisoned that fire manifests and that the phenomenon appears
that is known under the name of combustion. And whether this disengagement is spontaneous
or provoked, a common sense forces us to admit and to sustain that combustion is the result of
the igneous disengagement and not the primary cause of fire.

Imponderable, elusive, always in motion, fire possesses all the qualities we acknowledge in
Spirits; fire is nevertheless material as we see its light when it shines and, even when it is
dark, our sensitivity can detect the presence of its radiating heat. Is not the spiritual quality of
fire revealed to us by the flame? Why does the flame always tend to rise as a true spirit, in
spite of our efforts to force it to go down to the ground? Is this not a formal manifestation of
this will which, by liberating it from material hold, moves it away from the earth and brings it
nearer to its celestial native land? And what is the flame if not the fires true visible form,
signature, and effigy?

Above all, we must remember, as a priority in the science which interests us, the high
purifying virtue that fire possesses. In the highest sense of the word, a pure physical
manifestation of purity itself, it signifies in this manner its spiritual origin and uncovers its
divine affiliation. As a rather singular observation, the Greek word [*421-1] (pur) which
designates fire has exactly the same pronunciation as the French word pure; and the hermetic
philosophers, by joining the nominative to the genitive case, created the term [*421-2] (pur-
puros), the fire of fire, or phonetically, le pur du pur (the pure of the pure) and regarded the
Latin purpura and the French pourpre (purple) as the seal of the perfection of the
philosophers stones own color.

(1) Noel Pluche: Histoire du Ciel (History of the Heavens); Paris, the Widow Estienne, 1739, vol. 1, p. 24.

210

THE CASTLE OF DAMPIERRE XII

Our study of the panels of Dampierre is now complete. We only have to point out a few
decorative motifs which, by the way, have no relationship with the preceding ones; they show
symmetrical ornaments foliage, interlaced designs, Arabian designs, embellished or not
with figures the workmanship of which denotes a production more recent than that of the
symbolic subjects. They are all deprived of phylacteries or inscriptions. Finally, the
background slab of a small number of panels are still in wait of the sculptors hand.

The presumption is that the author of this book of marvels, of which we endeavored to
decipher the leaves and signs had, as a consequence of unknown circumstances, to interrupt a
work that his successors could neither pursue nor finish for want of understanding it. Be that
as it may, the number, the variety, the esoteric significance of the subjects of this wonderful
compilation made of the high gallery of the castle of Dampierre an admirable collection, and a
genuine museum of alchemical emblems, and put our Adept among the unknown masters who
were the most learned in the mysteries of the sacred Art.

But before we leave this masterful ensemble, we will allow ourselves to connect its teaching
to that of a curious stone picture that can be seen in Jacques Couers palace in Bourges and
which apparently can serve as a conclusion to, and summary of, our collection. This sculpted
panel forms the tympanum of a door opening on the main courtyard, and represents three
exotic trees a palm tree, a fig tree, and a date tree growing in the midst of herbaceous
plants; a frame of flowers, leaves, and twigs surround the bas-relief (Plate XXXIII).

The palm and date trees, of the same family, were known to the Greeks under the name of
[*425-1] (phoenix, and Phoenix in Latin) which is our hermetic phoenix; they represent the
two magisteries and their results, the two white and red stones, which partake of one and the
same nature included in the cabalistic denomination of Phoenix. As for the fig tree occupying
the center of the composition, it indicates the mineral substance out of which the philosophers
draw the elements of the miraculous rebirth of the Phoenix, and it is this work of rebirth as a
whole which constitutes what is commonly referred to as the Great Work. According to the
apocryphal Gospels it was a fig or sycamore fig tree (a.k.a. the fig tree of the Pharoah) which
had the honor of sheltering the Holy Family during their flight to Egypt, of nourishing them
with its fruit and of quenching their thirst, thanks to the clear and fresh water that the child
Jesus had drawn out from between its roots (1) . Fig tree in Greek is [*426-1] ( suke ), from
[*426-2] (sukon), fig, a word frequently used for [*426-3] ( kusthos ), with the root [*426-4]
(kuo), to carry in the womb, to contain: it is the Virgin Mother who bears the child, and the
alchemical emblem of the passive, chaotic, aquatic, and cold substance, the matrix and vehicle
of the spirit incarnate. Sozomeme, a 4th century author, asserts that the tree of Hermopolis
which bowed before the infant Jesus was called Persea (Hist. Eccl. Lib. V, ch. 21). It is the
name of the balanus (Balanites Aegyptiaca), a shrub from Egypt and Arabia, a kind of oak,
called by the Greeks [*426-5] (balanos), acorn, a word by which they also called the
myrobalan, fruit of the myrobalan tree. These diverse elements are perfectly related to the
subject of the sages and the technique of the ars brevis that Jacques Coeur seems to have
practiced. Indeed, when the artist, a witness to the fight waged by the Remora and the
Salamander, steals from the vanquished igneous monster its two eyes, he must then strive to
reunite them into one. This mysterious operation, easy nevertheless for whoever knows how
to use the salamanders dead body, yields a little lump, quite similar to the acom of an oak
tree, sometimes to a chestnut, depending upon how much of it is covered with the rough

211

&*>'*** .Mb,

BOURGES - JACQUES-C(EUR PALACE -TYMPANUM

The Secret Agreement

matrix from which it can never totally free itself. This provides us with the explanation of the
acorn and of the oak tree, which we almost always encounter in hermetic iconography; of the
chestnuts, specific to Jacques Lallemants style; of the heart, the fig, of Jacques Coeurs fig
tree; of the little bell, accessory of the jesters rattle; of the pomegranates, pears, and apples
frequent in the symbolic works of Dampierre, and Coulonges, etc. On the other hand, if we
take into account the magical, quasi-supematural characteristic of this production, we can
understand why certain authors have indicated the hermetic fruit by the name of myrobalan,
and also why this term has remained in the French common language a synonym for
marvelous, surprising or extremely rare things (2> . The priests of Egypt, the principals of the
initiatory schools, used to ask the layman soliciting access to the sublime knowledge, this
apparently preposterous question: "In your country is the seed of Halalidge and the
Myrobalan ever sown?". A question that did not fail to embarrass the ignorant neophyte, but
which the skilled investigator could answer. The seed of Halalidge and the Myrobalan are
identical with the fig, the fruit of the date tree, with the egg of the Phoenix which is our
philosophical egg. It is the one reproducing the legendary eagle of Hermes, whose feathers
were dyed with all the colors of the Work, but among which red dominates, as its Greek name
[*427-1 (phoinis ) purple red indicates. De Cyrano Bergerac does not omit to speak about it, in
the course of an allegorical tale where is interspersed some of this language of the birds which
the great philosopher admirably commanded (3) . "I began to fall asleep in the Shade, I
perceived in the Air a strange Bird, that hovered over my Head; it supported itself by so slight
and imperceptible a motion, that I was many times un doubt, whether it might not be also a
little Universe, balanced by its own Creator. However by little and little it descended, and at
length came so near, that it filled my Eyes with a delightful Prospect. The Tail of it seemed to
be green, its Breast Azure-enameled, its Wings Incarnate, and its Head Purple, which tossed a
glittering Crown of Gold, the Rays whereof sparkled from its Eyes. It kept a long time upon
the Wing, and I was so attentive to observe what became on it, that my Soul being contracted,
and in a manner wrapt up in the sole action of Seeing, it hardly reached my Ear, to let me hear
that the Bird spoke as it sung. However, being little by little unbent from my Extasie, I
distinctly remarked the Syllables, Words and Discourse which it uttered. To the best of my
Memory, then it spun out its Songs into these terms,

"You are a Stranger, whistled the Bird, and have had your birth in a World, of which
originally I am. Now that secret propensity to mutual Love, that those of the same Country
have one for another, is the instinct, which Inclines me to inform you of my Life...

"I well perceive, you are big with the expectation to leam what I am, it is I who amongst you
am called the Phoenix; in every world there is but one at a time which lives there for the space
of an Hundred years; for at the end of an Age, when upon some Mountain of Arabia, it has
laid a great Egg amidst the Coals of its Funeral Pile, which it has made of the Branches of
Aloes, Cinnamon, and Frankincense, it takes its flight, and diverts its course towards the Sun,
as the Country to which its heart has long aspired. It has indeed made many attempts before,
for accomplishing that Voyage; but the weight of its Egg, which has so thick a shell, that it
requires an Age to be hatched in, still retarded the Enterprise.

"I am sensible, that you can hardly comprehend that miraculous Production; and therefore Ill
explain it you. The Phoenix is an Hermaphrodite; but amongst Hermaphrodites it is likewise
another Phoenix altogether extraordinary, for... (4)

"It continued half an hour without speaking, and then added: I perceive you suspect what I
have told you to be false, but if what I say be not true, the first time I come into your Globe,
may an Eagle devour me".

212

Another author <5) dwells further on the mythical-hermetical bird and points out a few of its
particularities which it would be difficult to find elsewhere. "The Caesar of Birds", he says,
"is the miracle of nature (6) , who wanted to show through it the extent of her power, showing
herself as a Phoenix by forming the Phoenix. She has done wonders in improving it, by giving
it a head embellished with royal feathers and imperial aigrettes, a tuft of feathers, and a crest
so bright that it seems to bear either a silver crescent of a golden star on its head. The robe and
the down are of a shimmering double-gilt which shows all the colors of the world; the big
feathers are rosy red, azure, gold, silver, and of flame color; the neck is a choker made of the
stones, and not a rainbow, but a Phoenix bow. The tail is of celestial color with a gold luster,
which represents the stars. Its tail feathers and its whole robe are like a first spring, rich of all
colors; it has two eyes in its head, shining and flaming, which seem to be two stars; gold legs
and scarlet nails; its whole chest and its bearing show that it has some feeling of glory, that it
knows how to hold its rank and bring our its imperial majesty. Even its flesh has something
royal about it because it only eats drops of incense and chrism of balm. When it was in its
crib, says Lactantius, the heaven distilled nectar and ambrosia for it. It alone is witness to all
the ages of the world, and it has seen the golden souls of the golden age turn into silver, from
silver into brass, and from brass into iron. It alone has never given the sky and the world the
slip; it alone scoffs at death, making it its nurse and mother, making it give birth to life. It
alone has the privilege of time, of life and of death together. For when it feels laden with
years, weighted down by old age and cast down by such a long sequence of years, that it saw
to follow on after the other, it lets itself be carried by its desire and proper longing to renew
itself by a miraculous death. Then it makes a pile which alone in the world bears no name, for
it is not a nest, or a crib, or the place of its birth since it dies there; but it is not a tomb, a
coffin, or a funereal urn because in it, it recovers its life; so that I do not know what another
inanimate Phoenix is, being nest and tomb, matrix and sepulcher, at once a house for life and
for death, which for the sake of the phoenix, work together for this occasion. And, whatever it
may be, it is there in the trembling arm a palm tree (7) , that it makes a collection of small
sprigs of cinnamon and incense, and on the incense, cassia, and on cassia spikenard; then with
a pitiful look, commending its soul to the Sun, its murderer and its father, it alights or lies
down on this balmy stake to get rid of its trying years. The Sun, favoring the just desires of
this Bird, lights the pyre and reducing everything to ashes with a musky blast, makes it breath
its last. Then poor Nature finds herself in a trance and with horrible spasms, fearing to lose the
honor of this great world, then orders everything in the world to be quiet; the clouds would
not dare pour the slightest drop of water on the ashes nor on the earth; the winds no matter
how enraged would not dare run through the countryside; alone the Zephyr is the master, and
springtime has the upper hand while the ash is inanimate, and nature holds everything so that
the return of her Phoenix is favored. O great miracle of divine providence! Almost at the same
time, this cold ash, not wanting to leave poor nature mourning for long or to frighten her,
warmed up, I know not how, by the fecundity of the golden rays of the Sun, then turns itself
into a little worm, then an egg, then into a Bird, ten times more beautiful than the other. You
could say that all of nature was resurrected, for indeed, according to what Pliny writes. The
sky again starts its revolutions and its sweet music; and you could properly say that the four
elements, without saying anything, sing the motet for four with their flourishing gaiety, as a
chant of glory to nature and to mark the return of the miracle of the Birds and of the World.
(Plate XXXIV).

Like those at Dampierre, the panel with the three trees sculpted in the palace at Bourges bears
a motto. On the border of the frame decorated with flower-bearing branches, the attentive
observer indeed discovers isolated letters, very cleverly concealed. Their connection
composes one of the favorite maxims of the great artist that Jacques Coeur was:

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ROUEN - MANSION OF BOURGTHEROULDE (16th CENTURY)

The Phoenix on his Immortality

Plate XXXIV

.DE.MA.JOIE.DIRE.FAIRE.TAIRE.

About my Joy, Say it, Do it, Be Silent.

Now the Adepts joy resides in his occupation. The work which renders this marvel of nature
more tangible and more familiar to him which so many ignorant people call chimera
constitute his best distraction and its most noble enjoyment. In Greek the word [*430-1]
(< chara ), joy, derived from [*430-2] ( chairo ), to rejoice, to delight in, to enjoy, also means to
love. The famous philosopher, then clearly alludes to the labor of the Work, his dearest task,
of which moreover so many symbols have come to enhance the glamour of his sumptuous
house. But what to say, what to admit of this unique joy, of this pure and complete
satisfaction, the intimate cheerfulness of success? The least possible, if we do not want to
break the oath, to attract envy from some, greed from the others, jealousy from all, and the
risk of becoming the prey of the powerful. What to do then with the result about which the
artist, according to the rules of our discipline, promises to use in a modest fashion? To always
use it for the good, to consecrate its fruit to the exercise of charity, in conformity to the
precepts of philosophy and to Christian ethics. Finally what should we keep silent about?
Absolutely everything which concerns the alchemical secret and its practical use; for the
revelation, remaining Gods exclusive privilege, the disclosure of its process remains
forbidden, non-communicable in clear language, only permitted when veiled by parables,
allegories, images or metaphors.

Jacques Coeurs motto, in spite of its conciseness and implications, turns out to be in perfect
accord with the traditional teachings of the eternal wisdom. No philosopher, truly worthy of
the name, would refuse to subscribe to the rules of conduct which it expresses and which can
be translated in this way:

About the Great Work, say little, do much, and always be silent.

(1) Cf. Evangile de IEnfance (The Gospel of the Childhood of Jesus), ch. 23, 25, in the Apocryphal Writings ofMigne, vol. 1,
p. 995

(2) The French word is now spelled "mirobolant" but its etymology and pronunciation have not changed.

(3) De Cyrano Bergerac: History of the Birds in The Comical History, Of the States and Empires of the World of the Sun;
Transl. By A. Louvell; H. Rhodes, London, 1687, pp. 97-100.

(4) The author abruptly interrupts his revelation.

(5) Rene Francois: Essay des Merveilles de Nature et des plus Nobles Artifices (Essay about the Marvels of Nature and the
Most Noble Artifices)', Lyon, J. Huguetam, 1642, ch. 5, p. 69.

(6) A hermetic expression only used for the philosophersstone.

(7) We encounter once more the symbolical palm tree of Delos, against which Latona leaned when she gave birth to Apollo,
according to what is reported by Callamachus in his Hymn to Delos:

"To celebrate, O Delos, these fortunate moments,

A pure gold glistened down to your foundation
Gold covered your palm tree with a bright leaf
Gold colored your lake with shiny waves
And, for an entire day, from your deepest abyss
Inopus vomited pure gold in large bubbles".

214

THE BODYGUARDS OF FRANCIS II

DUKE OF BRITTANY I

When around the year 1502, Anne, Duchess of Brittany and twice Queen of France, drew up
the plan of reuniting in a mausoleum worthy of the veneration that she held them in, the
bodies of her deceased parents, she entrusted the execution of this task to a highly talented
artist from Brittany, about whom we possess very little information, Michel Colombe. She
was then 25 years of age. Her father, Duke Francis II, had died at Coueron, 14 years earlier,
Sept. 9, 1488, surviving the death of his second wife, Marguerite de Foix, Mother of Queen
Anne by only 16 months. She had died May 15, 1487.

This mausoleum, begun in 1502, was completed only in 1507. The plan was the work of Jean
Perreal. As for the sculptures that makes it one of the purest masterpieces of the Renaissance,
they were made by Michel Colombe, who was helped in this work by two of his students:
Guillaume Regnauld, his nephew and Jehan Chartres, "his disciple and servant", although the
latters collaboration is not totally certain. A letter written Jan. 4, 1511 by Jean Perreal to the
secretary of Marguerite of Burgundy, on the occasion of the works that this princess had made
in the Chapel of Brou, tells us that "Michel Colombe worked by the month and was getting 20
ecus (1) per month for a period of five years". He was paid 1,200 ecus for the sculpture work
and the total cost of the tomb was 560 pounds (2) .

According to Marguerite of Brittany and Francis IIs desire to be buried in the church of
Carmes in Nantes, Anne had the mausoleum erected there and it took on the name of Tomb of
the Carmes, under which it is generally known and referred to. It remained in place until the
Revolution, and when the Church of the Carmes was sold as a national property, it was
removed and secretly kept by an art enthusiast who wanted to withhold this masterpiece from
revolutionary vandalism. Once the upheaval had receded, it was rebuilt in 1819 in the
Cathedral of St Peter of Nantes, where it can be admired today. The vaulted sepulcher, built
under the show mausoleum, contained, when it was opened by order of the King, by Mellier,
mayor of Nantes, Oct. 16-17, 1727, the three coffins of Francis II, of Marguerite of Foix,
second wife of the duke and Queen Annes mother. A little box was also found there; it
contained a "pure and clean gold" reliquary in the shape of an egg, surmounted by the royal
crown, covered with inscriptions of finely enameled letters and containing the heart of Anne
of Brittany, whose body rests in the Basilica of St Denis (3) .

Among the descriptive accounts which several authors have left us about the Tomb of
Carmes, some of which are very detailed, we will preferably choose, to give an overview of
the work, the one of Brother Mathias of St John, Carme of Nantes, who published it in the
17th century (4) .

"But that which seems to be quite rare and most worthy of admiration", says this author, "is
the Tomb raised in the heart of the Church of the Carmes Monks, which, everyone agrees, is
one of the most beautiful and magnificent which can be seen, and which forces me to give a
specific description to satisfy the curious mind.

"The devotion that the ancient Dukes of Brittany held since a long time for the Holy Virgin,
Mother of God, patroness of the Order and for this church of the Holy Fathers of the Carmes
and the affection they had for the Religious of this House, led them to chose this ground for

215

their burial places. And Queen Anne, as a unique testimony of her compassion and affection
for this place wanted to have this beautiful monument raised there in memory of her father,
Francis II, and her mother, Marguerite of Foye.

"It is built in a square fashion, eight feet wide and 14 feet long: all made using fine Italian
black and white marble, porphyry and alabaster. The main part of the Word is raised by 6 feet
from the ground with 6 niches, each 2 feet high, with their back parts made of finely carved
porphyry, ornamented all around with pillars of white marble, in the proper proportions and
rules of architecture, enriched with very delicately worked moresques (arabesques): and all
the 12 niches are filled with the white marble figure of the 12 apostles, each having a different
posture and the instruments of his martyrdom. Both ends of the main building are ornamented
with a similar architecture, and each is divided into 2 niches similar to the others. At the end,
towards the master altar of the church, are placed in these niches the figures of St Francis of
Assisi and of St Marguerite, patron saints of the last Duke and Duchess which are buried
there; and at the other end in two similar niches are seen, in the same way, the two figures of
St Charlemagne and St Louis, King of France. Below the said 16 niches which surround the
main part of the tomb are as many cavities made in a round fashion, of 14 inches in diameter,
the back part of which is made of carved white marble in the shape of a shell, and all filled
with figures of mourners in their funeral clothes, in various postures, whose workmanship is
taken into consideration by very few people, but admired by all who know it for what it truly
is.

"This part is covered by a large table of black marble, made all of one piece, which exceeds
the solid body (mass of the tomb) by approximately 8 inches all around, creating a sort of
cornice to serve as an entablature and an ornament of the main part of the tomb. On this stone
two great figures of white marble are lying, each 8 feet long, one representing the Duke and
the other the Duchess with their ducal clothes and coronets. Three white marble Angels, each
3 feet tall, holding squares (pillows) under the heads of these figures, which seem to soften
under the weight and the angels cry. At the feet of the figure of the Duke there is a figure of a
lion, lying down, as in nature, bearing on its mane the coat of arms of Brittany; and at the feet
of the figure of the Duchess, there is the figure of a Greyhound also bearing round its neck the
coat of arms of the House of Foie, which the art animates marvelously well.

"But what is most marvelous in this piece are the 4 figures of the Cardinal Virtues, made of
white marble, and 6 feet high, placed at the four comers of the sepulture: they are so well
carved, so well placed, and are so life like that the natives of the city and foreigners all admit
that nothing can be seen which is better, neither in the Antiquities of Rome, nor in the modern
statues of Italy, France, or Germany. The figure of Justice is placed on the right side as one
enters, holding a raised sword in the right hand and a book and scales in the left one, a crown
on her head dressed with fur and skins which are the marks of the science, equity, severity,
and majesty which accompany this virtue.

"Opposite, on the left side, is the figure of Prudence which has two faces opposite one another
on the same head: that of an old man with a long beard, the other of a young lad (5): in the
right (on the left) hand she holds a convex mirror at which she stares, in the other hand a
compass: at her feet appears a serpent, and these things are symbols of the consideration and
the wisdom with which this virtue proceeds in her actions.

"At the right angle, on the upper side, is the figure of Strength dressed in a coat of mail
(armor) and a helmet on her head; in her left hand she carries a tower, out of whose crevices a

216

serpent (dragon) emerges, which she strangles with her right hand; this marks the vigor which
this virtue uses in misfortunes to prevent violence or to bear its burden.

"On the opposite comer is the figure of Temperance, clad in a long robe girding on a ribbon a
belt: in her right hand she bears the working s of a clock and in the other the bit of a bridle,
hieroglyphs for the regulation and moderation that this virtue puts on human passions".

The eulogies that Brother Mathias of St John writes of these bodyguards of Francis n,
represented by the cardinal virtues of Michel Colombe (6) seems to us perfectly deserved.
"These four statues", says de Caumont (7), "are admirable for their grace and simplicity. The
garments are sculpted with a rare perfection and in each figure a very marked individuality
can be observed although the four are equally noble and beautiful".

These are statues, impresses with the purest symbolism, guardians of tradition and of ancient
science, that we will study in detail.

(1) Translators note: Ecu was the currency used at the time.

(2) Cf. Abbott G. Durville: Etudes sur le vieux Nantes (Studies about the old city of Nantes), Vol. II, Vannes,
Lafolye Freres, 1915.

(3) The Canon of Durville, from whose book we borrow these details, was kind enough to send us a picture
about this curious piece, which is unfortunately empty of its contents, and now a part of the collections at the
Dobree Museum of Nantes, of which he is the curator. "I am sending you", he writes, "a small photograph of this
precious reliquary. I have placed it for one moment at the very location where Queen Annes heart was, thinking
that this circumstance would capture even more your interest for this little souvenir". We are thankful to M. the
Canon Durville for his solicitude and delicate attention.

(4) Le Commerce Honorable..., composed by an inhabitant of Nantes', Nantes, G. Le Monnier, 1646, p. 308-312.

(5) Translators note: Brother Mathias saw a young lad, although the drawings of the statue seem to represent a
young woman.

(6) Michel Colombe, born in 1460 at Saint-Pol-de-Leon was about 45 when he sculpted them.

(7) De Caumont: Cours dAntiquities Monumentales\ 1841, 6th part, p. 445.

217

BODYGUARDS II

With the exception of Justice, the cardinal virtues no longer are represented with the singular
attri butes which gave the ancient figures their enigmatic and mysterious characteristics. Under
the pressure of more realistic designs, the symbolism was transformed. The artists,
abandoning all idealization of thought, preferably abide by naturalism. They closely follow
the expression of the attri butes and facilitate the identification of the allegorical characters.
However, while perfecting their technique and coming closer to modem formulas, they have,
unconsciously, struck a mortal blow to traditional truth. For the ancient sciences, transmitted
under the veil of various emblems, are answerable to the science of Diplomatics and are
presented with a double meaning, one apparent and understandable by everyone (exoteric),
the other, hidden, accessible only to initiates (esoteric). By specifying the symbol, limited to
its positive, ordinary, and defined function, by individualizing it to the point of excluding
from it all connected or relative ideas, it is stripped of this double meaning, of this secondary
expression which gave it its very didactic value and its essential significance. The ancients
represented Justice, Fortune and Love with blindfolded eyes. Did they only mean to express
the sightlessness of one, and the blindlessness of the others? Could we not discover in the
attri bute of the blindfold, a special reason for this artificial and probably necessary darkness?
It would suffice to know that these figures, commonly subjected to human vicissitudes, also
belonged to the scientific tradition, to easily recognize the reason. And we would then become
aware that the occult meaning proves to be clearer than that obtained by a direct analysis, or
by a superficial perusal. When the poets relate that Saturn, the father of the gods, devoured his
children, we believe along with the Encyclopedia that "such a metaphor serves to characterize
a period, an institution, etc., whose circumstances or results become fatal to the very people
who should only benefit from it". But if we substitute, for this general interpretation, the
positive and scientific reason which constitutes the background of legends and of myths, truth
becomes immediately clear, luminous, and patent. Hermeticism teaches that Saturn, the
symbolic representative of the first earthly metal, and generator of the others, is also their
unique and natural solvent; and since every dissolved metal is assimilated into the solvent and
loses its characteristics, it is accurate and logical to state that the solvent "eats" the metal, as
the legendary old man devours his progeny.

We could give numerous examples of this duality of meaning expressed by traditional
symbolism. This one suffices to prove that, along with the moral Christian interpretation of
the cardinal virtues, there is a second, secret, profane, ordinarily unknown teaching which
belongs to the material domain of ancestral acquisitions and knowledge. So, sealed in the
shape of the same emblem, we find once again the harmonious union of Science and Religion,
so fertile in marvelous results, but that modern skepticism refuses to recognize and always
conspires to thrust aside.

"The topic of Venus", very justly remarks M. Paul Vitry , "was formed in the 13th century
in Gothic art. But, added the author, while the series always remained variable with us as to
its number, order, and attri butes; it became set rather early in Italy and was limited to the three
theological virtues: Faith, Hope and Charity or, even more often yet to the four cardinal
Virtues: Prudence, Justice, Strength, and Temperance. In addition, it was applied early to the
ornamentation of funereal monuments.

"As to the fashion in which these Virtues were more or less characterized, it seems to have
been set with Orcagna and his gold tabernacle of San Michele around the middle of the 14th

218

century. Justice carries the sword and the scales and this will never change. The main attri bute
of Prudence is the snake; sometimes one or more books were added to it, later a mirror.
Almost from the very beginning, according to an idea similar to Dantes who gave three eyes
to his Prudence, the image makers gave two faces to this virtue. Temperance sometimes
sheathed her sword, but more often than not, holds two vases and seems to be mixing water
and wine: it is the elementary symbol of sobriety. Finally, Strength bears Sampsons
attri butes; she is armed with the shield and club; sometimes she has a lions skin on her head
and a disk representing the world in her hands; other times, and this will become her
definitive attri bute, at least in Italy, she holds an entire or a broken column...

"Contrary to the rest of the large monuments, the manuscripts, books, and engravings were in
charge of spreading the Italian style of the Virtues and could even make it known to those,
who like Colombe, had probably not made the trip to Italy. A series of Italian engravings at
the end of the 15th century, known as the Italian Card Deck, shows us in the midst of
representations of different social conditions, the Muses, the gods of antiquity, the liberal arts,
etc., a series of figures of the Virtues; they are given the very same attri butes we just
described...

We have here a very curious specimen of these documents which could have been brought
back by people like Perreal, who had followed expeditions; documents which were allowed to
circulate in artists studios and inspired topics until they could impose a new style.

"Besides, this symbolic language was easily understood in our country; it was totally in
accordance with the allegorical spirit of the 15th century. In order to become aware of it, it
suffices to think of the Roman de la Rose and of all the literature which was thereafter
produced. The miniaturists had abundantly illustrated these books, and even apart from the
allegories of nature, from these diversions and make-believe, French art certainly did not fail
to know the series of Virtues, although it was not a theme used as frequently as in Italy".

Yet, without absolutely denying some Italian influence in the splendid figures of the Tomb of
the Carmes, Paul Vitry notes the novel, essentially French characteristic that Michel Colombe
was to give the Italian ultramontane elements brought back by Jean Perreal. "If we were to
admit", continues the author, "that they borrowed the initial idea from the Italian tombs,
Perreal and Colombe would not have accepted without modification the theme of the cardinal
Virtues". Indeed, "Temperance will carry in her hands a clock and a bit with its bridle instead
of the two vases that the Italians used to give her. As for Strength, armed and helmeted,
instead of her column, she will hold a tower, a sort of crenellated donjon, out of which she
tears away a struggling dragon. Neither in Rome, Florence, Milan, nor Como (south door of
the cathedral) do we recognize anything similar to this".

But while we can easily discern in the cenotaph of Nantes the respective part which belongs
to the masters Perreal and Colombe, it is more difficult to discover the extent of the personal
influence and will of the founder. For we cannot believe that during five years she took no
part in a work that was very dear to her heart. Could Queen Anne, that gracious sovereign
whom her people, in their naive affection, lovingly called "the good duchess with the wooden
shoes", have known the esoteric meaning of the guardians of the mausoleum raised in
memory of her parents? We would very willingly resolve this question in the affirmative. Her
biographers state that she was well educated, gifted with a keen intelligence and a remarkable
clairvoyance. Her library seems already big for the time. "According to the only document",
says Le Roux de Lincy (2) , "which I was able to discover relative to the entire library formed
by Anne of Brittany (Index des Comptes de Depenses de 1498 Index of the Accounts

219

Payable of the Year 1498 ) there were hand-written and printed books in Latin, French, Italian,
Greek, and Hebrew, 1,140 books, taken in Naples by Charles VIII and that were given to the
queen... We could perhaps be surprised to see Greek and Hebrew books represented in the
collection of the Queen Duchess; but we should remember that she had studied these two
learned languages and that the nature of her mind was, above all, serious". She is depicted as
eager to talk with diplomats, whom she pleased to answer in their own tongue, which would
justify the very careful multilingual education and probably also mastery of the hermetic
cabala, the gay-savoir or the double science. Did she keep company with reputed scientists of
her time and among them, perhaps, with contemporary alchemists? We lack information
about the subject although it seems difficult to explain why the great fireplace of the drawing
room of the Lallemant mansion bears Anne of Brittanys ermine and Louis XIIs porcupine, if
one cannot see there a testimony of their presence in the philosophers dwelling of Bourges.
Be that as it may, her personal wealth was considerable. Crafted goldware, gold ingots, and
precious gems formed the body of an almost inexhaustible treasure. The abundance of such
wealth rendered easy the exercise of a generosity quickly become popular. Chroniclers tell us
that she gladly paid, with the gift of a diamond, a poor minstrel who had entertained her for a
dew minutes. As for the liveries, they presented the hermetic colors chosen by her: black,
yellow and red before Charles VIIIs death, and only the two extremes of the Work, black and
red, after that time, Finally, she was the first queen of France who, resolutely breaking with
the previous established custom, wore black mourning clothes for the death of her first
husband, when protocol dictated sovereigns to always where white.

(1) Paul Vitry.Michel Colombe et la sculpture de son temps', Paris, E. Levy, 1901, p. 395.

(2) Le Roux de Lincy: Vie de la Reine Anne de Bretagne, femme des Rois de France Charles VIII and Louis XII;
Paris, L. Curmer, 1860, vol. 2, p. 34.

220

BODYGUARDS III

The first of the four statues we are to study is the one which offers the various attri butes in
charge of specifying the allegorical expression of Justice: the lion, the scales, and the sword.
But apart from the esoteric meaning clearly different from the moral sense given to these
attri butes, Michel Colombes figure reveals other signs of her occult personality. No detail,
however tiny, should be neglected in an analysis of this kind, without first having undergone a
serious examination. Now the ermine surcoat worn by Justice is fringed with roses and pearls.
The forehead of our Virtue bears a ducal coronet which has led some to believe that it
reproduces the features of Anne of Brittany; the pommel of the sword the holds in her right
hand is ornamented with a radiating sun; finally, and this is her chief feature, she appears here
unveiled. The peplum, covering her entirely has slipped on her body; retained by the
protrusion of the arms, it comes to cover the lower part of the coat; the glaive has left its
brocaded sheath, which can now be seen suspended on the tip of the sword (Plate XXXV).

As Justices essence and raison detre demand that she hide nothing, and as the search for, and
manifestation of, truth obliges her to show herself to all in the full light of equality, the veil,
half drawn back, must necessarily reveal the secret individuality of a second figure, artfully
concealed under the form and attri butes of the first. This second figure is none other than
Philosophy.

In Roman antiquity, the peplum, (Greek [*447-1] peplos or [*447-2] pepla) was a veil
ornamented with embroidery used to dress the statue of Minerva, daughter of Jupiter, and the
only goddess whose birth was a miraculous. Indeed, mythology says that she sprung forth
fully armed from the brain of her father, whose head, by the order of the Master of Olympus,
Vulcan had split. Hence her Hellenic name of Athena [*447-3] (Athena), formed from the
privative prefix peplos, and [*448-2] ( ti thene, wet nurse, mother, meaning born without a
mother. A personification of the Wisdom or Knowledge of things, Minerva, must be regarded
as the divine and creative thought, materialized in all nature, latent in ourselves as it is in
everything that surrounds us. But we are speaking here of feminine clothing, a womans veil
([*448-3] chalumma) and this word gives us another explanation for the symbolic peplum.
Chalumma comes from [*448-4] ( calupto) to cover, envelope, hide, which formed [*448-5]
(calus), rose bud, and also [*448-6] ( calupso ), Greek name for the nymph Calypso, queen of
the mythical island of Ogygiae which the Greeks called [*448-7] (Ogugios), a term akin to the
word [*448-8] (Ogugia), which has the meaning of ancient and great. Here again is the
mystical rose, the flower of the Great Work, better known as the Philosophers Stone. So that
it becomes easy to understand the relationship between the expression of the veil and that of
the roses and pearls ornamenting the fur surcoat since this stone is also called precious pearl
(Margarita pretiosa). "Alciat", says Brother Noel, "represents Justice with the features of a
virgin whose crown is golden and whose tunic is white, covered with an ample purple drape.
Her eyes are soft and her bearing modest. She bears on her bosom a rich jewel, symbol of her
inestimable value, and she has her left foot in a square stone". The dual nature of the
Magistery could not be better described, its colors, the high value of this cubic stone which
carries Philosophy as a whole, masked for common people under the features of Justice.

Philosophy confers on those who espouse it a great power of investigation. She enables
penetration of the intimate construction of things which she cuts short as with a sword
discovering in it the presence of the spiritus munch, of which the classical masters speak, and
which has its center in he sun and draws its virtue and motion from the radiation of the

221

CATHEDRAL OF NANTES
Tomb of Francis II - Justice ( 16 th Century)

l//w% J 1 W

heavenly body. She also gives knowledge of the general laws, rules, rhythms, and measures
observed by nature in the elaboration, evolution, and perfection of created things (the scales).
She finally establishes the possibility of acquiring sciences based on observation, meditation,
faith, and written teachings (the book). By the same attri butes, this image of Philosophy also
teaches us the essential points of the labor of the Adepts and proclaims the necessity for
manual labor imposed on seekers desiring to acquire the positive notion, and the indisputable
proof of its reality. Without technical research, without frequent attempts, nor reiterated
experiments we can only go astray in a science whose best treatises carefully hide the physical
principles, their application, the materials, and the time required. Then whoever dares to claim
to be a philosopher and does not want to labor for fear of cold, fatigue or the expense, must be
regarded as the most vain of ignoramuses, or the most shameless of imposters. "I can give
evidence", said Augustine Thierry, "which, coming from me wont be questioned: there is in
the world something better than material pleasures, better than wealth, better than health
itself; it is devotion to science". The activity of the sage is not measured by the results of
speculative propaganda; it is mastered at the furnace in the solitude and silence of the
laboratory, and not anywhere else. It manifests itself with neither claims not verbiage, through
the careful study, the accurate and persevering examination of reaction and of phenomena.
Whoever acts differently, will sooner or later verify Solomons maxim (Prov. 21:25): "The
desire of the slothful killeth him; for his hands refuse to labor". The genuine scientist does not
shrink from effort; he does fear suffering because he knows it is the penalty for science and
that it alone will give him the means to understand a proverb, and the interpretation; the words
of the wise, and their dark sayings... (Prov. 1:6).

As to what concerns the practical value of the attri butes given to Justice, regarding the
hermetic labor, the student will find through experience that the energy of the universal spirit
has its signature in the glaive and that the glaive has a correspondence in the sum, as the
animator and perpetual modifier of all physical substances. It is the unique agent of the
successive metamorphoses of the original matter, the subject and foundation of the Magistery.
Through its agency, mercury is changed into sulphur, sulphur into an Elixir, and the Elixir
into a Medicine, which then receives the name of the Crown of the Sage, because this
threefold mutation confirms the truth of the secret teaching and consecrates the glory of its
fortunate artisan. Possessing the ardent and multiplied sulphur, masked under the term of the
Philosophers Stone, it is to the Adept what the triple crown is to the pope and the crown to
the monarch: the major emblem of sovereignty and wisdom.

We have often had the opportunity to explain the meaning of the open book characterized by
the radical solution of the metallic body, which, having left its impurities behind and yielded
its sulphur, is then said to be open. But we have to make another remark. Under the Latin
name liber and under the image of book, adopted to qualify the matter, withholder of the
solvent, the sages meant to designate the closed book, the general symbol for all crude
mineral or metallic bodies, such as given to us by nature or such as human industry delivers to
the market. And so, minerals extracted from an ore-bearing bed, and metals out of casting are
hermetically expressed by a closed or sealed book. Similarly, these bodies, when submitted to
alchemical work, modified by the application of occult processes, are translated into
iconography with the help of the open book. It is therefore necessary in practice to extract the
mercury from the closed book of our primitive subject, so as to obtain it living and open, if we
want it to be in turn able to open the metal and revivify the inert sulphur it contains. The
opening of the first book prepares that of the second. For, hidden under the same emblem, are
two closed books (the crude subject and the metal) and two open books (the mercury and the
sulphur) although these hieroglyphic books really add up to being one and the same, since the
metal comes from the initial matter and sulphur originates in mercury.

222

As for the scales applied against the book it would suffice to point out that they translate the
necessity of weights and ratios, in order to feel exempt from having to speak of it further.
Now this faithful image of the utensil used for the weighing and to which chemists assign an
honorable place in their laboratories also conceals an Arcanum of the highest importance.
This is the reason why it forces us to account for it and to briefly indicate that which the
scales hide under the angles and symmetry of their form.

When the philosophers consider the weight ratios among matters, they mean to speak of one
or the other part of a double esoteric knowledge: the weight of nature and the weights of art
(1) . Unfortunately, said Solomon, the sages hide the science; bound to remain within the
narrow limits of their vow and respectful of an accepted discipline, they take care never to
clearly establish how the two secrets differ one from another. We shall see to it to tread
farther than they did and shall say in all sincerity that the weights of the art are exclusively
applicable to separate bodies, that can be weighed, while the weight of nature refers to the
relative ratios of the components of a given body. So that, describing the reciprocal quantities
of different matters, in view of effecting their regular and appropriate blending, the authors
truly speak of the weights of the art; on the contrary, if they are speaking of quantitative
values within a synthetic and radical combination, such as that of sulphur and mercury
principles united in the philosophers mercury, it is the weight of nature which is then
considered. And we shall add in order to remove all confusion from the readers mind that,
while the weights of art is known to the artist and rigorously determined by him, on the other
hand the weight of nature is always unknown even to the greatest masters. This mystery is
answerable to God alone, and its intelligence remains inaccessible to man.

The Work begins and ends with the weights of the art; so the alchemists preparing the way
prompts nature to begin and to perfect this great labor. But, in between these extremities, the
artist does not need the scales, the weight of nature intervening alone, so that the making of
common mercury, that of the philosophical mercury, and the operations known as imbibitions,
etc., are done without anyone being able to know, even if approximately, the quantities
retained or decomposed, the assimilation rate of the basis as well as the proportion of the
spirits. This is what the Cosmopolite insinuates when he says that the mercury does not take
any more sulphur than what it can absorb and retain. In other words, the proportion of
assimilable matter, as it depends directly upon the appropriate metallic energy, remains
variable and cannot be evaluated. All the work is therefore subject to natural and acquired
qualities, as much of the agent as of the subject. Supposing that the agent is obtained with the
maximum of virtue which is rarely achieved the basic matter, such as nature offers to
us, is quite removed from being constant and similar to itself. We will say about this, for
having often controlled its effects, that the assertion of some authors founded upon certain
external particularities yellow spots, efflorescences, red plaques or spots do not merit to
be taken into consideration. The mining region could give better indications on the quality
sought for, although a few samples taken from the block of the ore-bearing layer sometimes
reveal among themselves considerable differences.

So, without resorting to abstract influences nor to mystical interventions, can we explain why
the philosophers stone, in spite of an exactly performed work, in accordance with natural
necessities, never leaves in the hands of the worker a body of equal power, and of a
transmutative energy in direct and constant relationship with the quantity of materials used.

(1) Not until the time where the lover, having for the third time renewed the weights, Atalanta gave the reward to her victor
(M. Maier: Atalanta Fugiens).

223

BODYGUARDS IV

Here is, in our opinion, Michel Colombes masterpiece and the main piece of the tomb of the
Cannes. "By itself", writes Leon Palustre , "this statue of Strength would suffice to bring
glory to a man, and we cannot help feeling an acute and deep emotion. The majesty of the
posture, the nobility of the expression, the grace of the gesture which perhaps we would
prefer more vigorous are, as many revealing characteristics of a more consummate
mastery, of an incomparable skill in workmanship". With her head covered by a flat morion
with a lions snout in the front, and her bust draped with a finely chiseled corselet, Strength
holds a tower in her left hand and drawn forth in the right, not a serpent, as most descriptions
portend, but a winged dragon, which she strangles by squeezing its neck. An ample drape
with long fringes, whose folds are held by her forearms, forms a loop through which one of
her extremities passes. This cloth, which, in the sculptors mind, should have covered the
emblematic Virtue, confirms what we have said previously. Just like Justice, Strength appears
unveiled (Plate XXXVI). Daughter of Jupiter and Themis, sister of Justice and Temperance,
the ancients honored her as a divinity without endowing her images with the particular
attri butes we see her offer today. In Greek antiquity, the statues of Hercules, with the heros
club and the Nemean lion skin, personified both physical and moral strength. As for the
Egyptians, they represented her as a woman with a strong constitution, having two bull horns
on her head and an elephant at her side. Modem artists express her in very different ways.
Botticelli sees her as a robust woman, simply seated upon a throne; Rubens gives her a shield
with the figure of a lion or has her being followed by a lion. Gravelot shows her crushing
vipers, a lion skin thrown on her shoulders, with a laurel branch around her head and holding
a sheaf of arrows, while at her feet lie crowns and scepters. Anguier, in a bas-relief on the
tomb of Henri Longueville (in the Louvre), makes use, to define Strength, of a lion devouring
a boar. Coysevox (on the balustrade of the marble courtyard at Versailles) dresses her in a lion
skin and has her carry an oak branch in one hand, and the base of a column in the other.
Finally, among the bas-reliefs decorating the peristyle of the St Sulpice Church, Strength is
represented armed with a flaming sword and the shield of Faith. In all of these figures and in
many others the enumeration of which would be tedious, we cannot find any analogy, with
regard to attri butes, with that of Michel Colombe and of the sculptors of his time. Because of
this, the beautiful statue of the tomb of the Cannes takes on a special value and becomes for
us the best translation of esoteric symbolism. We cannot reasonably deny that the tower, so
important in medieval fortification, holds a clearly defined meaning, although we have not
been able to discover an interpretation for it anywhere. As for the dragon, its double
expression is better known, from a moral and religious point of view, it is a translation of evil,
the spirit of a demon, a devil, or Satan; for the philosopher and alchemist, it was always used
to represent their volatile and dissolving first matter, otherwise called common mercury.
Hermetically, we can see the tower as the envelope, the refuge, the protective sanctuary
mineralogists would coin the term ganque or ore-bearing earth of the mercurial dragon. It
is moreover the meaning of the Greek word [*456-1] ipurgos), tower, asylum, refuge. The
intervention could be even more complete if we identify with the artist the woman who pulls
the monster out o its lair and the deadly gesture with the goal which he proposed to endeavor
in this difficult and dangerous operation. At least, in this way, we could find a satisfactory and
almost true explanation of the allegorical subject used to reveal the esoteric aspect of
Strength. But we would have to assume that the secret science to which these attri butes refer
is known. Our statue itself can teach us both about its symbolic meaning and about the topics
related to all that which is Wisdom, represented by the four cardinal virtues. If the great
initiate, Francois Rabelais was, had been asked for his opinion, he would certainly have

224

CATHEDRAL OF NANTES
Tomb of Francis II - Strength ( 16 th Century)

Plate XXXVI

answered through the voice of Epistemon (2), that the tower of fortification or fortified castle,
amounts to saying a feat of strength or a tower of strength (3); and that a feat of strength
requires "courage, wisdom, and power: courage because there is danger, wisdom because due
knowledge is necessarily required; power, for whoever cannot do it, should not undertake it".
On the other hand, the phonetic cabala which makes the French word tour (tower) equivalent
to the Attic word [*457-1] (turns), completes the Pantagruelic meaning if the tower, or feat, of
strength (4). As a matter of fact, turos is substituted and used for [*457-2] (to oris ); [*457-3]
that, that which, [*457-4] (oros) goal, term, objective meant to be achieved), thus marking
the thing to be attained, the goal set forth. Nothing, it can be seen, could better fir the
figurative expression of the stone of the philosophers, a dragon enclosed in its fortress, the
extraction of which has always been considered a true feat of strength. On the other hand, the
image is revealing; for, while we experience some difficulties understanding how a robust and
bulky dragon could have resisted the compression exerted by the walls of its narrow prison,
we can no more grasp by what miracle it goes entirely through a mere crack in the masonry.
Here again we can recognize a translation of the prodigious, the supernatural and the
miraculous. Let us finally point out that Strength bears other marks of the esotericism she
reflects. The braids of her hair, hieroglyphs for the solar radiation, indicate that the Work,
subjected to the influence of the heavenly body, cannot be performed without the dynamic
collaboration of the sun. The braid, in Greek [*457-5] ( seira ), is adopted to represent the
vibrational energy, because, among the ancient Helllenic people, the sun was called [*457-6]
(seir). The regulated scales on the gorget of the corselet are those of a serpent, another
emblem of the mercurial subject and replica of the dragon which is also scaly. Fish scales, set
in a semi-circle, decorate her abdomen and evoke the joining of the human body of a
mermaids tail. The mermaid, fabulous monster and hermetic symbol, is used to characterize
the union of the nascent sulphur, which is our fish, with thecomon mercury, called virgin, in
the philosophical mercury or salt of wisdom. The same meaning is provided by the Twelfth
Night cake, to which the Greeks gave the same name as to the Moon, Selena: [*458-1]
(,selene ); this word formed from the Greek roots [*458-2] ( selas ), brightness, and [*458-3]
(ele), solar light, had been chosen by the initiates to show that the philosophical mercury drew
its brightness from sulphur just as the moon receives its light from the sun. An analogous
reason caused the name [*458-4] (seiren), siren to be attri buted to the mythical monster
resulting from the combination of a woman and a fish; serein, a contraction of [*458-5] (seir),
sun and [*458-6] (mene), moon, also indicates the mercurial lunar matter combined with the
sulphurous solar substance. Therefore it is a translation identical to that of the Twelfth Night
cake, adorned with the sign of light and spirituality: the cross, evidence of the real incarnation
of the solar ray, emanating from the universal father, into heavy matter, matrix of all things,
and the terra inanis et vacua (worthless and empty earth) of the Scriptures.

(1) Leon Palustre: Les Sculpteurs Francois de la Renaissance: Michel Colombe {French Sculptors of the Renaissance:
Michel Colombe) in Gazette des Beaus-Artes , 2nd issue, vol. 29, May-June 1884.

(2) The Greek word Epistemon means learned, one who is instructed, skilled at; the root epistemai, to know, to examine, to
think.

(3) Translator's Note: A "tour de force" in French means at once a tower of strength and a. feat of strength.

(4) Rabelais' main book, entitled Pantagruel, is entirely devoted to the burlesque and cabalistic exposition of alchemical
secrets, of which the pantagruelism embraces the totality and constitutes the scienctific doctrine. Pantagruel is assmebled
from thee Greek words: panta, used for pante, completely, in an absolute manner; gue, path, way; ele, solar light. Rabelais
gigantic hero therefore expresses the perfect knowledge of the solar path, that is to say the universal way.

225

BODYGUARDS V

"Wearing a matron headdress with a throat collar" so says Dubuisson-Aubenay in his
Itinerary in Brittany , in 1636 Michel Colombes Temperance is endowed with attri butes
similar to those given her by Cohin. According to the latter, she is dressed in simple clothes, a
bridle with bit in one hand and in the other, the pendulum of a clock or the balance wheel of a
watch". Other statues represent her holding a bridle or cup. "She quite often seems", says
Noel, "to be leaning on an inverted vase, with a bridle in her hand or mixing wine with
water". The elephant, considered the most sober of animals, is her symbol. Ripa gives two of
her emblems: one of a woman with a turtle on her head, holding a bridle and silver money; the
other of a woman in the act of steeping, with tongs, some red hot iron into a water-filled vase.

In Her left hand our statue holds a case decorated with a weight-driven clock, a customary
model of the 16th century. It is shown that the dials of these instruments had only one hand,
as is seen in this very beautiful figure of the period. The clock, used to measure time, is taken
for the hieroglyph of time itself and looked upon, like the hourglass, as the principal emblem
of the old Saturn (Plate XXXVII).

Some rather superficial observers thought to recognize a lantern in the clock of Temperance,
even though it is quite easy to identify. The mistake would barely modify the deep
signification of the symbol, because the meaning of the lantern completes that of the clock.
Indeed while the lantern illuminates because it bears light, the clock appears to be the
dispenser of this light, which is not received in one sitting, but little by little, progressively, in
the course of years and with the help of time. Experience, light, and truth are philosophical
synonyms; and nothing, if not age, can allow us to acquire experience, light and truth.

Therefore, such is Time represented, sole master of wisdom, under the appearance of an old
man, and philosophers in the old and weary posture of men having worked a long time to
obtain it. It is this necessity for time or experience that Francois Rabelais emphasizes in his
Appendix to the last chapter of the fifth book of Pantagruel when he writes: "Therefore, when
you philosophers, God guiding, accompanying them by some clear lantern, will devote
themselves to careful research and investigation as is natural to humans (and because of this
quality Herodotus and Homer have been called Alphestes ( , i.e., seekers and inventors) they
will find the answer made by the sage Thales of Amasis, king of the Egyptians, to be true,
when he was asked which thing contained the most prudence: Time, he said, for through Time
have all latent things been invented and through Time they will be; and this is the reason why
the ancients called Saturn Time, the father of Truth, and Truth the daughter of Time. They
will also without fail recognize all the science, they and their predecessors have acquired, to
be but the smallest part of that which is, and which they know not".

But the esoteric scope of Temperance lies entirely in the bridle which she holds in her right
hand. It is with the bridle that the horse is driven; by means of this bit, the cavalier directs his
mount as he pleases. So the bridle can be considered as the essential instrument, the mediator
placed between the will of the cavalier and the progress of the horse, toward the proposed
objective. This means, of which he image has been chosen among the constituent parts of the
harness, is designated in hermeticism by the name of cabala. So that the special expression of
the bridle, that of restraint and of direction, allowone to identify and recognize, under a single
symbolic form, Temperance and the Cabalistic Science.

226

CATHEDRAL OF NANTES
Tomb of Francis II - Temperance ( 16 th Century)

Plate XXXVII

About this science, a remark is called for which, we believe, is all the more founded because
the uninformed student tends to confuse the hermetic cabala to the system of allegorical
interpretation which theJews claim to have received through tradition and which they call
Kabbala. In fact, the two terms have nothing in common, save their pronunciation. The
Hebrew Kabbala is only concerned with the Bible; it is therefore strictly limited to sacred
exegesis and hermeneutics. Hermetic cabala concerns books, texts and documents of the
esoteric sciences of Antiquity, of the Middle Ages and of modern times. While the Hebraic
kabbala is but a process based on the decomposition and explanation of each word or letter,
the hermetic cabala on the contrary is a genuine language. And as the great majority of
didactic treatises of ancient sciences are written in cabala or as they use this language in their
essential passages; as the Great Art iself, on Artephius own confession, is completely
cabalistic, the reader cannot understand any of it if he does not possess at least the first
elements of the secret idiom. In the Hebrew kabbala, three meanings can be discovered in
each sacred word, hence there are three different interpret ations of kabbalas. The first, called
Gematria involves the analysis of the numeric or arithmetic value of the letters composing the
word; the second, called Notarikon, establishes the meaning of each letter considered
separately; the third, Temura (variation, permutation) uses certain transpositions of letters.
This last system, which seems to have been the oldest, dates from the time when the
Alexandrian school flourished, and was created by some Jewish philosophers anxious to
accommodate the Greek and Oriental philosophical speculations with the text of sacred books.
We would not be particularly surprised if the fatherhood of this method was due to the Jew
Philo, whose reputation was great at the beginning of our era because he is the first
philosopher mentioned as having attempted to identify a true religion with philosophy. It is
known that he tried to reconcile the writings of Plato with the Hebrew texts by interpreting the
latter allegorically, which agrees perfectly with objective pursued by the Hebrew kabbala. Be
that as it may, according to the works of very serious authors, we cannot assign to the Jewish
system a date much earlier than the Christian era even by moving back the point of departure
of this interpretation to the Greek Septuagint (238 BC). The hermetic cabala however was
used long before that period by the Pythagoreans and the disciples of Thales of Miletis (640-
560 BC), founder of the Ionian school: Anaximander, Pherecyde of Syros, Anaximene of
Miletis, Heraclitus of Ephesus, Anaxagoras of Clazomene, etc., in a word, by all the
philosophers and Greek savants, as the Papyrus of Leyden testifies.

What is also generally unknown is that the cabala contained and preserved the essential part
of the mother tongue of the Pelasgians, a deformed, albeit not destroyed, language, within
primitive Greek; it is the root language of Western idioms and particularly of French, whose
Pelasgian origin is undeniably verified; an admirable language, of which it suffices to know a
few smatterings to easily rediscover, in the different European dialects, the real meaning,
altered by time and by the migrations of peoples, from the original language.

Conversely, to Jewish kabbala, created out of nothing so as to veil, doubtlessly, that which the
sacred text showed too clearly, hermetic cabala is a precious key allowing whoever possesses
it to open the doors of the sanctuaries, of these closed books which are the works of
traditional science, to extract their spirit, to see their secret meaning. Known to Jesus and his
apostles (it unfortunately caused St Peters first denial), the cabal was used in the Middle
Ages by philosophers, scientists, men of letters, and diplomats. Knights belonging to Orders
and knights-errant, troubadours, trouveres, and minstrels, traveling students of the famous
school of magic at Salamanc, who we call Venusbergs because they were said to come from
the mountain of Venus, discussed among themselves in the language of the gods, also called
the gay science or gay knowledge, our hermetic cabala (2) . Furthermore, it bears the name and
the spirit of Chivalry, the true name of which was revealed to us by Dantes mystical book.

227

The Latin word Caballus and the Greek word [*464-1] ( kaballes ), both mean pack-horse; our
cabala truly carries a considerable weight, the "pack" and sum total of ancient knowledge and
of medieval chivalry or cabalery or cabala (3) , the heavy baggage of esoteric truth transmitted
by its intermediary throughout the ages. It was the secret language of "cabaliers", horsemen,
and cavaliers. The initiates and intellectuals of Antiquity knew it. The ones and the others, so
as to reach fullness of knowledge, metaphorically rode the "cavale" (the mare), the horse,
spiritual vehicle whose typical image is that of Pegasus, the winged horse of the Greek poets.
It alone gave the chosen one access to unknown regions, and offered them the possibility to
see all and know all throughout space and time, ether and life. Pegasus, in Greek [*464-2]
(pegasos ), takes its name from the word [*464-3] (pege ), source, or spring, because it is said
that it caused the fountain of Hippocrene to spring out with one kick; but the truth is of
another nature. It is because the cabala provides the cause, gives the principle, reveals the
source of sciences that its hieroglyphgic animal received the special and characteristic name it
now bears. To know the cabala is to speak the language of Pegasus, the language of the horse,
of which Twist expressively indicates, in one of his allegorical Travels, the effective value
and the esoteric power.

Mysterious language of the philosophers and disciples of Hermes, the cabala dominates the
entire didactics of the Great Art, just as symbolism embraces all its iconography. Art and
literature thus offer to the hidden science the added support of their own resources and their
expressive faculties. Actually, and in spite of their specific characteristics and their separate
techniques, the cabala and symbolism use different paths to reach the same goal and to merge
into the same teaching. They are the two master pillars erected on the comer stones of the
philosophical foundation, which support the alchemical fronton of the temple of wisdom.

All idioms can give refuge to the traditional meaning of the cabalistic words, because the
cabala, deprived of texture and syntax, easily adapts itself to any language, without altering its
special genius. It brings to the different natural languages the substances of its thought with
the original meaning of the names and of the qualities. So that any language always remains
likely to carry it, to incorporate it, and consequently to become cabalistic by the double
meanings which it takes on as a result.

Apart from its pure alchemical role, the cabala was used in the elaboration of several literary
masterpieces, which many dilettantes can appreciate, without however guessing what
treasures they hide under the attractiveness, the charm, the nobleness of style. This is because
the authors whether they are named Homer, Virgil, Ovid, Plato, Dante, or Goe the were
all great initiates. They wrote their immortal works not so much to leave to posterity
imperishable monuments of the human genius, but rather to instruct it in the sublime
knowledge of which they were the depositories and which they had to transmit in their
entirety. We should judge in that way, apart from the already quoted masters, the marvelous
artisans of chivalrous poems, jests, etc. belonging to the cycle of the Round Table and of the
Grail; the works of Francois Rabelais and the ones by De Cyrano Bergerac; Don Quixote by
Miquel Cervantes; Gullivers Travels by Swift; the Dream of Polyphilus by Francisco
Colonna; the Tales of Mother Goose by Perrault; the Songs of the King of Navarre by
Thibault de Champagne; The Devil as a Predicator, a curious Spanish book of which we do
not know the author, and many other books which, albeit less famous, are not lesser in interest
nor in knowledge.

We will limit at this point our account of the solar cabala, as we received no permission to
give a complete treatise of it, nor to teach its rule. It was enough to point out the important
position it occupies in the study of the "secrets of nature", and the necessity for the beginner

228

to find its key. But, in order for is to be useful to him as much as possible, we will give, as an
example, the version in a clear language of an original cabalistic text of Naxagoras <4) . Let us
hope that the son of science discovers there the manner to interpret the sealed books, and
knows how to take advantage of such a little veiled teaching. In his allegory, the Adept strove
to describe the ancient and simple path, the only one which once upon a time the old
alchemical masters used to follow.

( [A] English Translation of the French Translation done in the 18th century from the
original German text of Naxagoras)

Very Detailed Description of the Golden Sand found near Zwickau, in Misnia near
Niederhohendorff, and other neighboring places by J.N.V.E.J.E. ac 5 Pet. ALC. 1715.

( [B] English Translation of the French Version, in clear language, of Naxagoras
cabalistic text)

Very Detailed Description of the manner of extracting, and releasing, the Spirit from Gold,
enclosed in the vile mineral matter, so as to build the sacred temple of Light (5) and to discover
other analogous secrets by J.N.V.E.J.E. containing 5 points of Alchemy, 1715.

[A] Almost two years ago, a man from these mines obtained from a third person a small
extract of a manuscript in quarto, about an inch thick, which came furthermore from two
Italian travelers who are also named therein.

[B] It is almost two years since a worker skilled in the metallic art obtained through a third
agent <6) , an extract of the four elements, manually obtained by assembling two mercuries of
the same origin which their excellence caused to be called Roman, and which were always
named that way.

[A] This extract was thoroughly examined by M.N.N. already a long time ago, because the
latter intended to do a lot of work using a divining rod. He finally succeeded in touching that
which he was looking for. Here is the extract from this manuscript:

[B] By means of this extract known from Antiquity and well studied by the Moderns, great
things can be achieved, provided one has received illumination from the Holy Ghost. It is then
that one succeeds in touching with ones hands what one is looking for. Here is the manual
technique for this extract:

[A] I. A borough called Hartsmanngrun, near Zwickau. Under the burough, many good
grains. The mine there is in lodes.

[B] I. A scoria surfaces above the combination, formed in fire, of the pure parts of the vile
mineral matter, Under the scoria, a friable, granulous water can be found. It is the lode of the
metallic ore.

[A] II. Kohl-Stein, near Zwickau,. There is a good lode of lead grits and marcasite. Further
away, in Gabel, there is a smith called Morgen-Stern who knows where there is a good mine
and underground tunnel into which crevices were dug. In it are yellow settings where the
metal is malleable.

229

[B] Such is the Stone Kohl (7) , concretion of the pure parts of the manure or the vile
mineral Matter. It is a friable and granulous lode which is born from iron, tin, and lead. It
alone bears the imprint of the solar Ray. It is the expert artisan in the art of steel-work. The
sages call it the Morning Star. It knows what the artist is looking for, It is the underground
path which leads to the yellow, malleable and pure gold. A difficult path cut with crevices and
filled with obstacles.

[A] III. When going from Schneeberg to the castle called Wissembourg, some water comes
out of it towards the mountain; it falls into the Mulde. By walking in the Mulde, facing this
water, there is a fish pond close to the river, and beyond this fish pond, there is a little bit of
water where some marcasite can be found which will be worth all the trouble that we took
going there.

[B] Having this stone, called the Mount of the Plyers (8) , climb towards the White Fortress.
It is the living water which falls from the disaggregated body into an impalpable powder
under the effect of a natural trituration, comparable to that of a Grinding stone, This living
and white water agglomerated in the center into a crystalline stone, of a color similar to
whitened iron, and it is greatly worth the effort spent on the operation.

[A] IV. At Kauner-Zehl, on the Gott Mountain, two leagues from Schoneck, there is an
excellent sand of copper.

[B] IV. This luminous and crystalline salt, first being of the Divine Body, in a second
stage, will form a s a coppery glass. It is our copper or brass, and the green lion.

[A] V. At Grals, near Vooigtland, below Schloss-berg, is a garden where there is a rich
gold mine as I have remarked a little while ago. Take good note of this.

[B] This calcined sand will give the golden bough its tinct. The young sprouting of the sun
will be bom in the Land of fire. It is the burnt substance of the stone, the closed rock of the
garden (9> where our golden fruit ripens, as I found out recently. Take good note of this.

[A] VI. Between Werda and Laugenbemdorff, there is a fish pond which is called
Mansteich. Below this fish pond, an old fountain can be seen, on the lower part of the
meadow. In this fountain, very good gold grains can be found.

[B] VI. Between this product and the second one which is stronger and better, it is useful
to go back to the Pond of Dead Light (10) , though the extract that has been put back into its
original matter, You will then find the living water dilated and without consistency. That
which will come out of it is the Ancient Fountain (11) , generating vigor, and capable of
changing vile metals into gold grains.

[A] VII. In the woods of Werds, there is a ditch, which is called the Langgrab. By going
above this ditch you can find in the ditch itself, a pit. Going inside this pit, for the length of an
alder, towards the mountain, you will find a gold lode of the length of a span.

[B] VII. In the Green Forest, is hidden the strong, the robust and the best of all (12) . There is
also the pond of the Crayfish (13> . Follow it: the substance will separate by itself. Leave the
trench: its source is at the bottom of a cave where the stone is growing inside the ore-bearing
layer.

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[A] VIII. At Hundes-Hubel, there is a pit in which there are massive amounts of gold
grains. This pit is in the village near a fountain where the people go to ge water to drink.

[B] VIII. During the augmenting stage, by reiterating, you will see the source filled with
brilliant, pure gold granulations. It is in the scoria, or in the matrix, enclosing the Fountain of
dry water, creator of gold, which the metallic people avidly drink.

[A] IX. After having made several trips to Zwickau, to the small town of Schlott, to
Saume, to Crouzoll, we stopped at Brethmullen, where this place used to be located. On the
path, which once upon a time led to Weinberg, and is called Barenstein, facing or towards the
mountain, in the direction of Barendstein, arriving from the back, and facing the setting sun,
to the fibula, which was there once upon a time, there is an old well through which a lode is
passing. It is strong and quite rich in good gold from Hungary and sometimes even in gold
from Arabia. The mark of the lode is on four of the separators of metals "Auff-seigers vier",
and it is written near "Auff-seigers eins". It is a true mother lode.

[B] After several experiments on the vile mineral matter, until the yellow color, or the
fixation of the body, and from there to the crowned Sun, we had to wait until the matte had
entirely cooked in water, according to the old method. This long coction, observed in bygone
days, leads to the luminous Castle or the brilliant Fortress, which is this heavy stone, the
Occident reached, albeit not gone beyond, by our appropriate manner <14> . For the truth comes
out of the old well of this powerful tincture, rich in gold seeds as pure as the gold of Hungary
and sometimes as Arabian gold. The sign, formed of four rays, indicates and seals the mineral
reducer. It is the greatest of all tinctures. In order to close, on a less austere note, this study of
the secret language designated under the name of hermetic or solar cabala, we will show how
far historic credulity can go, when a blind ignorance prompts us to attri bute to certain
individuals that which only belonged to allegory and legend. The historic facts which we offer
to the meditation of the reader are those of a monarch in Roman antiquity. We will not have to
remark on their bizarre characteristics, not to underline the cabalistic relations, s they are so
evident and expressive. The famous Roman emperor Vavius Avitus Bassianus, greeted by
soldiers, no one really knew why with the names of Marcus Aurelius Antoninus (15) ,
was nicknamed no one really knows why either - Elagabalus or Heliogabalus (16) . "Born
in 204", says the Encyclopedia, "and died in Rome in 222; he came from a Syrian family (17)
dedicated to the cult of the Sun at Emesa (18) . He himself, when very young, was a high priest
of this god, who was adored in the shape of a black stone (19) and under the name of
Elagabalus. He was supposed to be son of Caracalla. His mother, Saemias (20) was part of the
court and was below calumny. Be that as it may, the beauty of the young high priest was
seduced to the legion of Emeses who proclaimed him August emperor at the age of fourteen.
The emperor Macrinus marched against him, but was beaten and killed.

"Heliogabalus reign was nothing save the triumph of Eastern superstitions and debaucheries.
There are no infamies or cruelties which were not invented by this singular emperor with
rouged cheeks, and a trailing robe. He brought his black stone to Rome, and forced the Senate
and all the people to adore t publicly. Having removed from Carthage the statue of Coelestis,
which represents the Moon, he celebrated with great ceremony, its marriage to his black stone
which represented the Sun. He created a senate of women, married successively four women,
among whom a vestal virgin, and assembled one day in his palace all the prostitutes of Rome
to whom he addressed a discourse on the duties of their estate. Praetorians slaughtered
Heliogabalus and threw his body into the Tiber River. He was 18 ears old and had been
emperor for four years".

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While this may not be History, it is nevertheless a beautiful story, full of Pantagruelism,
Without failing its esoteric mission, it certainly would have, under Rabelais brisk pen and
warm and colorful style, gained in flavor, vividness and truculence.

(1) In Greek, [*462-1] ( alphester ) or [*463-2] ( alphestes ) means inventor, industrious, from [*462-3] ( alphe ) discovery,
which has given the verb [*462-4] ( alphano ), to invent, to find through seeking.

(2) These traveling students wore about the neck, as a sign of recognition and affiliation, a yellow thread of knitted wool or
silk, to which the Liber Vagaborum (Book of Wanderings) published around 1510, and attri buted to Th. Murner or Sebastian
Brant, and the Schimpfund Ernst (Ignominy and Seriousness), dated 1519, bear witness.

(3) Translators Note: There is a cabalistic pun here. The French chevalier (knight), and cavalier (rider, horsemen) are very
close. The author invents the term cabalier which has also a pronunciation very close to the other two, to indicate one
practicing hermetic cabala. The three words sound very similar in French.

(4) This opuscule is inserted at the end of Naxagoras treatise, called Alchymia Denudate (Alchemy Unveiled). We translated
it according to a French manuscript, translated from a German original.

(5) The sacred Temple of Light is the name given to the philosophers stone our microcosm, in relationship to the temple
of Jerusalem, the image of the universe or of the macrocosm

(6) The secret fire.

(7) Kohl-Stein (Coal Stone in German was translated as Stone Kohl in French). Also called Al-khol, Alcohol, eau-de-vie of
the Sages; it is the Fire Stone of Basil Valentine.

(8) Because of its signature; plyers in Greek is said [*467-1] ( labis ) from [*467-2] ( lanbano ), meaning to obtain, to collect,
and also to conceive and to become pregnant.

(9) The Garden of Hesperides.

(10) The Fountain of Youth, first the Universal medicine, then the Projection Poweder.

(11) ditto.

(12) See The Cosmopolite. The King of the Art is hidden "in the green forest of the nymph Venus".

(13) Constellation of the Zodiac of the Philosophers, sign of the increase of fire.

(14) Graphic symbol of the philosophical vitriol, The points of suspension are part of the original text.

(15) Cabalistically, the combination of the first matter, of the Olympian or divine gold, and of the mercury. The latter, in the
allegorical accounts, always bears the name of Antony, Antonin, Antolin, etc, with the epithet of pilgrim, messenger, or
traveler.

(16) It means the Horse of the Sun, the one which carries the science, the solar cabala.

(17) [*469-1] ( suria ) or [*469-2] (sisura), means a coarse skin covered with hair, the future golden fleece.

(18) [*469-3] ( Emesis ) means vomiting; it is the scoria of the previous text.

(19) The Stone of the Philosophers, the first matter, subject of the art drawn from the original chaos, of black color, but
primum ens, formed by nature, of the philosophers' stone.

(20) A few historians called her Seriamira half miraculous. At once vile and precious, abject and sought after, she is the
prostitute of the Work. Wisdom caused her to say about herself: Nigra sum sed formosa (I am black but I am beautiful).

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BODYGUARDS VI

Before begin raised to the dignity of a cardinal virtue, Prudence was for a long time an
allegorical divinity to which the Ancients gave a two-faced head a formula exactly
reproduced by our statue and in the most successful fashion. Her front face offers the features
of a young woman with very pure lines, and the back face is that of an old man, whose
features full of nobility and gravity, continue into the silky waves of a river-like beard.
Replica of Janus, the son of Apollo and of the nymph Creusa, this admirable figure is in no
way inferior to the three others in majesty or interest.

Standing up, she is represented with her shoulders covered with the ample mantle of the
philosopher, which opens widely on a blouse with a marked herring-bone pattern. A simple
shawl protects the nape of her neck; arranged as a headpiece around the old face, it is tied in
the front, thus showing the neck ornamented with a pearl necklace. The wide-pleated skirt is
maintained by a heavy tasseled girdle but f a rather monasteric character. Her left hand
surrounds the handle of a convex mirror in which she seems to enjoy seeing herself, while her
right hand maintains the two branches of a dry compass spread apart. A snake, whose body
seems to be coiled upon itself, is lying at her feet (Plate XXXVIII).

This noble figure is for us a moving and suggestive personification of the simple, fertile,
multiple and diversified Nature under the harmonious outer appearance, the elegance and the
perfection of the forms with which it ornaments its most humble productions. Her mirror,
which is that of Truth was always considered by the classical authors as the hieroglyph for the
universal matter, and in particular was recognized among them as a sign of the very substance
of the Great Work. Subject of the Sages, Mirror of the Art are hermetic synonyms which veil
from common men the true name of the secret mineral. It is in this mirror, say the masters,
that man can see nature unveiled. Thanks to this mirror, he can know the ancient truth in its
traditional realism. For nature never shows herself to the seeker, but only through the
intermediary of this mirror which holds its reflected image. And to explicitly show that it is
indeed our microcosm and the little world of sapience, the sculptor fashioned the mirror as a
plano-convex lens, which has the property of reducing forms while maintaining their
respective proportions. The indication of the hermetic subject, containing in its volume all that
which the vast universe encloses, consequently seems deliberately premeditated, imposed by
an imperious esoteric necessity, the interpretation of which is not questionable. So that by
patiently studying this unique and primitive substance, chaotic fragment, and reflection of the
great world, the artist can acquire the elementary notions of an unknown science, penetrate an
unexplored sphere, prolific in discoveries, abundant in revelations, lavish in marvels, and
finally receive the invaluable gift that God reserves for elite souls: the light of wisdom.

And so, under the outer veil of Prudence, appears the mysterious image of old alchemy, and
so are we initiated, by the attri butes of the former, into the secrets of the latter. Further, the
practical symbolism of our science is concentrated in the presentation of a formula containing
two terms, two essentially philosophical virtues: prudence and simplicity. Prudentia and
Simplicitas, such was the favorite motto of the masters Basil Valentine and Senior Zadith. As
a matter of fact, one of the woodcuts of the treatise on Azoth represents, at the feet of Atlas
and supporting the cosmic sphere, a bust of Janus Prudentia and a young child spelling
the alphabet Simplicitas. But, while simplicity above all belongs to nature, as the first and
foremost of her prerogatives, man, on the other hand, seems gifted with the qualities grouped
under the general denomination of prudence: foresight, circumspection, intelligence, sagacity,

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CATHEDRAL OF NANTES
Tomb of Francis II - Prudence - Two Views (16th Century)

Plate XXXVIII

experience, etc. And although all demand, in order to reach their perfection, the help and the
support of time, the ones being innate and the others acquired, it would be possible to provide,
in this sense, a likely reason for the double mask of Prudence.

The truth, less abstract, seems more closely bound to the alchemical positivism of the
attri butes of our cardinal Virtue. It is generally recommended to "unite a healthy and vigorous
old man with a young and beautiful virgin". If this chemical wedding, a metallic child must be
born and receive the qualifier of androgynous, because it partakes both of the nature of
sulphur, its father, and of that of mercury, its mother. But there is in this place a secret that we
have not discovered among the best and the most sincere authors. The operation, thus
presented, seems simple and quite natural. Yet, we find ourselves blocked for several years, in
the impossibility of getting anything out of it. It is because the philosophers skillfully welded
two successive works into one, with all the more ease because they are similar operations
leading to parallel results. When the sages speak of their androgynous one, they mean to
indicate by this word the compound artificially formed from sulphur and mercury, put into
close contact, or according to the hallowed chemical expression, simply combined. This
therefore indicates preliminary possession of a sulphur already isolated or extracted, and not
of a body directly generated by nature, after the conjunction of the old man and the young
virgin. That is why we are taking all the opportunities afforded us to speak of the beginning,
preferably at the end of the Work. In this, we are following Basil Valentines authorized
advice when he says that: "whoever possesses the matter will always find the pot to cook it in,
and whoever possesses flour should have no concern about being able to make bread". Now,
elementary logic leads us to research the parents of sulphur and mercury if we want to obtain,
by their union, the philosophical androgynous one, also called Rebis, Compositum de
composites, animated Mercury, etc., the very matter of the Elixir. Of these chemical parents
of the sulphur and mercury principles, one always remains the same, and that is the virgin
mother; as for the old man he must, once his role is complete, give his place the one who is
younger than he. And so these two conjunctions will each engender a child of different sex:
the sulfur, of dry and igneous complexion, and the mercury of a "lymphatic and melancholic
temperament". This is what Philale thes and dEspagnet want to teach when they say that "our
virgin can be married twice without losing anything of her virginity". Others express
themselves in a very obscure manner and are content to assert that "the sun and the moon of
the sky are not the heavenly bodies of the philosophers". Whereby it must be understood that
the artist will never find the partners of the stone, directly prepared in nature, and that he will
have to form first the hermetic sun and moon, if he does not want to be deprived of the
precious fruit resulting from their union. We believe we said enough on the topic. Few words
suffice for the wise, and those who have worked for a long time will know to take advantage
of our opinions. We write for all, but all cannot be called to understand us, because it is
forbidden for us to speak more openly.

Coiled upon itself, its head tilted backwards in the spasms of agony, the snake, which we see
represented at the foot of our statue, is said to be one of the attri butes of Prudence; it is also
said to be of a rather circumspect nature. We do not dispute this; but it can be agreed that this
reptile, represented dying, must be so for the sake of symbolism, for its inertia does not allow
it to exercise such a faculty. It is therefore reasonable to believe that the emblem has another
meaning, quite different from the one usually afforded to it. In hermeticism, its meaning is
analogous to that of the dragon, which the sages adopted as one of the representatives of
mercury. Let us recall Flamels crucified snake, the one in Notre-Dame de Paris, those on the
caduceus, the one on the meditation crucific (which emerges out of a human skull serving as a
base for the divine cross), the Aesculapian snake, the Greek Ouroboros the serpent
devouring its tail, serpens qui caudam devoravit in charge of translating the closed circuit

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o the little universe which is the Work, etc. Now, all these reptiles are dead or moribund,
starting with the ouroboros devouring itself, to those of the caduceus, killed with the blow of a
stick, not forgetting Eves Tempter, whose head shall be bruised by her seed (Gen. 3:15).
They all express the same idea, all contain the same doctrine, obey the same tradition. And the
snake, the hieroglyph for the primordial alchemical principle, can justify the assertion of the
sages, who affirm that all they are looking for is contained in the mercury. It is truly the
mercury which is the motor, the animator of the great work, because it starts it, maintains it,
perfects it, and completes it. It is it, the mystical circle of which the sulphur, the embryo of
mercury, marks the central point, around which it accomplishes its rotation, thus drawing the
graphic sign of the sun, the father of light, of the spirit, and of gold, the dispenser of all the
earthly goods.

But while the dragon represents the scaly and volatile mercury, the product of the superficial
purification of the subject, the snake, deprived of wings, remains the hieroglyph for the
common, pure and cleansed mercury, extracted from the body of Magnesia, or first matter.
This is the reason why certain allegorical statues of Prudence have as an attri bute the snake
fixed on a mirror. And this mirror, signature of the dross mineral provided by nature, becomes
luminous while reflecting the light, that is while manifesting its vitality in the snake, or in
mercury, which it held hidden under its coarse envelope. Thus, thanks to this primitive living
and vivifying agent, it becomes possible to give back its life to the sulfur of dead metals. By
performing the operation, the mercury, dissolving the metal, takes hold of the sulfur, animates
it, dies and yields to it its own vitality. This is what the masters mean to teach when they
comm and to kill the living in order to resurrect the dead, to corporify the spirits and to
reanimated the corporifications. When in possession of this living and active sulfur, said to be
philosophical so as to mark its regeneration, it will suffice to unite it, in the proper ratio, to the
same living mercury, in order to obtain by the interpenetration of these living principles, the
philosophical or animated mercury, the matter of the philosophers stone. If that which we
have tried to translate above has been well understood, and if that which is said here is
compared to it, the first two doors of the Work will be easily opened.

As a summary, whoever possesses an extended knowledge of the practice will notice that the
main secret of the Work resides in the artifice of the dissolution. And as it is necessary to
perform several of these operations different as to their goals ,similar as to their technique -
there are many secondary secrets which, properly speaking, truly only constitute one. All
the art is then reduced to dissolution, everything depends on it and the manner in which it is
performed. This is the secretum secretorum (secret of secrets), the key of the Magistery,
hidden under the enigmatic axiom solve el coagula : dissolve the body) and coagulate (the
spirit). This can be done in one operation including two dissolutions, one violent, dangerous,
and unknown, the other easy, comfortable, and often performed in a laboratory.

Having described the first of these dissolutions elsewhere and having given, in an allegorical,
albeit slightly veiled style, the essential details, we shall not dwell on the subject any longer
(1). But so as to specify its characteristics, we will draw the workers attention to that which
distinguishes it from chemical operations falling into the same denomination. This indication
should be quite useful.

We have said, and we repeat, that the purpose of the philosophical dissolution is to obtain the
sulphur which, in the Magistery, plays the role of a forming agent by coagulating mercury
which is in turn added to it, a property which it owes to its ardent, igneous, and dessicating
nature. "Every dry thing avidly drinks its own humidity", says an old alchemical axiom. But
this sulfur, during its first extraction, is never stripped of the metallic mercury with which it

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constitutes the central core of the metal, called essence or seed. Hence the sulphur, preserving
the specific qualities f the dissolved body, is in reality by the purest and most subtle part of
this very body. Consequently, we are entitled to consider, with the greatest number of
masters, that the philosophical dissolution achieves the absolute purification of imperfect
metals. There are no examples, whether spagyric or chemical, of an operation likely to give
such a result. All the purifications of metals treated by modern methods are only used to rid
the metals of the superficial, less tenacious impurities And these, brought from the mine or
coming along during the contrary, the alchemical process, dissociating and destroying the
mass of heterogeneous matters fixed on the core, composed of very pure sulfur and mercury,
ruins the greatest part of the body and makes it resist any ulterior reduction. Thus, for
instance, a kilogram of excellent iron of Sweden, or electrolytic iron, provides a proportion of
radical metal, of a perfect homogeneity and purity, that varies between 7.24 and 7.32 grams.
This very bright body is endowed with a magnificent purple coloration which is the color
of pure iron analogous to the iodine vapors in terms of its brightness and intensity. It
should be noticed that the sulfur of iron, once isolated, being incarnate red, and is mercury
being of a light blue color, the purple resulting from their combination, reveals the totality of
the metal. Subjected to the philosophical dissolution, silver abandons few impurities, in
relation to its volume, and yields a yellow colored body almost as beautiful as that of gold,
though it does not possess its strong density. Already, and we have taught it at the beginning
of this book, the simple chemical dissolution of silver in nitric acid detaches from the metal a
minimal fraction of pure silver, of a golden color, which is enough to prove the possibility of
a more energetic action and the certainty of the result which can be expected.

No one could contest the significance and the preponderance of the dissolution, in chemistry
as well as in alchemy. It is in the first rank of laboratory operations, and it can be said that
most chemical works depend on it. In alchemy, the entire works only consists in a succession
of diverse solutions. Consequently we cannot be surprised by the answer provided by the
Spirit of Mercury to Brother Albert in a dialogue by Basil Valentine given in his book The
Twelve Keys : "How could I have this body?", asks Albert, and the Spirit answers: "Through
dissolution". Whatever the path used, wet or dry, the dissolution is absolutely necessary. What
is fusion, if not a solution of the metal in its own water? Similarly inquartation, as well as the
production of metallic alloys, are true chemical solutions of metals, ones into others. Mercury,
liquid at room temperature, is nothing but a molten or dissolved metal. All the distillations,
extractions, purifications, require a previous solution, and are only performed after the
completion of the first. What about reduction? Is it not also the result of two successive
solutions, that of the body and that of a reducing agent? If you dip a sliver of zinc in a first
solution of gold trichloride, a second solution begins right away: that of zinc, and the gold,
reduced, is precipitated as an amorphous powder. The cupellation also demonstrates the
necessity of the first solution that of the precious metal as an alloy of, or impure form with,
lead, while a second solution, the fusion of superficial oxides which have been formed,
eliminates them and completes the operation. As for the clearly alchemical, special operations
imbibition, digestion, maturation, circulation, putrefaction, etc. they depend upon a
former solution and represent as many different aspects of one and the same cause.

But what distinguishes the philosophical solution from all other ones, and provides it, to say
the least, with a true originality, is that the solvent does not assimilate itself to the basic metal
which is presented to it; it only separates its molecules, by breaking their cohesion, takes hold
of the fragments of pure sulfur which they can retain and leave the residue, formed by the
greater part of the inert, disaggregated, sterile and completely irreducible body. We could not
then obtain a metallic salt from it, as it is done with the help of chemical aids. Furthermore,
the philosophical solvent, known since antiquity, has only been used in alchemy by operators

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expert in a special twist of hand required for its use. It is the latter that the sages talk about
when they say that the Work is accomplished by only one thing. Contrary to the chemists and
spagyrists, who have a collection of various acids at their disposal, the alchemists only
possess a single agent which received many names, of which the latest is Alkahest. To note
the compositions of simple or complex liquors called Alkahest, would take us too far, for each
chemist of the of the 17th and 18th centuries had his own formula. Among the best artists who
have seriously studied the mysterious solvent of Jean-Baptiste Van Helmont and of
Paracelsus, we will only mention: Thomson ( Epilogismi Chimici, Leyden,1673); Welling
(Opera Cabalistica, Hamburg,1735); Tackenius ( Hippocrates Chimicus, Venice, 1666);
Digby ( Secreta Medica, Frankfurt, 1676); Starkey ( Pyrotechnia , Rouen, 1706); Vigani
(.Medulla Chemiae, Danzig, 1682); Christian Langius ( Opera Omnia, Fankfurt, 1688);
Langelot (Salamander, vid. Tilleman, Hamburg, 1673); Helbigius ( Introitus ad Physicum
Inauditam, Hamburg, 1680); Frederic Hoffman (De Acido el Viscido, Frankfurt, 1689);
Baron Schroeder ( Pharmacopoaea , Lyons, 1649); Blanckard ( Theatrum Chimicum , Leipzig,
1700); Quercetanus ( Hermes Medicinalis, Paris, 1604); Beguin ( Elements de Chymie, Paris,
1615); J.F. Henckel ( Flora Saturnisans, Paris, 1760).

Pott, one of Stahls students, also mentions a solvent, which, judging by its properties, would
lead us to believe in its alchemical reality, if we did not know its true nature better. The way
our chemist describes it; the care with which he keeps its composition secret; the intended
generalization of qualities which he usually strives to specify, would tend to prove it. "What is
left now", he says, "is to speak of an oily and anonymous solvent, of which no chemists I
know made a clear mention <2) . It is the limpid, volatile, oily, inflammable liquor, like the
spirit of wine, acid like a good vinegar, wand which goes over during distillation in the form
of cloudy flakes. This liquor, after it has been digested and cohobated on the metals, and
above all after they themselves have been calcined, dissolves most of them; it extracts a very
red tincture out of gold, and when it is taken off the surface of the gold, a resinous matter
remains, that it entirely soluble in the spirit of wine, which by that acquires a beautiful red
color. The residue is totally irreducible, and I am convinced that salt of gold could be
prepared from it. This solvent combines itself equally with aqueous or fatty liquors. It
converts corals into a sea-green liquor, which seems to be their first state. It is a liquor
saturated with sal ammoniac and yet greasy at the same time, and to say what I really think
about it, it is the genuine menstruum of Weidenfeld, or the wine spirit of the philosophers,
since the white and red wines of Raymond Lully can be extracted from this same matter. This
is what causes Henry Khunrath to give his Lunar components the name of fire-water, and
water-fire, in the Ampitheatrum, because it was certain that Junchken was seriously mistaken
when he attempted to convince us that it is in the spirit of wine that one must look for the
anonymous solvent, of which we speak. This solvent yields a curious spirit of urine, which
seems in some instances to be entirely different from regular urine spirits. It also yields a kind
of butter which has the consistency and whiteness of antimony butter. It is extremely bitter
and of an average volatility. Both these products are very appropriate, the one like the other,
to extract metals. The preparation of our solvent, although obscure and hidden is,
nevertheless, very easy to make. But since I have known it and worked on it a very short time,
I will be excused from not saying more about this matter; I still have a great number of
experiments to perform before I can ascertain all of its properties. Besides, without speaking
of Weidenfilds De Secretis Adeptorum, Dickenson seems to have discovered this menstruum
in his treatise entitled Chrysopoeia".

Without contesting Potts probity or the veracity of his description, and even less the
description Weidenfeld gives under cabalistic terms, it is unquestionable that the solvent of
which Pott speaks is not that of the Sages. Indeed, the chemical character of its reactions and

237

the liquid state in which it is presented over-abundantly testifies to this fact. Those who are
learned in the qualities of the subject know that the universal solvent is a true mineral of dry
and fibrous appearance, of solid and hard consistency and of crystalline texture. Therefore it
is a salt and not a liquid or a flowing mercury, but a stone or a stony salt, hence its hermetic
qualifiers of Saltpeter (sal petri, salt of stone), of salt of wisdom, or salt alembroth which
certain chemists believe to be the product of the simultaneous sublimation of mercury
deutero-bichloride andammonium chloride. And this is enough to discount Potts solvent as
being too removed from the metallic nature to be used to the best advantage in the work of the
Magistery. Furthermore, if our author had kept the fundamental principle of the art in mind,
he would have refrained from assimilating his particular liquor with the universal solvent.
This principle indeed affirms that: Within the metals, through the metals, with the metals, can
the metals be perfected. Whosoever strays from this primary truth, will never discover
anything useful for the transmutation. Consequently, while the metal, according to the
philosophical teaching and to the traditional doctrine, must first be dissolved, this must only
be done with a metallic solvent, which will be appropriate for it and by nature very close to it.
Only similars can act upon similars. Now, the best agent, extracted from our magnesia or
subject, takes on the appearance of a metallic body, charged with metallic spirits, to better
withdraw it from the greedy ones avidity, to give it all the possible names of metals,
minerals, petrifications, and salts. Among these denominations, the most familiar is certainly
that of Saturn, considered to be the metallic Adam. So we cannot better complete our
instruction but by letting the philosophers speak who have very specially treated this matter.
Here then is a translation of a rather suggestive chapter by Daniel Mylius (3) , devoted to the
study of Saturn, which reproduces the teachings of two famous adepts: Isaac Hollandus, and
Theophrastus Paracelsus:

"Isaac Hollandus says in his Vegetable Work: Know, my son, that the stone of the
philosophers must be made by means of Saturn, and that once it is obtained in is perfect state,
it performs the projection both in the human body, internally as well as externally, and in the
metals. Know also that in all vegetable works, there is no greater secret than in Saturn, for we
find the putrefaction of gold only in Saturn where it is hidden. Saturn contains within it the
honest gold, on which all philosophers agree, provided all its superfluities, i.e., its feces are
removed from it, only then has it been purged. The outer is brought inside, the inner manifests
outer, and that is its redness and then that is the honest Gold.

"Besides, Saturn easily enters into solution and coagulates similarly. It lends itself readily to
the extraction of its mercury. It can be easily sublimated, so such an extent that it becomes the
mercury of the sun. For Saturn contains within itself the gold which the Mercury needs, and
its mercury is as pure as that of gold. For these reasons, I say that Saturn is, for our Work, by
far preferable to gold; for if you want to extract mercury from gold, you will need more than a
year to extract this body out of the sun, while you can extract mercury from Saturn in 27 days.
Both metals are good, but you can assert with more certainty yet, that Saturn is the stone that
the philosophers do not want to name and whose name until today has been hidden. For were
its name known, many would have found it, who are eagerly looking for it, and this art would
have become common and without much expense. Thus to avoid these drawbacks, the
philosophers have hidden its name with great care. Some have enveloped it in marvelous
parables, saying that Saturn is the vase to which nothing foreign must be added, except that
which comes from it; in such a way that there is no man, however poor, who cannot be
occupied with this Work, since it does not require great expense and little work and a few
days are needed to obtain the Moon from it, and a little bit later the Sun. We therefore find in
Saturn everything necessary for the Work. In it is the perfect mercury, in it are all the colors

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of the world which can be manifested, in it is the true blackness, the whiteness, the redness
and in it also is the weight.

"I therefore confide in you that it is easy after that to understand that Saturn is our
philosophical stone, and that Bronze from which mercury and our stone can be extracted, in
little time and without a lot of disbursements, using our brief art. And the stone we obtain
from it is our Bronze, and the acute water, which is within it, is our stone. Here are the Stone
and the Water about which philosophers have written mountains of books".

Theophrastus Paracelsus in the 5 th Canon of Saturn says:

"Saturn speaks thus of its nature: the six (metals) were joined to me and infused their spirit
into my decaying body; but they added to it that which they did not want and attri buted it to
me. But my brothers are spiritual and penetrate my body, which is fire, in such a way that I
am consumed by fire, so that they (the metals), except for the two, the Sun and Moon, are
purged by my water. My spirit is the water which softens all the congealed and sleeping
bodies of my brothers. But my body conspires with the earth, to such an extent that, that
which attaches itself to this earth, is rendered similar to it and brought back into its body. And
I know nothing else in the world which can produce this as I can. Chemists must therefore
abandon all other processes and stick to the resources that can be drawn from me.

"The Stone, which in me is cold, is my Water by means of which one can coagulate the spirit
of the seven metals and the essence of the seventh, of the Sun o of the Moon, and with the
grace of God, profits so much after three weeks that the menstruum of Saturn can be prepared,
which will immediately dissolve the pearls. If the spirits of Saturn are melted in a solution,
they immediately coagulate into a mass and pull out of the gold the animated oil; then by this
means all metals and gems can be dissolved in one moment, which the philosopher will keep
to himself as much as he will deem appropriate. But I want to remain as obscure on this point
as I have been clear up to here".

To complete our study of Prudence and of the symbolic attri butes of our science, we still must
speak to the compass which Michel Colombes beautiful statue holds in her right hand. We
shall be brief about it. The mirror has already informed us on the subject of the art; the double
face, on the necessary union of the subject with the chosen metal; the serpent, on the fatal
death and the glorious resurrection of the body, resulting from this union. In turn, the compass
will give us additional, indispensable indications which are that of its proportions. Without
knowing them, it would be impossible to conduct and perfect the Work in a normal, regular,
and precise fashion. This is what the compass expresses, whose branches not only are used for
the proportional measures of distances among themselves as well as to their comparisons, but
also for the perfect geometric drawing of the circumference, image of the completed hermetic
cycle and Work. We have exposed, elsewhere in this book, what s meant under the terms of
proportions or weights secret veiled under the form of the compass and we have shown
that they contain a double notion that the weight of nature and that of the weights of art.
We will not dwell on it, but simply say that the harmony resulting from the natural
proportions which are forever mysterious, can be translated by this proverb of Linthaut: The
virtue of sulphur only expands up to the certain proportion of a term. On the contrary, the
relationship among the weights of the art, as they remain subject to the will of the artist, are
expressed by The Cosmopolites aphorism: The weight of the body is singular and that of
water is plural. But, as philosophers teach that sulphur is likely to absorb up to 10 and 12
times its weight in mercury, we can immediately see the necessity for additional operations,
about which the authors are barely concerned; the imbibitions and reiterations. We will act in

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the same way and submit these details of the practice to the beginners own sagacity, because
they are easy to perform and secondary in terms of the research per se.

(1) In order to illustrate these precious indications of the master, we are adding, to the second book of The
Dwellings of the Philosophers, the beautiful and very revealing composition, God's Precious Gift, "written by
George Aurach and hand-painted by him, in the year of the Saved adn Redeemed Humanity, 1415" (Plate
XXXIX)

(2) J. H. Pott: Dissertation sur le Soufre des Metaux (Dissertation on the Sulfur of the Metals), thesis defended in
Halle, 1716, published by TH. Herissant, Paris, 1759, vol. 1, p. 61.

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GODS PRECIOUS GIFT
15th century Manuscript, Second Drawing

Georges Aurach

Plate XXXIX

BODYGUARDS YII

In the cathedral at Nantes, the evening twilight gradually declines. The shadows invade the
ogival vaults, fill the nave, and ba the the petrified humanity of the majestic edifice. On our
sides, the powerful and solemn columns climb toward the intricate arches, the transepts and
pendentives which the increasing darkness now steals from our eyes. A bell is ringing. An
invisible priest in a subdued voice recited the evening prayers, and the knell from above
answers the prayer from below. Only the peaceful flames of the tapers spot with golden
brightness the darkness of the sanctuary. Then once the mass is done, a sepulchral silence
hands over all these inert and cold things, witnesses to a distant past, pregnant with mystery
and with the unknown...

In their fixed attitude, the four stone guardians seem to emerge imprecise and blurred from the
midst of this semi-darkness. Mute sentinels of an ancient Tradition, these symbolic women at
the comers of the empty mausoleum, guarding the rigid images of marble, of dispersed
bodies, buried no one knows where, move us and make us ponder. Oh, vanity of earthly
things! Fragility of human wealth! What is left now of those, whose glory you were supposed
to commemorate and whose grandeur you were supposed to recall? A cenotaph. Even less: a
pretext for art, a support of science, a masterpiece without any usefulness or destination, a
simple historical memory, but whose philosophical scope and ethical teaching go well beyond
the sumptuous banality of its first assignment,

And, before these noble figures of the cardinal Virtues, veiling the fourfold knowledge of the
eternal Sapience, the words of Solomon (Prov. 3: 13-19) naturally come to mind:

"Happy is the man that findeth wisdom, and the man that getteth understanding. For the
merchandise of it is better than the merchandise of silver, and the gain thereof than fine gold.
She is more precious than rubies: and all the things thou canst desire are note to be compared
upon her. Length of days is in her right hand; and in her left hand riches and honor. Her ways
are ways of pleasantness, and all her paths are peace. She is a tree of life to them that lay hold
upon her: and happy is every one that retaineth her. The Lord by wisdom hath founded the
earth; by understanding that he established the heavens".

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THE SUNDIAL OF THE HOLYROOD PALACE IN EDINBURGH

It is an extremely unusual little building. And we would only search our memories in vain: we
cannot find an image analogous to this original, very strongly featured work. It is more like an
erected crystal, a gem raised on a support, than a genuine monument. And this gigantic
sample of mining productions, would perhaps be more in its place in a mineralogy museum,
rather than in the middle of a park which the public is not allowed to enter.

Built at the order of Charles I in 1633, by John Milne, his master builder, with John Bartouns
collaboration, it essentially consists in a geometric block, carved in the shape of a regular
icosahedron, its faces hollowed with hemispheres and with rectilinear cavities, which is
supported by a pedestal standing on a pentagonal base formed of three plane steps. Only the
base, which suffered from bad weather, had to be restored. Such is the Sundial of the
Holyrood Palace (Plate XL).

Antiquity, to which we can always fruitfully refer, has left a certain number of sundials of
various shapes, discovered in the ruins of Castel-Nuevo, of Pompeii, Tusculum, etc. Others
are known to us from the descriptions of scientific writers, particularly of Vitruvius and Pliny.
This dial called Hemicyclium, attri buted to Berosus (around 280 BC) was composed of a
semi-circular surface "on which a stylus marked the hours, the days, and even the months".
The one called Scaphe was composed of a hollow block, having in its center a needle whose
shadow was projected on its side. It was supposed to have been built by Aristarchus of Samos
(3rd century BC) just like the Discus dial, made of a horizontal round table, with slightly
raised edges. Among the unknown shapes of which, for the most part, only the names come
down to us, the following sundials were quoted: Arache, on which it was said, the hours were
engraved at the extremity of tiny threads, which gave it the appearance of a spider (the
invention is said to be the invention of Eudoxus of Cnide around 330 BC); Plinthium, a
horizontal disk drawn on the square base of a column, of which Scopus of Syracuse is alleged
to be the author; Pelecinon another horizontal dial by Patroclus; Conum, a conical system by
Dionysidorus of Amisus, etc.

None of these shapes nor of these related building correspond to that of the unusual edifice in
Edinburgh; none can serve as its prototype. And yet its denomination, the one justifying its
reason to be, is doubly accurate. It is at once a multiple sundial and a genuine hermetic clock.
This strange icosahedron represents for us a twofold gnomonic work. The Greek word [*492-
1] (gnomon), which was integrally transmitted to the Latin and French languages (gnomon),
possesses a meaning other than that of the needle indicating, by projecting a shadow upon a
plane, the movement of the sun. [*492-2] ( Gnomon ) also designates the one who becomes
aware, who learns; it defines the prudent, the sensible, the enlightened. The root of this word
[*492-3] ( gignosco ), also written [*492-4] (ginosko), double an orthographic form whose
meaning is to know, to understand, to think, to resolve. Thence comes [*492-5] (gnosis),
knowledge, erudition, doctrine, from which derives our French word Gnose (and English
Gnosis), doctrine of the Gnostics, and philosophy of the Magi. We know that Gnosis was the
body of the sacred knowledge, which the Magi carefully kept secret and which, for the
initiates, was the object of esoteric teaching. But the Greek root, where gnomon and gnosis
derive from, also formed another Greek word [*492-6] (gnome), corresponding to our word
gnome, meaning mind, spirit, intelligence. Now the gnomes, subterranean genii, appointed to
guarding the mineral treasures, constantly watching the gold, silver and precious stone mines,
appear as the symbolic representation, the humanized figures of the vital metallic spirit and of

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EDINBURGH - THE HOLYROOD PALACE

The Sundial - 1633

Plate XL

material activity. Tradition depicts them as quite ugly and very short; on the other hand, they
are of a gentle and benevolent disposition and very pleasant to get on with. We can therefore
easily understand the hidden reason for the legendary tales where the friendship of a gnome
opens wide the doors of earthly riches.

The gnomonic icosahedron of Edinburgh is therefore, apart from its standard purpose, a
hidden translation of the Gnostic Work, of the Great Work of the Philosophers. For us, the
purpose of this little monument is not only to indicate the daily hours, but also the progress of
the sun of the Sages in the Philosophers Work. And this progress is regulated by the
icosahedron, which is this unknown crystal, the salt of Sapience, spirit or fire incarnate, the
familiar obliging gnome, friend of the good artists, who allows men to access the supreme
knowledge of the ancient Gnosis.

Was the Knighthood totally unrelated to the building of this curious Sundial, or at least to its
particular decoration? We do not think so, and believe we can find proof of it in the fact that,
on several sides of the solid, the emblem of the thistle is repeated with a significant emphasis.
Indeed, we count six flower heads and two stems in bloom of the species serratula arvensis.
Could we not recognize in the obvious preponderance of the symbol the ensign specific to the
Knights of the Order of the Thistle (1) , the affirmation of a secret meaning imposed on the
work and countersigned by them?

What is more, did Edinburgh actually possess, apart from this royal Order whose hieroglyphic
esotericism leaves no doubt, a center of hermetic initiation placed under its dependence? We
could not ascertain it. Yet, approximately 30 years before the building of the sundial, 14 years
after the official cancellation of the Order, which became a secret Fraternity, we see the
appearance, in the immediate surroundings of Edinburgh, of one of the most learned Adepts
and one of the most fervent propagators of alchemical truth, Seton, famous under the
pseudonym of The Cosmopolite. "During the summer of 1601", writes Louis Figuier, "a
Dutch pilot, called Jacques Haussen, was caught by a storm in the North Sea and thrown on
the coast of Scotland, not far from Edinburgh, at a short distance from the village of Seton or
Seatoun. The shipwrecked sailors were helped by a local inhabitant who possessed a house
and some land on this shore; he succeeded in saving several of these unfortunate fellows,
welcomed with much humanity the pilot in his house, and gave him the means to return to
Holland" <2> . This man was called Sethon or Sethonius Scotus (3> . The Englishman Campden,
in his Britannia, indeed indicates, very close to the place of the seashore where the pilot
Haussen was shipwrecked, a dwelling which he calls the Sethon House and which he tells us
is the residence of the Earl of Winton. It is thus probable that our Adept belonged to this noble
family of Scotland, which would provide an argument of a certain worth to the hypothesis of a
possible relationship between Sethon and the knights of the Order of the Thistle. Perhaps the
man had taught himself in the very place where we see him practice this work of mercy and of
high morals, which characterize the elevated souls and the true philosophers. Be that as it
may, this fact marks the beginning of a new existence devoted to the hermetic apostolate, a
wandering, eventful, brilliant life, sometimes filled with vicissitudes, lived entirely abroad and
that martyrdom was to tragically crown two years later (December 31, 1603 or January 1,
1604). It therefore seems that the Cosmopolite, solely concerned with his mission, never came
back to his native country, which he left in 1601 only after having acquired a perfect mastery
of the Art. These reasons, or rather these conjectures, lead us to connect the Knights of the
Thistle with the famous alchemist by invoking the hermetic testimony of the Edinburgh
Sundial.

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In our opinion, the Scottish sundial is a modem replica, at once more concise and more
learned, of the ancient Tabula Smaragdina. This Table was composed of two columns of
green marble, according to some, or of an artificial emerald sheet according to others, on
which the solar Work was carved in cabalistic terms. The tradition attri butes it to the Father of
the Philosophers, Hermes Trismegistus, who claims to be its author, although his quite
obscure personality does not betray in any way whether the man belonged to legend or to
history. Others claim that this testimony of the sacred science, initially written in Greek, was
discovered after the Biblical flood in a rocky cave of the Hebron valley. This detail, lacking
au thenticity, helps us better understand the secret meaning of this famous Table, which could
very well never have existed anywhere but in the subtle and mischievous imagination of the
old masters. It is said that it is green as is the dew of spring called for this reason the
Emerald of the Philosophers first analogy with the saline matter of the Sages; that it was
written by Hermes, second analogy, since this matter bears the name of Mercury, Roman
divinity corresponding to the Hermes of the Greeks. Finally, this analogy, this green mercury
used for the three Works, is said to be triple, hence the epithet Trismegistus ( [*495-1]
Trismegistos three times great or sublime) added to the name of Hermes. The Emerald
Table thus takes on the characteristics of a speech given by the mercury of the Sages on the
manner in which the Philosophical Work is elaborated. It is not Hermes, the Egyptian Thoth,
who speaks, but rather the Emerald of the Philosophers or the Isaiac Table itself (4) .

The initial idea behind the Edinburgh sundial reflects a similar preoccupation. However, apart
from the fact that it restricts teaching to the sole alchemical practice, it is no longer matter, in
its qualities and its nature, that it expresses, but its form or physical structure. It is a
crystalline edifice the chemical composition of which remains unknown. Its geometric
configuration allows us to recognize only the mineralogical characteristics of saline bodies in
general. It teaches us that the mercury is a salt which we already knew and that this salt
originates in the mineral realm. Furthermore, it is what Claveus, The Cosmopolite, Limojon
de St Didier, Basil Valentine, Huginus a Barma, Batsdorff, etc., emulate, assert and repeat
when they teach us that the salt of metals is the Stone of the Philosophers (5) .

We can therefore reasonable see in this sundial a monument erected to the Philosophical
Vitriol, the initial subject and primum ens of the philosophers stone. Yet, all the metals are
nothing but salts, which their textures prove and which the ease by which they form
crystallized compounds demonstrates; in the ire, these salts melt into the water of their
crystallization and take on the appearance of oil or mercury. Our Vitriol obeys the same law,
and, since it leads the artist fortunate enough to discover it and prepare it, toward success, it
has received from out predecessors the name of Oil of Victory. Others, considering its color,
and deliberately playing on the assonance, have called it Huile de Verre (6) (Oil of Glass
vitri oleum), which marks its glassy appearance, its oily fluidity in the fire and its green
coloration (viridis). It is this pure color which allowed it to be given all the names which hide
its true nature from the layman. It has been given, says Arnold de Villanova, the names of
trees, of leaves, herbs, anything with a green coloration, "so as to mislead the fools". The
metallic compounds, yielding green salts, contri buted to a large extent to the inflation of this
nomenclature. In addition, the philosophers, reversing the order, chose to design green things
by hermetic names probably to emphasize the significance assigned this color in alchemy.
The "mercureau", for example, or little mercury [or: mercury water] became our macquereau
(mackerel), still used on April Fools Day (7) to disguise the senders personality. It is a
mystical fish, and the object of mystifications. It owes its name and reputation to its brilliant
green coloration, with black stripes similar to that of the mercury of the Sages. Bescherelle
indicates that in the year 1430, the mackerel was the only sea fish available in Paris, where,
according to a rather ancient custom, it was served with groseilles vertes (gooseberries) (8> . Do

244

we know why the cuttlefish received their name? Simply because they lay green eggs,
forming clusters like grapes. Our green mercury, the agent of putrefaction and of
regeneration, is responsible for the cuttlefish having its name of [*496-1] (sepia), in the
primitive language; the root of this word is [*496-2] ( sepo ), which means to putrefy, to reduce
into rot. Thanks to its green eggs, the cuttlefish bears a cabalistic name, just like the Saturnia
of the pear tree (Saturnya pyri ), a large butterfly with emerald green eggs.

In their formulas, the Greek alchemists followed the custom of translating the hermetic
solvent by indicating its color. To create their symbol, they assembled two consonants of the
Greek word [* 497-1] ( chloros ), green, and X and P being juxtaposed. Now this typical
number exactly reproduces the Greek monogram of Christ, extracted from his name [*497-2]
(Christos). Should we see, in this similarity, the consequence of a simple coincidence or that
of a rational intention? The philosophical mercury is bom from a pure substance, Jesus is
bom from an undefiled mother; the Son of Man and the child of Hermes both lead the life of
pilgrims, both die prematurely as martyrs, one on the cross, the other in the crucible; they both
resurrect, one and the other, on the third day. Well, these are indeed curious concurrences, but
we could not ascertain that the Greek hermeticists knew them or intended to use them.

On the other hand, would it be pushing courage all the way to rashness if we connected the
esotericism of our science to such a practice of the Christian church which took place on May
1st ? On that day, in many cities, the clergy walk in procession the Green procession to
cut the shrubs and the branches with which churches were decorated, and particularly the ones
whose names include Our Lady. These processions no longer take place today. Only the
tradition of May Trees (9) which, coming down from them, have been kept and still continue
in our villages. Symbolists will easily discover the reason for these obscure rites if they
remember that Maia was the mother of Hermes. We also know that the dew of May or
Emerald of the philosophers is green and that the Adept Cyliani metaphorically declares this
vehicle to be essential for the work. Thus, we do not claim to insinuate that it is necessary to
collect, as certain spagyrists and characters of the Mutus Liber, the nocturnal dew of the
month of Mary, by attri buting to it qualities which we know it does not have. The dew of the
sages is a salt, not a water, but it is the special coloration of this water which is used to
designate our subject.

Among the ancient Hindus the philosophical matter was represented by the goddess Moudevi
([*497-3] mudesis humidity, rot; from the root [*497-4] mudao to rot). Bom from
the Sea of Milk, it is said that she was represented, painted green, mounted on a donkey, and
bearing in her hand a banner in the middle of which a crow could be seen.

Probably also hermetic is the origin of the Day of the Green Wolf, folk festivities of which the
custom was long maintained at Jumieges, and which the custom was long maintained at
Jumieges, and which was celebrated on June 24, day of the solar exaltation in honor of St
Austreber the. A legend tells us that the female saint was washing the linen of the famous
abbey where she brought it on a donkey. One day, the wolf strangled the donkey. St
Austreber the condemned the guilty animal to take on the task of its victim, and the wolf
fulfilled it perfectly until its death. It is the memory of this legend that this celebration
perpetuated. However the reason why the color green was attri buted to the wolf is not
explained. But we can assuredly say that it is by strangling and devouring the donkey, that the
wolf became green and this would suffice. The fierce wolf, "savage with hunger", is the agent
indicated by Basil Valentine in the first of his Twelve Keys. This wolf ([*498-1] (Lukon) is
first gray and does not let us guess the ardent fire, the bright light which it holds hidden in its
coarse body. Its meeting with the donkey manifests this light: [*498-2] (lucos) becomes

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[*498-3] {luce), the first morning glimmer, dawn. The gray wolf is dyed as a green wolf and
then it becomes our secret fire, the nascent Apollo, [*498-4] {luchegenes), the father of light.

As we assemble here everything that can help the investigator discover the mysterious agent
of the Great Work, we will till give him the Legend of the Green Tapers. This legend has to
do with the famous Black Virgin of Marseilles, Our Lady of Confession, whom the crypts of
the old St Victor Abbey shelter. This legend contains, behind the veil of allegory, the
description of the work which the alchemist must perform in order to extract from the coarse
mineral, the living and luminous spirit, the secret fire it encloses as a translucent, green
crystal, fusible like wax, and which the sages named their Vitriol.

Here is this naive and precious hermetic tradition (10) :

A young woman from ancient Massilia n \ called Martha, a simple little working girl, and an
orphan for a long time, had devoted to the black Virgin of the Crypts a very unusual cult. She
offered her all the flowers that she went to pick on the hillsides thyme, sage, lavender,
rosemary and she never missed, rain or shine, the daily mass.

The day before Christmas, the feast of Purification, Martha was awakened in the idle of the
might by a secret voice which invited her to go to the cloister to hear the morning mass.
Fearing that she had slept longer than usual, she dressed quickly, went out and since now had
spread its mantel on the ground reflecting a certain light, she believed that dawn was near.
She quickly reached the threshold of the monastery, whose door was open. There, meeting a
cleric, she asked him to say a mass in her name but as she was without money, she slipped
from her finger a humble gold ring, her only wealth, and she placed it as an offering under an
altar candlestick.

As soon as the mass began, the young girl was extremely surprised to see the white tapers turn
green, of a celestial, unknown green, diaphanous and brighter than the most beautiful of
emeralds or the rarest of malachites. She could not believe her eyes nor take them from it.

When the Ite missa est finally came and pulled her out of her ecstasy for this prodigy and she
regained outside the sense of the familiar reality, she noticed that night had not yet ended; the
first hour of the day was just ringing at the belfry of St Victor church.

Not knowing what to think of the adventure, she went back to her dwelling but came back
early in the morning to the abbey. There was already in the holy place a great gathering of
people; anxious and troubled, she made inquiries; she was told no mass had been said since
the day before. Martha, at the risk of passing for a visionary, then told in details the miracle
she had just witnessed, a few hours earlier, and the faithful crowded with her to the cave. The
orphan girl had told the truth, and the tapers still shone at the altar, with full, incomparable
brilliance.

In his Notice sur VAntique Abbaye de Saint-Victor de Marseille (Notes on the Ancient St
Victor Abbey in Marseilles), Abbott Laurin speaks of the custom, still followed by the people,
to carry green tapers during the processions of the Black Virgin. These tapers are blessed on
February 2, say of Purification, commonly known as the Candlemas. The author adds that
"the Candlemas tapers must be green, although the reason why is not well known. Various
documents indicate that green colored tapers were used in other locations, in the monastery of
the nuns of St Sauveur, in Marseilles, in 1479, and in the city of St Sauveur, near Aix-en-
Provence, until 1620. Elsewhere, this custom was lost, while it was preserved in St Victor".

246

Such are the essential points of the symbolism, specific to the Sundial of Edinburgh, that we
intended to bring under consideration.

In the special decoration of the emblematic icosahedron, the visitor powerful enough to be abe
to approach it for, without relevant motives, he will ever obtain the authorization to do so -
will note, besides the hieroglyphic thistles of the order, the respective monograms of
Charles I, beheaded in 1649, and of his wife, Marie-Henriette of France. The letters C R
(Carolus Rex) apply to the former; M R (Maria Regina) designate the latter. Their son Charles
II, born in 1630 he was then 3 years old when the monument was erected is featured on
the sides of the crystal by the initials C P (Carolus Princeps), each surmounted by a crown, as
were his fathers initials. The visitor will also see, next to the coat of arms of England, of
Scotland, and of the Irish harp, five roses and as many fleurs-de-lys, separate and distinct,
emblems of wisdom and knighthood, the latter emphasized by the plumed helmet with three
ostrich feathers, which one upon a time ornamented the helmets of knights. Finally, other
symbols, which we have analyzed in the course of our present study, will complete the
description of the hermetic character if this curious edifice: the crowned lion holding a sword
in one paw and a scepter in the other; the angel, represented with spread wings; St George
trampling the dragon and St Andrew offering the instrument of his martyrdom the X-
shaped cross; the two rosebushes of Nicolas Flamel, close to the scallop, and the three hearts
of the famous alchemist of Bourges, the Chancellor of the Exchequer to King Charles VII.

We shall end here our visits to the old philosophers dwellings.

It would indeed be easy for us to add to these studies, as the decorative examples of hermetic
symbolism, applied to lay buildings as opposed to religious ones, are still very numerous
today; we preferred to limit our teaching to the most typical and the most characteristic
emblems.

But before taking leave of our reader, by thanking him for his benevolent attention, we shall
cast a last glance over the secret science as a whole. And, like the old man, who likes to evoke
memories, who dwells on the highlights of the past, in the same fashion we hope to discover,
in this retrospective examination, the principal fact or object of the essential preoccupations of
the true sons of Hermes.

This important point, where the elements and the principles of the highest knowledge are
concentrated, could not be search nor encountered in life, as life is within is, as it radiates
around us, as it is familiar to us and as it suffices to know how to observe it in order to grasp
its different manifestations. It is in death that we can recognize it, in this invisible domain of
pure spirituality, where the soul, liberated from its bonds, takes refuge at the end of its earthy
stay; it is in nothingness, this mysterious nothing which contains everything, the absence
where all presence reigns, that it is proper to search for the causes, the multiple effects which
life is showing us.

Thus, it is at the moment when the inertia of the body declares itself, at the very hour when
nature ends its labor, that the sage begins his. Let us therefore peer into the abyss, let us scan
its depth, let us search the darkness that fills it, and nothingness will teach us. Birth teaches
but few things, death however, from which life is born, can reveal everything. It alone holds
the key to Natures laboratory; it alone liberates the spirit, imprisoned at the core of the
material body. A shadow, a dispenser of light, a sanctuary of truth, an untouched asylum of
wisdom, death hides and jealously conceals its treasures from fearful mortals, from the

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indecisive ones, from the skeptical ones, and from all those who disregard it or do not dare
confront it.

For the philosopher, death is simply the peg which joins the material plane to the diving
plane. It is the terrestrial door opening onto the sky, the link between nature and divinity; it is
the chain connecting those who still are to those who no longer are. And, while human
evolution, in its physical activity, can at its liking dispose of the past and of the present, on the
other hand, the future belongs only to death. Consequently, far from inspiring a feeling of
horror, or repulsion from the sage, death, the tool of salvation, appears desirable to him
because it is useful and necessary. And while we are not allowed to shorten, by ourselves, the
time fixed by our own destiny, at least we have received from the Lord license to provoke it in
the heavy matter, which, according to Gods order, is submitted to mans will.

Thus, we understand why the philosophers emphasized so much the absolute necessity of
material death. Through death, does the imperishable and always active spirit stir, sieve,
separate, clean, and purify the body. It owes to it the possibility of assembling its cleansed
parts, of building with them its new dwelling, of finally transmitting to the regenerated form
an energy it did not possess.

Considered from the point of view of its chemical action on the substance of the three
kingdoms, death is clearly characterized by the intimate, profound, and radical dissolution of
the bodies. This is why dissolution, called death by the old authors, asserts itself as the first
and foremost of the Work operation, the one which the artist must strive to accomplish before
any other. Whoever will discover the artifice of the true dissolution and will see its
subsequent putrefaction take place, will have in his power the greatest secret of the world. He
will also possess a sure means to access the most sublime truth. Such is the important point,
the pivot of the art, according to Philale thes own expression, which we wanted to point out to
men of good faith, to benevolent and candid seekers.

Now by the fact that they are destined to the final dissolution, all beings must necessarily
derive a similar benefit from it. Our planet itself cannot escape this inexorable law. It has its
preordained time just as we have ours. The duration of its evolution is ordered, regulated in
advance and strictly limited. Reason demonstrates it, and common sense intuits it, analogy
teaches it and the Scriptures certify it: In the noise of an awful storm, the sky and the earth
will pass...

During a time, time, and half a time (l2) . Death will spread its domination over the ruins of the
world, over the remnants of destroyed civilizations. And our earth, after the convulsions of
along agony, will resume the confused state of the original chaos. But the Spirit of God will
float on the waters. And all things will be covered with darkness and steeped in the profound
silence of tombs.

(1) The Order of the Thistle, created by James V, King of Scotland, in 1540, was originally composed of twelve knights, as
all the fraternities derived from the Round Table. It was also named the Order of St Andrew, because one chapel of the
Cathedral, dedicated to the Apostle, was especialy assigned to them, because the decoration bore their effigy and finally
because the Order Day was celebrated November 30, on St Andrew's Day. Abolished in 1587, it continued to exist secretly
and was reetablished in 1687.

(2) See Louis Figuier, LAlchimie et les Alchimistes (Alchemy and the Alchemists)', Paris, Hachette et Cie, 1856.

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(3) The name is found spelled differently depending on the authors. Seton or Sethon is also called Sitonius, Sidonius,
Suentonius, and Seethonius. All of these denominations are accompanied by the epithet Scotus, which designates a Scotsman
by birth. As for the palace of Sethon, in the ancient parish of Haddingtonshire, annexed to Tranent in 1580, it was destroyed
first by the English in 1544. Rebilt, Mary Stuart and Darnley stopped here, on March 11. 1566, the day after Rizzio's
assination; the Queen came back again, accompanied by Bothwell, in 1567, after Darnley's murder. James VI of Scotl and
stayed there in April 1603, when he came to take possession of the crown of England. During the funeral of the first Count of
Winton, he attended the procession, seated on a park bench. In 1617, the same monarch spent his second night in Seton. after
having crossed the Twed. Charles I and his court were received there twice on 1633. Nowadays, no vestige remains of this
palace which was completely destroyed in 1790. Let us add tha the Seton family had received the deed of owership for the
Seton and Winton lands in th 12th century.

(4) The text of the Emerald Table, very well known to the disciples of Hermes, may not be kn own by some readers, here is
the most acurate version of these famous words:

"It is true, without lie, certain and most veritable;

"That which is below is like that which is above, adn that which is above is like tat which is below; by thesee things, are
made the miracles of one thing. And as all things are ad come from One, through the mediation of One. thus all things are
bom from this unique thing by adaptation.

"The Sun is its father, the Moon, its mother. The wind bore it in is belly. The Earth is its nurse and is receptacle. The Father
of all, the Thelona of the universal world is here. Its force and power remain whole if it is converted into earth from fire, the
subtle from the coarse slowly with great diligence. It ascends from the earth and descends from the heaven, and receives the
strength of superior things and inferior things. You will have by this means the glory of the world, and all obscurity will flee
from you.

"It is strength, strong with all strength, for it will conquer all subtle things and penetrate all solid things. Thus, the world was
created. From there will comet out admirable adaptations, of which the means is here given.

"This is why I was called Hermes Trismegistus, having the three parts of the uiversal philosophy.

"What I have said of the Solar Work is complete".

One can find the Emerald Table, reproduced on a rock, in Latin, in one of the beautiful plates illustrating the Ampitheatrum
Sapientae Aeternae, of Khunrath (1610). Johannes Grasseus, under the pseudonym of Hortulanus, gave on it, in the 15th
century, a Commentary, translated by J. Girard de Tournus in the Miroir d' Alquimie (The Mirror of Alchemy), Paris, Seveste,
1613.

(5) Extract the salt of metals", said the Cosmopolite, "without any corrosion nor violence, and this salt will produce the white
and the red stone. The whole secret lies in the salt, from which our perfect Elixir is made".

(6) Translator's note: "Huile de verre" (oil of glass), or "Huille de vert" (oil of green or green oil).

(7) Translator's note: On April Fool's Day, children in France play at putting a little paper fish on the back of people withou
them noticing. The French for maquerel sounds very similar to the French "mercureau" or little mercury.

(8) Cabalistically: "groseolles vertes" (gooseberries) sounds like "gros sel vert" (coarse green salt).

(9) Translator's note: A May in France, is a green tree that one plants on the first day of the month of May, in front of the
door of someone one wishes to honor.

(10) See the short play in verse called La Legende des Cierge Verts (The Legend of the Green Tapers) by Hippolyte Matabon,
Marseilles, J. Cayer, 1889.

(11) Translator's note: Massilia is the Latin name of Marseilles.

(12) Daniel 7:25 and 12:7; Revelation 12:14.

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THE PARADOX OF THE UNLIMITED PROGRESS OF SCIENCE

To all philosophers, to educated people, whoever they may be, to specialized scientists, as
well as to simple observers, we pose the question:

"Have you ever thought about the inevitable consequences which are to result from unlimited
progress?".

Already, because of the multiplicity of scientific acquisitions, man cannot live without
tremendous energy and endurance, in an atmosphere of hectic, feverish, and unhealthy
activity. He created the machine that increased his means and his power of action a hundred
fold, but he has become its slave and its victim: slave in peace, victim in war. Distance no
longer is an obstacle to him; he travels speedily from one point of the earth to the other by air,
by sea and by land. We do not see however that this ease of traveling has made him better or
happier; for, while the adage says that travel broadens the mind, it does not seem however to
contri bute much to streng thening the bonds of concord and brotherhood which should unite
peoples. Borders have never been better guarded than today. Man possesses the marvelous
ability to express his thought and to make himself heard in the remotest countries, yet these
very means force new needs upon him. He can transmit and record light and sound vibrations,
without gaining much else from it save the vain satisfaction of his curiosity, save a subjection
rather unfavorable to his intellectual growth. Opaque bodies have become permeable to his
glance, and, while he can now fathom the heavy matter, on the other hand, what does he know
of himself, that is, of his origin, his essence, and his destiny?

Satisfied desires are followed by new, unfulfilled desires. We emphasize it: man always wants
to go fast, ever faster, and this agitation is such that the possibilities at his disposal become
insufficient. Carried away by his passion, his desires and his phobias, the horizon of his hopes
recedes indefinitely. It is the frantic race towards the abyss, a constant wearing, an impatient
and frenzied activity implemented without respite or rest. "In our century", said Jules Simon,
quite rightly, "one must walk or run; whoever stops is lost". At this pace, at this rate, physical
health collapses. In spite of the diffusion and the observance of rules of hygiene, and of
prophylactic measures and despite the piling up of chemical drugs, illness continues its
ravages with an untiring perseverance. To such extent that the organized fight against
unknown plagues seems to have no other result but to cause new ones to appear, more acute,
and more stubborn.

Nature herself gives us unequivocal signs of weariness: she is becoming lazy. It is only by
dint of chemical fertilizers that the farmer now obtains average value crops. Ask a peasant, he
will tell you that "the earth is dying", that seasons are disturbed, the climate modified. Every
growing thing lacks sap and resistance. Plants wither this fact is officially recognized
and prove unable t react against the invasion of parasitic insects or the attack of diseases
involving mycelium.

Finally, we will reveal nothing by saying that the greatest part of discoveries, first oriented
towards the increase of human well-being, were rapidly diverted from their goal and
specifically applied to destruction. Instruments of peace are turned into machines of war and
we already know too well the dominating role science played in modem cataclysms. Such is,
unfortunately, the final goal, the outcome of scientific investigation; and such is also the

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reason why man who pursued it with criminal intent, calls divine justice upon him and finds
himself bound to be condemned by it.

So as to avoid the blame, that no doubt would have been addressed to them, of perverting
peoples, the Philosophers always refused to openly teach the truths they had acquired or
received from Antiquity. Bernardin de Saint-Pierre proves he knew this rule of wisdom when
he states at the end of his Indian Cottage: "Truth should be searched with a simple heart; it
will be found in nature; it must be told only to decent people". By ignorance of or by
contempt for this first condition, exotericism spread unrest into mankind.

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THE REIGN OF MAN

The Reign of Man, prelude to the last Judgment and the advent of a new Cycle, is
symbolically expressed in a curious sculpted woodcut, kept in the Church of Saint-Sauveur,
also known as the Church of the Chapter in Figeac (Lot). Under the religious design barely
veiling its obvious esoteric quality, it shows the infant Christ asleep on the cross and
surrounded by the instruments of the Passion (Plate XLI). Among these attri butes of the
divine martyrdom, six have been deliberately reunited to form an X, just like the cross, where
the infant Christ is resting, and which was tilted so that it could reproduce that same form
seen from an angle. So, recalling the four ages, we have the four Greek X (khi) whose
numerical value of 600 yields by multiplication the 2,400 years of the world. We see then the
spear of Longinus (John 19:34), the reed (Matthew 27:48, Mark 15:36) or the hyssop rod
holding the sponge filled with vinegar (John 18:34), then the bundle of scourges and
intertwined whip (John 19:1; Matthew 27:26; Mark 25:15); finally, the hammer which was
used to pound the nails of crucifixion and the pliers used to pull them out after the death of the
Savior.

Triple image of the ultimate radiance, graphic formula of a declining spiritualism, these Xs
leave their marks on the second cyclic period, at the end of which mankind struggles in
darkness and confusion, until the day of the great Earth revolution and the liberating death. If
we gather these three crosses and place the point of intersection of their branches on a
common axis, we obtain a twelve-rayed geometric figure symbolizing the twelve centuries
which constitute the Reign of the Son of Man and which come after the twelve preceding ones
of the Reign of God.

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FIGEAC (LOT) - THE CHURCH OF CHAPITRE
THE CHAPEL OF NOTRE-DAME DE PITIE
Instruments and Symbols of the Passion
Photo by Claude Letang

Plate XLI

THE FLOOD

When people speak of the end of the world, they generally evoke and translate the idea of a
universal cataclysm, bringing about both the total ruin of the planet, and the extermination of
its inhabitants. According to this opinion, the earth, wiped off the face of the galaxy, would
cease to exist. Its debris, projected into sidereal space, would fall in a rain of neoliths on
worlds near ours.

Some more logical thinkers understand the expression in a less extended sense. According to
them, the perturbation would affect mankind alone. It seems impossible for them to admit that
our planet could disappear, although everything which lives, moves and gravitations on its
surface is condemned to die; a Platonic thesis, which could be acceptable if it did not contain
the irrational introduction of a miraculous factor: a renewed man born directly from the earth,
like a simple vegetable and without preliminary seed.

It is not the way to understand the end of the world such as it is announced by the Scriptures
and such as primitive traditions recount it, whatever race they belong to. When, to punish
mankind for its crimes, God resolved to have it swallowed up by the waters of the flood, not
only was the earth affected solely on its surface, but also a certain number of just, and chosen
men, having obtained His grace survived the flood.

Although presented under symbolic appearances, this teaching is founded on a positive basis.
We recognize the physical necessity of an animal and terrestrial regeneration which therefore
cannot result in the complete obliteration of creatures, or suppress any of the conditions
essential to the survival of this rescued core. Consequently, in spite of its apparent
universality, in spite of the terrifying and long intermixing of the raging elements, we are
certain that the huge catastrophe will not equally impact all places nor the expanse of all
continents and seas. Certain privileged countries, as genuine Arks of rock, will shelter men
who will have taken refuge there. There for one day, lasting two centuries, generations will
watch anxious witnesses of the effects of divine power the gigantic duel between water
and fire; there, in a relative calmness, at an equal temperature, in the pale and even light of a
low ceiling of clouds, the chosen people will wait for peace to come and for the last clouds,
dispersed by the breath of the golden age, to uncover the multicolored magic of a double
rainbow, the brightness of new skies and the charm of a new earth.

For us who never accepted the arguments of rationalism, we deem that the Mosaic flood is
indisputable and real. Furthermore, we know to what extent the Bible is superior to other
books, how it remains the immutable Eternal Book, the Book of Cycles par excellence, in
which, under the veil of parables, the revelation of human history is sealed, even over and
beyond the annals of each people. It is the story in extenso of the travel accomplished by each
cyclic generation. And since history forever repeats itself, the Bible, which figuratively
describes its process, will forever remain the unique source, the true collection of historical
events and of human revolutions, as much for bygone periods as for those that will succeed
one another in the future.

Our purpose is not here to undertake to refute the arguments by which the adversaries of
Moses tradition have contested the accuracy of his testimony, not to provide the arguments
by which the advocated of the revealed religion have established the au thenticity and divine
inspiration of its books.

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We will only attempt to show that the reality of the flood is attested by the specific traditions
of all the peoples, of the old as well as of the new continent.

The sacred books of the Hindus and the Iranians make mention of a flood. In India, Noah is
called Vaisaswata or Satyavrata. The Greek legends speak of Ogyes and Deucalion; those of
Chaldea, of Xixouthros or Sisouthros; those of China, of Fo-ki; those of Peru, of Bochica.
According to the Assyrian-Chaldean cosmogony, as men, created by Marduk, became evil,
the council of the gods decided to punish them. Only one man was just and because of this
fact, he was loved by God Ea; his name was Utmapishtim, king of Babylon. So Ea revealed in
a dream to Utmapishtim the imminent coming of the cataclysm and the means of escaping the
wrath of the gods. The Babylonian Noah, therefore built an ark and locked himself up with his
relatives, his family, his servants, the craftsmen who had constructed the vessel, and a whole
herd of animals. Immediately darkness filled the sky, the waters of the abyss fell and covered
the earth. Utmapishtims ark floated for seven days and finally rested on top of a mountain.
The just one, now saved, let a dove and a swallow fly, which returned to the boat, and then a
crow which did not return. Then he came out of the ark and offered a sacrifice to the gods. For
the Aztecs and other tribes who lived on the plateau of Mexico, it is Coxcox or Tezpi who
plays the role of the Biblical Noah.

The Mosaic flood had the same importance, the same scope, the same repercussions as all the
previous floods. Somehow it is the typical description of the periodic catastrophe resulting
from the reversal of the poles. It is the simplified interpretation of the successive floods, of
which Moses was probably aware, either because he had been an eyewitness to one of them
- which would justify his own name or because he had obtained it through divine
revelation. To us, the ark of salvation seems to represent the geographical location where the
chosen ones gather when the great perturbation is near, rather than a boat hand-built by man.
By its form, the ark already reveals itself as a cyclic figure rather than as a true ship. In a text
where we must especially, according to the word of the Scriptures, take care to consider the
spirit rather than the letter, it is impossible for us to take the building of the ship in a literal
sense as well as the search "for all the pure and impure animals", and their reunion by
couples. A disaster that imposes, for two centuries, to living and free beings, living conditions
so different from their normal ones, so contrary to their needs go beyond the limits of our
reason. It should not be forgotten that during the entire trial, the hemisphere, given over to the
rush of water, is plunged into the most total darkness. It is indeed worth knowing that Moses
speaks of cyclic days, whose secret value is equal to regular years. Let us be more specific: it
is written that the flood rains lasted 40 days and that the waters covered the earth for 150
days, that is 190 days total. Then God caused a warm wind to blow, and the level of the sheet
of water went down. The ark landed on Mount Ararat ( \ in Armenia. Noah opened the
window (the return to light) and liberated a crow which, held back by corpses, did not come
back. He then let a dove fly which immediately came back to the ark, for at that time trees
were still submerged. The patriarch then waited seven days and again let the bird fly, which
returned toward evening bringing back a green olive branch. The flood was over. It had lasted
197 cyclic days, give or take three years, two actual centuries.

Can we admit that a ship exposed to the storms for such a long time would be capable of
resisting it? And, on the other hand, what should we think of its cargo? The implausibility,
even so, could not totally shake our convictions. We hold the Mosaic account to be true, and
positive as far as its basis, that is to say, as far as the actuality of the event of the flood is
concerned, but most of the circumstances which accompany it, particularly those concerned
with Noah, with the ark, and with the coming and goings of the animals are clearly
allegorical. The text contains an esoteric teaching of considerable scope. Let us simply note

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that Noah, who has the same cabalistic meaning as Noel (in Greek [*520-1] Noe
Christmas in English), is a contraction of the Greek [*520-2] ( Neos-Helios ), New Sun. The
ark [*510-3] (Arche) indicates the beginning of the new era. The rainbow (2) signifies the
covenant that God makes with man, in a cycle which is just beginning; its is the bom-again or
renewed symphony, [*510-4] ( Sumphonia ): consent, agreement, union, pact. It is also the belt
of Iris ([*510-5] Zone), the privileged zone.

Esdras Book of Revelation informs us about the symbolic value of the books of Moses: "On
the third day, while I was under a tree, a voice came to me from the side of that tree and said
to me: Esdras, Esdras!. I answered: Here I am, I got up and stood. The voice continued: I
appeared to Moses and I spoke to him from the bush while my people were slaves in Egypt. I
sent him as a messenger; I caused my people to come out of Egypt, I led them to Mount Sinai
and I established them for a long time near me. I told them of many marvels; I taught them the

mystery of days, I showed them the last times and I gave them this order: Tell this, hide that"

(3)

But if we only consider the fact of the flood, we will be led to recognize that such a cataclysm
was bound to leave profound sings of its passage and to somewhat modify the topography of
the continents and the seas. It would be a serious mistake to believe that the geographical
outline of ones and the others, their reciprocal situations, their layout on the surface of the
lobe the same 25 centuries ago at the most, from that they are today. In spite of our respect for
the work of scientists who were concerned with prehistoric times, we should accept, only with
the utmost reserve, the maps of the quaternary period reproducing the current configuration of
the globe. It is obvious, for example, that an important past of the French soil was submerged
for a long time, covered with sea sand, abundantly provided with shells, and of various
calcareous terrains with imprints of ammonites. Let us also recall that the island of Jersey was
still connected to the Cotentin Peninsula in Normandy in 709, the year when the waters of the
Channel invaded the vast forest which went as far as Ouessant and was used as shelter for
many villages.

History also reports that the Gauls, questioned as to what could inspire in them the greatest of
terror, used to respond: "We have only one fear, it is that the sky fall on our heads". But this
jest which was made out to be a proof of their daring bravery, is it not perhaps hiding a quite
different reason? Instead of a simple bragging, would it not be a persistent memory of a real
event? Who could dare to assert that our ancestors were not indeed the horrified victims of a
collapsing sky in formidable cataracts, among the darkness of which a night lasted for
generations?

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ATLANTIS

Did this mysterious island, of which Plato left the enigmatic description, ever exist? A
question difficult to solve, given the weakness of the means which science possesses to
penetrate the secret of the abysses. Nevertheless, some observations seem to support the
partisans of the existence of Atlantis. Indeed, soundings done in the Atlantic Ocean have
allowed us to bring back to the surface fragments of lava whose structure irrefutably proves
that they have been crystallized while in contact with air. It therefore seems that the volcanoes
which ejected this lava were then rising on lands that had not yet been flooded. Another
argument was thought to be discovered which seemed appropriate to justify the assertion of
the Egyptian priests and Platos tale, in this particular fact that the flora of Central America is
similar to that of Portugal; the same vegetable species, transmitted by way of land would
indicate a close continental relationship between the old and the new world. As for us, we see
nothing impossible in the fact that Atlantis could have held an important place among the
inhabited regions, nor in the fact that a civilization could have developed to the extent of
reaching this high degree that God seems to have fixed as the being the limit of human
progress: "You shall go no farther". Limits beyond which the symptoms of decadence
manifest themselves, the fall is more pronounced if ruin is not sped up by the sudden eruption
of an unforeseen catastrophe.

Faith in the truthfulness of Platos works results in believing the reality of the periodical
upheavals of which the Mosaic Flood, we said it, remains the written symbol and the sacred
prototype. To those who negate what the priests of Egypt entrusted to Solon, we would only
ask to explain to us what Aristotles master wanted to reveal by this fiction of a sinister
nature. For we indeed believe that beyond doubt, Plate became the propagator of very ancient
truths, and that consequently his books contain a set, a body of hidden knowledge. His
Geometric Number, and Cave have their signification; why should the myth of Atlantis not
have its own.

Atlantis must have undergone the same fate as the others, and the catastrophe which
submerged it falls obviously into the same cause as that which buried, 48 centuries later,
under a profound sheet of water, Egypt, the Sahara, and the countries of Northern Africa. But
more favored than the land of the Atlantean, Egypt gained from a raising of the bottom of the
ocean and came back to the light of day, after a certain time of immersion. For Algeria and
Tunisia with their dry "chotts" covered with a thick layer of salt, the Sahara and Egypt with
their soils constituted for a large part of sea sand show that the waters invaded and covered
vast expanses of the African continent. The columns of the Pharoahs temples bear on them
undeniable traces of immersion; in the hypostyle chambers, the slabs, still extant, which form
the ceilings have been raised and moved by the oscillating motion of the waves; the
disappearance of the outer coating of the pyramids and in general that of the stone joints (the
Colossus of Memnon who used to sing) the evident traces of corrosion by water that can be
noticed on the Sphinx of Giza, as well as on many other works of Egyptian statuary have no
other origin. Moreover, it is probable that the priestly caste did not ignore the fate which was
reserved for their country. This is perhaps the reason why the royal hypogaea were carved
deep into the rock and that their openings were hermetically sealed. Could we not also
recognize in it the effect of this belief in a future flood, in the mandatory crossing that the soul
of the deceased had to accomplish after the bodys death, and which justified the presence,
among so many other symbols, of these rigged small boats, this miniature flotilla, which are a

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part of the funereal furniture from Ezekiel <4) , which announces to the disappearance of Egypt,
is categorical and cannot lend itself to any ambiguity:

"I will cover the sun with a cloud, and the moon shall not give her light. All the bright lights
of heaven I will make dark over thee, and set darkness upon thy land, saith the Lord God. I
will also vex the hearts of many people, when I shall bring thy destruction among the nations,
into the countries which thou hast not known... When I shall make the land of Egypt desolate,
and the country shall be destitute of that whereof it was full, when I shall smite all them that
dwell therein, then shall they know that I am the Lord".

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THE CONFLAGRATION

The cyclic history begins, at the 6th chapter of Genesis, with the narrative of the Flood; it
ends, at the 20th chapter with the Book of Revelation, in the blazing flames of Judgment Day.
Moses, rescued from the waters, writes the first one; St John, sacred figure of the solar
exaltation, closes the book with the seals of fire and of sulphur.

In Melle (Deux-Sevres), one can admire the mystic knight, of whom the visionary of Patmos
speaks, and who must come in the fullness of light and spring forth from the fire, in the
manner of a pure spirit (Plate XLII). It is a solemn and noble statue that, under a semicircular
arch of the St Peter Church, stands above the Southern porch, which because of its orientation
is always subjected to the rays of the sun. The bow and the crown are given to him in the
midst of the ineffable divine glory, whose lashing luster bums up everything it illuminates.
While our horseman does not show the symbolic weapon, he is however covered with the sign
of all royalties. His rigid bearing, his great stature announce power, but the expression of his
face seems stamped with some sadness. His features compare to that of Christ, of the King of
Kings, of the Lord of Lords, of the Son of Man who, according to Lentulus report, was never
seen to laugh, although he was often seen to cry. And we understand that it is not without
melancholy that he comes back down here, to the places of his Passion, he, the eternal
messenger of his Father, to impose on the perverted world, the ultimate trial, and to ruthlessly
reap a shameful mankind. Mankind, ripe for the supreme punishment, is represented by the
character hit and trampled by the horse, without its rider betraying the slightest concern.

Each period of 1200 years begins and ends with a catastrophe; human evolution expands and
grows in the space of two scourges. Fire and water, the agents of all material mutations, work
together during the same amount of time and each on an opposite region of the Earth. And, as
the solar displacement, that is to say the ascent of the celestial body to the zenith of the pole,
remains the bog engine for this elemental conflagration, its result is that the same hemisphere
is once submerged at the end of a cyclic can once calcined at the end of the next one. While
the South undergoes the paired heat of the sun with the fire of the earth, the North undergoes
the constant affusion of the Southern seas, vaporized in the midst of the blazing fire, then
condensed into huge clouds, constantly forced back. Now, since, during the previous cycle,
the waters of the flood drowned our Northern Hemisphere, we should think that the flames of
Judgment Day will consume it, during the last days of the present one.

We should calmly wait for our last hour; one of punishment for many, and of martyrdom for
some.

In a concise, albeit very clear, manner, St Peter, the Christian Great Initiate, accurately marks
the difference presented by the two cataclysms as they succeed one another in the same
hemisphere, that is to say in ours, for the present case: "Knowing this first, that there shall
come in the last days scoffers, walking after their own lusts, and saying. Where is the promise
of his coming?, for since the fathers fell asleep, all things continue as they were from the
beginning of the creation. For this they are willingly ignorant, that by the word of God the
heavens were of old, and the earth standing out of the water and in the water. Whereby the
world that was then, being overflowed with water, perished. But the heavens and the earth,
which are now, by the same word are kept in store, reserved unto fire against the day of
judgment and perdition of ungodly men... But the day of the Lord will come as a thief in the
night; in the which the heavens shall pass away with great noise, and the element shall melt
with fervent heat, the earth also and the works that are therein shall be burned up...

258

MELLE (DEUX-SEVRES)-THE CHURCH OF SAINT-HILAIRE

SEPTENTRIONAL PORCH
The Horseman of the Apocalypse
Photo by Archives photographiques

Plate XLII

Nevertheless we, according to his promise, look for new heavens and a new earth, wherein
dwelleth righteousness" (5) .

The obelisk of Dommartin-sur-Tigeaux (Seine-et-Marne) is the tangible, expressive image,
absolutely conforming to tradition, of the double terrestrial calamity, of the conflagration and
of the flood, on the terrible Judgment Day (Plate XLIII).

Erected upon a mound, at the culminating point of the Crecy Forest (altitude 134 meters), the
obelisk towers above the surroundings, and, by the openings of the forest roads, can be
glimpsed from afar. The spot it is in was admirably chosen. It occupies the center of a
geometrically regular crossing, formed by the intersection of three roads, which gives it the
appearance of a radiating six-rayed star. So this monument seems to be erected on the place of
the ancient hexagram; a figure composed of the water and fire triangles, which is used as the
signature of the physical Great Work and of its result, the Philosophers Stone.

The work, quite stylish, is made of three distinct parts: an oblong strongly built base, with a
square section and rounded angles; a shaft formed by a quadrangular pyramid with chamfered
edges; finally an amortisement concentrated all the interest of this building. It shows, as a
matter of fact, a terrestrial globe given over to the joined forces of water and fire. Resting on
the waves of a raging sea, the sphere of the world, hit on the higher pole by the sun in a
helical reversal, catches fire and throws off lightnings and thunderbolts. Here is, as we said,
the vivid representation of the huge conflagration and flood, equally purifying and dispensing
of justice.

Two sides of the pyramid are exactly aligned on the highways North-South axis. On the
Southern side, one can notice the image of an old oak sculpted in bas-relief. According to
Monsieur Pignard-Peguet (6) , this oak tree was above a Latin inscription which is now
hammered out. The other facets bore, as intaglio engravings, a scepter on one, a hand of
justice on the other, a medallion bearing the Kings coat of arms on the last one.

If we question the oak of stone, it can answer us that times are near, because it is its figurative
foreboding. It is the revealing symbol of our times of decadence and perversion; and the
initiate, to whom we owe the obelisk, carefully chose the oak tree as a frontispiece for his
work, in the fashion of a cabalistic prologue, in charge of pinpointing in time the ill-omened
period of the end of the world. The characteristics of this period, which is ours, are clearly
indicated in the 24th chapter of The Gospel of St Matthew: "And ye shall hear of wars and
rumors of wars... and there shall be famines, and pestilences, and earthquakes, in divers
places. All these are the beginning of sorrows" (Matt. 24: 6-8). These frequent geological
tremors, accompanied with unexplained climatic changes, the consequences of which are
propagated among the different peoples, which they worry and among the societies, which
they upset, are symbolically expressed by the oak. This word, whose French pronunciation
(chene) is lisped, phonetically corresponds to the Greek word [*520-1] ( Khen ), and designates
the common goose. The old oak tree, because of this fact, takes on the same value as the
expression the old goose and the secret meaning of the old law (7) , heralding the return of the
Ancient Covenant or of the Reign of God.

The Tales of Mother Goose <8) (mother law, primary law) are hermetical narratives where
esoteric truths mingle with the marvelous and legendary setting of the Saturnalia, of Paradise,
and of the Golden Age.

259

DAMMARTIN-SOUS-TIGEAUX CRECY FOREST

(SEINE-ET-MARNE)
The Obelisk
Photo by Pierre Jahan

Plate XLIII

THE GOLDEN AGE

In the time of the Golden Age, the regenerated man knows no religion. He only gives thanks
to the Creator, whose sun, his most sublime creation, seems to reflect the ardent, luminous,
and benevolent image. He respects, hors and venerates God in this radiating globe which is
the heart and brain of Nature and the dispenser of earthly goods. Visible representative of the
Lord, the Sun is also the tangible evidence of his power, of his greatness, and of his goodness.
In the midst of the radiating celestial body, under the pure sky of a rejuvenated earth, man
admires the divine works, without outer manifestations, without rites, without veils.
Contemplative, and ignorant of need, desire and suffering, he holds toward the master of the
Universe this touching and deep gratitude that simple souls possess, and this boundless
affection that binds the son to the Father. The Golden Age, a solar age par excellence, has for
cyclic symbol the very image of the celestial body, the hieroglyph that has always been used
by the old alchemists, in order to express the metallic gold or mineral sun. On the spiritual
level, the Golden Age is personified by the evangelist St Luke. The Greek [*520-2] ( Luchas ),
from [*520-3] ( Luchnos ), light, lamp, torch, lucis in Latin), brings us to consider the Gospel
according to Luke, as the Gospel according to the Light. It is the Solar Gospel esoterically
conveying the journey of the celestial body and that of its rays, back to their primary state of
splendor. It marks the dawn of a new era, the exaltation of the radiating power over the
regenerated earth and the return of the yearly and cyclical orb ([*521-1] Lucabas in
Greek inscriptions, meaning year). St Luke has for the attri bute the bull or winged ox, a
spiritualized solar figure, the emblem of the vibratory and luminous movement, brought back
to viable living conditions of animated beings.

This happy and blessed time of the golden age, during which Adam and Eve lived in a state of
simplicity and ignorance, is designated under the name of Earthly Paradise. The Greek word
[*520-2] ( Paradeisos ), paradise, seems to derive from the Persian or Chaldean root of Pardes,
which means delicious garden. At least, it is in the sense that it is used by the Greek authors,
in particular by Xenophoros and Diodorus of Sicily, to qualify the magnificent gardens that
the Kings of Persia used to possess. The same meaning is applied by the Seventy in their
translation of Genesis (Ch. II, v. 8), to the marvelous stay of our first parents. Men have
wanted to find on which geographical part of the globe, God had placed this Eden with an
enchanting setting. The hypotheses do not agree much with one another on this point; thus,
some writers such as Philo the Jew and Origenus cut the discussion short by claiming that the
earthly Paradise, as Moses describes it, never had any physical existence. According to them
it is appropriate to understand in an allegorical sense everything ascribed to it in the
Scriptures.

All the same, we consider accurate all the descriptions that have been made of the earthly
Paradise, or, if you prefer, of the golden age; but we are not going to dwell on the various
theses aimed at proving that the refuge, inhabited by our ancestors, was located in one well
defined country. Of we deliberately dont specify where it was located, it is only because,
during each cyclic revolution, there is only one thin belt left, that is respected and which
remains fit for habitation on its earthly soil. However we emphasize it, the zone of salvation
and mercifulness is located sometimes in the Northern Hemisphere, in the beginning of the
cycle, sometimes in the Southern Hemisphere, at the beginning of the next cycle.

Lets recapitulate. The earth, as everything that lives from it, in it an through it, has its
foreseen and determined time, its evolutionary times rigorously fixed, established, separated

260

by as may inactive periods. It is therefore condemned to die, in order to be bom again and
these temporary lives occurring between its regeneration, or birth, and mutation, or death, are
called Cycles by most of the ancient philosophers. The cycle then is the time separating two
convulsions of the earth of the same order, which are accomplished after a complete
revolution of the Great Circular Period, divided into four epochs of equal duration, which are
the four Ages of the World. These four divisions of the life of the earth succeed one another
according to the rhythm which forms the solar year: Spring, Summer, Fall, and Winter. Thus
the cyclical ages correspond to the seasons of the annual seasonal movement, and they, as a
whole, the names of Great Period, Great Year, and even more frequently, Solar Cycle.

END

(1) In Greek, Arara, or Arera, perfect tense of ararisko means to be attached, fixed, stopped, firm, immutable.

(2) Translator's note: Rainbow in French is arc-en-ciel, literally the Ark in the Heaven.

(3) Rene Basset: Apocryphes Ethioiens (Apocryphal Writings from Ethiopia), Paris, Biblio theque de la Haute
Science, 1899, Ch. 14, v. 1-6.

(4) Ezekiel, chap. 327-9, 15, The Lamentation for Pharoah.

(5) II Peter 3:3-7, 10, 13.

(6) Histoire Generale des Departmentes, Seine-et-Marne (Illustrated History of the French Departments, Seine-
et-Marne), Auguste Gout et Cie., Orleans, 1911, p. 249.

(7) Translator's note: in French veille oie (old goose) and vielle loi (old law) have almost the same pronunciation.

(8) Translator's note: In French "Les contes de ma mere loie". My mother the goose and my mother the law,
sound exactly the same.

261

APPENDICES

PREFACE TO THE FIRST EDITION

Long considered a chimera, alchemy appears to the scientific world more and more every day.
The words of scientists on the constitution of matter and their recent discoveries show and
give evidence of the dissociation potential of chemical elements. Nowadays, n one any longer
doubts that the elements, once regarded as simple, are in fact any partisans. The deceptive
concept of inertia disappears from the Universe, and that which only yesterday seemed heresy
has today become dogma. With an impressive uniformity of action, but in varying degrees,
life manifests itself in the three kingdoms of nature, once clearly separated, and among which
there is no longer any distinction made. Origin and vitality are shared by the triple group of
the ancient classification. Crude substance proves to be animate. Beings and things evolve,
progress through constant transformations and new beginnings. Through the multiplicity of
their exchanges and combinations, they separate themselves from the original unity, only to
resume their original simplicity under the influence of decompositions. Sublime harmony of
the great Totality, immense circle through which the Spirit goes in its eternal activity and
which has for center the unique living fragment, emanating from the creative Logos.

And so, after having strayed from the correct path, modem science seeks to rejoin it,
progressively adopting ancient concepts. Much like successive civilizations, human progress
obeys the inescapable law of perpetual renewal. Though it be against all, Truth always
triumphs, in spite of its slow, painful, and tortuous advance. Sooner or later common sense
and simplicity gets the better of sophistry and prejudices. "For there is nothing", the Gospel
teaches, "which cannot be discovered and nothing so secret that it cannot be known". (Matt.
10:26).

Yet, we should not believe that traditional science, whose elements Fulcanelli assembled, has
been adapted for the general public in the present work. The author makes no such pretense.
He would greatly delude himself who hoped to understand the secret doctrine after a simple
reading. "Our books have not been written for all", repeat the old masters, "though all are
called upon to read them". For each one of us must contri bute his personal effort which is
definitely essential if he wants to acquire the notions of a science which has never ceased to
be esoteric. This is why the philosophers, aiming to hide its principles from the masses, have
concealed the ancient knowledge in the mystery of words and the veil of allegories.

The ignoramus will not so easily forgive alchemists their allegiance to the rigorous discipline
they have freely accepted. I know my master cannot shun this same criterion. Before all, he
had to respect the divine will, giver of light and revelation. He also owed obedience to the
philosophers law which imposes upon initiates the necessity of inviolable secrecy.

In antiquity, and especially in Egypt, primordial submission applied to all branches of science
and the industrial arts. Potters, enamellers, goldsmiths, foundry workers, worked inside of
temples. The working personnel, of workshops and laboratories were part of the priestly class
and answered directly to the priests. From the Middle Ages up to the 19th century history
shows us numerous examples of similar organizations in chivalry, the monastic orders,
freemasonry, trade guilds, etc., many professional associations jealously guarded the secrets
of their science or their trades; they always maintained a mystical or symbolic character, kept

262

traditional customs, and practiced religious ethics. We know the tremendous respect which
the gentlemen glassworkers enjoyed with kings and princes, and to which extent they took
care to prevent the circulation of the secrets specific to the noble industry of glassmaking.

These exclusionary rules have a profound reason. If I were to be asked, I would simply say
that the privilege of science should remain the prerogative of a scientific elite. The most
beautiful discoveries prove to be more harmful than useful once they have fallen into the
popular domain, and are distributed without discernment to the masses and blindly exploited
by them. Mans nature pushes him voluntarily towards evil and the worse. More often than
not, that which could bring him well-being turns to his disadvantage and eventually becomes
the instrument of his ruin. Methods of modern warfare are, alas! The most striking and the
saddest proof of this disastrous state of mind. Homo homini lupus (Man is wolf to man). For
the mere reason that they used overly obscure language, it would be unfair in the face of so
serious a danger to bury the memory of our great ancestors under a reprobation that they do
not deserve.. Must we condemn them all and despise them, only for the fact that they showed
too much restraint? By shrouding their works in silence and their revelations in parables, the
philosophers acted wisely. Respectful of social institutions, they harm no one and ensure their
own safety.

Allow me, on this topic, a simple anecdote.

An admirer of Fulcanelli was once conversing with one of our best chemists and asked for his
opinion on metallic transmutation.

"I believe it is possible", said the scientist, "though its realization is rather doubtful".

"And, if some sincere witness certified that he had seen it, and if he brought you a categorical
proof", replied the masters friend, "what would you think?".

Answered the chemist: "I would think that such a man should be mercilessly hounded and
suppressed as a dangerous criminal".

Consequently, prudence, extreme caution, and absolute discretion appear fully justified. For,
after this, who could blame Adepts for the particular style which they use in their
divulgations? Who would dare to throw the first stone at the author of this book?

Yet, because of the opinion we might have formed of a teaching where clear language
remains forbidden, we should not conclude that there is nothing to discover in the books of
the philosophers. Much to the contrary. To be gifted with a little sagacity is sufficient to
known how to read them and understand the essentials.

Among ancient authors and modem writers, Fulcanelli is without doubt the most sincere and
the most convincing. He establishes the hermetic theory on a solid basis, supports it with
evident analogical facts, and then presents it in a simple and precise manner. To discover on
what ground the principles of the art have been laid, the student, because of the clear and firm
development, only needs to make a few efforts. He will even be able to accumulate a great
number of the necessary pieces of knowledge. Thus equipped, he will then be able to attempt
this great work and leave the speculative domain for that of positive realizations.

From this moment on, he will encounter the first difficulties, and he will have to clear
numerous and practically insurmountable obstacles. There is not a researcher who doesnt

263

know these stumbling blocks, these insurmountable limits against which I myself, several
times, nearly failed. Of this, my master has kept the permanent memory, even more than I did.
Much like Basil Valentine, his true initiator, he was held in check without being able to find a
solution for more than 30 years!

Fulcanelli elaborated on the practical details much further than anyone else, out of charity for
the workers, his brothers, in order to help them vanquish these trying causes of interruption.
His method is different from that employed by his predecessors; it consists in describing in
detail all the operations of the Work. After having divided them into several fragments. He
thus takes each of the phases of the Work, begins its explanation in a chapter, interrupts it to
continue it in another, and completes it in a final passage. This parceling out, which turns the
Magistery into a philosophical puzzle, will not frighten the educated investigator; but it
quickly discourages the layman, incapable of finding his way in this labyrinth of a different
nature, and unqualified to uncover the correct sequence of the manipulations.

Such is the essential interest of this book which Fulcanelli presents to the cultivated reader,
called upon to judge the work according to its value, according to its originality, or perhaps to
appreciate it according to its merit.

Finally, I would feel I had overlooked something if I did not mention the remarkable and
splendid drawings of the painter, Julien Champagne. This excellent artist is worthy here,
again, of the greatest praise. I am also happy to extend my thanks to the editor, Monsieur Jean
Schemit, whose trustworthy taste and proven competence so perfectly guided the building of
the material form of the book The Dwellings of the Philosophers.

Eugene Canseliet

F.C.H.

April 1929

264

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OBJECT INSTANCES [0] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

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1 Alchemy

The Dwellings of the Philosophers, #unset, #Sri Aurobindo, #Integral Yoga
the material form of the book The Dwellings of the Philosophers.
Eugene Canseliet

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Wikipedia - 18th Central Committee of the Chinese Communist Party -- Wikimedia list article

Wikipedia - 18th Field Artillery Regiment -- US military unit

Wikipedia - 18th Street gang -- Transnational criminal gang

Wikipedia - 1904 Sasun uprising -- 1904 uprising by Armenian militia against the Ottoman Empire

Wikipedia - 1908 Messina earthquake -- Devastating 7.1 magnitude earthquake & tsunami in southern Italy

Wikipedia - 1910s in comics -- Timeline of significant 1910s comic events

Wikipedia - 1915 typhus and relapsing fever epidemic in Serbia -- Epidemic

Wikipedia - 1918 flu pandemic

Wikipedia - 1918 San Fermin earthquake -- Earthquake that struck Puerto Rico

Wikipedia - 1918 Stanley Cup Finals -- Series of ice hockey games to determine seasonal champion

Wikipedia - 1920 Schleswig plebiscites -- 1920 plebiscite used to determine the border between Denmark and Germany

Wikipedia - 1922 British Mount Everest expedition -- First attempt to reach summit of world's highest mountain

Wikipedia - 1922 Lupeni mine disaster -- Mine explosion disaster

Wikipedia - 1926 United Kingdom general strike -- Coal miner strike in UK in 1926

Wikipedia - 1927 Indiana bituminous strike -- Strike by American coal miners

Wikipedia - 1929-1930 psittacosis pandemic -- Pandemic

Wikipedia - 1930 Dominican Republic hurricane -- Category 4 Atlantic hurricane in 1930

Wikipedia - 1930 Western Wall Commission -- Commission appointed by the British government

Wikipedia - 1933 double eagle -- Twenty-dollar American gold coin minted in 1933

Wikipedia - 1936 Constitution of the Soviet Union -- Led by Joseph Stalin, promising increased democracy

Wikipedia - 1936 Mid-Atlantic hurricane -- Category 3 Atlantic hurricane in 1936

Wikipedia - 1939-1945 Star -- United Kingdom military campaign medal for service in the Second World War

Wikipedia - 1939-40 Winter Offensive -- Military offensive

Wikipedia - 1940 Brocklesby mid-air collision -- Collision involving Royal Australian Air Force training aircraft

Wikipedia - 1946 African Mine Workers' Union strike -- Strike by mine workers of Witwatersrand started on August 12, 1946

Wikipedia - 1946 Cabinet Mission to India

Wikipedia - 1949 MacRobertson Miller Aviation DC-3 crash -- Accident in Western Australia

Wikipedia - 1953 Alcoa Aluminum advertisement

Wikipedia - 1953 Vicksburg, Mississippi tornado -- weather event affecting Mississippi

Wikipedia - 1956 Grand Canyon mid-air collision -- mid-air collision on June 30, 1956 over the Grand Canyon

Wikipedia - 1956 in Michigan -- List of events which happened in Michigan, United States in 1956

Wikipedia - 1957 Pacoima mid-air collision -- Mid-air collision over Pacoima, California, United States

Wikipedia - 1958 Pakistani coup d'etat -- Events surrounding the deposing of Pakistani President Iskander Mirza by Ayub Khan, Pakistani Army Commander-in-Chief

Wikipedia - 1960 Rio de Janeiro mid-air collision -- 1960 aviation accident

Wikipedia - 1961-1975 cholera pandemic -- Seventh major cholera pandemic

Wikipedia - 1962 Roman Missal

Wikipedia - 1964 New York World's Fair -- Showcase of mid-20th-century American culture and technology fair

Wikipedia - 1964 T-39 shootdown incident -- Cold War incident involving an American T-39 being shot down by a Soviet MiG-19

Wikipedia - 1965 Argentine Air Force C-54 disappearance -- Argentine military flight that disappeared on 3 November 1965

Wikipedia - 1965 Indian Everest Expedition -- First successful Indian summit of Mount Everest

Wikipedia - 1965 Soviet economic reform

Wikipedia - 1966 Miami Dolphins season -- Inaugural season for Miami's AFL team

Wikipedia - 1967 Milwaukee riot -- One of the many race riots that swept cities in the U.S. during the "Long Hot Summer of 1967"

Wikipedia - 1967 Minneapolis Riot -- Minneapolis Riot

Wikipedia - 1969 Birmingham Ladywood by-election

Wikipedia - 1971 B-52C Lake Michigan crash -- Aviation accident

Wikipedia - 1972 Bean Station, Tennessee bus crash -- Bus/semi-truck collision in Bean Station, Tennessee

Wikipedia - 1973-1975 recession -- Period of economic stagnation in the Western world

Wikipedia - 1973 Nantes mid-air collision -- Mid-air collision over France in 1973

Wikipedia - 1973 Nemzeti Bajnoksag I (women's handball) -- Hungary's premier Handball league

Wikipedia - 1973 raid on Egyptian missile bases -- Israeli raid during the Yom Kippur War

Wikipedia - 1973 Westminster bombing -- Car bomb explosion in Millbank, London

Wikipedia - 1975 Australian constitutional crisis -- Dismissal of Prime Minister Gough Whitlam by Governor-General John Kerr

Wikipedia - 1976 Argentine coup d'etat -- March 1976 military coup d'etat in Argentina

Wikipedia - 1976 Chowchilla kidnapping -- Mass kidnapping committed in California, US

Wikipedia - 1978 in video gaming

Wikipedia - 1978 Mauritanian coup d'etat -- Military overthrow of Moktar Ould Daddah

Wikipedia - 1979 in video gaming

Wikipedia - 1979 vote of no confidence in the Callaghan ministry -- 1979 political event in the UK

Wikipedia - 1980-1989 world oil market chronology -- 1980s economic history

Wikipedia - 1980 Damascus Titan missile explosion -- Explosion of a US ICBM in Arkansas

Wikipedia - 1980 in video gaming

Wikipedia - 1980 murders of U.S. missionaries in El Salvador -- Murders

Wikipedia - 1980s in Japan -- Economic boom period in Japanese history

Wikipedia - 1982 Hama massacre -- Suppression of the Islamic Uprising in Syria

Wikipedia - 1983-1985 famine in Ethiopia -- Widespread famine in Ethiopia

Wikipedia - 1983... (A Merman I Should Turn to Be) -- 1968 song by the Jimi Hendrix Experience

Wikipedia - 1984 (1956 film) -- 1956 film by Michael Anderson

Wikipedia - 1984 New York City Subway shooting -- Shooting committed on the New York City Subway

Wikipedia - 1984 Rajneeshee bioterror attack -- Deliberate Salmonella contamination in Oregon, US

Wikipedia - 1985-86 Scottish Premier Division -- Scottish Premier Division

Wikipedia - 1986 FBI Miami shootout -- Gun battle between eight FBI agents and two serial bank robbers and murderers in Miami in 1986

Wikipedia - 1986 Lesotho coup d'etat -- Military overthrow of Leabua Jonathan

Wikipedia - 1986 United States bombing of Libya -- US April 1986 military operation in Libya

Wikipedia - 1987 Mecca incident -- July 1987 clash between Shia pilgrims and Saudi Arabian security forces during the Islamic Hajj season

Wikipedia - 1988 Cannes and Nice attacks -- Anti-immigrant attack

Wikipedia - 1988 Lion Cup -- Premier domestic rugby union knock-out competition in South Africa

Wikipedia - 1989 Currie Cup Division A -- Premier domestic rugby union competition in South Africa

Wikipedia - 1989 Haitian coup d'etat attempt -- Attempted military overthrow of Prosper Avril

Wikipedia - 1989 Lion Cup -- Premier domestic rugby union knock-out competition in South Africa

Wikipedia - 1990 Currie Cup Division A -- Top division of the premier domestic rugby union competition in South Africa

Wikipedia - 1990s post-Soviet aliyah -- Migration of Jews from the former USSR to Israel

Wikipedia - 1991 Lesotho coup d'etat -- Military overthrow of Justin Lekhanya

Wikipedia - 1991 Soviet coup d'etat attempt -- Attempted coup d'etat against Mikhail Gorbachev's government

Wikipedia - 1993 child sexual abuse accusations against Michael Jackson -- Evan Chandler's accusations of Michael Jackson sexually abusing Jordan Chandler

Wikipedia - 1993 "Maize Blue" University of Michigan Solar Car

Wikipedia - 1996 Charkhi Dadri mid-air collision -- November 1996 mid-air plane collision in northern India

Wikipedia - 1997 Namibia mid-air collision -- Collision between USAF C-141B and German Air Force Tu-154M

Wikipedia - 1997 Southeast Asian haze -- Haze over the Southeast Asia region in mid-1997

Wikipedia - 1998-99 Ecuador financial crisis -- Period of economic instability

Wikipedia - 1998 Coimbatore bombings -- Bombings in Coimbatore, Tamil Nadu, India

Wikipedia - 1998 kidnapping of Mormon missionaries in Saratov, Russia -- 1998 kidnapping case

Wikipedia - 1998 Yeosu submersible incident -- 1998 naval skirmish between North Korea and South Korea

Wikipedia - 1999 Hector Mine earthquake -- Magnitude 7.1 earthquake in California

Wikipedia - 1999 Istanbul summit -- intergovernmental meeting

Wikipedia - 1999 Loomis truck robbery -- Robbery of a semi-trailer truck transporting money in California, US

Wikipedia - 1999 Pakistani coup d'etat -- October 1999 military coup in Pakistan

Wikipedia - 1999 Washington summit -- NATO summit during the Yugoslav war

Wikipedia - 19th Field Artillery Regiment -- US military unit

Wikipedia - 1-Aminocyclopropane-1-carboxylic acid

Wikipedia - 1-Aminocyclopropanecarboxylic acid

Wikipedia - 1-Aminomethyl-5-methoxyindane

Wikipedia - 1-Bromohexane -- Chemical compound

Wikipedia - 1-Butanol -- Chemical compound

Wikipedia - 1C:Enterprise programming language

Wikipedia - 1 Geminorum -- Star in the constellation Gemini

Wikipedia - 1 Litre no Namida (TV series) -- 2005 Japanese television drama

Wikipedia - 1 M-CM-^W 1 -- book of poetry by E. E. Cummings

Wikipedia - 1 Memorial Drive -- Building in Missouri, United States

Wikipedia - 1-Methylamino-1-(3,4-methylenedioxyphenyl)propane

Wikipedia - 1-Methylcytosine -- Chemical compound

Wikipedia - 1 Mile North

Wikipedia - 1P-ETH-LAD -- Chemical compound

Wikipedia - 1Q84 -- Novel by Haruki Murakami

Wikipedia - 1st Airborne Task Force (Allied) -- Military unit

Wikipedia - 1st Australian Task Force -- A joint military task force

Wikipedia - 1st Battalion, 320th Field Artillery Regiment -- US military unit

Wikipedia - 1st Canadian Tunnelling Company -- Military unit

Wikipedia - 1st Cavalry Division (German Empire) -- Military unit

Wikipedia - 1st Cavalry Division (United Kingdom) -- Military unit

Wikipedia - 1st Congress of the Comintern -- 1919 gathering which established the Comintern

Wikipedia - 1st Field Artillery Regiment (United States) -- US military unit

Wikipedia - 1st Independent Company (Australia) -- Australian military unit in World War II

Wikipedia - 1st Marine Division Band -- USMC military unit band

Wikipedia - 1st Marine Regiment -- Military unit

Wikipedia - 1st Mechanical Kansas Militia -- American terrorist group

Wikipedia - 1st Middlesex Volunteers

Wikipedia - 1st Military Working Dog Regiment

Wikipedia - 1st millennium BC

Wikipedia - 1st millennium -- Millennium spanning the years 1 to 1000

Wikipedia - 1st Missouri Field Battery -- Unit of the Confederate States Army

Wikipedia - 1st (Risalpur) Cavalry Brigade -- Military unit

Wikipedia - 1st Special Operations Squadron -- US Air Force military squadron

Wikipedia - 1st SS Panzer Division Leibstandarte SS Adolf Hitler -- Military unit of Nazi Germany

Wikipedia - 1st Tactical Missile Squadron

Wikipedia - 1 yen coin -- Smallest denomination of the Japanese yen currency

Wikipedia - 20,000 rials note -- Denomination of Iranian currency

Wikipedia - 2000 AD (comics) -- British comic magazine

Wikipedia - 2000 Dover incident -- Illegal immigration incident resulting in the deaths of 58 people

Wikipedia - 2000 in video gaming

Wikipedia - 2000 MI6 attack -- Attack in London

Wikipedia - 2000 millennium attack plots -- Planned terrorist attacks linked to al-Qaeda in the year 2000

Wikipedia - 2000s in Japan -- Decade of hope and optimism in Japanese history

Wikipedia - 2000 yen note -- Rarely circulated denomination of Japanese yen

Wikipedia - 2001-02 India-Pakistan standoff -- Major military standoff between India and Pakistan from late-2001 to mid-2002

Wikipedia - 2001: A Space Odyssey (comics)

Wikipedia - 2001 Bangladesh-India border clashes -- Series of armed skirmishes between Bangladesh and India

Wikipedia - 2001 Mississippi flag referendum -- Referendum for Mississippi to adopt a new flag design

Wikipedia - 2002 Gibraltar sovereignty referendum -- Referendum of Gibraltarian citizens to determine if they wished to share sovereignty with Spain

Wikipedia - 2002 Gran Premio Telmex-Gigante -- Final round of the 2002 CART FedEx Champ Car World Series

Wikipedia - 2002 loya jirga -- Emergency grand assembly to elect a transitional administration in Afghanistan

Wikipedia - 2002 M-CM-^\berlingen mid-air collision -- Aviation accident

Wikipedia - 2002 New Hampshire Senate election phone jamming scandal

Wikipedia - 2002 Prague summit -- NATO summit

Wikipedia - 2003 Midwest monkeypox outbreak -- Outbreak of monkeypox in the United States

Wikipedia - 2004 Indian Ocean earthquake and tsunami -- Megathrust underwater earthquake and subsequent tsunami in the Indian Ocean

Wikipedia - 2004 Jenner, California, double murder -- Homicide in Sonoma County, California (USA)

Wikipedia - 2004 Kalapatti violence -- Anti-Dalit Violence in Kalapatti, Tamil Nadu

Wikipedia - 2004 Kumbakonam School fire -- 2004 School fire accident in Tamil Nadu

Wikipedia - 2004 Michigan Democratic presidential caucuses -- Democratic Presidential Caucuses in Michigan in 2004

Wikipedia - 2004 Qamishli riots -- Kurdish uprising in Syria

Wikipedia - 2005 KuM-EM-^_adasi minibus bombing -- Bombing in KuM-EM-^_adasi, Turkey

Wikipedia - 2005 Mauritanian coup d'etat -- Military overthrow of Maaouya Ould Sid'Ahmed Taya

Wikipedia - 2005 World Summit

Wikipedia - 2006 Minato Ward elevator accident -- Fatal elevator accident in 2006 in Tokyo

Wikipedia - 2006 Pangandaran earthquake and tsunami -- Destructive tsunami earthquake south of Java Island

Wikipedia - 2006 Sao Paulo violence outbreak -- Clash between law enforcement officials and criminals in Brazil

Wikipedia - 2006 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2006

Wikipedia - 2007 Carnation murders -- Familicide of the Anderson family in 2007

Wikipedia - 2007 Fort Dix attack plot -- Conspiracy by six Muslim men to attack US military personal at Fort Dix, New Jersey, US

Wikipedia - 2007 inter-Korean summit -- A Korean summit was held in 2007 for the Koreans

Wikipedia - 2007 Miami Dolphins season -- 42nd season and lowest win total in franchise history

Wikipedia - 2007 Minnesota Swarm season -- American lacrosse season

Wikipedia - 2007 plot to behead a British Muslim soldier -- 2007 criminal plot in England

Wikipedia - 2007 Tokelauan self-determination referendum -- Referendums

Wikipedia - 2008 in Jungle Fight -- Mixed martial arts event

Wikipedia - 2008 Mauritanian coup d'etat -- Military overthrow of Sidi Ould Cheikh Abdallahi

Wikipedia - 2008 Mississippi State Bulldogs football team

Wikipedia - 2008 Republican National Convention -- U.S. political event held in Saint Paul, Minnesota

Wikipedia - 2009 attack on the Dutch royal family -- 2009 attempt to kill the Dutch royal family

Wikipedia - 2009 Guinea mine collapse -- Historic mine collapse in Guinea

Wikipedia - 2009 Heilongjiang mine explosion -- Coal mine explosion caused by poor ventilation

Wikipedia - 2009 in Jungle Fight -- Mixed martial arts event

Wikipedia - 2009 Mississippi State Bulldogs football team

Wikipedia - 2009 Ole Miss Rebels football team

Wikipedia - 2009 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2009

Wikipedia - 2009 structural changes to local government in England -- 2009 changes to the structure of state administration on a local level in England

Wikipedia - 2009 swine flu pandemic in New Zealand

Wikipedia - 2009 swine flu pandemic in Norway

Wikipedia - 2009 swine flu pandemic in Oceania

Wikipedia - 2009 swine flu pandemic in the United States by state

Wikipedia - 2009 swine flu pandemic vaccine -- Vaccine for H1N1 Swine Flu that caused a pandemic in 2009.

Wikipedia - 200 metres individual medley -- Competitive swimming event

Wikipedia - 2010-2017 Toronto serial homicides -- Serial killings in Toronto between 2010 and 2017

Wikipedia - 2010 Chechen Parliament attack -- Militant attack in Grozny, Chechnya, Russia

Wikipedia - 2010 Copiap mining accident

Wikipedia - 2010 Copiapo mining accident -- Mine Collapse in Chile in 2010

Wikipedia - 2010 G20 Seoul summit -- Fifth meeting of the G-20 heads of government

Wikipedia - 2010 in comics

Wikipedia - 2010 in Jungle Fight -- Mixed martial arts event

Wikipedia - 2010 Kashmir unrest -- Series of violent protests and riots in the Kashmir Valley which started in June 2010 after an Indian Army announcement

Wikipedia - 2010 Kyalami Superbike World Championship round

Wikipedia - 2010 Mirchpur caste violence -- Anti-Dalit violence in Haryana, India

Wikipedia - 2010 Ole Miss Rebels football team

Wikipedia - 2010 Schmirler Curling Classic -- World Curling Tour event

Wikipedia - 2010 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2010

Wikipedia - 2011 in Jungle Fight -- Mixed martial arts event

Wikipedia - 2011 Mississippi River floods -- Severe flooding across the Mississippi River Valley in April and May 2011

Wikipedia - 2011 Schmirler Curling Classic -- World Curling Tour event

Wikipedia - 2011 TM-EM-^Mhoku earthquake and tsunami -- 2011 magnitude 9.0 - 9.1 earthquake off the coast of Japan

Wikipedia - 2011 Tuscaloosa-Birmingham tornado -- 2011 tornado in Alabama, U.S.A.

Wikipedia - 2011 Wainwright Roaming Buffalo Classic -- World Curling Tour event

Wikipedia - 2012 Chicago summit -- NATO summit on 20-21 May 2012

Wikipedia - 2012 Dharmapuri violence -- Caste related violence against Dalits in Tamil Nadu

Wikipedia - 2012 Ingleside, San Francisco homicide -- Lei family quintuple slayings

Wikipedia - 2012 in mixed martial arts events -- 2012 in mixed martial arts events

Wikipedia - 2012 Michoacan murder of photographers -- The kidnapping and murder of two Mexican photographers

Wikipedia - 2012 Middle East respiratory syndrome coronavirus outbreak -- Epidemic of Middle East respiratory syndrome coronavirus

Wikipedia - 2012 Wainwright Roaming Buffalo Classic -- World Curling Tour event

Wikipedia - 2013 BWF season -- Badminton season

Wikipedia - 2013 Egyptian coup d'etat -- Egyptian political incident: incumbent President of Egypt Mohamed Morsi was overthrown by a military-led coalition

Wikipedia - 2013 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2013

Wikipedia - 2014-2015 India-Pakistan border skirmishes -- A series of armed skirmishes between India and Pakistan

Wikipedia - 2014 American immigration crisis -- Surge in immigration starting in 2014 to US along southern border from countries further south than Mexico

Wikipedia - 2014 Armenian Mil Mi-24 shootdown -- Aviation incident

Wikipedia - 2014 Brazilian economic crisis -- Crisis that began during the presidency of Dilma Rousseff

Wikipedia - 2014 Fort Hood shooting -- Mass shooting at a US military post

Wikipedia - 2014 G20 Brisbane summit -- Meeting of heads of state regarding economic issues

Wikipedia - 2014 Gamboru Ngala massacre -- Militant attack in Nigeria

Wikipedia - 2014 in RXF -- RXF mixed martial arts event in 2014

Wikipedia - 2014 Kunming attack -- Knife attack at Kunming Railway Station in the city of Kunming, Yunnan

Wikipedia - 2014 Malta migrant shipwreck -- Ship that sank off the coast of Malta, killing around 500

Wikipedia - 2014 Saint-Jean-sur-Richelieu ramming attack

Wikipedia - 2014 Wales summit -- Summit of the North Atlantic Treaty Organization

Wikipedia - 2014 YX49 -- Minor planet co-orbital with Uranus

Wikipedia - 2015-16 British and Irish Cup -- seventh annual rugby competition for semi-professional clubs from Britain and Ireland

Wikipedia - 2015-16 National League 3 Midlands -- National League 3 Midlands matchday results

Wikipedia - 2015-2016 Zika virus epidemic -- Widespread epidemic of Zika fever

Wikipedia - 2015 Birmingham City Council election

Wikipedia - 2015 Egyptian military intervention in Libya

Wikipedia - 2015 Indian swine flu outbreak -- Outbreak of the 2009 pandemic H1N1 virus in India

Wikipedia - 2015 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2015 in RXF -- RXF mixed martial arts event in 2015

Wikipedia - 2015 Israel Premier Lacrosse League season -- Season of the Israel Premier Lacrosse League

Wikipedia - 2015 Qamishli bombings

Wikipedia - 2015 Rohingya refugee crisis -- Mass human migration crisis

Wikipedia - 2015 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2015

Wikipedia - 2015 Tyrone shooting -- Mass murder in Tyrone, Missouri, U.S.

Wikipedia - 2015 Zaria massacre -- Armed attack by the Nigerian military on the Shia community of Zaria, Kaduna, Nigeria

Wikipedia - 2016-2018 India-Pakistan border skirmishes -- Series of armed skirmishes between India and Pakistan in Kashmir

Wikipedia - 2016 Ariyalur gang rape case -- Incident of gang rape and murder of a minor girl.

Wikipedia - 2016 Democratic National Convention -- Presidential nominating convention

Wikipedia - 2016 Hungarian migrant quota referendum -- Nation-wide referendum

Wikipedia - 2016 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2016 in RXF -- RXF mixed martial arts event in 2016

Wikipedia - 2016 Irish government formation -- Events of March to May 2016, resulting in a minority government

Wikipedia - 2016 Israel Premier Lacrosse League season -- Season of the Israel Premier Lacrosse League

Wikipedia - 2016 shooting of Dallas police officers -- Mass murder by Micah Xavier Johnson during Black Lives Matter protest

Wikipedia - 2016 shootings of Des Moines police officers -- Killings of police officers by Scott Michael Greene in Iowa

Wikipedia - 2016 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2016

Wikipedia - 2016 Turkish coup d'etat attempt -- July 2016 attempted military junta coup in Turkey

Wikipedia - 2017 Edmonton attack -- Stabbing and vehicle-ramming attack

Wikipedia - 2017 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2017 in RXF -- RXF mixed martial arts event in 2017

Wikipedia - 2017 Minya attack

Wikipedia - 2017 Mississippi shootings -- Mass shooting in Lincoln County, Mississippi, US

Wikipedia - 2017 New York City truck attack -- Vehicle-ramming attack in New York City on October 31, 2017

Wikipedia - 2017 Riyadh summit -- 2017 U.S.-Saudi diplomatic meeting

Wikipedia - 2017 Shayrat missile strike -- United States missile strike in Syria on April 7, 2017

Wikipedia - 2017 Southeast Asian haze -- Haze over the Southeast Asia region in mid-2017

Wikipedia - 2017 Times Square car crash -- Vehicle ramming incident in New York City in 2017

Wikipedia - 2017 Westminster attack -- Terror attack which occurred on 22 March 2017 in Westminster, London, England, UK

Wikipedia - 2018-19 Campeonato Nacional de Futebol Feminino -- The 34th edition of Campeonato Nacional de Futebol Feminino

Wikipedia - 2018-19 Orszagos Bajnoksag I (women's water polo) -- 36th season of the Orszagos Bajnoksag I, Hungary's premier Water polo league

Wikipedia - 2018 Ahvaz military parade attack

Wikipedia - 2018 Ambalapattu violence -- Violence against the Dalit community in Tamil Nadu

Wikipedia - 2018 Armenian revolution -- Protests against Prime Minister Sersch Sargsyan and the Armenian government in several Armenian cities

Wikipedia - 2018 attack on the High National Elections Commission in Tripoli, Libya

Wikipedia - 2018 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2018 in RXF -- RXF mixed martial arts event in 2018

Wikipedia - 2018 knife murders at Pubei Road, Shanghai -- Chinese criminal incident

Wikipedia - 2018 Minya bus attack

Wikipedia - 2018 missile strikes against Syria -- military strikes by US, UK, France against government sites in Syria

Wikipedia - 2018 North Korea-United States Singapore Summit -- Meeting between Donald Trump and Kim Jong-un

Wikipedia - 2018 Russia-United States summit -- meeting between Donald Trump and Vladimir Putin in Helsinki on 16 July 2018

Wikipedia - 2018 Southeastern Provisions raid -- 2018 immigration raid in Grainger County, Tennessee, United States

Wikipedia - 2018 Sunda Strait tsunami -- Tsunami in coastal regions of Banten and Lampung, Indonesia

Wikipedia - 2018 Sweden wildfires -- wildfires in Sweden during mid-2018

Wikipedia - 2018 Syrian-Turkish border clashes -- skirmish between Turkey and AANES 31 October - 6 November 2018

Wikipedia - 2018 Washington Veterans Day Parade -- Cancelled military parade

Wikipedia - 2019-2020 measles outbreak in the Democratic Republic of the Congo -- Measles epidemic in the DRC in 2019

Wikipedia - 2019-2021 Persian Gulf crisis -- Period of military tensions between the US and Iran

Wikipedia - 2019-20 Calcutta Premier Division -- 122nd season of Calcutta Premier Division

Wikipedia - 2019-20 Campeonato Nacional Feminino -- The 35th edition of Campeonato Nacional de Futebol Feminino

Wikipedia - 2019-20 Western Libya campaign -- A Military Campaign in Western Libya

Wikipedia - 2019-20 West Region Premiership -- West Region Premiership 2019-2020

Wikipedia - 2019 Altamira prison riot -- Brazilian prison riot

Wikipedia - 2019 Barangay Ginebra San Miguel season -- Wikimedia list article

Wikipedia - 2019 Chilean Air Force C-130 crash -- Military aircraft accident

Wikipedia - 2019 college admissions bribery scandal -- Ongoing corruption scandal involving major universities in the U.S.

Wikipedia - 2019 D1NZ season -- Premier drifting series of New Zealand

Wikipedia - 2019 Dow Tennis Classic -- ITF professional tennis competition, Midland, U.S.

Wikipedia - 2019 Hpakant jade mine collapse -- Mine collapse triggered by a landslide

Wikipedia - 2019 India-Pakistan border skirmishes -- Series of armed skirmishes between India and Pakistan in Kashmir

Wikipedia - 2019 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2019 in RXF -- RXF mixed martial arts event in 2019

Wikipedia - 2019 Iranian shoot-down of American drone -- Military action in the Strait of Hormuz

Wikipedia - 2019 Jamia Millia Islamia attack -- Attack on a University campus in India

Wikipedia - 2019 Midwestern U.S. floods -- 2019 disaster in the Midwestern United States

Wikipedia - 2019 Mini Challenge UK -- Eighteenth season of the Mini Challenge UK

Wikipedia - 2019 North Korea-United States Hanoi Summit -- Meeting between Kim Jong-un and Donald Trump

Wikipedia - 2019 opinion polling on the Donald Trump administration -- Wikimedia list article

Wikipedia - 2019 Ponparappi violence -- Anti-Dalit violence in Ponparappi, Tamil Nadu

Wikipedia - 2019 Premier Lacrosse League season -- Inaugural season of the Premier Lacrosse League

Wikipedia - 2019 Prime Minister's Resignation Honours -- List

Wikipedia - 2019 Samoa assassination plot -- Attempt to kill Prime Minister of Samoa

Wikipedia - 2019 Samoa measles outbreak -- Measles epidemic in Samoa in late 2019

Wikipedia - 2019 Shute Shield season -- 146th season of a premier rugby union competition in Sydney

Wikipedia - 2019 Sports Car Challenge of Mid-Ohio -- Sports race

Wikipedia - 2019 Tajoura migrant center airstrike

Wikipedia - 2019 Tonga measles outbreak -- Measles epidemic in Tonga in late 2019

Wikipedia - 2019 UN Climate Action Summit

Wikipedia - 2019 Xiangshui chemical plant explosion -- 21 March 2019 explosion in Jiangsu, China

Wikipedia - 201st Expeditionary Military Intelligence Brigade

Wikipedia - 2020-2021 Minneapolis-Saint Paul racial unrest -- Series of protests and riots in the U.S. state of Minnesota

Wikipedia - 2020-21 Campeonato Nacional de Futebol Feminino -- The 36th edition of Campeonato Nacional de Futebol Feminino

Wikipedia - 2020 coronavirus pandemic in the Philippines

Wikipedia - 2020 Dahej chemical plant explosion -- 2020 chemical plant explosion in Dahej, India

Wikipedia - 2020 Democratic National Convention -- U.S. political event held in Milwaukee, Wisconsin and virtually online

Wikipedia - 2020 Democratic Party presidential candidates -- Candidates for the Democratic Party nominee for President of the United States in 2020

Wikipedia - 2020 Democratic Party presidential debates -- Debates for 2020 Democratic presidential nomination

Wikipedia - 2020 dismissal of inspectors general -- Overview of the dismissal of inspectors general of 2020

Wikipedia - 2020 Dominican Republic protests -- Protests in Dominican Republic

Wikipedia - 2020 G20 Riyadh summit -- Summit of the leaders of all G20 member nations in Riyadh, Saudi Arabia.

Wikipedia - 2020 Ganja missile attacks -- Attacks on Ganja, Azerbaijan in October 2020

Wikipedia - 2020 Green National Convention -- National nominating convention for the Green Party of the United States

Wikipedia - 2020 Hpakant jade mine disaster -- Landslide in Myanmar

Wikipedia - 2020 India-Pakistan border skirmishes -- Series of armed skirmishes between India and Pakistan in Kashmir

Wikipedia - 2020 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2020 in Russia -- Upcoming event

Wikipedia - 2020 in RXF -- RXF mixed martial arts event in 2020

Wikipedia - 2020 Irish education shutdown -- Irish school and university closures caused by the COVID-19 pandemic

Wikipedia - 2020 Michigan Democratic presidential primary -- 2020 Michigan Democratic primary

Wikipedia - 2020 Michigan graduate students strike -- 2020 labor strike at the University of Michigan

Wikipedia - 2020 Mi'kmaq lobster dispute -- Lobster fishing dispute

Wikipedia - 2020 Mini Challenge UK -- Eighteenth season of the Mini Challenge UK

Wikipedia - 2020 Mississippi Democratic presidential primary -- 2020 Mississippi Democratic primary

Wikipedia - 2020 Missouri Democratic presidential primary -- 2020 Missouri Democratic primary

Wikipedia - 2020 MTV Millennial Awards Brazil -- 2020 Award Show

Wikipedia - 2020 Nagorno-Karabakh ceasefire agreement -- Armistice agreement ending the Nagorno-Karabakh war

Wikipedia - 2020 Nickelodeon Meus PrM-CM-*mios Nick -- 2020 Brazilian award show

Wikipedia - 2020 Paris stabbing attack -- Islamist terror attack at former satirical magazine headquarters

Wikipedia - 2020 Premier Lacrosse League season -- Inaugural season of the Premier Lacrosse League

Wikipedia - 2020 Russian Mil Mi-24 shootdown -- aviation incident

Wikipedia - 2020 Trier attack -- Vehicle ramming incident in 2020 in Germany

Wikipedia - 2020 United Kingdom education shutdown -- UK school and university closures caused by the COVID-19 pandemic

Wikipedia - 2020 vote of no confidence in the Faizal Azumu ministry -- 2020 political event in Malaysia

Wikipedia - 2021 Erbil missile attacks

Wikipedia - 2021 G20 Rome summit -- Summit of the leaders of all G20 member nations in Rome, Italy.

Wikipedia - 2021 in comics

Wikipedia - 2021 in Cuba -- Upcoming event

Wikipedia - 2021 in Konfrontacja Sztuk Walki -- Mixed martial arts event

Wikipedia - 2021 in Namibia -- Namibia-related evens during 2021

Wikipedia - 2021 in Poland -- Upcoming event

Wikipedia - 2021 in Russia -- Upcoming event

Wikipedia - 2021 in the Federated States of Micronesia

Wikipedia - 2021 in the United Arab Emirates

Wikipedia - 2021 League of Ireland Premier Division -- 37th season of the League of Ireland Premier Division

Wikipedia - 2021 Micronesian parliamentary election

Wikipedia - 2021 storming of the United States Capitol

Wikipedia - 2021 Tamil Nadu Legislative Assembly election

Wikipedia - 2024 Democratic National Convention -- U.S. political event with location to be determined

Wikipedia - 2024 Republican National Convention -- U.S. political event with location to be determined

Wikipedia - 2069 Alpha Centauri mission -- NASA concept for unmanned probe - possibly a light sail

Wikipedia - 20 cm Luftminenwerfer M 16

Wikipedia - 20-Hydroxyecdysone -- chemical compound

Wikipedia - 20 Million Miles to Earth

Wikipedia - 20 minutes (Switzerland)

Wikipedia - 20 minutos -- Spanish online newspaper

Wikipedia - 20th Anniversary of the Million Man March: Justice or Else

Wikipedia - 20th Century Limited -- American express passenger train

Wikipedia - 20th Century Women -- 2016 film by Mike Mills

Wikipedia - 211th Military Police Battalion

Wikipedia - 2/12th Field Ambulance -- Australian military medical unit

Wikipedia - 21 Jump Street (film) -- 2012 film by Phil Lord and Christopher Miller

Wikipedia - 2-1 road -- Road with extra wide shoulders, and a smaller two-way lane in the middle for vehicles

Wikipedia - 21SL55 -- archaeological site in Minnesota, U.S.

Wikipedia - 21st Field Artillery Regiment -- US military unit

Wikipedia - 21st Independent Mixed Brigade (Imperial Japanese Army) -- Imperial Japanese Army formation

Wikipedia - 2.2.2-Propellane -- Chemical compound

Wikipedia - 2,2,4-Trimethylpentane -- Chemical compound

Wikipedia - 2-(2-Hydroxyphenyl)-2H-benzotriazoles -- Class of chemical compounds

Wikipedia - 22 Yards -- 2019 film by Mitali Ghoshal

Wikipedia - 23andMe -- Personal genomics and biotechnology company based in Sunnyvale, California, US

Wikipedia - 2,3-Dimethoxy-4,5-methylenedioxyamphetamine

Wikipedia - 2,3-Methylenedioxyamphetamine

Wikipedia - 23rd G8 summit -- 1997 G8 summit in Denver

Wikipedia - 2,3-sigmatropic rearrangement -- Class of chemical reaction

Wikipedia - 23 (song) -- 2013 single by Mike Will Made It featuring Miley Cyrus, Wiz Khalifa, and Juicy J

Wikipedia - 2,3-Wittig rearrangement -- Chemical reaction

Wikipedia - 246th Mixed Brigade -- Spanish mixed brigade

Wikipedia - 2,4,6-Tribromoaniline -- Chemical compound

Wikipedia - 2,4,6-Trichloroaniline -- Chemical compound

Wikipedia - 2,4,6-Tris(trinitromethyl)-1,3,5-triazine -- Chemical compound

Wikipedia - 24-hour news cycle -- 24-hour investigation and reporting of news, concomitant with fast-paced lifestyles

Wikipedia - 24 Hour Party People -- 2002 film by Michael Winterbottom

Wikipedia - 24 Hours to Midnight -- 1985 film

Wikipedia - 24th Special Tactics Squadron -- US Air Force military unit

Wikipedia - 252nd Battalion (Lindsay), CEF -- Canadian WW1 military battalion

Wikipedia - 25CN-NBOH -- Chemical compound

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Wikipedia - Academic grading in Canada -- Overview of academic grading in Canada

Wikipedia - Academic grading in China -- Overview of academic grading in China

Wikipedia - Academic grading in Denmark -- Overview of academic grading in Denmark

Wikipedia - Academic grading in Egypt -- Overview of academic grading in Egypt

Wikipedia - Academic grading in Finland -- Overview of academic grading in Finland

Wikipedia - Academic grading in France -- Overview of academic grading in France

Wikipedia - Academic grading in Germany -- Overview of academic grading in Germany

Wikipedia - Academic grading in Greece -- Overview of academic grading in Greece

Wikipedia - Academic grading in Hong Kong -- Overview of academic grading in Hong Kong

Wikipedia - Academic grading in India -- Overview of academic grading in India

Wikipedia - Academic grading in Indonesia -- Overview of academic grading in Indonesia

Wikipedia - Academic grading in Ireland -- Overview of academic grading in Ireland

Wikipedia - Academic grading in Israel

Wikipedia - Academic grading in Italy -- Overview of academic grading in Italy

Wikipedia - Academic grading in Japan -- Academic grading system in Japan

Wikipedia - Academic grading in Morocco -- Overview of academic grading in Morocco

Wikipedia - Academic grading in Russia -- Overview of academic grading in Russia

Wikipedia - Academic grading in Serbia -- Overview of academic grading in Serbia

Wikipedia - Academic grading in Singapore -- Overview of academic grading in Singapore

Wikipedia - Academic grading in Sweden -- Overview of academic grading in Sweden

Wikipedia - Academic grading in the Philippines -- Overview of academic grading in the Philippines

Wikipedia - Academic grading in the United Kingdom -- Overview of academic grading in the United Kingdom

Wikipedia - Academic grading in the United States -- System for academic results

Wikipedia - Academic graduation by country

Wikipedia - Academic halls of the University of Oxford -- Former educational institutions within the University of Oxford

Wikipedia - Academic health science centre

Wikipedia - Academic history

Wikipedia - Academic honor code -- Honor system is a set of rules or ethical principles

Wikipedia - Academician -- Member of an art, literary, or scientific academy

Wikipedia - Academic imperialism -- Unequal relation between academics

Wikipedia - Academic Institute of Oriental Studies

Wikipedia - Academic institution

Wikipedia - Academic journal publishing reform

Wikipedia - Academic journals

Wikipedia - Academic journal

Wikipedia - Academic libraries

Wikipedia - Academic library

Wikipedia - Academic lineage

Wikipedia - Academic literature

Wikipedia - Academic minor -- Secondary undergraduate academic discipline

Wikipedia - Academic misconduct

Wikipedia - Academic personnel -- Academic and faculty staff

Wikipedia - Academic Press

Wikipedia - Academic probation

Wikipedia - Academic publisher

Wikipedia - Academic publishing -- Subfield of publishing which distributes academic research and scholarship

Wikipedia - Academic quarter (year division) -- Division of the academic year into four parts

Wikipedia - Academic Ranking of World Universities

Wikipedia - Academic ranks in Argentina -- Wikipedia list article

Wikipedia - Academic ranks in Israel

Wikipedia - Academic ranks in the United Kingdom

Wikipedia - Academic ranks in the United States -- Academic ranks in the United States

Wikipedia - Academic ranks (Portugal and Brazil) -- Description of academic ranks in Portuguese speaking countries

Wikipedia - Academic ranks

Wikipedia - Academic regalia in the United States

Wikipedia - Academic research

Wikipedia - Academic search engines

Wikipedia - Academic Search

Wikipedia - Academics for Peace -- Turkish Association

Wikipedia - Academic Skepticism

Wikipedia - Academic skepticism -- The philosophical skepticism embraced by the Platonic Academy during the Hellenistic period

Wikipedia - Academic skeptic

Wikipedia - Academic societies

Wikipedia - Academic specialization

Wikipedia - Academic Spring -- reform movement

Wikipedia - Academic standards -- benchmarks of education

Wikipedia - Academic studies about Wikipedia -- Research on Wikipedia's usage and the quality of its content and administration

Wikipedia - Academic Studies Press

Wikipedia - Academic study of new religious movements

Wikipedia - Academics

Wikipedia - Academic tenure

Wikipedia - Academic term -- Subdivision of the academic year at educational institutions

Wikipedia - Academic theology

Wikipedia - Academic Torrents

Wikipedia - Academic

Wikipedia - Academic writing

Wikipedia - Academie des Beaux-Arts -- French learned society

Wikipedia - Academie des Inscriptions et Belles-Lettres -- French learned society

Wikipedia - Academie Francaise -- Pre-eminent council for the French language

Wikipedia - Academie Julian -- Art school in Paris, France

Wikipedia - Academie royale de peinture et de sculpture -- Academy that sought to professionalize the artists working for the French court

Wikipedia - Academies at Englewood -- Academies at Englewood, Public, Magnet STEM High School in Bergen County

Wikipedia - Academies of Belgium -- Belgian academic learned societies

Wikipedia - Academies of West Memphis -- High school in West Memphis, Tennessee

Wikipedia - Academi -- American private military company

Wikipedia - Academy Award for Best Sound Mixing

Wikipedia - Academy Award for Best Sound -- Award for excellence in sound mixing in film

Wikipedia - Academy for Performing Arts -- High school in Union County, New Jersey, United States

Wikipedia - Academy of Arts, Berlin -- National German academic institution for the advancement of the arts

Wikipedia - Academy of Economic Studies of Moldova -- University in Moldova

Wikipedia - Academy of Performing Arts in Prague -- University in Prague

Wikipedia - Academy of State Customs Committee (Azerbaijan) -- Higher education institution

Wikipedia - Academy of the Ministry of Internal Affairs of Tajikistan -- Military academy in Tajikistan

Wikipedia - A Calamitous Elopement -- 1908 film

Wikipedia - Acalitus brevitarsus -- Species of mite

Wikipedia - Acalyphoideae -- Subfamily of plants

Wikipedia - Acalyptris minimella -- Species of moth

Wikipedia - Acamptopappus -- Genus of flowering plants in the family Asteraceae

Wikipedia - A Canary for One -- Short story by Ernest Hemingway

Wikipedia - Acanthaceae -- Family of flowering plants comprising the acanthus

Wikipedia - Acanthocalyx -- genus of flowering plants in the honeysuckle family Caprifoliaceae

Wikipedia - Acanthocephalus benthamianus -- Species of plant

Wikipedia - Acanthocereus -- genus of plant in the family Cactaceae

Wikipedia - Acanthoclita acrocroca -- A moth of the family Tortricidae from Sri Lanka

Wikipedia - Acantholimon libanoticum -- Species of plant in the family Plumbaginaceae

Wikipedia - Acantholimon -- species of plant in the family Plumbaginaceae

Wikipedia - Acanthomyrmex humilis -- Species of ant

Wikipedia - Acanthomyrmex mindanao -- Species of ant

Wikipedia - Acanthomyrmex minus -- Species of ant

Wikipedia - Acanthophyllum -- Genus of flowering plants in the pink family Caryophyllaceae

Wikipedia - Acanthoponera minor -- Species of ant

Wikipedia - Acanthuridae -- Family of fishes with caudal spines

Wikipedia - Acanthus hirsutus -- species of plant in the family Acanthaceae

Wikipedia - A Canticle for Leibowitz -- Novel by Walter M. Miller, Jr.

Wikipedia - Acaprazine -- Chemical compound

Wikipedia - Acapulco (film) -- 1952 film by Emilio Fernandez

Wikipedia - Acariasis -- Parasitic ectoparasitic infectious disease caused by mites

Wikipedia - A Caribbean Mystery -- 1964 Miss Marple novel by Agatha Christie

Wikipedia - Acariformes -- Superorder of mite

Wikipedia - Acaromimus americanus -- Species of weevil beetle

Wikipedia - Acaromimus -- Genus of beetles

Wikipedia - A Casa das Sete Mulheres -- Brazilian television miniseries

Wikipedia - A Case of Need -- Novel by Michael Crichton

Wikipedia - A Cavalier -- 1657 painting by Frans van Mieris the Elder

Wikipedia - A.C. Bhaktivedanta Swami Prabhupada

Wikipedia - A. C. Bhaktivedanta Swami Prabhupada -- Indian spiritual teacher and the founder-preceptor of the International Society for Krishna Consciousness (1896-1977)

Wikipedia - Accademia dei Lincei

Wikipedia - Accademia dei Nobili Ecclesiastici

Wikipedia - Accademia del Cimento

Wikipedia - Accademia del Cinema Italiano -- Italian film organization

Wikipedia - Accademia della Crusca -- Language regulator of Italian

Wikipedia - Accademia delle Arti del Disegno -- Academy of artists in Florence, Italy

Wikipedia - Accademia di Belle Arti di Napoli -- Art academy of Naples (Italy)

Wikipedia - Accademia di Belle Arti di Venezia -- Public tertiary academy of art in Venice, Italy, founded in 1750

Wikipedia - Accademia di Belle Arti Firenze

Wikipedia - Accademia di San Luca

Wikipedia - Accademia Vivarium Novum -- Italian school

Wikipedia - Accelerated experiential dynamic psychotherapy -- A mind-body psychotherapy that is informed by research in the areas of attachment theory, emotion theory, and neuroscience of change

Wikipedia - Accelerated Mobile Pages -- Open source HTML framework optimised for mobile web browsing

Wikipedia - Accelerated solvent extraction -- chemical analysis method

Wikipedia - Acceptance and commitment therapy -- Counseling form developed by Steven Hayes in 1982

Wikipedia - Acceptance angle (solar concentrator) -- Maximum angle at which incoming sunlight can be captured by a solar concentrator

Wikipedia - Acceptance testing -- Test to determine if the requirements of a specification or contract are met

Wikipedia - Accessory muscle -- Rare anatomic duplication of a muscle

Wikipedia - Accipitridae -- Family of birds of prey

Wikipedia - AC Comics -- Comic book publisher

Wikipedia - Accompaniment -- Musical parts which provide the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece

Wikipedia - Accounting and Corporate Regulatory Authority -- Statutory board under ministry of finance in Singapore

Wikipedia - Accounting irregularity -- improper entry, omission or statement

Wikipedia - Accounting scandals -- Scandal arising from the disclosure of financial misdeeds

Wikipedia - Accounting -- Measurement, processing and communication of financial information about economic entities

Wikipedia - Accra Ridge Church -- Interdenominational church in Accra, Ghana

Wikipedia - Accreditation mill -- Fraudulent organization, not recognized for educational accreditation

Wikipedia - Accrediting Commission of Career Schools and Colleges -- 501(c)(3) nonprofit organization in the United States

Wikipedia - Accrington Stanley, Who Are They? -- UK 1980s milk advert

Wikipedia - Acculturation gap -- concept in sociology relating to the intergenerational effects of immigration

Wikipedia - Ace Chemicals

Wikipedia - A. Cecile J.W. Janssens -- Dutch epidemiologist

Wikipedia - Acemi Cadi -- 2005 Turkish comedy series

Wikipedia - Acentropinae -- Subfamily of moths

Wikipedia - Acerba animi -- 1932 encyclical on persecution of Catholics in Mexico

Wikipedia - Acer diabolicum -- | Species of plant in the maple family

Wikipedia - Acer heldreichii -- species of plant in the family Sapindaceae

Wikipedia - Acer platanoides -- Species of flowering plant in the soapberry family Sapindaceae

Wikipedia - Acer pseudoplatanus -- Species of flowering plant in the lychee family Sapindaceae

Wikipedia - Acerronia (gens) -- Ancient Roman family

Wikipedia - Acer saccharinum -- Species of flowering plant in the family Sapindaceae

Wikipedia - Acer saccharum -- Species of flowering plant in the family Sapindaceae

Wikipedia - A Certain Magical Index: The Movie - The Miracle of Endymion -- 2013 film by Hiroshi Nishikiori

Wikipedia - A Certain Smile (film) -- 1958 film

Wikipedia - Acer velutinum -- species of plant in the family Sapindaceae

Wikipedia - Acesulfame potassium -- chemical compound

Wikipedia - Acetabularia -- Genus of green algae in the family Polyphysaceae

Wikipedia - Acetamide

Wikipedia - Acetaminophen

Wikipedia - Ace the Bat-Hound -- DC Comics character

Wikipedia - Acetomicrobium flavidum -- Species of bacterium

Wikipedia - Acetone-butanol-ethanol fermentation -- Chemical process

Wikipedia - Acetone imine -- Chemical compound

Wikipedia - Acetone thiosemicarbazone -- chemical compound

Wikipedia - Acetylation -- Reaction that introduces an acetyl functional group into a chemical compound.

Wikipedia - Acetylcholine -- Organic chemical and neurotransmitter

Wikipedia - Acetyldihydrocodeine -- Chemical compound

Wikipedia - Acetylglycinamide chloral hydrate

Wikipedia - Achaeopsis -- Hotlips spider crab, endemic to South Africa

Wikipedia - A Charming Man -- 1941 film by Martin FriM-DM-^M

Wikipedia - Acharya (film) -- Upcoming film directed by Koratala Siva

Wikipedia - Achatocarpaceae -- Family of plants

Wikipedia - Acheux British Military Cemetery -- British Military Cemetery

Wikipedia - Acheux-en-Amienois -- Commune in Hauts-de-France, France

Wikipedia - Achievement Hunter -- A video gaming website and a division of Rooster Teeth Productions

Wikipedia - Achievement Medal -- Military decoration of the United States Armed Forces

Wikipedia - A Child of Our Time -- Oratorio composed by Michael Tippett

Wikipedia - Achillea millefolium -- Species of plant

Wikipedia - Achille-Antoine Hermitte -- French architect

Wikipedia - Achille Dauphin-Meunier -- French economist

Wikipedia - Achintya Holte Nilsen -- Miss World Indonesia 2017, Indonesian supermodel, singer, greenpeace activist and beauty pageant titleholder

Wikipedia - Achmad Rifa'i -- Islamic thinker and writer

Wikipedia - Achmit Rishidev -- Indian politician

Wikipedia - Achomi language -- Iranian language spoken in the south of Iran

Wikipedia - Achomi people

Wikipedia - Achurum minimipenne -- Species of grasshopper

Wikipedia - Achurum sumichrasti -- Species of grasshopper

Wikipedia - Achuthanandan ministry -- Kerala government ministry

Wikipedia - Acianthera fumioi -- Species of plant

Wikipedia - Acicula -- Anatomical feature of annelids

Wikipedia - Acid-base reaction -- Chemical reaction

Wikipedia - Acid-base titration -- Method of chemical quantitative analysis

Wikipedia - Acid dissociation constant -- Chemical property

Wikipedia - Acid mine drainage -- Outflow of acidic water produced by sulfide oxidation from metal mines or coal mines

Wikipedia - Acidonia -- Monotypic genus of shrub in the family Proteaceae

Wikipedia - ACID -- Set of properties (atomicity, consistency, isolation, durability) of database transactions intended to guarantee validity even in the event of errors, power failures, etc.

Wikipedia - Acid -- Type of chemical substance

Wikipedia - Acim Cumic -- Serbian politician

Wikipedia - A Cinderella Story: If the Shoe Fits -- 2016 film by Michelle Johnston

Wikipedia - Acis autumnalis -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis fabrei -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis ionica -- species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis longifolia -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis nicaeensis -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis (plant) -- Genus of flowering plants in the family Amaryllidaceae

Wikipedia - Acis rosea -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis tingitana -- species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis trichophylla -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - Acis valentina -- Species of flowering plant in the family Amaryllidaceae

Wikipedia - A C Joshi -- Indian botanist, academic and civil servant

Wikipedia - Acklam, Middlesbrough -- Suburb of Middlesbrough in north-east England

Wikipedia - Ackley function -- Function used as a performance test problem for optimization algorithms

Wikipedia - Acland Mill -- First jute mill established in India

Wikipedia - A Clean Break: A New Strategy for Securing the Realm -- A policy report prepared for the Israeli prime minister in 1996

Wikipedia - A Clean, Well-Lighted Place -- 1933 short story by Ernest Hemingway

Wikipedia - Acleris minuta -- Species of moth

Wikipedia - Aclopinae -- Subfamily of beetles

Wikipedia - ACMAT ALTV -- French military pick-up

Wikipedia - Acme Novelty Library -- Comic

Wikipedia - A. C. Minchin -- Australian zoo director

Wikipedia - ACM International Collegiate Programming Contest

Wikipedia - AC Mizal -- Malaysian singer, comedian, host, actor and radio presenter

Wikipedia - ACM SIGPLAN Programming Languages Software Award

Wikipedia - ACM Transactions on Programming Languages and Systems

Wikipedia - Acnemia nitidicollis -- Species of fly

Wikipedia - A Cock and Bull Story -- 2006 film by Michael Winterbottom

Wikipedia - Acoloithus falsarius -- North American moth species of family Zygaenidae

Wikipedia - Acolyte -- Ministry in the Christian Church

Wikipedia - A Common Word Between Us and You -- Open letter, dated 13 October 2007, from leaders of the Islamic religion to leaders of the Christian religion

Wikipedia - Acompsia minorella -- Species of moth

Wikipedia - Acompsia schmidtiellus -- Species of moth

Wikipedia - Aconitum carmichaelii -- Species of plant

Wikipedia - Aconitum -- Genus of flowering plants in the buttercup family Ranunculaceae

Wikipedia - A Conspiracy of Friends -- Book by Alexander McCall Smith

Wikipedia - A. Constantine Barry -- American educator, minister, and politician

Wikipedia - Acontinae -- Subfamily of skinks

Wikipedia - A Copy of My Mind -- 2015 film

Wikipedia - Acorn Bank Garden & Watermill -- National Trust property near Penrith, England

Wikipedia - Acorn tube -- Family of VHF/UHF vacuum tubes

Wikipedia - Acorn worm -- Class of hemichordate invertebrates

Wikipedia - Acosmism

Wikipedia - A Course in Miracles -- Book which claims to assist its readers in achieving spiritual transformation

Wikipedia - Acoustic reflex -- Small muscle contraction in the middle ear in response to loud sound

Wikipedia - Acoustic signature -- Characteristic combination of sound emissons

Wikipedia - ACP 131 -- Defines Allied Military brevity codes

Wikipedia - ACP Montreal-Nord -- Semi-professional soccer club

Wikipedia - Acraea simulata -- A butterfly in the family Nymphalidae from Uganda

Wikipedia - Acragas (silversmith) -- Ancient silversmith in the Roman Empire

Wikipedia - Acria ceramitis -- Asian species of moth in genus Acria

Wikipedia - Acria -- Moth genus of superfamily Gelechioidea

Wikipedia - Acrididae -- Family of grasshoppers in the suborder Caelifera

Wikipedia - Acridinae -- Subfamily of grasshoppers

Wikipedia - Acridoidea -- Superfamily of grasshoppers

Wikipedia - Acrobasis tumidana -- Species of moth

Wikipedia - Acrochordoidea -- Family of reptiles

Wikipedia - Acrocirridae -- Family of annelids

Wikipedia - Acrojana simillima -- Species of moth

Wikipedia - Acrolophidae -- Moth family containing the burrowing webworm moths

Wikipedia - Acromioclavicular joint -- Shoulder junction between the scapula and the clavicle

Wikipedia - Acromion -- Bony process on the scapula (shoulder blade)

Wikipedia - Acromyrmex mesopotamicus -- Species of ant

Wikipedia - Acronicta hamamelis -- |Species of moth of the family Noctuidae

Wikipedia - Acronicta rumicis -- Species of moth

Wikipedia - Acroporidae -- Family of stony corals

Wikipedia - Acrotheloidea -- Superfamily of brachiopods (fossil)

Wikipedia - Acrylamide -- Chemical compound

Wikipedia - ACS Award for Encouraging Women into Careers in the Chemical Sciences -- Award for chemists and chemical engineers

Wikipedia - ACS Award in Pure Chemistry -- Award of the American Chemical Society

Wikipedia - ACS style -- Standards for writing documents relating to chemistry

Wikipedia - ACS Sustainable Chemistry & Engineering -- eekly peer-reviewed scientific journal

Wikipedia - Acta Archaeologica Sinica -- Academic journal

Wikipedia - Acta Archaeologica -- Peer-reviewed academic journal

Wikipedia - Acta General de Chile -- 1986 documentary film directed by Miguel Littin

Wikipedia - Acta Politica -- Academic journal

Wikipedia - Acta Sanctorum -- Encyclopedic text examining the lives of Christian saints

Wikipedia - Actidium -- Genus of fungi in the family Mytilinidiaceae

Wikipedia - Acting out -- Performing an action considered bad

Wikipedia - Actinide chemistry

Wikipedia - Actinide -- F-block chemical elements

Wikipedia - Actinidia kolomikta -- Species of plant

Wikipedia - Actinium -- chemical element with atomic number 89

Wikipedia - Actinocrispum wychmicini -- Species of bacterium

Wikipedia - Actinopyga miliaris -- Species of sea cucumber

Wikipedia - Actinostrobus acuminatus -- Species of plant

Wikipedia - Actin -- Family of proteins

Wikipedia - Action (2019 film) -- Tamil action film directed by Sundar C

Wikipedia - Action at Sihayo's Kraal -- Early skirmish in the Anglo-Zulu War, 1879

Wikipedia - Action Comics 1000 -- Comic book issue

Wikipedia - Action Comics 1 -- Comic book

Wikipedia - Action Comics -- American comic book

Wikipedia - Action Committee for Renewal -- Political party in Togo

Wikipedia - Action of 9 February 1799 (South Africa) -- Minor naval engagement of the French Revolutionary Wars

Wikipedia - Action point (video gaming)

Wikipedia - ActionScript -- object-oriented programming language

Wikipedia - Actions per minute

Wikipedia - Actions Semiconductor

Wikipedia - Activation-induced cytidine deaminase -- Creates mutations in DNA[6] by deamination of cytosine base, which turns it into uracil (which is recognized as a thymine).

Wikipedia - Active Directory -- Directory service created by Microsoft for Windows domain networks

Wikipedia - Active duty -- Full-time occupation within a military force

Wikipedia - Active galactic nucleus -- Compact region at the center of a galaxy that has a much-higher-than-normal luminosity

Wikipedia - ActiveX -- Software framework by Microsoft introduced in 1996

Wikipedia - Activity coefficient -- Value accounting for thermodynamic non-ideality of mixtures

Wikipedia - ACT (nonprofit organization) -- Administrator of the ACT tests

Wikipedia - Act of Uniformity 1662

Wikipedia - Actoria gens -- Ancient Roman family

Wikipedia - Actor (programming language)

Wikipedia - Actor -- Person who acts in a dramatic or comic production and works in film, television, theatre, or radio

Wikipedia - Actuarial Society of South Africa HIV/AIDS models -- Actuarial mathematical models used in assessing the impact of the epidemic in South Africa

Wikipedia - Acupressure -- Alternative medicine technique similar to acupuncture

Wikipedia - Acura Legend -- Mid-size luxury/executive car

Wikipedia - Acute chest syndrome -- Potentially lethal blockage of lung vasculature in sickle cell anaemia

Wikipedia - Acute limb ischaemia -- Occurs when there is a sudden lack of blood flow to a limb

Wikipedia - Acute lymphoblastic leukemia -- Blood cancer characterised by overproduction of lymphoblasts

Wikipedia - Acute Misfortune -- 2018 Australian drama film about artist Adam Cullen, made by Thomas M. Wright

Wikipedia - Acute myeloid leukemia -- Cancer of the myeloid line of blood cells

Wikipedia - Acute myelomonocytic leukemia -- Form of acute myeloid leukemia

Wikipedia - Acute promyelocytic leukaemia

Wikipedia - Acute promyelocytic leukemia -- Subtype of acute myeloid leukaemia characterised by accumulation of promyelocytes

Wikipedia - Ada and Minna Everleigh -- Sisters who ran the Everleigh Club brothel in Chicago from 1900 to 1911

Wikipedia - Ada Clare -- American actress, writer, and feminist

Wikipedia - Ada Conformity Assessment Test Suite

Wikipedia - Adactylotis contaminaria -- Species of moth

Wikipedia - Adada (Pisidia) -- Town of Pisidia in Asia minor

Wikipedia - Ada Ferrer-i-Carbonell -- Catalan economist

Wikipedia - Adah Almutairi -- American academic

Wikipedia - Adaina microdactoides -- Species of plume moth

Wikipedia - Adaina microdactyla -- Species of plume moth

Wikipedia - Adam Amin -- American television and radio sportscaster

Wikipedia - Adam and Eve -- The first man and woman according to the creation myth of the Abrahamic religions

Wikipedia - Adam Arnold -- American comic book creator

Wikipedia - Adamastor Ocean -- A Precambrian "proto-Atlantic" ocean in the Southern Hemisphere

Wikipedia - Adam Beattie -- U.S. state senator of Michigan and soldier

Wikipedia - Adam Beechen -- American comic book writer

Wikipedia - Adam Benjamin (musician) -- American jazz keyboardist and composer

Wikipedia - Adam Cella -- American mixed martial artist

Wikipedia - Adam Curle -- British academic

Wikipedia - Adam David Miller -- American writer

Wikipedia - Adam D. Smith

Wikipedia - Adam Eckfeldt -- Second chief coiner of the United States Mint

Wikipedia - Adam Fforde -- economist

Wikipedia - Adam Gaiser -- American scholar of Islamic studies

Wikipedia - Adam Gib -- Scottish Presbyterian minister (1714-1788)

Wikipedia - Adam Hamilton (pastor) -- 20th and 21st-century American pastor

Wikipedia - Adam Hamilton -- New Zealand politician

Wikipedia - Adamic language

Wikipedia - Adamie Niviaxie -- Inuit sculptor

Wikipedia - Ada, Minnesota -- City in Minnesota, United States

Wikipedia - Adaminte Makan Abu -- 2011 film by Salim Ahamed

Wikipedia - Adam Jelonek -- Polish academic and diplomat

Wikipedia - Adam McDonough -- American mixed martial arts fighter

Wikipedia - Adam Mickiewicz Library and Dramatic Circle -- Library in Buffalo, New York

Wikipedia - Adam Mickiewicz

Wikipedia - Adam Miller (politician) -- American politician

Wikipedia - Adam Milstead -- American MMA fighter

Wikipedia - Adam Minoprio -- New Zealand sailor

Wikipedia - Adam Mitchell (Doctor Who) -- Fictional character in the Dr Who TV series

Wikipedia - Adam Mitchell (golfer) -- American golfer

Wikipedia - Adam Mugume -- Ugandan economist

Wikipedia - Adam Niedzielski -- Polish economist

Wikipedia - Adam-ondi-Ahman -- Historic site in Daviess County, Missouri, U.S.; according to The Church of Jesus Christ of Latter-day Saints (LDS Church), the site where Adam and Eve lived after being expelled from the Garden of Eden

Wikipedia - Adam Piccolotti -- American mixed martial arts fighter

Wikipedia - Adams & Woodbridge -- American architectural firm in the mid-twentieth-century

Wikipedia - Adam Schindler -- American mixed martial arts fighter

Wikipedia - Adam Schnelting -- U.S. politician from Missouri

Wikipedia - Adams, Minnesota -- City in Minnesota, United States

Wikipedia - Adam Smith (politician) -- U.S. Representative from Washington

Wikipedia - Adam Smith -- Scottish moral philosopher and political economist (1723-1790)

Wikipedia - Adam Sobel -- American academic

Wikipedia - Adam Strange -- DC Comics fictional character

Wikipedia - Adam v The Minister for Justice, Equality and Law Reform -- Irish Supreme Court case

Wikipedia - Adam Warren (comics) -- American comic book writer and artist

Wikipedia - Adam Weishaupt -- German philosopher and founder of the Order of Illuminati

Wikipedia - Adam Wieczorek -- Polish mixed martial arts fighter

Wikipedia - Adam -- First man according to the Abrahamic creation myth

Wikipedia - Adam Yarmolinsky -- American academic

Wikipedia - Adanaca Brown -- Bahamian hurdler

Wikipedia - Adanac Military Cemetery -- Cemetery located in Somme, in France

Wikipedia - Adanga Maru -- 2018 Indian Tamil-language action thriller film

Wikipedia - Adani Transmission Limited -- Electric power transmission company

Wikipedia - Adaora Adimora -- Professor of Medicine and epidemiology

Wikipedia - Ada or Ardor: A Family Chronicle -- Novel by Vladimir Nabokov

Wikipedia - Adapisoriculidae -- Extinct family of eutherian mammals

Wikipedia - Ada Prins -- Dutch chemist (1879-1977)

Wikipedia - Ada programming language

Wikipedia - Ada (programming language) -- High-level programming language first released in 1980

Wikipedia - Adapromine

Wikipedia - Adapting Minds -- 2005 book

Wikipedia - Adaptive immune system -- Subsystem of the immune system that is composed of specialized, systemic cells and processes

Wikipedia - Ada "Bricktop" Smith -- American entertainer (1894-1984)

Wikipedia - Ada Smith (gymnast) -- British artistic gymnast

Wikipedia - Adastria Mito Arena -- Indoor arena in Mito, Ibaraki, Japan

Wikipedia - Adavi (film) -- 2020 Tamil language film

Wikipedia - A Day in the Life of Ranger Smith -- Cartoon

Wikipedia - A Day Late and a Dollar Short (novel) -- Book by Terry McMillan

Wikipedia - Ada Yonath -- Israeli chemist

Wikipedia - ADB-CHMINACA

Wikipedia - Ad beatissimi Apostolorum -- 1914 encyclical of Pope Benedict XV

Wikipedia - Added tone chord -- Chord made of a tertian triad and a miscellaneous fourth note

Wikipedia - Addeke Hendrik Boerma -- Dutch economist

Wikipedia - Adderall -- Drug mixture used mainly to treat ADHD and narcolepsy

Wikipedia - Addio, figlio mio! -- 1954 film

Wikipedia - Addiscombe Military Seminary -- British military academy

Wikipedia - Addison Langhorne Steavenson -- English Mining Engineer

Wikipedia - Additive color -- A model for predicting color created by mixing visible light

Wikipedia - Additive Manufacturing by Material Extrusion of metals and ceramics

Wikipedia - Additive white Gaussian noise -- Basic noise model used in Information theory to mimic the effect of many random processes that occur in nature

Wikipedia - Address family identifier -- Unique identifier for addressing schemes

Wikipedia - Address programming language

Wikipedia - Address space layout randomization

Wikipedia - Adductor canal -- Aponeurotic tunnel in the middle third of the thigh

Wikipedia - Adductor minimus muscle -- Small and flat skeletal muscle in the thigh

Wikipedia - Adebayo Adedeji -- Nigerian economist and academic

Wikipedia - Adedoyin Salami -- Nigerian economist

Wikipedia - Adeela Abdulla -- Indian Administrative Service officer

Wikipedia - Adegramotide -- Chemical compound

Wikipedia - Adelaida Lukanina -- Russian physician and chemist

Wikipedia - Adelaide Cabete -- Portuguese feminist

Wikipedia - Adelaide Casely-Hayford -- 19th and 20th-century Sierra Leonean activist, educator, feminist and writer

Wikipedia - Adelaide Daughaday -- American missionary

Wikipedia - Adelaide Smith -- American mathematician

Wikipedia - AdelaM-CM-/de Ehrnrooth -- Finnish feminist and writer

Wikipedia - Adel Amin Hafez -- Egyptian Air Force chief of staff

Wikipedia - Adelantado -- Title held by Spanish nobles in service of their respective kings during the Middle Ages

Wikipedia - Adela of Milan -- Northern Italian noblewoman

Wikipedia - Adela Ruiz de Royo -- Spanish-born Panamanian mathematics academic

Wikipedia - Adela Yarbro Collins -- American author and an international academic and writer on Biblical Theology

Wikipedia - Adelbert von Chamisso Prize

Wikipedia - Adelbert von Chamisso

Wikipedia - Adel Dahdal -- Record producer and mix engineer

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Wikipedia - Adele M. Fielde -- American social activist, missionary, scientist, writer

Wikipedia - Adele Morris -- American economist

Wikipedia - Adeleorina -- Suborder of microscopic, spore-forming, single-celled parasites in the aplcomplex phylum

Wikipedia - Adelere Adeyemi Oriolowo -- Nigerian politician

Wikipedia - Adelheid Popp -- Austrian feminist and socialist

Wikipedia - Adeline Miller -- American madam

Wikipedia - Adelite -- arsenate mineral

Wikipedia - Adeloidea -- Superfamily of moths

Wikipedia - Adelophthalmidae -- A family of eurypterids, an extinct group of aquatic arthropods.

Wikipedia - Adelqui Migliar -- Chilean actor

Wikipedia - Adelso -- island in the middle of Lake MM-CM-$laren in Sweden

Wikipedia - Ademir Antonio Bacca -- Brazilian author

Wikipedia - Adem Jashari Olympic Stadium -- Multi-purpose stadium in Mitrovica, Kosovo

Wikipedia - Adem Somyurek -- Turkish Australian politician and Victorian State Minister

Wikipedia - Adenanthos acanthophyllus -- Species of shrub endemic to Western Australia

Wikipedia - Adenanthos apiculatus -- Species of shrub of the family Proteaceae, native to the south coast of Western Australia

Wikipedia - Adenanthos argyreus -- Species of shrub endemic to southwest Western Australia

Wikipedia - Adenanthos barbiger -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Adenanthos cacomorphus -- Species of shrub in the family Proteaceae from southwest Western Australia

Wikipedia - Adenanthos cuneatus -- A shrub of the family Proteaceae native to the south coast of Western Australia.

Wikipedia - Adenanthos cygnorum -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Adenanthos dobagii -- Species of shrub in the family Proteaceae endemic to southwestern Australia

Wikipedia - Adenanthos dobsonii -- Species of flowering plant from the family Proteaceae endemic to Western Australia

Wikipedia - Adenanthos drummondii -- Species of shrub of the family Proteaceae, native to the south coast of Western Australia

Wikipedia - Adenanthos ellipticus -- Flowering plant from the family Proteaceae endemic to Western Australia

Wikipedia - Adenanthos filifolius -- Species of shrub endemic to southwest Western Australia

Wikipedia - Adenanthos flavidiflorus -- Species of shrub of the family Proteaceae native to Western Australia

Wikipedia - Adenanthos forrestii -- Species of flowering plant from the family Proteaceae from Western Australia

Wikipedia - Adenanthos glabrescens -- Species of shrub endemic to southwest Western Australia

Wikipedia - Adenanthos gracilipes -- Species of shrub of the family Proteaceae native to Western Australia

Wikipedia - Adenanthos ileticos -- Species of shrub in the family Proteaceae from the south-west of Western Australia

Wikipedia - Adenanthos labillardierei -- Species of shrub endemic to southwest Western Australia

Wikipedia - Adenanthos linearis -- Species of shrub of the family Proteaceae, native to the south coast of Western Australia

Wikipedia - Adenanthos macropodianus -- Species of shrub in the family Proteaceae endemic to Kangaroo Island in South Australia

Wikipedia - Adenanthos M-CM-^W cunninghamii -- Species of hybrid shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Adenanthos meisneri -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Adenanthos oreophilus -- Species of shrub endemic to southwest Western Australia

Wikipedia - Adenanthos pungens -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Adenanthos sect. Adenanthos -- Taxonomic section of plants in the genus Proteaceae

Wikipedia - Adenanthos sect. Eurylaema -- Taxonomic section of the flowering plant genus Adenanthos (Proteaceae)

Wikipedia - Adenanthos stictus -- Species of shrub of the family Proteaceae, native to the south coast of Western Australia

Wikipedia - Adenanthos velutinus -- Species of shrub of the family Proteaceae native to Western Australia

Wikipedia - Adenanthos venosus -- Species of flowering plant in the family Proteaceae from Western Australia

Wikipedia - Adenanthos -- Genus of Australian native shrubs in the flowering plant family Proteaceae

Wikipedia - Adeno-associated virus -- Species of virus that infects humans mildly

Wikipedia - Adenocarpus decorticans -- species of plant in the family Fabaceae

Wikipedia - Adenodolichos baumii -- Species of plant

Wikipedia - Adenosine deaminase deficiency

Wikipedia - Adenosine triphosphate -- Chemical compound

Wikipedia - Adenosine -- Chemical compound

Wikipedia - Adeola Ogunmola Showemimo -- Nigerian aircraft pilot

Wikipedia - Adeola Olubamiji -- Nigerian engineer

Wikipedia - Aderemi Aaron-Anthony Atayero -- Nigerian academic

Wikipedia - Aderidae -- Family of beetles

Wikipedia - Adesmia argyrophylla -- Endemic perennial shrub found in North and Central Chile

Wikipedia - Adesmia microphylla -- Species of plant

Wikipedia - Adesmia muricata -- Species of plant

Wikipedia - Adesmiella cordipicta -- Genus of beetles

Wikipedia - Adesua Etomi -- Nigerian actress

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Wikipedia - Adeyemi Ikuforiji -- Politician, lawmaker

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Wikipedia - ADHD predominantly inattentive

Wikipedia - Adherbal (king of Numidia) -- 2nd-century BC King of Numidia

Wikipedia - Adhesive bonding of semiconductor wafers -- A wafer bonding technique

Wikipedia - Adhithan Kanavu -- 1948 Tamil film directed by T. R. Sundaram

Wikipedia - Ad hominem -- Argumentative strategies, usually fallacious

Wikipedia - Adiabatic process -- Thermodynamic process in which no mass or heat is exchanged with surroundings

Wikipedia - Adi Asya Katz -- Israeli rhythmic gymnast

Wikipedia - Adibah Amin -- Malaysian writer

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Wikipedia - A.D.I.D.A.S. (Killer Mike song) -- Single by Big Boi, Killer Mike, Sleepy Brown

Wikipedia - Adi Dharm -- Religious movement from mid-19th century Bengal

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Wikipedia - Adil Abdul-Mahdi -- Former Prime Minister of Iraq

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Wikipedia - Adina Bastidas -- Venezuelan economist, formerly

Wikipedia - Adina Emilia De Zavala -- American teacher and historical preservationist

Wikipedia - Adinazolam -- Chemical compound

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Wikipedia - Adinkerke Military Cemetery -- Cemetery in West Flanders, Belgium

Wikipedia - Adin -- Family name

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Wikipedia - Adi Shamir

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Wikipedia - Adistemia -- Genus of beetles

Wikipedia - Aditesvarar Temple, Peravur -- Temple in Tamil Nadu, India

Wikipedia - Aditya Dibabha -- Thai Royal Family member, politician

Wikipedia - Adjunct professor -- Academic title

Wikipedia - Adjuntas barrio-pueblo -- Historical and administrative center (seat) of Adjuntas, Puerto Rico

Wikipedia - Adjustable pressure-limiting valve -- Flow control valve used in anaesthesiology

Wikipedia - Adjusted Service Rating Score -- System used by US Army at the end of WWII to determine which soldiers were eligible to be repatriated to the US

Wikipedia - Adjutant general -- Military chief administrative officer

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Wikipedia - Adlan Amagov -- Russian mixed martial arts fighter

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Wikipedia - Adlertag -- First day of German military operations to destroy the British air force

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Wikipedia - ADM-3A -- Early video display terminal

Wikipedia - A. D. Miles -- American actor, writer, and comedian

Wikipedia - Adminer

Wikipedia - Administered prices

Wikipedia - Administrador de Infraestructuras Ferroviarias -- Operator of most of Spain's railway infrastructure

Wikipedia - Administration (business)

Wikipedia - Administration for Children and Families

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Wikipedia - Administration for Security and Counterintelligence

Wikipedia - Administration (government) -- Government or political administration

Wikipedia - Administration (law) -- Rescue mechanism for insolvent entities

Wikipedia - Administration of Estates Act 1925 -- UK statute

Wikipedia - Administration of justice -- Process by which a legal system is executed

Wikipedia - Administration of Muslim Law Act -- Statute of the Parliament of Singapore

Wikipedia - Administration of the Patrimony of the Apostolic See

Wikipedia - Administration of Thrissur

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Wikipedia - Administrative Behavior

Wikipedia - Administrative center

Wikipedia - Administrative centre

Wikipedia - Administrative Conference of the United States -- Independent agency of the US government

Wikipedia - Administrative controls -- Training, procedure, policy, or practice that lessen the threat of a hazard by improving worker behavior

Wikipedia - Administrative counties of England -- Former subnational divisions of England

Wikipedia - Administrative detention -- Arrest and detention of individuals by the state without trial

Wikipedia - Administrative distance -- A number of arbitrary unit used in network routing decisions

Wikipedia - Administrative divisions of Armenia

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Wikipedia - Administrative divisions of Burma

Wikipedia - Administrative divisions of Cambodia

Wikipedia - Administrative divisions of China -- Class of regions in the People's Republic of China

Wikipedia - Administrative divisions of Croatia -- List of historical and current administrative divisions of Croatia

Wikipedia - Administrative divisions of France

Wikipedia - Administrative divisions of French Polynesia -- List of administrative divisions in France

Wikipedia - Administrative divisions of Georgia (country)

Wikipedia - Administrative divisions of Haryana -- Regional divisions in Harayana

Wikipedia - Administrative divisions of Hungary

Wikipedia - Administrative divisions of India -- Subnational administrative units of India

Wikipedia - Administrative divisions of ISIL

Wikipedia - Administrative divisions of Jharkhand -- Regional divisions in Jharkhand

Wikipedia - Administrative divisions of Karnataka -- Regional divisions in Karnataka

Wikipedia - Administrative divisions of Michigan -- Human settlement in United States of America

Wikipedia - Administrative divisions of Morocco

Wikipedia - Administrative divisions of Moscow Oblast -- Wikipedia list article

Wikipedia - Administrative divisions of New York (state) -- Administrative divisions of New York state

Wikipedia - Administrative divisions of Omsk Oblast -- Wikipedia list article

Wikipedia - Administrative divisions of Poland

Wikipedia - Administrative divisions of Portugal -- Overview of the administrative divisions of Portugal

Wikipedia - Administrative divisions of Romania

Wikipedia - Administrative divisions of Rostov Oblast

Wikipedia - Administrative divisions of Ryazan Oblast

Wikipedia - Administrative divisions of Singapore -- ways Singapore has been subdivided for administrative purposes

Wikipedia - Administrative divisions of Somalia

Wikipedia - Administrative divisions of Sverdlovsk Oblast -- Wikimedia list article

Wikipedia - Administrative divisions of Taiwan -- Administrative division of Taiwan

Wikipedia - Administrative divisions of the Maldives

Wikipedia - Administrative divisions of the People's Republic of China

Wikipedia - Administrative divisions of the Philippines

Wikipedia - Administrative divisions of the Tang dynasty

Wikipedia - Administrative divisions of Tyumen Oblast -- Wikipedia list article

Wikipedia - Administrative divisions of Ukraine

Wikipedia - Administrative divisions of Ulyanovsk Oblast -- Wikipedia list article

Wikipedia - Administrative divisions of Uttarakhand -- Regional divisions in Uttarakhand

Wikipedia - Administrative divisions of Uttar Pradesh -- Regional divisions in Uttar Pradesh

Wikipedia - Administrative divisions of West Bengal -- Regional divisions in West Bengal

Wikipedia - Administrative divisions of Yemen -- One of two main types of bureaucratic divisions in Yemen

Wikipedia - Administrative division -- A territorial entity for administration purposes

Wikipedia - Administrative domain

Wikipedia - Administrative geography of Bangladesh -- Bangladeshi administrative geography

Wikipedia - Administrative geography of the United Kingdom -- Geographical subdivisions of local government in Great Britain and Northern Ireland

Wikipedia - Administrative heads of the Australian Antarctic Territory -- Wikimedia list article

Wikipedia - Administrative law judge

Wikipedia - Administrative law -- Branch of law governing administrative agencies

Wikipedia - Administrative leave -- Temporary leave of an employee from a job

Wikipedia - Administrative Office of the United States Courts -- Administrative agency of the US federal court system

Wikipedia - Administrative or command economy

Wikipedia - Administrative Palace, Satu Mare -- Building in Romania

Wikipedia - Administrative Professionals Day -- Day to recognize secretaries and others

Wikipedia - Administrative regions of Greece -- First administrative subdivisions of Greece

Wikipedia - Administrative Science Quarterly

Wikipedia - Administrative units of Pakistan -- Provinces and territories under the administrative authority of Pakistan

Wikipedia - Administrator (of ecclesiastical property)

Wikipedia - Administrator of Tokelau -- New Zealand government administrator

Wikipedia - Administrators (Wikipedia)

Wikipedia - Adminius -- 1st century AD ruler of the British Catuvellauni tribe

Wikipedia - Admiral Bailey -- Jamaican dancehall deejay

Wikipedia - Admiral-class battlecruiser -- Class of Royal Navy battlecruisers

Wikipedia - Admiral-class ironclad -- Class of pre-dreadnoughts of the Royal Navy

Wikipedia - Admiral Dot -- American circus performer

Wikipedia - Admiral (electrical appliances) -- American appliance brand

Wikipedia - Admiral Fallow -- Scottish indie folk band

Wikipedia - Admiral Farragut Academy -- College preparatory school, United States

Wikipedia - Admiral Grigorovich-class frigate -- Russian class of frigates

Wikipedia - Admiral Group -- Motor insurance company

Wikipedia - Admiral Hood Monument -- Memorial column on a hill near Butleigh, Compton Dundon, Somerset, England

Wikipedia - Admiral Horthy

Wikipedia - Admiral Hotel (Copenhagen) -- Hotel in Copenhagen, Denmark

Wikipedia - Admiral (India) -- Rank in Indian navy

Wikipedia - Admiral Island (South Africa) -- Manmade island and residential estate

Wikipedia - Admiral Joe Fowler Riverboat -- Riverboat attraction at Walt Disney World

Wikipedia - Admiral K. Sangma -- Indian politician

Wikipedia - Admiral of the Fleet (Royal Navy) -- Highest rank of the British Royal Navy

Wikipedia - Admiral of the Navy (United States) -- rank in the United States Navy

Wikipedia - Admiral of the Red -- Rank of the navy of the United Kingdom

Wikipedia - Admiral (Pakistan) -- Highest rank in Pakistan navy

Wikipedia - Admiral P -- Norwegian reggae singer

Wikipedia - Admiral's House, Hampstead -- Listed building in the London Borough of Camden

Wikipedia - Admiral's Men -- 16th/17th-century English playing company

Wikipedia - Admiral's Voyage -- American thoroughbred horse

Wikipedia - Admiralteyskaya (Saint Petersburg Metro) -- Saint Petersburg Metro Station

Wikipedia - Admiralty Bay (South Shetland Islands) -- Bay of Antarctica

Wikipedia - Admiralty code

Wikipedia - Admiralty Experimental Station -- Research department of the British Admiralty

Wikipedia - Admiralty House, London

Wikipedia - Admiralty House, Sydney -- Official residence of the Governor-General of Australia in Kirribilli, Sydney

Wikipedia - Admiralty in the 16th century -- English government ministry responsible for its navy until 1707

Wikipedia - Admiralty Islands campaign -- Series of WWII battles

Wikipedia - Admiralty law -- The totality of applicable law for the oceans and their use

Wikipedia - Admiralty M-class destroyer -- Class of destroyers of the Royal Navy

Wikipedia - Admiralty Mountains -- Mountain range in Victoria Land, Antarctica

Wikipedia - Admiralty MRT station -- MRT station in Singapore

Wikipedia - Admiralty scaffolding -- Second World War anti-tank scaffolding

Wikipedia - Admiralty station (MTR) -- MTR interchange station on Hong Kong Island

Wikipedia - Admiralty, Trafalgar Square -- public house

Wikipedia - Admiralty type flotilla leader -- Class of British flotilla leaders

Wikipedia - Admiral (United States)

Wikipedia - Admiral Vladivostok -- Ice hockey club in Vladivostok, Russia

Wikipedia - Admiral Wells -- Historic pub in Holme, England

Wikipedia - Admiral

Wikipedia - Admiral William Halsey Leadership Academy -- High school in Union County, New Jersey, United States

Wikipedia - Admir DM-EM->ubur -- Bosnian businessman

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Wikipedia - Admissible decision rule

Wikipedia - Admissible heuristic

Wikipedia - Admissible numbering

Wikipedia - Admissible ordinal

Wikipedia - Admissible representation -- Class of representations

Wikipedia - Admission control -- A validation process for connections in communication systems

Wikipedia - Admission note

Wikipedia - Admittance parameters -- Properties of an electrical network in terms of a matrix of ratios of currents to voltages

Wikipedia - Admittance

Wikipedia - Adnan Pachachi -- Iraqi politician, diplomat and Foreign Minister (1923-2019)

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Wikipedia - Adnan Z. Amin -- Kenyan development economist, international civil servant and diplomat

Wikipedia - Adobe Flash Player -- Software for viewing multimedia, rich Internet applications, and streaming video and audio

Wikipedia - Adobe Illustrator Artwork -- File format family

Wikipedia - Adobe PageMill -- HTML editor software

Wikipedia - Adobe Premiere Elements

Wikipedia - Adobe Premiere Express

Wikipedia - Adobe Premiere Pro -- Video editing software

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Wikipedia - Adolescent Family Life Act -- US law

Wikipedia - Adolf Bohm -- Bohemian historian

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Wikipedia - Adolf Erik Nordenskiold -- Finland-Swedish baron, geologist, mineralogist and Arctic explorer

Wikipedia - Adolf Furrer -- Swiss military officer and small arms designer

Wikipedia - Adolf Goerz -- German-South African mining engineer

Wikipedia - Adolf Hitler Uunona -- Namibian politician

Wikipedia - Adolfina TkaM-DM-^Mikova-TaM-DM-^Mova -- Czech gymnast

Wikipedia - Adolf Joszt -- Polish chemist

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Wikipedia - A.D. Oliver Middle School -- middle school in Brockport, New York

Wikipedia - Adolphe Deitte -- French colonial administrator

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Wikipedia - Adomian decomposition method

Wikipedia - A Dominie's Log

Wikipedia - Adonis cyllenea -- species of plant in the family Ranunculaceae

Wikipedia - Adonis (plant) -- Genus of flowering plants in the buttercup family Ranunculaceae

Wikipedia - Adonis vernalis -- Species of flowering plant in the buttercup family Ranunculaceae

Wikipedia - A Door into Ocean -- 1986 feminist science fiction novel by Joan Slonczewski

Wikipedia - Adoration -- Respect, reverence, strong admiration or devotion in a certain person, place, or thing

Wikipedia - Adore You (Miley Cyrus song) -- 2013 single by Miley Cyrus

Wikipedia - Adoxa moschatellina -- Species of flowering plant in the family Adoxaceae

Wikipedia - Adoxa -- genus of flowering plants in the family Adoxaceae

Wikipedia - Adrenaline MMA -- Mixed martial arts promoter based in North America

Wikipedia - Adrenochrome -- Chemical compound

Wikipedia - Adriana Cavarero -- Italian philosopher and feminist thinker

Wikipedia - Adriana Dunavska -- Bulgarian rhythmic gymnast

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Wikipedia - Adriana Miller -- American dancer

Wikipedia - Adriana Paniagua -- Miss Nicaragua 2018, contestant in Miss Universe 2018

Wikipedia - Adrian Bamforth -- British comic book artist

Wikipedia - Adrian Darby -- British conservationist and academic

Wikipedia - Adrian Davis (civil servant) -- British economist and civil servant

Wikipedia - Adrian Dingle (artist) -- Canadian painter and comic book cartoonist

Wikipedia - Adrian Dominican Sisters

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Wikipedia - Adrian Mall -- Shopping mall in Adrian, Michigan, US

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Wikipedia - Adrian Miroiu

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Wikipedia - Adrian Smith (academic)

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Wikipedia - Adrian Smith (politician) -- U.S. Representative from Nebraska

Wikipedia - Adrian Smith (statistician)

Wikipedia - Adrian Tomine -- Artist

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Wikipedia - Adrian Willaert -- French-Flemish composer and founder of the Venetian School

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Wikipedia - Adri van Es -- Dutch admiral

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Wikipedia - Adscita schmidti -- Species of moth

Wikipedia - ADS (video gaming)

Wikipedia - A.D. The Bible Continues -- 2015 television miniseries

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Wikipedia - Adult chat (television) -- Genre of television programming

Wikipedia - Adultism -- Discrimination favoring adults over children

Wikipedia - Adult Swim (Australian TV programming block) -- Australian television programming block

Wikipedia - Adult Swim -- American nighttime programming block on Cartoon Network

Wikipedia - Adult T-cell leukemia/lymphoma -- Human disease

Wikipedia - Adur Burzen-Mihr

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Wikipedia - Advanced Dungeons & Dragons (comics) -- Comic book series based on tabletop RPG

Wikipedia - Advanced Dungeons Dragons: Treasure of Tarmin

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Wikipedia - Advanced Micro Devices, Inc. v. Intel Corp.

Wikipedia - Advanced Micro Devices -- American multinational semiconductor company

Wikipedia - Advanced Open Water Diver -- Recreational scuba diving certification slightly above minimum entry level

Wikipedia - Advanced Programming in the UNIX Environment

Wikipedia - Advanced Programming in the Unix Environment

Wikipedia - Advanced SEAL Delivery System -- Former Navy SEAL mini-sub deployed from submarines

Wikipedia - Advanced Systems and Development Directorate -- US military organization

Wikipedia - Advanced Television Systems Committee -- Group that developed standards for digital television in the US

Wikipedia - Advanced Vector Extensions -- Extensions to the x86 instruction set architecture for microprocessors from Intel and AMD

Wikipedia - Advances in Archaeological Practice -- Peer-reviewed academic journal

Wikipedia - Advani Lakshmi Devi -- Indian Kannada actress

Wikipedia - AdvanSix -- American chemical company

Wikipedia - Adventism -- religious denomination

Wikipedia - Adventure (1925 film) -- 1925 film by Victor Fleming

Wikipedia - Adventure Comics -- Comic book series

Wikipedia - Adventureland (New York) -- Amusement park in East Farmingdale, New York, U.S.

Wikipedia - Adventure Publications -- Defunct American comic book publisher

Wikipedia - Adventure Time: Distant Lands -- American animated streaming television limited series

Wikipedia - Advergaming

Wikipedia - Adverse Effect Wage Rate -- Minimum wage for some US agricultural workers

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Wikipedia - Advertising in comic books -- Comic book advertising

Wikipedia - Advice in aspect-oriented programming

Wikipedia - Advice (programming)

Wikipedia - Advisory Committee on Antarctic Names -- Advisory committee for the US geographic naming government agency

Wikipedia - Advisory Committee on Dangerous Pathogens -- UK-wide governmental advisory committee

Wikipedia - Advisory Committee on Human Radiation Experiments

Wikipedia - Advisory Committee on Immunization Practices -- Centers for Disease Control committee

Wikipedia - Advowson -- right in English law to nominate someone to an ecclesiastical benefice

Wikipedia - Adya Houn'tM-CM-2 -- Drumming loa

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Wikipedia - A Dynamical Theory of the Electromagnetic Field

Wikipedia - Aeacus -- Ancient Greek mythological ruler of the Myrmidons and judge of the dead

Wikipedia - Aebutia gens -- Ancient Roman family

Wikipedia - Aechmea 'Hellfire' -- Hybrid cultivar of the genus Aechmea in the Bromeliad family

Wikipedia - Aechmea miniata -- Species of plant

Wikipedia - Aedes mitchellae -- A mosquito in the family Culicidae

Wikipedia - Aedin Mincks -- American actor

Wikipedia - AEE788 -- Chemical compound

Wikipedia - Aegean and Western Turkey sclerophyllous and mixed forests -- ecoregion in Greece, Turkey, and North Macedonia

Wikipedia - Aegialiinae -- Subfamily of beetles

Wikipedia - Aegiceras corniculatum -- species of plant in the family Primulaceae

Wikipedia - Aegilops crassa -- species of plant in the family Poaceae

Wikipedia - Aegilops kotschyi -- species of plant in the family Poaceae

Wikipedia - Aegimius -- Ancient Greek mythological figure

Wikipedia - Aegir Ridge -- An extinct mid-ocean ridge in the far-northern Atlantic Ocean

Wikipedia - Aegis Defence Services -- British private military company

Wikipedia - Aegle semicana -- Species of moth

Wikipedia - Aegopodium podagraria -- Species of flowering plant in the celery family Apiaceae

Wikipedia - Aelbrecht Bouts -- Flemish painter (c.1452-1549)

Wikipedia - Aelia gens -- Ancient Roman family

Wikipedia - Aelianus Tacticus -- 2nd-century Greek military writer

Wikipedia - Aemilia affinis -- Species of moth

Wikipedia - Aemilia asignata -- Species of moth

Wikipedia - Aemilia crassa -- Species of moth

Wikipedia - Aemilia fanum -- Species of moth

Wikipedia - Aemilia gens -- Ancient Roman family

Wikipedia - Aemilia Hilaria -- Gallo-Roman physician

Wikipedia - Aemilia Lepida (fiancee of Claudius) -- Noble Roman woman

Wikipedia - Aemilia Lepida -- The name of several Roman women belonging to the gens Aemilia

Wikipedia - Aemilia melanchra -- Species of moth

Wikipedia - Aemilia mincosa -- Species of moth

Wikipedia - Aemilia (moth) -- Genus of moths

Wikipedia - Aemilianus -- Roman emperor in 253

Wikipedia - Aemilia ockendeni -- Species of moth

Wikipedia - Aemilia pagana -- Species of moth

Wikipedia - Aemilia peropaca -- Species of moth

Wikipedia - Aemilia (physician)

Wikipedia - Aemilia rubriplaga -- Species of moth

Wikipedia - Aemilia testudo -- Species of moth

Wikipedia - Aemilius Asper

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Wikipedia - Aemilius -- Genus of beetles

Wikipedia - Aeneads -- In Roman mythology, the friends, family and companions of Aeneas

Wikipedia - Aeneas Silvius Piccolomini

Wikipedia - Aeneas Sylvius Piccolomini

Wikipedia - Aenictus binghami -- Species of ant

Wikipedia - Aenigmatite -- Sapphirine supergroup, single chain inosilicate mineral

Wikipedia - Aenne Goldschmidt -- Swiss woman dancer

Wikipedia - Aenne Michalsky -- Austrian opera singer

Wikipedia - Aeolidiidae -- Family of molluscs

Wikipedia - Aeoloplides minor -- Species of grasshopper

Wikipedia - Aeonium canariense -- Species of flowering plant in the stonecrop family Crassulaceae

Wikipedia - Aeonium haworthii -- Species of flowering plant in the family Crassulaceae

Wikipedia - Aeonium tabuliforme -- Species of flowering plant in the stonecrop family Crassulaceae endemic to Tenerife

Wikipedia - Aequorivita -- Gram-negative aerobic bacterial genus from the family Flavobacteriaceae

Wikipedia - Aeration -- Process of circulating or mixing air with water

Wikipedia - Aerial application -- Dispersal of chemicals from aircraft or helicopters

Wikipedia - Aerial archaeology -- The study of archaeological remains by examining them from altitude.

Wikipedia - Aerial toll house -- Disputed, controversial doctrine in the Eastern Orthodox Church, which states that after death the soul, on its way to heaven, goes through aerial toll houses where demons try to accuse the soul of the sins it commited and drag the soul to hell

Wikipedia - Aeriel Miranda -- American actress

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Wikipedia - Aerodynamic (instrumental) -- 2001 song by Daft Punk

Wikipedia - Aerodynamics -- Branch of dynamics concerned with studying the motion of air

Wikipedia - Aerodynamic

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Wikipedia - Aeromicrobium marinum -- Species of bacterium

Wikipedia - Aeromicrobium -- Genus of bacteria

Wikipedia - Aeronautica Imperialis -- 2007 miniatures wargame

Wikipedia - Aeronautical pentathlon -- Sporting event at some multi-sport events, such as the Military World Games

Wikipedia - Aeronaves Dominicanas -- Charter airlinein the Dominican Republic

Wikipedia - Aeroponics -- Mist-based plant growing process

Wikipedia - Aerosmith -- American rock band

Wikipedia - Aerospace Force of the Islamic Revolutionary Guard Corps -- Air warfare branch of Iran's Revolutionary Guard

Wikipedia - Aerospatiale Alouette III -- Light helicopter family by Sud Aviation, later Aerospatiale

Wikipedia - Aerospike engine -- Type of rocket engine that maintains its aerodynamic efficiency across a wide range of altitudes

Wikipedia - Aerovias Quisqueyana -- Defunct Dominican airline

Wikipedia - Aeschines of Miletus -- 1st-century BC orator

Wikipedia - Aeschynanthus -- Genus of flowering plants in the family Gesneriaceae

Wikipedia - Aeschynite-(Ce) -- Oxide mineral

Wikipedia - Aesculus hippocastanum -- species of flowering plant in the lychee family Sapindaceae

Wikipedia - Aesculus -- Genus of flowering plants in the family Sapindaceae

Wikipedia - Aethionema grandiflorum -- species of plant in the family Brassicaceae

Wikipedia - Aethomyias -- Genus of birds in the family Acanthizidae

Wikipedia - Aethusa cynapium -- Species of flowering plant in the celery family Apiaceae

Wikipedia - Aetna Hill (Midlothian, Virginia house) -- Historical house in Virginia

Wikipedia - A. E. V. Richardson -- Australian scientist and agronomist

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Wikipedia - A Farewell to Arms -- 1929 novel by Ernest Hemingway

Wikipedia - A. F. Ballenger -- Seventh-day Adventist Minister

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Wikipedia - Affective computing -- Area of research in computer science aiming to understand the emotional state of users

Wikipedia - Affective gaming

Wikipedia - Affinity Gaming -- Private casino operator

Wikipedia - Affirmative action in the United States -- Set of laws, policies, guidelines and administrative practices which is "intended to end and correct the effects of a specific form of discrimination"

Wikipedia - Affirmative action -- Policy of promoting members of groups that have previously suffered from discrimination

Wikipedia - Affirmative conclusion from a negative premise

Wikipedia - Affirmative defense -- Category of defense strategies that allege mitigating circumstances to achieve acquittal

Wikipedia - Affirmative Repositioning -- Namibian political organisation

Wikipedia - Affirming a disjunct

Wikipedia - Affirming Catholicism

Wikipedia - Affirming Pentecostal Church International -- Pentecostal denomination

Wikipedia - Affirming the consequent

Wikipedia - Affluence in the United States -- Economical and financial advantage

Wikipedia - Affluenza: The All-Consuming Epidemic

Wikipedia - Affonso Celso Pastore -- Brazilian economist

Wikipedia - Afghan Armed Forces -- military of Afghanistan

Wikipedia - Afghan Islamic Press -- Afghan news agency

Wikipedia - Afghanistan-China relations -- Diplomatic relations between the Islamic Republic of Afghanistan and the People's Republic of China

Wikipedia - Afghanistan-India relations -- Diplomatic relations between the Islamic Republic of Afghanistan and the Republic of India

Wikipedia - Afghanistan-Pakistan relations -- Diplomatic relations between the Islamic Republic of Afghanistan and the Islamic Republic of Pakistan

Wikipedia - Afghan Mountains semi-desert -- Ecoregion in Afghanistan

Wikipedia - Afifi al-Akiti -- 21st-century Islamic studies scholar

Wikipedia - A Fighting Colleen -- 1919 silent film by David Smith

Wikipedia - A Fine Companion -- 1633 play written by Shackerley Marmion

Wikipedia - Afiya Shehrbano Zia -- Pakistani feminist researcher, writer and activist

Wikipedia - A Flirt's Mistake -- 1914 film

Wikipedia - AFM-IR -- Infrared microscopy technique

Wikipedia - A F M Khalid Hossain -- Bangladeshi Islamic Scholar

Wikipedia - AFN Berlin -- American military radio and television station in West Berlin

Wikipedia - Afoa Amituanai Faleulu Mauli -- Samoan politician

Wikipedia - Afon Angell -- River in Gwynedd, Mid Wales

Wikipedia - Afon Ceirig -- River in Mid Wales

Wikipedia - Afon Deri -- River in Mid Wales

Wikipedia - Afonso Domingos -- Portuguese sailor

Wikipedia - A-Force -- Comic book series

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Wikipedia - Aframomum corrorima -- species of plant in the family Zingiberaceae

Wikipedia - Afrania gens -- Families in ancient Rome

Wikipedia - Afrasiab Mehdi Hashmi -- Pakistani diplomat and author

Wikipedia - Africa Inland Mission -- Organization

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Wikipedia - African Bank Limited -- South African commercial bank

Wikipedia - African crake -- A bird in the rail family that breeds in most of sub-Saharan Africa.

Wikipedia - African feminism

Wikipedia - African Leadership Academy -- Premier Pan-African high school in South Africa

Wikipedia - African Liberation Forces of Mauritania -- Paramilitary organization in Mauritania

Wikipedia - African Methodist Episcopal Church -- Predominantly African-American Christian denomination

Wikipedia - African Methodist Episcopal Zion Church -- Predominantly African American Christian denomination

Wikipedia - African Pygmies -- Group of ethnicities native to Central Africa

Wikipedia - African river martin -- A migratory passerine bird of the swallow family

Wikipedia - African socialism -- Belief in sharing economic resources in a traditional African way, as distinct from classical socialism

Wikipedia - African Theological Archministry -- Charitable and spiritual nonprofit organization

Wikipedia - African trypanosomiasis -- Parasitic disease

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Wikipedia - Africa Star -- UK military campaign medal for WW2

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Wikipedia - Afrikaners -- Southern African ethnic group descended from predominantly Dutch settlers

Wikipedia - Afroasiatic languages -- Large language family of Africa and West Asia

Wikipedia - Afro-Bahamians -- Bahamians of African descent

Wikipedia - Afrocneros -- A genus of fruit flies in the family Tephritidae

Wikipedia - Afrocucumis -- Genus of echinoderms

Wikipedia - Afro-Dominicans -- Ethnic group

Wikipedia - Afrodromia montana -- Species of fly

Wikipedia - Afrodromius -- Genus of beetles

Wikipedia - Afrodryas leda -- Butterfly of the family Pieridae

Wikipedia - Afro-Mexicans -- Mexicans of predominantly African descent

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Wikipedia - After Midnight with Boston Blackie -- 1943 film by Lew Landers

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Wikipedia - Agapanthus -- Genus of flowering plants in the family Amaryllidaceae

Wikipedia - Agape International Missions -- American non-profit organisation

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Wikipedia - Agathis -- genus of conifers in the kauri family Araucariaceae

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Wikipedia - Agaunum -- Former minor post in Switzerland

Wikipedia - Agave amica -- Species of plant

Wikipedia - Agave cupreata -- species of plant in the family Asparagaceae

Wikipedia - Agave parrasana -- species of plant in the family Asparagaceae

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Wikipedia - Age Discrimination in Employment Act of 1967 -- United States labor law

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Wikipedia - Ageism -- Stereotyping or discrimination due to age

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Wikipedia - Agents of S.H.I.E.L.D. (comic book)

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Wikipedia - Age of candidacy -- Minimum age for person to be in elected in governmental office

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Wikipedia - Aggregate (geology) -- Mass of rock, gravel, sand, soil particles, or of minerals in a rock

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Wikipedia - Aglaia rimosa -- species of plant in the family Meliaceae

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Wikipedia - AGM-114 Hellfire -- Type of air-to-surface and surface-to-surface missile

Wikipedia - AGM-122 Sidearm -- American air-to-surface anti-radiation missile

Wikipedia - AGM-158 JASSM -- Low observable standoff air-launched cruise missile

Wikipedia - AGM-183 ARRW -- U.S. Air Force prototype missile

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Wikipedia - Agni (missile) -- Ballistic missile, India

Wikipedia - Agnimitra

Wikipedia - Agniolamia -- Genus of beetles

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Wikipedia - Agonopterix assimilella -- Species of moth

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Wikipedia - Agonopterix conterminella -- Species of moth

Wikipedia - Agonopterix dumitrescui -- Species of moth

Wikipedia - Agonopterix miyanella -- Species of moth

Wikipedia - Agonopterix straminella -- Species of moth

Wikipedia - Agonoxeninae -- Subfamily of insects

Wikipedia - Agora of Smyrna -- square of ancient M-DM-0zmir

Wikipedia - Agora (programming language)

Wikipedia - Agora programming language

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Wikipedia - Agranolamia -- Genus of beetles

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Wikipedia - Agricultural chemistry

Wikipedia - Agricultural diversification -- re-allocation of farming activities to other crops or livestock or to non-farming activities

Wikipedia - Agricultural economics

Wikipedia - Agricultural machinery -- Machinery used in farming or other agriculture

Wikipedia - Agricultural science -- Academic field within biology

Wikipedia - A. G. Rigg -- British academic and medievalist (1937-2019)

Wikipedia - Agrilinae -- Subfamily of beetles

Wikipedia - Agriocnemis pieris -- Species of damselfly

Wikipedia - Agrionympha capensis -- Moth species in family Micropterigidae

Wikipedia - Agrionympha fuscoapicella -- Moth species in family Micropterigidae

Wikipedia - Agrionympha jansella -- Moth species in family Micropterigidae

Wikipedia - Agrionympha karoo -- Moth species in family Micropterigidae

Wikipedia - Agrionympha kroonella -- Moth species in family Micropterigidae

Wikipedia - Agrionympha pseliacma -- Moth species in family Micropterigidae

Wikipedia - Agrionympha pseudovari -- Moth species in family Micropterigidae

Wikipedia - Agrionympha sagittella -- Moth species in family Micropterigidae

Wikipedia - Agrionympha vari -- Moth species in family Micropterigidae

Wikipedia - Agrionympha -- Genus of moths in family Micropterigidae

Wikipedia - Agriphila biarmicus -- Species of moth

Wikipedia - Agriphila straminella -- Species of moth

Wikipedia - Agrippina of Mineo -- Sicilian saint and martyr

Wikipedia - Agrochemical -- Any chemical used in agriculture

Wikipedia - Agrochemistry

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Wikipedia - Agroecomyrmecinae -- Subfamily of ants

Wikipedia - Agronomic Research Station, Chalakudy -- Research station in Chalakudy, India

Wikipedia - Agronomist

Wikipedia - Agropyropsis -- genus of plant in the family Poaceae

Wikipedia - Agrostemma githago -- species of flowering plant in the carnation family Caryophyllaceae

Wikipedia - Agrostemma -- Genus of flowering plants in the carnation family Caryophyllaceae

Wikipedia - Agrypninae -- Subfamily of beetles

Wikipedia - Agua Caliente Casino Resort Spa -- Casino resort in Rancho Mirage, California

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Wikipedia - Aguada transmission station -- United States naval transmission facility in Puerto Rico

Wikipedia - Aguadilla barrio-pueblo -- Historical and administrative center (seat) of Aguadilla, Puerto Rico

Wikipedia - Aguas Buenas barrio-pueblo -- Historical and administrative center (seat) of Aguas Buenas, Puerto Rico

Wikipedia - Agueybana II -- Taino tribal leader and military chief

Wikipedia - Agulhas ecoregion -- Region of similar ecological characteristics on the continental shelf of the south coast of South Africa

Wikipedia - Agusta A129 Mangusta -- Family of attack helicopters by Agusta, later AgustaWestland

Wikipedia - AgustaWestland AW101 -- Multi-role helicopter family by AgustaWestland

Wikipedia - AgustaWestland AW159 Wildcat -- Improved series of the Westland Super Lynx military helicopter

Wikipedia - Agustin Humberto Cejas -- Argentine military person, chief of the Argentine Army

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Wikipedia - Agyrtinae -- Subfamily of beetles

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Wikipedia - AHI (Amiga)

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Wikipedia - Ahl al-Kisa -- The Islamic prophet Muhammad and four members of his family

Wikipedia - Ahlam Mosteghanemi

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Wikipedia - Alpha-Methyltryptamine

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Wikipedia - Aluminite

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Wikipedia - Amphidromus baoi -- Species of snail in the family Camaenidae

Wikipedia - Amphidromus cambojiensis -- Species of snail in the family Camaenidae

Wikipedia - Amphidromus daoae -- Species of snail in the family Camaenidae

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Wikipedia - Anabremia inquilina -- Species of gall midge

Wikipedia - Anabuki Station -- Railway station in Mima, Tokushima Prefecture, Japan

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Wikipedia - Anacamptis pyramidalis -- Species of plant

Wikipedia - Anacamptis -- Genus of flowering plants in the orchid family Orchidaceae

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Wikipedia - An Affair of the Follies -- 1927 film by Millard Webb

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Wikipedia - Anagami

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Wikipedia - Analytical Chemistry (journal)

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Wikipedia - Analytical dynamics

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Wikipedia - Anatomical Pathology

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Wikipedia - Anatomical terminology -- Scientific terminology used by anatomists, zoologists, and health professionals

Wikipedia - Anatomical terms of location -- Standard terms for unambiguous description of relative placement of body parts

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Wikipedia - Ancient and Primitive Rite

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Wikipedia - Annexation of Hyderabad -- Military invasion of Hyderabad by the Dominion of India

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Wikipedia - Anthony Palfreman -- English cricketer and cricket administrator

Wikipedia - Anthony Perosh -- Australian mixed martial arts fighter

Wikipedia - Anthony Pettis -- American mixed martial arts fighter

Wikipedia - Anthony Rasch -- German-American silversmith

Wikipedia - Anthony R. West -- British chemist and materials scientist

Wikipedia - Anthony Saunders -- American academic

Wikipedia - Anthony Shorrocks -- British development economist

Wikipedia - Anthony Smith (mixed martial artist) -- American mixed martial arts fighter

Wikipedia - Anthony Stevens-Arroyo -- University professor; religious polemicist

Wikipedia - Anthony the Great -- Christian saint, monk, and hermit

Wikipedia - Anthony the Hermit -- Christian saint

Wikipedia - Anthony van Dyck -- 17th-century Flemish Baroque artist

Wikipedia - Anthony Watson (admiral) -- American naval officer

Wikipedia - Anthony William Linnane -- Australian biochemist

Wikipedia - Anthony Wimberly -- American criminal and serial killer

Wikipedia - Anthoxanthum aristatum -- species of plant in the family Poaceae

Wikipedia - Anthracotheriidae -- Extinct family of mammals

Wikipedia - Anthribidae -- Family of beetles

Wikipedia - Anthribinae -- Subfamily of beetles

Wikipedia - Anthropic principle -- Philosophical premise that all scientific observations presuppose a universe compatible with the emergence of sentient organisms that make those observations

Wikipedia - Anthropic units -- Academic term in archaeology, social studies and measurement

Wikipedia - Anthropodermic bibliopegy -- Binding books in human skin

Wikipedia - Anti-abortion feminism

Wikipedia - Anti-Administration party

Wikipedia - Antia gens -- Ancient Roman family

Wikipedia - Anti-aging movement -- Social movement devoted to eliminating or reversing aging, or reducing the effects of it

Wikipedia - Antiarrhythmic agent

Wikipedia - Anti-balaka -- Christian militias formed in the Central African Republic

Wikipedia - Anti-ballistic missile -- Surface-to-air missile designed to counter ballistic missiles

Wikipedia - Antibiotic misuse

Wikipedia - Antibiotic sensitivity testing -- Microbiology test used in medicine

Wikipedia - Antibiotic -- Antimicrobial substance active against bacteria

Wikipedia - Anticholinergic -- Chemical substance that blocks the neurotransmitter acetylcholine in the central and the peripheral nervous system

Wikipedia - Anti-Comintern Pact -- Anti-Communist pact concluded between Nazi Germany and the Empire of Japan in 1936

Wikipedia - Anticonformism

Wikipedia - Anticonformity (psychology)

Wikipedia - Anti-cosmopolitan campaign -- Thinly disguised antisemitic campaign in the Soviet Union and Eastern Bloc, 1948-1953

Wikipedia - Anti-discrimination law -- Legislation designed to prevent discrimination against particular groups of people

Wikipedia - Antiemetic -- Drug used to prevent nausea or vomiting

Wikipedia - Anti-establishment -- opposition to the conventional social, political, and economic principles of a society

Wikipedia - Antifaschistische Aktion -- Anti-fascist militant group in Germany

Wikipedia - Antifeminism -- Ideology opposing feminism

Wikipedia - Anti-feminist

Wikipedia - Anti-fog -- Chemicals that prevent the condensation of water as small droplets on a surface

Wikipedia - Anti-gliadin antibodies -- Prolamin found in wheat

Wikipedia - Antigorite -- Monoclinic mineral

Wikipedia - Antiguo Cuartel Militar EspaM-CM-1ol de Ponce -- Historic building in Ponce, Puerto Rico

Wikipedia - Antiguo Hospital Militar EspaM-CM-1ol de Ponce -- Historic former hospital in Ponce, Puerto Rico

Wikipedia - Antiguo Oriente -- Peer-reviewed academic journal

Wikipedia - Anti-Hindi agitations of Tamil Nadu -- Anti-Hindi agitations

Wikipedia - Antihistamines

Wikipedia - Antihistamine -- Drug that binds to but does not activate histamine receptors, thereby blocking the actions of histamine or histamine agonists

Wikipedia - Anti Horse Thief Association -- Vigilance committee formed to provide protection against marauders

Wikipedia - Antiimperialist Action Front - Suxxali Reew Mi -- Political front in Senegal

Wikipedia - Anti-Imperialist Cell -- German far-left militant organization

Wikipedia - Anti-jock movement -- Cyber-movement whose goal is to challenge the perceived cultural dominance of institutionalized competitive sports

Wikipedia - Antikythera mechanism -- Ancient analogue computer designed to calculate astronomical positions

Wikipedia - Anti-Life Equation -- Fictional mind control formula in DC Comics

Wikipedia - Antillean crested hummingbird -- Species of bird

Wikipedia - Antimicrobial properties of copper -- Abilities of copper to kill or stop the growth of microorganisms

Wikipedia - Antimicrobial resistance -- Ability of a microbe to resist the effects of medication

Wikipedia - Antimicrobial -- Drug used to kill microorganisms or stop their growth

Wikipedia - Anti-Middle Eastern sentiment

Wikipedia - Antimigraine drug

Wikipedia - Anti-militarism

Wikipedia - Antimilitarism

Wikipedia - antimilitarism

Wikipedia - Anti-miscegenation laws in the United States

Wikipedia - Anti-miscegenation laws -- Legislation prohibiting inter-racial relationships

Wikipedia - Anti-miscegenation law

Wikipedia - Anti-mitotic

Wikipedia - Anti-Monitor -- Fictional DC comics superhero

Wikipedia - Antimony -- chemical element with atomic number 51

Wikipedia - Anti-neutrophil cytoplasmic antibody -- Group of autoantibodies

Wikipedia - Antinomian Controversy -- Religious controversy in colonial America

Wikipedia - Antinomianism -- View which rejects laws or legalism

Wikipedia - Antinomian

Wikipedia - Antiochian Orthodox Christian Mission in the Philippines

Wikipedia - Antiozonant -- Class of chemical compounds

Wikipedia - Anti-personnel mine -- Form of land mine designed for use against humans

Wikipedia - Antiphanes (comic poet)

Wikipedia - Antipope Benedict XIV -- Name used by two minor antipopes of the 15th century

Wikipedia - Antiquity (journal) -- Academic journal

Wikipedia - Antiscience -- A philosophy that rejects science and the scientific method as an inherently limited means to reach understanding of reality

Wikipedia - Anti-Semite and Jew -- 1946 book by Jean-Paul Sartre

Wikipedia - Antisemitic canard -- Hoaxes or other false stories about Jews and Judaism

Wikipedia - Antisemitic Christians

Wikipedia - Anti-Semitic

Wikipedia - Anti-semitic

Wikipedia - Antisemitic

Wikipedia - Antisemitism in Christianity -- Antisemitism found in Christian faiths

Wikipedia - Antisemitism in France

Wikipedia - Antisemitism in Islam -- Hosility, prejudice, or discrimination of Jews by Muslims

Wikipedia - Antisemitism in Spain

Wikipedia - Antisemitism in the UK Labour Party -- Allegations of antisemitism

Wikipedia - Antisemitism in the United Kingdom -- Discrimination against Jews in Britain

Wikipedia - Antisemitism in the United States -- Hatred towards the Jewish people within the US

Wikipedia - Antisemitism in Venezuela -- Venezuela throughout the history of the Jews in Venezuela

Wikipedia - Anti-Semitism

Wikipedia - Anti-semitism

Wikipedia - Antisemitism -- Hostility, prejudice, or discrimination against Jews

Wikipedia - Anti-Shi'ism -- Prejudice, hatred of, discrimination or violence directed against Shia Muslims

Wikipedia - Antistia gens -- Ancient Roman family

Wikipedia - Anti-Submarine Division (Royal Navy) -- Former division of the Admiralty Department

Wikipedia - Anti-suicide smock -- Garment designed so that it cannot be used to create a noose to commit suicide

Wikipedia - Anti-Sunnism -- Prejudice, hatred of, discrimination or violence directed against Sunni Muslims

Wikipedia - Anti-tank guided missile -- Guided missile for combat against armored targets

Wikipedia - Anti-transglutaminase antibodies -- Autoantibodies

Wikipedia - Antlers (film) -- Upcoming American supernatural horror film

Wikipedia - Antlia 2 -- Dwarf satellite galaxy of the Milky Way

Wikipedia - Ant-Man (Scott Lang) -- Marvel Comics superhero, the second character to use the name Ant-Man

Wikipedia - Ant mimicry -- Animals that resemble ants

Wikipedia - Ant nest beetle -- Subfamily of beetles

Wikipedia - Antoaneta Vassileva -- Bulgarian economist and professor

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Wikipedia - Antoine Baume -- French chemist

Wikipedia - Antoine Bozio -- French-Swiss economist

Wikipedia - Antoine Camilleri (artist) -- Maltese artist

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Wikipedia - Antoine Daniel -- 17th-century Jesuit missionary and martyr

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Wikipedia - Antoine Gizenga -- Congolese Prime Minister, candidate for President

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Wikipedia - Antoine Laurent de Jussieu -- French botanist noted for the concept of plant families (1748-1836)

Wikipedia - Antoine Lavoisier -- French nobleman and chemist (1743-1794)

Wikipedia - Antoine-Marie-BenoM-CM-.t Besson -- French military officer

Wikipedia - Antoine Mariotte -- French composer, conductor and music administrator (1875-1944)

Wikipedia - Antoinette Bourignon -- 17th-century French-Flemish mystic

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Wikipedia - Anton Burg -- American chemist

Wikipedia - Antonella Palmisano -- Italian racewalker

Wikipedia - Anton Goubau -- Flemish Baroque painter

Wikipedia - Antonia gens -- Family in ancient Rome

Wikipedia - Antonia Minor -- Roman noblewoman (36 BC- AD 37)

Wikipedia - Antonia Terzi -- Italian aerodynamicist

Wikipedia - Antonie Aris van de Loosdrecht -- Dutch missionary

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Wikipedia - Antonino Salinas -- Italian numismatist, archaeologist and art historian

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Wikipedia - Antonio Luis Baena Tocon -- Spanish civil servant and military officer

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Wikipedia - Antonov An-178 -- Military transport aircraft by Antonov

Wikipedia - Antonov An-24 -- Airliner and military transport aircraft family by Antonov

Wikipedia - Antonov An-26 -- Military transport aircraft by Antonov

Wikipedia - Antonov An-32 -- Airliner and military tactical transport aircraft by Antonov

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Wikipedia - Antonysamy Savarimuthu -- Roman Catholic priest in Tamil Nadu, India

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Wikipedia - Antrodiaetidae -- Family of folding trapdoor spiders

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Wikipedia - Ant -- Family of insects

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Wikipedia - Anuna -- Irish choral ensemble, led by Michael McGlynn

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Wikipedia - Anunnaki -- Group of ancient Mesopotamian deities

Wikipedia - An Unquiet Mind -- 1995 memoir by Kay Redfield Jamison

Wikipedia - Anupama Aura Gurung -- Miss Nepal 2011, Miss Nepal,

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Wikipedia - Anuvaadamillathe -- 2006 film

Wikipedia - Anu -- ancient Mesopotamian god of the sky

Wikipedia - Anvers Island -- High, mountainous island 61 km (38 miles) long, outside Antarctica

Wikipedia - Anwar Shah Kashmiri

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Wikipedia - Anzac-class frigate -- Australian military ship class

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Wikipedia - Aoidake Station -- Railway station in MiyakonojM-EM-^M, Miyazaki Prefecture, Japan

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Wikipedia - Aonami Line -- Railway line in Nagoya, Japan

Wikipedia - Aoshima Station -- Railway station in Miyazaki, Miyazaki Prefecture, Japan

Wikipedia - Aostre Johnson -- American academic

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Wikipedia - Apache Chemistry

Wikipedia - Apache Groovy -- Programming language

Wikipedia - Apache HiveMind

Wikipedia - Apache MINA

Wikipedia - Apache ServiceMix

Wikipedia - Apalachicola River -- 180 km (112mi) river in Florida, USA

Wikipedia - Apamea epomidion -- Species of moth

Wikipedia - Apamea remissa -- Species of moth

Wikipedia - Apamea unanimis -- Species of moth

Wikipedia - Ap and Bp stars -- Chemically peculiar stars of types A and B

Wikipedia - A Panel of Experts -- Painting by Jean-Michel Basquiat

Wikipedia - Aparajita Tumi -- 2012 film by Aniruddha Roy Chowdhury

Wikipedia - Apartheid -- System of institutionalised racial segregation that existed in South Africa and South West Africa (Namibia) from 1948 until the early 1990s

Wikipedia - Apartment 3-G -- 1961-2015 American soap opera comic strip

Wikipedia - APA style -- Academic style and writing format

Wikipedia - Apate -- Minor goddess in Greek mythology, personification of deceit

Wikipedia - Apatheia -- Stoic concept of equanimity or dispassion

Wikipedia - Apathsahayar Temple, Thirupazhanam -- Hindu temple dedicated to Shiva in Tamil Nadu, India

Wikipedia - Apatite -- Mineral group, calcium phosphate

Wikipedia - A.P. Bio -- American comedy television series created by Mike O'Brien for NBC

Wikipedia - AP Chemistry -- Advanced Placement Course

Wikipedia - AP Computer Science Principles -- AP high school course in procedural programming and computer science concepts

Wikipedia - A Pelada -- 2013 film directed by Damien Chemin

Wikipedia - Apemius -- Epithet of the god Zeus in Greek mythology

Wikipedia - A Personal Journey with Martin Scorsese Through American Movies -- 1995 film directed by Martin Scorsese and Michael Henry Wilson

Wikipedia - Aperture synthesis -- Mixing signals from many telescopes to produce images with high angular resolution

Wikipedia - Apex (diacritic) -- Latin and Middle Vietnamese diacritic similar to an acute accent

Wikipedia - Aphanamixis polystachya -- Species of plant

Wikipedia - Aphanite -- Igneous rocks which are so fine-grained that their component mineral crystals are not detectable by the unaided eye

Wikipedia - Aphanizomenonaceae -- Family of cyanobacteria

Wikipedia - Aphanopleura -- genus of plant in the family Apiaceae

Wikipedia - Apharwat Peak -- Summit in Gulmarg, India

Wikipedia - Aphatum -- Genus of beetles in the family Cerambycidae

Wikipedia - Aphid -- Superfamily of insects

Wikipedia - Aphnaeinae -- Subfamily of butterflies

Wikipedia - Aphodiinae -- Subfamily of beetles

Wikipedia - Aphomia foedella -- Species of moth

Wikipedia - Aphomia grisea -- Species of moth

Wikipedia - Aphomia isodesma -- Species of moth

Wikipedia - Aphomia murciella -- Species of moth

Wikipedia - Aphomia sabella -- Species of moth

Wikipedia - Aphomia sociella -- Species of moth

Wikipedia - Aphomia unicolor -- Species of moth

Wikipedia - Aphomia zelleri -- Species of moth

Wikipedia - Aphrissa fluminensis -- Species of butterfly

Wikipedia - Aphrocallistidae -- A family of hexactinellid sponges

Wikipedia - Aphrodinae -- Subfamily of insects

Wikipedia - Aphrodisiac -- Chemical agents or odorants that stimulate sexual desires

Wikipedia - Apiaceae -- Family of flowering plants

Wikipedia - Apidae -- Taxonomic family that includes bees

Wikipedia - A Piece of Your Mind -- 2020 South Korean television series

Wikipedia - Apinae -- Subfamily of bees in the family Apidae

Wikipedia - Apion (family) -- 5th/7th century clan of landholders in Byzantine Egypt

Wikipedia - Apioninae -- Subfamily of beetles

Wikipedia - Apius Auchab -- Namibian politician

Wikipedia - Apkallu -- Seven demi-gods associated with human wisdom

Wikipedia - A Place with No Name -- 2014 single by Michael Jackson

Wikipedia - Aplanodema lomii -- Genus of beetles

Wikipedia - Aplastic anemia -- Anemia that is characterized by a deficiency of red blood cells, white blood cells and platelets produced by bone marrow

Wikipedia - Aplite -- A fine-grained intrusive igneous rock type similar to granite

Wikipedia - APL programming language

Wikipedia - APL (programming language) -- Functional, symbolic programming language for operating on multidimensional arrays

Wikipedia - APL syntax and symbols -- Used specifically to write programs in the APL programming language

Wikipedia - Aplysia gigantea -- Species of mollusc in the family Aplysiidae

Wikipedia - Apnea finswimming -- Apnea finswimming

Wikipedia - Apnoea finswimming

Wikipedia - Apocalypse (comics) -- Fictional character from the X-Men franchise

Wikipedia - Apocalypse (Marvel Comics)

Wikipedia - Apocalypticism -- Religious belief in an imminent end of the world

Wikipedia - A Pocket Full of Rye -- 1953 Miss Marple novel by Agatha Christie

Wikipedia - Apocleinae -- Subfamily of insects

Wikipedia - Apocynaceae -- Dogbane and oleander family of flowering plants

Wikipedia - Apodinae -- Subfamily of birds

Wikipedia - Apokolips -- Planet in the DC Comics fictional shared Universe

Wikipedia - Apolas Lermi -- Turkish singer (1986 - )

Wikipedia - Apolemia uvaria -- A siphonophore in the family Apolemiidae

Wikipedia - Apolemia -- Family of cnidarians

Wikipedia - A Policewoman in New York -- 1981 film by Michele Massimo Tarantini

Wikipedia - A Policewoman on the Porno Squad -- 1979 Italian sex comedy film directed by Michele Massimo Tarantini

Wikipedia - Apollo 10 -- 4th crewed mission of the Apollo space program

Wikipedia - Apollo 11 in popular culture -- Apollo 11 mission depicted in popular culture

Wikipedia - Apollo 11 -- First crewed space mission to land on the Moon

Wikipedia - Apollo 12 Passive Seismic Experiment

Wikipedia - Apollo 12 -- Second crewed mission to land on the Moon.

Wikipedia - Apollo 14 Passive Seismic Experiment

Wikipedia - Apollo 1 -- Failed mission in the United States Apollo space program

Wikipedia - Apollo 7 -- First crewed mission of the Apollo space program

Wikipedia - Apollo 8 -- First crewed space mission to orbit the Moon

Wikipedia - Apollo 9 -- 3rd crewed mission of the Apollo space program

Wikipedia - Apollo (comics) -- Fictional comic book superhero

Wikipedia - Apollo/Skylab space suit -- Space suit used in Apollo and Skylab missions

Wikipedia - Apollo Sugar Limited -- Indian health care companies

Wikipedia - Apolo Nsibambi -- Ugandan Prime MInister

Wikipedia - Apomixis -- Replacement of the normal sexual reproduction by asexual reproduction, without fertilization

Wikipedia - Apona caschmirensis -- Species of moth

Wikipedia - Aponia gens -- Ancient Roman family

Wikipedia - Apophatus bifibratus -- Moth species in family Palaephatidae

Wikipedia - Apophatus parvus -- Moth species in family Palaephatidae

Wikipedia - Apophatus -- Moth genus in family Palaephatidae

Wikipedia - Apophyllite -- Phyllosilicate mineral

Wikipedia - APOPO -- NGO; trains mine & tuberculosis sniffing rats

Wikipedia - Apoprogones -- Subfamily of moths

Wikipedia - Aposthia -- Congenital condition in humans where the foreskin is missing

Wikipedia - Apostolate for Family Consecration

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Wikipedia - Apostolic administration

Wikipedia - Apostolic Administrator

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Wikipedia - Apostolic Faith Mission of South Africa -- Classical Pentecostal Christian denomination in South Africa

Wikipedia - Apostolico-Giancarlo algorithm -- Optimization of Boyer-Moore string search algorithm

Wikipedia - Apothem -- Segment from the center of a polygon to the midpoint of one of its sides

Wikipedia - Apotomis infida -- Species of moth

Wikipedia - Apotomis sororculana -- Species of moth

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Wikipedia - Appa (2016 film) -- Tamil-language independent drama film

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Wikipedia - AP Physics -- College Board examinations

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Wikipedia - Appias lalage -- Small butterfly of the family Pieridae

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Wikipedia - Aprominta atricanella -- Species of moth

Wikipedia - Aprominta bifasciata -- Species of moth

Wikipedia - Aprominta cryptogamarum -- Species of moth

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Wikipedia - Aquae Cutiliae -- Mineral spring in Italy

Wikipedia - Aquaman -- Fictional superhero appearing in the DC Comics

Wikipedia - Aquarium lighting -- Artificial lighting to illuminate an aquarium

Wikipedia - Aquatic ape hypothesis -- Evolutionary hypothesis that humans fill a semi-aquatic niche

Wikipedia - A Queer History of the United States -- 2011 book by Michael Bronski

Wikipedia - Aqueous geochemistry -- Study of elements in watersheds

Wikipedia - A Question of Europe -- 1975 televised debate on the United Kingdoms membership in the European Economic Community

Wikipedia - Aquila, Michoacan -- Town in Michoacan, Mexico

Wikipedia - Aquilaria cumingiana -- Species of agarwood tree from Southeast Asia

Wikipedia - Aquilaria microcarpa -- Species of agarwood plant from Southeast Asia

Wikipedia - Aquiline nose -- Human nose with a prominent bridge

Wikipedia - Aquilla Smith -- Irish doctor and numismatist

Wikipedia - Aquillia gens -- Ancient Roman family

Wikipedia - Aquinas College (Michigan) -- Liberal arts college in Grand Rapids, Michigan, United States

Wikipedia - AR-15 style rifle -- Lightweight semi-automatic based on the Colt AR-15 design

Wikipedia - Arab Academy for Management, Banking and Financial Sciences -- Academic organization in Cairo, Egypt

Wikipedia - Arab Bulletin -- Secret magazine of Middle East politics

Wikipedia - Arab Chileans -- Arab immigrants living in Chile

Wikipedia - Arabian Business -- Emirati business magazine

Wikipedia - Arabian Nights (comics) -- Comic book version of One Thousand and One Nights

Wikipedia - Arabic miniature -- Small paintings on paper

Wikipedia - Arabi Malayalam -- Language spoken in Kerala, Lakshadweep, Karnataka and Tamil Nadu of India

Wikipedia - Arabio -- Last independent Numidian king (ruled 44-40 BC)

Wikipedia - Arabism Egypt Party -- Political party in Egypt founded by Sami Anan

Wikipedia - Arabis -- genus of flowering plants in the cabbage family Brassicaceae

Wikipedia - Arable farming

Wikipedia - Arab transmission of the Classics to the West

Wikipedia - Arab world -- Geographic and cultural region in Africa and the Middle East

Wikipedia - Araceae -- Family of flowering plants

Wikipedia - Arachnocampa luminosa -- Species of fly

Wikipedia - Arachnographa micrastrella -- Species of moth

Wikipedia - Arachnoid mater -- Web-like middle layer of the three meninges

Wikipedia - Ara (constellation) -- Constellation in the southern celestial hemisphere

Wikipedia - Aracynthias -- | toponymic epithet

Wikipedia - Aradidae -- Family of insects

Wikipedia - Arado Ar 196 -- 1936 maritime reconnaissance floatplane family by Arado

Wikipedia - Arado Ar 64 -- 1930 fighter aircraft family

Wikipedia - Arado Ar 65 -- 1931 fighter aircraft family by Arado

Wikipedia - Arado Ar 68 -- 1934 fighter aircraft family by Arado

Wikipedia - Arado Ar 96 -- Military training aircraft

Wikipedia - Aragam -- Village in Jammu and Kashmir, India

Wikipedia - Aragonese Crusade -- 13th-century military campaign

Wikipedia - Aragonite sea -- Chemical conditions of the sea favouring aragonite deposition

Wikipedia - Ara Guzelimian -- Dean and provost of the Julliard School

Wikipedia - Arai Station (Miyagi) -- Metro station in Sendai, Japan

Wikipedia - Arak (character) -- Fictional character in DC Comics

Wikipedia - Arakel Mirzoyan -- Armenian weightlifter

Wikipedia - Araki-Sucher correction -- A leading-order correction to the energy levels of atoms and molecules due to effects of quantum electrodynamics

Wikipedia - Aramachi Station (Miyagi) -- Former railway station in Kurihara, Miyagi Prefecture, Japan

Wikipedia - Aramaic alphabet -- Semitic script native to Greater Syria

Wikipedia - Aramaic -- Semitic language spread by the Neo-Assyrians

Wikipedia - Aramby Emizh -- Russian judoka

Wikipedia - Aram Chobanian -- American academic administrator

Wikipedia - AraM-DM-^Minovo Municipality -- Municipality of North Macedonia

Wikipedia - Aramia River -- River in Papua New Guinea

Wikipedia - Aramides -- Genus of birds

Wikipedia - Aramid -- Heat-resistant and strong aromatic polyamide

Wikipedia - Aramil -- Town in Sverdlovsk Oblast, Russia

Wikipedia - Ara Mina -- Filipino actress, singer and model

Wikipedia - Aran economic region -- economic region in Azerbaijan

Wikipedia - Araneta City Bus Port -- Public transport terminal in Manila, Philippines

Wikipedia - Aranos mine -- Namibian coal mine

Wikipedia - Aranos Reformed Church -- Congregation of the Reformed Church in Namibia

Wikipedia - Arantangi (state assembly constituency) -- Tamil Nadu legislative assembly in India

Wikipedia - Arapaleeswarar temple, Kolli Malai -- Temple in Tamil Nadu, India

Wikipedia - Arapi Family House -- Cultural heritage monument of Kosovo

Wikipedia - Arasakulam -- 2017 Tamil film

Wikipedia - Arasaleeswarar temple -- Hindu temple in Tamil Nadu, India

Wikipedia - Arash Miresmaeili -- Iranian judoka

Wikipedia - Arasilankumari -- 1961 film by A. S. A. Sami and A. Kasilingam

Wikipedia - Araucariaceae -- Family of plants

Wikipedia - Araucaria cunninghamii -- Species of pine tree in Australia

Wikipedia - Araucaria heterophylla -- species of conifer in the family Araucariaceae

Wikipedia - Araucaria -- genus of evergreen conifers in the family Araucariaceae

Wikipedia - Araxie Babayan -- Soviet and Armenian organic chemist

Wikipedia - Arayik Mirzoyan -- Armenian weightlifter

Wikipedia - Arbab Amir Ayub -- Pakistani politician

Wikipedia - Arba Minch

Wikipedia - Arben Imami -- Albanian politician and actor

Wikipedia - Arbitration Committee -- dispute resolution panel of editors on several Wikimedia Foundation projects

Wikipedia - Arbogast (magister militum) -- Roman army officer

Wikipedia - Arbor Mist -- Alcoholic beverage

Wikipedia - Arbutamine

Wikipedia - Arbutoideae -- Subfamily of flowering plants in the heather family Ericaceae

Wikipedia - Arbutus andrachne -- Species of flowering plants in the heather family Ericaceae

Wikipedia - Arbutus canariensis -- Species of flowering plants in the heather family Ericaceae

Wikipedia - Arbutus M-CM-^W andrachnoides -- Hybrid of flowering plants in the heather family Ericaceae

Wikipedia - Arbutus unedo -- Species of flowering plant in the heather family Ericaceae

Wikipedia - Arbutus -- Genus of flowering plants in the heather family Ericaceae

Wikipedia - Arcade (Marvel Comics)

Wikipedia - Arcades (Milton) -- Play written by John Milton

Wikipedia - Arcadia Lake (Michigan) -- Lake in Manistee County, Michigan, United States

Wikipedia - Arcelia Ramirez -- Mexican actress

Wikipedia - ArcelorMittal Ghent -- Belgian steelworks situated in Ghent near Zelzate, Flanders

Wikipedia - ArcelorMittal Kryvyi Rih -- Ukraine's largest steel company, located in Kryvyi Rih

Wikipedia - ArcelorMittal -- Multinational steel manufacturing corporation

Wikipedia - Arcesilaus -- Hellenistic Philosopher, founder of Academic Skepticism

Wikipedia - Arc-fault circuit interrupter -- a circuit breaker that protects against intermittent faults associated with arcing

Wikipedia - Arcfox Lite -- Chinese microcar

Wikipedia - Archaea -- A domain of single-celled prokaryotic microorganisms

Wikipedia - Archaeoastronomy -- Interdisciplinary study of astronomies in cultures

Wikipedia - Archaeoceti -- Paraphyletic group of primitive cetaceans from Early Eocene to Late Oligocene

Wikipedia - Archaeogaming -- Archaeology of gaming or the use of video games in archaeology

Wikipedia - Archaeologia Polona -- Academic journal

Wikipedia - Archaeological Museum of Milan

Wikipedia - Archaeological Review from Cambridge -- Academic journal

Wikipedia - Archaeology in Oceania -- Peer-reviewed academic journal

Wikipedia - Archaeology of the United Arab Emirates -- History of human occupation in the United Arab Emirates

Wikipedia - Archaeotrogonidae -- Extinct family of birds

Wikipedia - Archaic human admixture with modern humans

Wikipedia - Archana Chandhoke -- Tamil television host

Wikipedia - Archanara geminipuncta -- Species of moth

Wikipedia - Archangel Michael Trypiotis Church -- Cultural property in Nicosia, Cyprus

Wikipedia - Archangel Michael

Wikipedia - Archbishop Michael Corrigan

Wikipedia - Archbishop of Milan

Wikipedia - Archbishop of Westminster

Wikipedia - Archbishop -- Bishop of higher rank in many Christian denominations

Wikipedia - Archconfraternity of the Holy Family

Wikipedia - Archdale Earle -- British Indian Administrator

Wikipedia - Archduke Leopold Wilhelm of Austria -- Austrian archduke and military commander

Wikipedia - Archelaus (Pontic army officer) -- Military officer of King Mithridates VI of Pontus

Wikipedia - Archeologia Medievale -- Peer-reviewed academic journal

Wikipedia - Archerfish expendable mine neutraliser -- Sea mine destroyer

Wikipedia - Archery at the 1900 Summer Olympics - Sur la Perche a la Pyramide -- Archery at the Olympics

Wikipedia - Archibald B. Darragh -- American politician from Michigan

Wikipedia - Archibald Bruce (mineralogist)

Wikipedia - Archibald Butt -- Military aide to Theodore Roosevelt and William Howard Taft

Wikipedia - Archibald Clerk -- Scottish minister and Gaelic scholar

Wikipedia - Archibald G. Brown -- British minister

Wikipedia - Archibald Gowanlock Huntsman -- Canadian academic, oceanographer, and fisheries biologist

Wikipedia - Archibald Higgins -- French science comic sereis

Wikipedia - Archibald Primrose, 5th Earl of Rosebery -- British Liberal politician and Prime Minister of the United Kingdom (1847-1929)

Wikipedia - Archibald Scales -- United States Navy admiral

Wikipedia - Archibald Scott Couper -- Scottish chemist

Wikipedia - Archicebus -- Genus of fossil primates that lived in the early Eocene forests (~55 million years ago

Wikipedia - Archie Comics -- American comic book publisher

Wikipedia - Archie Dykes -- American academic

Wikipedia - Archie Goodwin (comics)

Wikipedia - Archie Horror -- |An imprint of Archie Comics Publications, Inc. focusing on the company's horror-related titles

Wikipedia - Archie Mitchell -- Fictional character from the BBC soap opera EastEnders

Wikipedia - Archie vs. Predator II -- 2019 American comic book

Wikipedia - Archie vs. Predator -- 2015 American comic book

Wikipedia - Archimedes' principle -- Buoyancy principle in fluid dynamics

Wikipedia - Archips semiferanus -- Species of moth

Wikipedia - Archips semistructus -- Species of moth

Wikipedia - Architecture of Mesopotamia

Wikipedia - Architecture of the medieval cathedrals of England -- Architectural style of cathedrals in England during the middle ages, 1040 to 1540

Wikipedia - Architecture of the United Arab Emirates -- Overview of the architecture of the United Arab Emirates

Wikipedia - Archives of Biochemistry and Biophysics

Wikipedia - Archiv fur Molluskenkunde -- Academic journal

Wikipedia - Archivist of the United States -- Chief official of the National Archives and Records Administration

Wikipedia - Arch Mission Foundation -- Knowledge preservation project

Wikipedia - Arch of Caracalla (Djemila) -- 3rd-century Roman triumphal arch at Djemila in Algeria (Cuicul)

Wikipedia - Archon (Gnosticism) -- Builders of the physical realm that serve the demiurge

Wikipedia - Archtop guitar -- Type of steel-stringed acoustic or semi-acoustic guitar

Wikipedia - Arclight (comics) -- Mutant super-villain character from Marvel Comics

Wikipedia - ARC Macro Language -- ArcInfo algorithmic language

Wikipedia - Arcminute

Wikipedia - Arco, Minnesota -- City in Minnesota, United States

Wikipedia - Arcot N. Veeraswami -- Indian politician (born 1931)

Wikipedia - Arc (programming language)

Wikipedia - Arctacarus dzungaricus -- Species of mite

Wikipedia - Arctic Blast -- 2010 film by Brian Trenchard-Smith

Wikipedia - Arctic Circle Restaurants -- Burger chain based in Midvale, Utah, U.S.

Wikipedia - Arctic Coal Company -- 1906-1916 American coal mining company operating in Svalbard, Norway

Wikipedia - Arctic methane emissions

Wikipedia - Arctic Star -- UK military campaign medal for WW2

Wikipedia - Arctic tern -- A bird in the family Laridae with a circumpolar breeding distribution covering the Arctic and sub-Arctic regions of Europe, Asia, and North America

Wikipedia - Arctic warbler -- Species of migratory leaf warbler

Wikipedia - Arctiinae -- Subfamily of moths

Wikipedia - Arctinus of Miletus

Wikipedia - Arctolamia -- Genus of beetles

Wikipedia - Arctostaphylos -- Genus of flowering plants in the heath family Ericaceae

Wikipedia - Arcwelder -- Punk rock band from Minnesota formed in 1988

Wikipedia - Arda (Middle-earth)

Wikipedia - Ardatovsky District -- administrative and municipal district name

Wikipedia - Arden family

Wikipedia - Arden Hills, Minnesota -- City in Minnesota, United States

Wikipedia - Arden of Faversham -- 1592 English play of undetermined authorship

Wikipedia - Ardipithecus ramidus -- Extinct hominin from Early Pliocene Ethiopia

Wikipedia - Ardipithecus -- Extinct genus of hominins

Wikipedia - Ardis Fagerholm -- Dominican-Swedish singer

Wikipedia - Ardisia -- Genus of flowering plants in the family Primulaceae

Wikipedia - Ardistomis -- Genus of beetles

Wikipedia - Ardi -- Designation of the fossilized skeletal remains of an Ardipithecus ramidus

Wikipedia - Ardmore Air Force Base -- US military airport in Ardmore, Oklahoma

Wikipedia - Ardo Hansson -- Estonian economist

Wikipedia - Area code 218 -- Area code for northern Minnesota

Wikipedia - Area code 231 -- Area code in Michigan, United States

Wikipedia - Area code 307 -- Area code for all of Wyoming, United States

Wikipedia - Area code 313 -- Area code in Detroit, Michigan

Wikipedia - Area code 414 -- Area code for Misconsin, United States

Wikipedia - Area code 574 -- Area code that serves South Bend and mishawaka and north-central Indiana

Wikipedia - Area code 616 -- Area code for Western Michigan

Wikipedia - Area code 651 -- Area code for Saint Paul, Minnesota and eastern suburbs

Wikipedia - Area code 662 -- Telephone area code serving the northern half of Mississippi, US

Wikipedia - Area code 763 -- Area code for northwestern suburbs of Minneapolis-Saint Paul, Minnesota

Wikipedia - Area code 816 -- Area code in northwestern Missouri, United States

Wikipedia - Area code 906 -- Area code for the Upper Peninsula of Michigan

Wikipedia - Area code 952 -- Area code for southwest suburbs of Minneapolis-Saint Paul, Minnesota

Wikipedia - Area codes 601 and 769 -- Area codes in Mississippi, United States

Wikipedia - Area postrema -- Medullary structure in the brain that controls vomiting

Wikipedia - Area Redevelopment Administration -- American rural poverty program (1963-1965)

Wikipedia - Arecaceae -- Family of flowering plants known as palms

Wikipedia - Arecibo barrio-pueblo -- Historical and administrative center (seat) of Arecibo, Puerto Rico

Wikipedia - Arecomici -- Gallic tribe

Wikipedia - Aremi Fuentes -- Mexican weightlifter

Wikipedia - Arena Birmingham -- Sports arena

Wikipedia - Arenaria aculeata -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria bryophylla -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria ciliata -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria congesta -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria fendleri -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria leptoclados -- Species of flowering plants within the family Caryophyllaceae

Wikipedia - Arenaria (plant) -- Genus of flowering plants in the pink family Caryophyllaceae

Wikipedia - Arenaria serpyllifolia -- Species of flowering plant in the family Caryophyllaceae

Wikipedia - Arenavirus -- Family of RNA viruses

Wikipedia - Arendelle: World of Frozen -- Upcoming part of Hong Kong Disneyland, Tokyo DisneySea and Walt Disney Studios Park

Wikipedia - Arenga micrantha -- Species of plant

Wikipedia - Arenicolidae -- Family of annelids

Wikipedia - Arennia (gens) -- Ancient Roman plebeian family

Wikipedia - Arenostola phragmitidis -- Species of moth

Wikipedia - Ares (DC Comics) -- Fictional supervillain appearing in DC Comics publications and related media

Wikipedia - Ares Design Project1 -- Limited production coach-built sports car

Wikipedia - Ares (Marvel Comics)

Wikipedia - Areti Sinapidou -- Greek rhythmic gymnast

Wikipedia - A Revolutionary Family -- 1961 film

Wikipedia - Are You Experienced -- 1967 album by The Jimi Hendrix Experience

Wikipedia - Arezoo Hakimi -- Iranian kayaker

Wikipedia - Argalista micans -- Species of mollusk

Wikipedia - Argasidae -- Family of arachnids

Wikipedia - Argens-Minervois -- Commune in Occitanie, France

Wikipedia - Argentina anserina -- Species of flowering plant in the rose family Rosaceae

Wikipedia - Argentina at major beauty pageants -- Argentina at Miss Universe, Miss World, Miss International, and Miss Earth

Wikipedia - Argentine Alington -- British Vice-Admiral

Wikipedia - Argentine Revolution -- Military junta that ruled Argentina from 1966 to 1973

Wikipedia - Argentines in Spain -- Immigration from Argentina to Spain

Wikipedia - Argideen River -- Minor river in West Cork, Ireland

Wikipedia - Argimiro EspaM-CM-1a -- Spanish painter

Wikipedia - Arginine finger -- Catalytic amino acid residue

Wikipedia - Arginine -- Amino acid

Wikipedia - ARGminer -- biological database

Wikipedia - Argolamprotes micella -- Species of moth

Wikipedia - Argomuellera -- Genus of flowering plants in the spurge family Euphorbiaceae

Wikipedia - Argonaut Mine -- Gold mine in California, United States

Wikipedia - Argon compounds -- Class of chemical compounds

Wikipedia - Argonium -- Chemical compound

Wikipedia - Argonnerwaldlied -- German military march of World War I

Wikipedia - Argon -- Chemical element with atomic number 18

Wikipedia - Argosy Gaming Company -- casino management company

Wikipedia - Argument from miracles

Wikipedia - Argument mining

Wikipedia - Argument to moderation -- Informal fallacy which asserts that the truth can be found as a compromise between two opposite positions

Wikipedia - Argumentum ad populum -- Fallacy of claiming the majority is always correct

Wikipedia - Argument -- Attempt to persuade or to determine the truth of a conclusion

Wikipedia - Argus (programming language)

Wikipedia - A.R.G.U.S. -- Fictional organization in DC comics

Wikipedia - Argyle diamond mine -- Diamond mine in Western Australia, Australia

Wikipedia - Argyresthia abdominalis -- Species of moth

Wikipedia - Argyresthia amiantella -- Species of moth

Wikipedia - Argyresthia illuminatella -- Species of moth

Wikipedia - Argyresthia minusculella -- Species of moth

Wikipedia - Argyresthia semifusca -- Species of moth

Wikipedia - Argyresthia semitestacella -- Species of moth

Wikipedia - Argyrochosma chilensis -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma connectens -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma dealbata -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma delicatula -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma fendleri -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma formosa -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma incana -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma jonesii -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma limitanea -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma lumholtzii -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma microphylla -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma nivea -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma pallens -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma palmeri -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma peninsularis -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma pilifera -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma stuebeliana -- Species of fern in the family Pteridaceae

Wikipedia - Argyrochosma -- Genus of ferns in the family Pteridaceae

Wikipedia - Argyrol -- Antiseptic containing compounded solutions of mild silver protein

Wikipedia - Argyros (Byzantine family)

Wikipedia - Argyrosomus inodorus -- Silver kob, a fish in the drum family Sciaenidae

Wikipedia - Argyrosomus -- Genus of fishes in the drum family, Sciaenidae

Wikipedia - Argyrozona argyrozona -- Carpenter seabream, a fish in the family Sparidae

Wikipedia - Arhynchobatidae -- Family of fishes

Wikipedia - Ariabignes -- 5th-century Persian admiral and prince

Wikipedia - Ariadna Mikeshina -- Russian-born pianist and composer

Wikipedia - Ariadne -- Daughter of Minos in Greek mythology

Wikipedia - Ariake Station (Nagano) -- Railway station in Azumino, Nagano Prefecture, Japan

Wikipedia - Ariamir

Wikipedia - Ariana Austin Makonnen -- American philanthropist and member of the Ethiopian Imperial Family

Wikipedia - Ariane 5 -- Rocket of the Ariane family

Wikipedia - Ariane MahrM-CM-?ke Lemire -- Canadian singer

Wikipedia - Ariane (rocket family)

Wikipedia - Aribert (archbishop of Milan)

Wikipedia - Ariberto da Intimiano

Wikipedia - Aricco Jumitih -- Malaysian weightlifter

Wikipedia - Aricom -- British ore mining company

Wikipedia - Arie Jan Haagen-Smit -- Dutch chemist

Wikipedia - Ariel (comics)

Wikipedia - Ariel Fenster -- French chemist

Wikipedia - Ariel G. Loewy -- Romanian biochemist.

Wikipedia - Ariel Kalil -- American behavioral economist and academic

Wikipedia - Ariel Ramirez -- Argentine composer

Wikipedia - Ariel Sharon -- Prime Minister of Israel and Israeli general

Wikipedia - Arie Pais -- Dutch politician and economist

Wikipedia - Arie van der Vlis -- Dutch military officer

Wikipedia - Arifama-Miniafia language -- Austronesian language spoken in Papua New Guinea

Wikipedia - Arif Pasha -- Azerbaijani military officer and politician

Wikipedia - Arii Station -- Railway station in Kumano, Mie Prefecture, Japan

Wikipedia - Arikabe Station -- Railway station in Kurihara, Miyagi Prefecture, Japan

Wikipedia - Arima Haruzumi

Wikipedia - Ari Millen -- Canadian actor

Wikipedia - Arimineguchi Station -- Railway station in Toyama, Toyama Prefecture, Japan

Wikipedia - Ariminum

Wikipedia - Arina Averina -- Russian rhythmic gymnast

Wikipedia - Arina Charopa -- Belarusian rhythmic gymnast

Wikipedia - Arina Tsitsilina -- Belarusian rhythmic gymnast

Wikipedia - Arindam Chaudhuri -- Indian businessman, founder of a diploma-mill.

Wikipedia - Arindrajit Dube -- Economist with National Bureau of Economic Research (NBER) and University of Massachusetts

Wikipedia - Arinola Fatimah Lawal -- Commissioner for Water Resources, Kwara State

Wikipedia - Ario Municipality -- Municipality in Michoacan, Mexico

Wikipedia - Arisaema speciosum -- Species of plant in the arum family, Araceae

Wikipedia - Arisaka -- Family of Japanese service rifles

Wikipedia - Arisa Komiya -- Japanese actress

Wikipedia - Arise, My Love -- 1940 film by Mitchell Leisen

Wikipedia - Arishadvargas -- Enemies of the mind

Wikipedia - Arison family -- Israeli-American business family

Wikipedia - Aristagoras -- Late 6th century and early 5th century BC tyrant of the Ionian city of Miletus

Wikipedia - Aristeidis Dosios -- Greek economist, assassin of Queen Amalia

Wikipedia - Aristida calycina -- Species of grass in the family Poaceae

Wikipedia - Aristides Gomes -- Prime Minister of Guinea-Bissau

Wikipedia - Aristobulus Minor -- 1st century prince from the Herodian Dynasty

Wikipedia - Aristocratic family

Wikipedia - Aristolochia lindneri -- species of plant in the family Aristolochiaceae

Wikipedia - Aristolochia paecilantha -- species of plant in the family Aristolochiaceae

Wikipedia - Aristolochia utriformis -- Species of plant

Wikipedia - Aristolochia -- Genus of plants in the family Aristolochiaceae

Wikipedia - Aristophanes -- ancient Athenian comic playwright

Wikipedia - Aristotelia mirabilis -- Species of moth

Wikipedia - Aristotelia mirandella -- Species of moth

Wikipedia - Aristotelian Thomism

Wikipedia - Aristotle: Eudemian Ethics -- 2013 book edited by Brad Inwood and Raphael Woolf

Wikipedia - Arithmetic dynamics

Wikipedia - Arithmetic shift -- Shift operator in computer programming

Wikipedia - Ariyalur Block -- Revenue block of Tamil Nadu, India

Wikipedia - Ariyalur division -- Revenue division of Tamil Nadu, India

Wikipedia - Ariyalur railway station -- Railway station in Tamil Nadu, India

Wikipedia - Ariyalur taluk -- Taluk of Ariyalur district of the Indian state of Tamil Nadu

Wikipedia - Ariyoshi Station -- Railway station in Kuwana, Mie Prefecture, Japan

Wikipedia - Arizona Border Recon -- American paramilitary militia group in Arizona

Wikipedia - Arizona Corporation Commission -- Public utilities commission of the State of Arizona

Wikipedia - Arizona Miner -- Former newspaper published in Prescott, Arizona

Wikipedia - Arjan Bhullar -- Canadian mixed martial arts fighter

Wikipedia - Arjuna River -- River in Virudunager district, Tamilnadu, India

Wikipedia - Arjun Das -- Indian Tamil film actor

Wikipedia - Arkadi Nemirovski

Wikipedia - Arkadiusz Michalski -- Polish weightlifter

Wikipedia - Arkady Dvorkovich -- Russian public servant and economist

Wikipedia - Arkady Mikhailovich Chernetsky -- Russian politician

Wikipedia - Arkady Timiryasev -- Russian physicist and philosopher

Wikipedia - Arkansas River -- Major tributary of the Mississippi River, United States

Wikipedia - Arkansas Territorial Militia -- militia of Arkansas Territory

Wikipedia - Arkan -- Serbian paramilitary commander and career criminal

Wikipedia - Arken Imirbaki -- Chinese politician

Wikipedia - Arketamine

Wikipedia - Arkhale, Khotang -- Former Village Development Committee in Nepal

Wikipedia - Arkham Knight -- Fictional supervillain appearing in DC Comics media

Wikipedia - Arkhangelsk Oblast -- First-level administrative division of Russia

Wikipedia - Arktikugol -- Russian coal mining unitary enterprise

Wikipedia - Arkwright Mill, Rochdale -- Cotton mill in Greater Manchester, England

Wikipedia - Arland F. Christ-Janer -- American academic

Wikipedia - Arlan Hamilton -- American investment fund founder

Wikipedia - Arleigh Burke-class destroyer -- Class of guided missile destroyers

Wikipedia - Arlekino -- 1975 song with lyrics by Emil Dimitrov, Boris Barkas performed by Alla Pugacheva

Wikipedia - Arlene Blencowe -- Australian mixed martial arts fighter

Wikipedia - Arlene Fiore -- American atmospheric chemist

Wikipedia - Arlene Foster -- First Minister of Northern Ireland, Leader of the Democratic Unionist Party

Wikipedia - Arlene Istar Lev -- American family therapist

Wikipedia - Arlene Minkiewicz -- Software engineer

Wikipedia - Arlene Voski Avakian -- Armenian-American academic

Wikipedia - Arlington Capital Partners -- Private equity firm focusing on leveraged buyout and recapitalization investments in middle market companies.

Wikipedia - Arlington, Citrus County, Florida -- Former farming community in Inverness, Florida

Wikipedia - Arlington Heights Army Air Defense Site -- Missile instillation in Northern Virginia

Wikipedia - Arlington Million -- American Thoroughbred horse race

Wikipedia - Arlington National Cemetery -- Military cemetery in Virginia, U.S

Wikipedia - ARM7TDMI

Wikipedia - ARM9TDMI

Wikipedia - Armada (comics)

Wikipedia - Armada de Barlovento -- Former naval military formation of the Spanish Empire

Wikipedia - Armadillo (comics) -- Fictional supervillain

Wikipedia - Armadillo girdled lizard -- Species of reptile in the family Cordylidae

Wikipedia - Armageddon (1998 film) -- 1998 science fiction film directed by Michael Bay

Wikipedia - Armageddon (convention) -- New Zealand science fiction and comics convention

Wikipedia - Armalcolite -- Oxide mineral

Wikipedia - Arman Adamian -- Russian judoka

Wikipedia - Armand Abel -- Belgian academic

Wikipedia - Armand Charles Guilleminot -- French general

Wikipedia - Armand David -- Lazarist missionary Roman Catholic priest, zoologist, and botanist from the Basque Country, France

Wikipedia - Armand Gautier (chemist) -- French biochemist and dietitian

Wikipedia - Armand Joseph Bruat -- French admiral

Wikipedia - Armand Mijares -- Filipino archaeologist (born 1966)

Wikipedia - Armando Acosta Cordero -- Cuban military and guerrilla warfare

Wikipedia - Armando Castelar -- Brazilian economist

Wikipedia - Armando Costa (soccer) -- Canadian immigrant, Portuguese singer, soccer coach, and former player

Wikipedia - Armando Migliari -- Italian actor

Wikipedia - Arman Mikaelyan -- Armenian chess player

Wikipedia - Armas Amukwiyu -- Namibian businessman and politician

Wikipedia - Armatix iP1 -- Semi-automatic pistol and Smart Gun prototype

Wikipedia - ARM Cortex-A78 -- Microprocessor core model by ARM

Wikipedia - Armed Forces & Society -- Academic journal

Wikipedia - Armed Forces Command and Staff College, Jaji -- Senior military officer college

Wikipedia - Armed Forces of Belarus -- Combined military forces of Belarus

Wikipedia - Armed Forces of El Salvador -- Combined military forces of El Salvador

Wikipedia - Armed Forces of Haiti -- Military forces of Haiti

Wikipedia - Armed Forces of Liberia -- Combined military forces of Liberia

Wikipedia - Armed Forces of Paraguay -- Combined military forces of Paraguay

Wikipedia - Armed Forces of Serbia and Montenegro -- Military forces of Serbia and Montenegro

Wikipedia - Armed Forces of the Empire of Japan -- Combined military forces of Empire of Japan

Wikipedia - Armed Forces Reserve Medal -- United States military service award

Wikipedia - Armed Forces Service Medal -- Award of the United States military

Wikipedia - Armed Islamic Group of Algeria

Wikipedia - Armed Revolutionary Nuclei -- Italian neofascist militant organization

Wikipedia - Armed Services Editions -- Books distributed in the U.S. military in World War II

Wikipedia - Armenak Khanperyants Military Aviation University -- Armenia air force university

Wikipedia - Armenian ceramics in Jerusalem -- Armenian ceramics, Jerusalem

Wikipedia - Armenian Secret Army for the Liberation of Armenia -- Armenian militant organization that operated from 1975 to the early 1990s

Wikipedia - Armeria duriaei -- species of plant in the family Plumbaginaceae

Wikipedia - Armeria maritima -- flowering plant in the family Plumbaginaceae

Wikipedia - Armi Aavikko -- Finnish beauty queen and singer

Wikipedia - Armia Krajowa

Wikipedia - Armida (actress) -- Mexican actress

Wikipedia - Armidale Dumaresq Shire -- place in Australia

Wikipedia - Armida Parsi-Pettinella -- Italian mezzo-soprano opera singer

Wikipedia - Armida Siguion-Reyna -- Filipino actor and singer

Wikipedia - Armie Hammer -- American actor

Wikipedia - Armi elM-CM-$M-CM-$! -- 2015 film

Wikipedia - Armigel Wade -- British colonial administrator

Wikipedia - Armigerous clan -- Noble family

Wikipedia - Armiger -- Person entitled to bear a coat of arms

Wikipedia - Armi Hosia -- Finnish politician

Wikipedia - Armiiska (Kharkiv Metro) -- Kharkiv Metro station

Wikipedia - Armijn Pane -- Indonesian author

Wikipedia - Armillaria gallica -- Species of fungus in the family Physalacriaceae

Wikipedia - Armillaria luteobubalina -- Species of fungus in the family Physalacriaceae.

Wikipedia - Armillaria -- Genus of fungi

Wikipedia - Armillary sphere -- Model of objects in the sky consisting of a framework of rings

Wikipedia - Armilus

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Wikipedia - Arthropodium milleflorum -- Species of plant

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Wikipedia - Asanpur -- Former Village Development Committee in Nepal

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Wikipedia - Asaphodes obarata -- Species of moth endemic to New Zealand

Wikipedia - Asaphodes stinaria -- Species of moth endemic to New Zealand

Wikipedia - Asari-Dokubo -- Nigerian former Niger-Delta militant

Wikipedia - A. S. A. Sami -- Indian director and screenwriter

Wikipedia - ASASSN-V J213939.3-702817.4 -- Star noted for unusual dimming events

Wikipedia - A Sawmill Hazard -- 1913 film

Wikipedia - Asbat ibn Muhammad -- 9th-century Islamic scholar and imam

Wikipedia - Asbestos and the law -- Legal and regulatory issues involving the mineral asbestos

Wikipedia - Asbestos Man -- Fictional character in Marvel Comics.

Wikipedia - Asbestos -- Group of highly stable, non-flammable silicate minerals with a fibrous structure

Wikipedia - Asbury, Minnesota -- Unincorporated community in Minnesota, US

Wikipedia - Asca evansi -- Species of mite

Wikipedia - Asca funambulusae -- Species of mite

Wikipedia - Asca mumatosimilis -- Species of mite

Wikipedia - Asca tondentis -- Species of mite

Wikipedia - Asch conformity experiments -- Study of if and how individuals yielded to or defied a majority group

Wikipedia - Asclepia Gandolfo -- Italian military officer

Wikipedia - Asdrubal Chavez -- Venezuelan chemical engineer and politician

Wikipedia - ASEAN Economic Community

Wikipedia - A Second Chance at Eden -- Short story collection by Peter F. Hamilton

Wikipedia - Aseem Mishra -- Indian cinematographer

Wikipedia - Asemia -- Inability to understand or express any signs or symbols

Wikipedia - Asemic writing -- Wordless open semantic form of writing

Wikipedia - Asemini -- Tribe of beetles

Wikipedia - Asemoneinae -- Subfamily of spiders

Wikipedia - Asen Asenov -- Bulgarian scientist and entrepreneur in the field of microelectronics

Wikipedia - A Series of Unfortunate Events (TV series) -- American streaming television series

Wikipedia - Asgard (comics) -- Fictional realm in the Marvel Comics universe

Wikipedia - Asgardians of the Galaxy -- Fictional comic book superheroes

Wikipedia - Asgard (Marvel Comics)

Wikipedia - Asgeir Mickelson -- Norwegian musician, artist, photographer, and music reviewer

Wikipedia - Asghar Ebrahimi -- Iranian weightlifter

Wikipedia - Asghar Qadir -- Pakistani academic

Wikipedia - Ashagi Lamiya -- Indian actor and photographer

Wikipedia - Ash Amin -- British Indian academic

Wikipedia - Ashanti Johnson -- American geochemist and chemical oceanographer

Wikipedia - Ash'ari -- Sunni Islamic creed

Wikipedia - Asha-Rose Migiro -- Tanzanian politician and UN Deputy-Secretary General

Wikipedia - A Sharp (.NET) -- Programming language port

Wikipedia - Ashbel Smith

Wikipedia - Ashby, Minnesota -- City in Minnesota, United States

Wikipedia - Ashcan comic -- Comic book produced only for legal or promotional reasons

Wikipedia - Ashcroft and Mermin -- Introductory condensed matter physics textbook by Neil Ashcroft and N. David Mermin

Wikipedia - Asherah -- Ancient Semitic goddess

Wikipedia - Ashesh Prosad Mitra

Wikipedia - Ashes to Ashes (novel) -- Novel by Tami Hoag

Wikipedia - Ashford Emmanuel Inkumsah -- Ghanaian chemist and politician

Wikipedia - Ashgate Publishing -- 1967-2015 British academic publisher

Wikipedia - Ash glaze -- Ceramic glazes made from wood-ash

Wikipedia - Ashidachi Station -- Railway station in Niimi, Okayama Prefecture, Japan

Wikipedia - Ashi garami -- Judo technique

Wikipedia - Ashigawa Station -- Railway station in Ichikawamisato, Yamanashi Prefecture, Japan

Wikipedia - Ashinia Miller -- Jamaican shot putter

Wikipedia - Ashinomaki-Onsen-Minami Station -- Railway station in Aizuwakamatsu, Fukushima Prefecture, Japan

Wikipedia - A. Shipena Secondary School -- High school in Windhoek, Namibia

Wikipedia - Ashiq Ilahi Bulandshahri -- Indian Islamic scholar

Wikipedia - Ashirbek Torebayuly Sygai -- Kazakhstani academic

Wikipedia - Ashita no Kioku / Crazy Moon (Kimi wa Muteki) -- 2009 single by Arashi

Wikipedia - Ashland Global -- American chemical company

Wikipedia - Ashland Theological Seminary

Wikipedia - Ashlee Evans-Smith -- American mixed martial arts fighter

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Wikipedia - Ashley Cummins -- American mixed martial artist

Wikipedia - Ashley Miles -- American artistic gymnast

Wikipedia - Ashley Smith inquest -- Canadian inquest into a death

Wikipedia - Ashmita Karnani -- Indian actor (b. 1985)

Wikipedia - Ashoka Chakra (military decoration) -- India's highest peacetime military decoration

Wikipedia - Ashoka Law College -- Law college in Jammu and Kashmir

Wikipedia - Ashoka Mody -- Indian economist and IMF mission chief to Ireland

Wikipedia - Ashokpur Balkawa -- Former Village Development Committee in Nepal

Wikipedia - Ashorne Hall Railway -- Ridable miniature railway in Warwickshire, England

Wikipedia - A Shot at Glory -- 2000 film by Michael Corrente

Wikipedia - Ashrafi Family

Wikipedia - Ashraf Sehrai -- Kashmiri separatist leader and chairman of All Parties Hurriyat Conference

Wikipedia - Ashram (Balmiki)

Wikipedia - Ashram -- Hindu spiritual hermitage or monastery

Wikipedia - Ashtalakshmi Temple, Chennai -- Hindu temple of Ashtalakshmi in Chennai, India

Wikipedia - Ashta Lakshmi -- group of eight Hindu wealth goddesses

Wikipedia - Ashtamirohini -- 1975 film

Wikipedia - Ashton, Minnesota -- Ghost town in Winona County, Minnesota, US

Wikipedia - Ashton Observatory -- Public astronomical observatory in Iowa, USA

Wikipedia - Ashton Smith -- American voice actor

Wikipedia - Ashura processions in Kashmir -- mourning on the day of Ashura in Kashmir

Wikipedia - Ashura -- 10th day of the Islamic month Muharram

Wikipedia - Ashur-nadin-shumi

Wikipedia - As Husbands Go -- 1934 film directed by Hamilton MacFadden

Wikipedia - Ashwani Kumar (military officer) -- Adjutant General of Indian Army from 2018 to 2019

Wikipedia - Ashwani Mahajan -- Indian economist

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Wikipedia - Ashwood University -- Diploma mill in Pakistan

Wikipedia - Asia Bibi blasphemy case -- 2010 Pakistani criminal case

Wikipedia - Asiago cheese -- Italian cow's milk cheese

Wikipedia - Asia Miles -- Loyalty program of Cathay Pacific

Wikipedia - Asia Minor Defense Organization -- Greek nationalist organisation

Wikipedia - Asia Minor

Wikipedia - Asia-Minor

Wikipedia - Asian American Feminist Collective -- Asian American Feminist organisation

Wikipedia - Asian Century -- Projected dominance of Asian politics and culture during the 21st century

Wikipedia - Asian elephant -- Species of mammal in the family Elephantidae

Wikipedia - Asian feminist theology

Wikipedia - Asian immigration to the United States -- Aspect of history

Wikipedia - Asian Journal of Pentecostal Studies -- Philippine academic journal

Wikipedia - Asian Mile Challenge -- Series of horse races in Asia and the Pacific

Wikipedia - Asian Theological Seminary

Wikipedia - Asia-Pacific Economic Cooperation -- International economic forum

Wikipedia - Asia Resource Minerals -- International mining group

Wikipedia - Asiatic Vespers -- A genocide which occurred prior to the First Mithridatic War

Wikipedia - ASIC programming language

Wikipedia - Asieh Amini -- Iranian poet and journalist

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Wikipedia - Asima Chatterjee -- Indian chemist (1917-2006)

Wikipedia - Asim Dasgupta -- Indian economist and politician

Wikipedia - Asim ibn Amr al-Tamimi -- Arab military commander

Wikipedia - Asim Ijaz Khwaja -- Pakistani-American economist

Wikipedia - Asimina Arvanitaki -- Greek physicist

Wikipedia - Asimina pygmaea -- Species of plant

Wikipedia - Asimina reticulata -- Species of plant

Wikipedia - Asimina Vanakara -- Greek heptathlete

Wikipedia - Asim Saleem Bajwa -- Chairman of China-Pakistan Economic Corridor

Wikipedia - Asinia gens -- Ancient Roman family

Wikipedia - Asis Datta -- Indian Bio chemist

Wikipedia - Asjad Raza Khan -- Indian Islamic scholar

Wikipedia - Askar Askarov -- Russian professional mixed martial artist

Wikipedia - Askar Mamin -- Current Prime Minister of Kazakhstan

Wikipedia - Askeri -- Member of a class of imperial administrators

Wikipedia - Asking for Trouble -- 1942 film by Oswald Mitchell

Wikipedia - Asko Peltoniemi -- Finnish pole vaulter

Wikipedia - Askov, Minnesota -- City in Minnesota, United States

Wikipedia - Aslam Anis -- Bangladeshi-Canadian health economist

Wikipedia - Aslam Khan (Pakistani brigadier) -- Pakistani military officer

Wikipedia - Aslian languages -- Subgroup of the Austroasiatic language family

Wikipedia - Asli Demirguc-Kunt -- Turkish economist

Wikipedia - A Slight Trick of the Mind

Wikipedia - As Long as You're Loving Me -- 2001 single by Vitamin C

Wikipedia - Asma Barlas -- Pakistani-American writer and academic

Wikipedia - As Man Desires -- 1925 film by Irving Cummings

Wikipedia - Asmat Diasamidze -- Georgian archer

Wikipedia - Asmat-Mombum languages -- Papuan language family

Wikipedia - ASM Chemical Industries

Wikipedia - Asmeret Asefaw Berhe -- soil biogeochemist

Wikipedia - Asmic -- Organic molecule that contains an isocyanide group and an ortho-methoxy-phenyl sulfide group

Wikipedia - As minas de prata -- Novel by Jose de Alencar

Wikipedia - Asmir KolaM-EM-!inac -- Serbian shot putter

Wikipedia - As Miss Beelzebub Likes -- Manga and anime series

Wikipedia - Asmita Gardens -- Residential complex in Bucharest, Romania

Wikipedia - Aso Boy -- Limited express train service in Kyushu, Japan

Wikipedia - Asoka Bandarage -- Sri Lankan American academic and sociologist

Wikipedia - As One (opera) -- Chamber opera by Laura Kaminsky

Wikipedia - A Song Is Born (song) -- 2001 single by Ayumi Hamasaki and Keiko

Wikipedia - A Son of His Father -- 1925 silent film by Victor Fleming

Wikipedia - A Sort of Family -- 2017 film

Wikipedia - Aso-Shirakawa Station -- Railway station located in Minamiaso, Kumamoto

Wikipedia - Aso Station (Mie) -- Railway station in Taiki, Mie Prefecture, Japan

Wikipedia - Aspach-le-Haut -- Part of Aspach-Michelbach in Grand Est, France

Wikipedia - Aspach-Michelbach -- Commune in Grand Est, France

Wikipedia - Asparagaceae -- Family of plants

Wikipedia - Asparagoideae -- Subfamily of plants

Wikipedia - Asparagus asparagoides -- Species of flowering plant in the family Asparagaceae

Wikipedia - Asparagus -- Species of flowering plant in the family Asparagaceae

Wikipedia - Aspartate aminotransferase

Wikipedia - Aspartate carbamoyltransferase -- Protein family

Wikipedia - Aspartic acid -- Amino acid

Wikipedia - Aspasia Cruvellier Mirault -- American planter and landowner

Wikipedia - Aspasia of Miletus

Wikipedia - Aspasia -- Milesian woman, involved with Athenian statesman Pericles

Wikipedia - Asp (character) -- Fictional character under Marvel Comics

Wikipedia - Asp (comics)

Wikipedia - Aspect (computer programming)

Wikipedia - Aspect-oriented programming -- Programming paradigm

Wikipedia - A Spectre Haunts Europe -- 1923 film by Vladimir Gardin

Wikipedia - Aspen Comics -- American entertainment company

Wikipedia - Aspergillus micronesiensis -- Species of mold

Wikipedia - Asperugo -- Genus of flowering plants in the borage family Boraginaceae

Wikipedia - Asperula affinis -- species of plant in the family Rubiaceae

Wikipedia - Asperula aristata -- Species of flowering plants in the coffee family Rubiaceae

Wikipedia - Asperula baenitzii -- species of plant in the family Rubiaceae

Wikipedia - Asperula boissieri -- species of plant in the family Rubiaceae

Wikipedia - Asperula brachyantha -- species of plant in the family Rubiaceae

Wikipedia - Asperula breviflora -- species of plant in the family Rubiaceae

Wikipedia - Asperula chlorantha -- species of plant in the family Rubiaceae

Wikipedia - Asperula fragillima -- species of plant in the family Rubiaceae

Wikipedia - Asperula gussonei -- species of plant in the family Rubiaceae

Wikipedia - Asperula kotschyana -- species of plant in the family Rubiaceae

Wikipedia - Asperula libanotica -- species of plant in the family Rubiaceae

Wikipedia - Asperula lilaciflora -- species of plant in the family Rubiaceae

Wikipedia - Asperula microphylla -- species of plant in the family Rubiaceae

Wikipedia - Asperula mungieri -- species of plant in the family Rubiaceae

Wikipedia - Asperula muscosa -- species of plant in the family Rubiaceae

Wikipedia - Asperula oetaea -- species of plant in the family Rubiaceae

Wikipedia - Asperula orientalis -- species of plant in the family Rubiaceae

Wikipedia - Asperula pestalozzae -- species of plant in the family Rubiaceae

Wikipedia - Asperula pinifolia -- species of plant in the family Rubiaceae

Wikipedia - Asperula pontica -- species of plant in the family Rubiaceae

Wikipedia - Asperula pulvinaris -- species of plant in the family Rubiaceae

Wikipedia - Asperula rumelica -- species of plant in the family Rubiaceae

Wikipedia - Asperula serotina -- species of plant in the family Rubiaceae

Wikipedia - Asperula seticornis -- species of plant in the family Rubiaceae

Wikipedia - Asperula sintenisii -- species of plant in the family Rubiaceae

Wikipedia - Asperula stricta -- species of plant in the family Rubiaceae

Wikipedia - Asperula suffruticosa -- species of plant in the family Rubiaceae

Wikipedia - Asperula taygetea -- species of plant in the family Rubiaceae

Wikipedia - Asperula tenuifolia -- species of plant in the family Rubiaceae

Wikipedia - Asperula -- Genus of flowering plants in the coffee family Rubiaceae

Wikipedia - Asphalia -- Monotypic moth genus in family Drepanidae

Wikipedia - Asphodelaceae -- Family of flowering plants in the order Asparagales

Wikipedia - Asphodeloideae -- Subfamily of flowering plants, in monocot family Asphodelaceae

Wikipedia - Asphodelus -- Genus of flowering plants in the asphodel family Asphodelaceae

Wikipedia - Aspidistra (transmitter) -- British military radio transmitter

Wikipedia - Aspidosiphonidae -- Family of peanut worms

Wikipedia - A.S. Pierrefonds -- Semi-professional soccer club

Wikipedia - Asplenium adiantum-nigrum -- Species of ferns in the family Aspleniaceae

Wikipedia - Asplenium aequibasis -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium anceps -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium attenuatum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium azoricum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium bifrons -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium bradleyi -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium carnarvonense -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium ceterach -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium chihuahuense -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium congestum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium daghestanicum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium daucifolium -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium difforme -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium dimorphum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium ecuadorense -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium flabellifolium -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium flaccidum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium goudeyi -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium hermannii-christii -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium hookerianum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium listeri -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium majoricum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium marinum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium M-CM-^W ebenoides -- Hybrid fern in the family Aspleniaceae

Wikipedia - Asplenium milnei -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium montanum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium nidus -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium oblongifolium -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium onopteris -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium parvum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium petrarchae -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium pinnatifidum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium polyodon -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium pteridoides -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium resiliens -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium rhizophyllum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium ruprechtii -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium ruta-muraria -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium schizotrichum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium schweinfurthii -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium scolopendrium -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium septentrionale -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium serratum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium surrogatum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium trichomanes subsp. coriaceifolium -- Subspecies of fern in the family Aspleniaceae

Wikipedia - Asplenium trichomanes -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium tutwilerae -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium vespertinum -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium virens -- Species of fern in the family Aspleniaceae

Wikipedia - Asplenium -- genus of ferns in the family Aspleniaceae

Wikipedia - ASP.NET Dynamic Data

Wikipedia - Asrar-ul-Haq Mian -- Pakistani lawyer

Wikipedia - Assabet River National Wildlife Refuge -- protected wildlife area and former military installation in central Massachusetts, United States

Wikipedia - Assabet River Rail Trail -- partially-completed rail trail in Middlesex County, Massachusetts, United States

Wikipedia - Assam Public Service Commission -- State government agency

Wikipedia - Assam Rifles -- Oldest paramilitary force in India

Wikipedia - Assar Lindbeck -- Swedish economist

Wikipedia - Assassination of Galip Balkar -- Assassination of the Turkish Ambassador to Yugoslavia by Armenian militants

Wikipedia - Assassination of Juvenal Habyarimana and Cyprien Ntaryamira -- 1994 shooting down of a plane carrying the Rwandan and Burundian presidents

Wikipedia - Assassination of Rajiv Gandhi -- 1991 assassination of the 6th Prime Minister of India

Wikipedia - Assassination of Spencer Perceval -- 1812 murder of the British prime minister

Wikipedia - Assassination -- Murder of a prominent person, often a political leader or ruler

Wikipedia - Assault rifle -- Military rifle type

Wikipedia - Assault weapon -- Terminology used in United States firearm legislation

Wikipedia - Asselian -- First stage of the Permian

Wikipedia - Assembler (computer programming)

Wikipedia - Assemblies of God USA -- Pentecostal Christian denomination

Wikipedia - Assemblies of the Lord Jesus Christ -- Christian denomination formed in 1952

Wikipedia - Assemblies of Yahweh -- Religious denomination headquartered in Bethel, Pennsylvania, United States

Wikipedia - Assembly of Captive European Nations -- Coalition of representatives from nations in Central and Eastern Europe under Soviet domination (1954-1972)

Wikipedia - Assert.h -- Header file in the standard library of the C programming language

Wikipedia - Assertion (programming)

Wikipedia - Assertion (software development) -- In computer programming, statement that a predicate is always true at that point in code execution

Wikipedia - Asset classes -- group of financial instruments with similar behavior and characteristics

Wikipedia - Assets Recovery Agency -- Former non-ministerial government department in the United Kingdom

Wikipedia - Asset -- Economic resource, from which future economic benefits are expected

Wikipedia - Assignment problem -- Combinatorial optimization problem

Wikipedia - Assignment (programming)

Wikipedia - Assimi GoM-CM-/ta -- Malian military officer

Wikipedia - Assimilation effect

Wikipedia - Assimilation (psychology)

Wikipedia - Assistant commandant -- Military and paramilitary rank

Wikipedia - Assisted suicide -- Suicide committed by someone with assistance from another person or persons, typically in regard to people suffering from a severe physical illness

Wikipedia - Associate degree -- Undergraduate academic degree

Wikipedia - Associate professor -- Academic rank

Wikipedia - Association for Academic Surgery -- Surgical research organization

Wikipedia - Association for Educational Communications and Technology -- Academic and professional association

Wikipedia - Association for Logic Programming

Wikipedia - Association for Middle Level Education -- National Middle School Association

Wikipedia - Association for Student Conduct Administration -- Organizations based in Texas

Wikipedia - Association (object-oriented programming)

Wikipedia - Association of Academies of the Spanish Language -- Coordinating body of Spanish language regulators

Wikipedia - Association of Boxing Commissions -- Boxing Commissions and MMA organisation governed by delegates of US and Canada

Wikipedia - Association of College and University Housing Officers-International -- Professional association for student affairs administrator

Wikipedia - Association of Independent Methodists -- Methodist Christian denomination founded in 1965

Wikipedia - Association of Military Surgeons of the United States -- Professional association of healthcare professionals serving in the Uniformed services of the United States

Wikipedia - Association of Technical, Administrative and Supervisory Staff -- trade union

Wikipedia - Association rule mining

Wikipedia - Associative containers -- Group of class templates in the standard library of the C++ programming language that implement ordered associative arrays: std::set, std::map, std::multiset, std::multimap

Wikipedia - Associative economics

Wikipedia - Assonance -- Repetition of vowel sounds to create internal rhyming

Wikipedia - Assortative mating -- Preferential mating pattern between individuals with similar phenotypes (e.g., size, colour)

Wikipedia - Assortative mixing

Wikipedia - Asso Station -- Railway station in Kamitonda, Wakayama Prefecture, Japan

Wikipedia - Assuerio Silva -- Brazilian boxer and mixed martial arts fighter

Wikipedia - Assumburg -- Monumental windmill, Netherlands

Wikipedia - Assumption, Minnesota -- Unincorporated community in Minnesota, US

Wikipedia - As-Sunnah Foundation of America -- Sufi Islamic Organization of America

Wikipedia - Assyria -- Major Mesopotamian East Semitic kingdom

Wikipedia - Astana-Premier Tech -- Kazakh cycling team

Wikipedia - Astarte -- Middle Eastern goddess, worshipped from the Bronze Age through classical antiquity

Wikipedia - Astartoidea -- Superfamily of molluscs

Wikipedia - Astatine -- chemical element with atomic number 85

Wikipedia - Asteiidae -- Family of flies

Wikipedia - Astemizole -- Antihistamine drug

Wikipedia - Asteraceae -- Family of flowering plants

Wikipedia - Astere M. Dhondt -- Flemish writer

Wikipedia - Aster (genus) -- Genus of flowering plants in the daisy family Asteraceae

Wikipedia - Asterias microdiscus -- Species of starfish

Wikipedia - Asterix & Obelix XXL -- video game based on French comic book series

Wikipedia - Asterix and the Chieftain's Daughter -- 38th comic book in the Asterix series

Wikipedia - Asterix (character) -- Fictional character and the titular hero of the French comic book series Asterix

Wikipedia - Asterix Omnibus -- 2020 collection of Asterix comics

Wikipedia - Asterix -- Series of French comic books

Wikipedia - Aster MIMS

Wikipedia - Asteroideae -- Subfamily of flowering plants

Wikipedia - Asteroid mining

Wikipedia - Asteroid spectral types -- Classification type of a class of astronomical objects

Wikipedia - Asteroid -- Minor planet that is not a comet

Wikipedia - Asteromyia euthamiae -- Species of fly

Wikipedia - Asteromyia tumifica -- Species of fly

Wikipedia - Astilbe -- Genus of flowering plants in the family Saxifragaceae

Wikipedia - Astilboides -- Monotypic genus of flowering plants in the family Saxifragaceae

Wikipedia - Astley Cooper Key -- Royal Navy admiral

Wikipedia - Astley Deep Pit disaster -- Mining accident in Dukinfield, Cheshire, England

Wikipedia - ASTM D37 -- Committee for developing technical standards for cannabis

Wikipedia - Astomi

Wikipedia - Astonishing X-Men -- Comic book series

Wikipedia - Aston Martin AMB 001 -- Limited edition sport motorcycle

Wikipedia - Aston Martin Residences -- Skyscraper in Miami

Wikipedia - Aston Martin Valhalla -- Upcoming mid-engine sports car

Wikipedia - Aston Martin Vulcan -- Limited production track-only sports car manufactured by British luxury automobile manufacturer Aston Martin

Wikipedia - Aston Triangle -- Area of Birmingham City Centre, England

Wikipedia - Aston University -- University in Birmingham, England

Wikipedia - Astra A-100 -- Spanish double-action/single-action semi-automatic pistol

Wikipedia - Astraeus hygrometricus -- Cosmopolitan species of fungus in the family Diplocystaceae.

Wikipedia - Astragaloside -- Group of chemical compounds

Wikipedia - Astragalus campylanthus -- species of plant in the family Fabaceae

Wikipedia - Astragalus cedreti -- Species of plant in the family Fabaceae

Wikipedia - Astragalus chrysostachys -- species of plant in the family Fabaceae

Wikipedia - Astragalus dactylocarpus -- species of plant in the family Fabaceae

Wikipedia - Astragalus eriopodus -- species of plant in the family Fabaceae

Wikipedia - Astragalus fasciculifolius -- species of plant in the family Fabaceae

Wikipedia - Astragalus kirrindicus -- species of plant in the family Fabaceae

Wikipedia - Astragalus lobophorus -- species of plant in the family Fabaceae

Wikipedia - Astragalus macrosemius -- species of plant in the family Fabaceae

Wikipedia - Astragalus monanthemus -- species of plant in the family Fabaceae

Wikipedia - Astragalus murinus -- species of plant in the family Fabaceae

Wikipedia - Astragalus siliquosus -- species of plant in the family Fabaceae

Wikipedia - Astragalus subsecundus -- species of plant in the family Fabaceae

Wikipedia - Astragalus vanillae -- species of plant in the family Fabaceae

Wikipedia - Astrakhan Oblast -- First-level administrative division of Russia

Wikipedia - Astrakhan -- Administrative centre of Astrakhan Oblast, Russia

Wikipedia - A Stranger in the Family

Wikipedia - Astrantia -- Genus of flowering plants in the celery family Apiaceae

Wikipedia - Astrid Cleve -- Swedish botanist, geologist, chemist

Wikipedia - Astrid Yunadi -- Miss Indonesia

Wikipedia - Astro Bot Rescue Mission -- 2018 platform game developed by Japan Studio

Wikipedia - Astrochemistry -- The study of molecules in the Universe and their reactions

Wikipedia - Astrocladus euryale -- A brittlestar of the family Gorgonocephalidae from South Africa

Wikipedia - Astrocompass -- Tool for finding true north through the positions of astronomical bodies

Wikipedia - Astrodome (aeronautics) -- Window dome for astronomical navigation on airplanes

Wikipedia - Astrolabe -- Astronomical instrument

Wikipedia - Astroloma humifusum -- Species of plant

Wikipedia - Astronomia nova -- Book by Johannes Kepler

Wikipedia - Astronomical ceiling of Senenmut's Tomb -- Celestial diagram in ancient Egyptian tomb

Wikipedia - Astronomical chess -- Chess variant

Wikipedia - Astronomical chronology

Wikipedia - Astronomical clock

Wikipedia - Astronomical engineering -- Form of megascale engineering

Wikipedia - Astronomical interferometer -- Array used for astronomical observations

Wikipedia - Astronomical Journal

Wikipedia - Astronomical Netherlands Satellite -- Space-based X-ray and ultraviolet telescope

Wikipedia - Astronomical objects named after people

Wikipedia - Astronomical object -- Large natural physical entity in space

Wikipedia - Astronomical observation

Wikipedia - Astronomical Observatory of Mallorca

Wikipedia - Astronomical rings -- Early astronomical instrument

Wikipedia - Astronomical scales

Wikipedia - Astronomical seeing -- Amount of apparent blurring and twinkling of astronomical objects due to atmospherical effects

Wikipedia - Astronomical Society of New South Wales -- Amateur astronomy club in the state of New South Wales, Australia

Wikipedia - Astronomical Society of the Pacific

Wikipedia - Astronomical Society of Victoria -- Amateur astronomy club in the state of Victoria, Australia

Wikipedia - Astronomical spectroscopy

Wikipedia - Astronomical survey -- General map or image of a region of the sky with no specific observational target.

Wikipedia - Astronomical symbols -- Symbols in astronomy

Wikipedia - Astronomical system of units

Wikipedia - Astronomical unit -- Mean distance between Earth and the Sun, common length reference in astronomy

Wikipedia - Astronomical

Wikipedia - astronomical

Wikipedia - Astronomical year numbering -- year numbering system using + for AD/CE years and M-bM-^HM-^R for years before 1 BC/BCE which is year 0

Wikipedia - Astronomica (Manilius) -- 1st century AD Latin didactic poem about celestial phenomena written by Marcus Manilius

Wikipedia - Astronomy Domine -- Original song written and composed by Syd Barrett

Wikipedia - Astronomy in the medieval Islamic world

Wikipedia - Astrophotography -- Specialized type of photography for recording images of astronomical objects and large areas of the night sky

Wikipedia - Astrophysics Data System -- Digital Library portal operated by the Smithsonian

Wikipedia - Astro Vaanavil -- Tamil channel in Malaysia

Wikipedia - A Study on Self Worth: Yxng Dxnzl -- 2018 studio album by Nigerian rapper MI Abaga

Wikipedia - Astuvansalmi rock paintings -- Rock paintings in Ristiina, Mikkeli, Finland

Wikipedia - Astwood, Buckinghamshire -- Civil parish in the Borough of Milton Keynes, England

Wikipedia - A Successful Calamity -- 1932 film

Wikipedia - A Suitable Boy (TV series) -- BBC Television drama series by Mira Nair

Wikipedia - Asuman M-CM-^VzdaM-DM-^_lar -- Turkish academic

Wikipedia - Asumiko Nakamura

Wikipedia - Asumi Miwa -- Japanese actress

Wikipedia - A. Sumru M-CM-^Vzsoy -- Turkish academic and linguist

Wikipedia - Asunto terminado -- 1953 film

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Wikipedia - Asuran (2019 film) -- 2019 Indian Tamil-language film directed by Vetrimaaran

Wikipedia - Asuravadham -- 2018 Indian Tamil-language film

Wikipedia - Asura -- Mythical beings, demi-gods, in Indian religions

Wikipedia - Aswath Damodaran -- Indian academic

Wikipedia - Aswat (TV program) -- Emirati television program

Wikipedia - As We Were Dreaming -- 2015 film

Wikipedia - Asya Branch -- Miss USA 2020

Wikipedia - Asya Miller -- American goalball player

Wikipedia - Asylum Seekers (film) -- 2009 film by Rania Ajami

Wikipedia - Asymmetric warfare -- War between belligerents whose relative military power differs significantly

Wikipedia - Asymphorodes seminiger -- Species of insect

Wikipedia - Asymptote -- In geometry, limit of the tangent at a point that tends to infinity

Wikipedia - Asymptotic analysis -- Description of limiting behavior of a function

Wikipedia - Asystasia -- Genus of flowering plants in the acanthus family Acanthaceae

Wikipedia - Atacama Large Millimeter Array -- 66 radio telescopes in the Atacama Desert of northern Chile

Wikipedia - Atacamita -- Genus of beetles

Wikipedia - Atago Station (Miyagi) -- Railway station in Matsushima, Miyagi Prefecture, Japan

Wikipedia - A Tailored Gentleman -- 1954 film by Miguel M. Delgado

Wikipedia - Atakeccuram Nagabilam Temple, Tiruvarur -- Temple in Tamil Nadu, India

Wikipedia - Atalaya hemiglauca -- Species of plant

Wikipedia - Atal Bihari Vajpayee -- 10th Prime Minister of India

Wikipedia - A Tale of Adam Mickiewicz's 'Forefathers' Eve' -- 1989 film

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Wikipedia - Atami Station -- Railway station in Atami, Shizuoka Prefecture, Japan

Wikipedia - AT&T TV -- Streaming pay TV service provider

Wikipedia - Atanasio Amisse Canira -- Mozambican clergyman, Bishop of Lichinga

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Wikipedia - Ataraxia (gamer) -- former professional Smite player

Wikipedia - Ataraxia -- Equanimity, tranquility, imperturbability

Wikipedia - Atari 8-bit family

Wikipedia - Atari joystick port -- Computer port used for gaming controllers

Wikipedia - Atari Microsoft BASIC

Wikipedia - Atashika Station -- Railway station in Kumano, Mie Prefecture, Japan

Wikipedia - Ataturk, His Mother and Women's Rights Monument -- Monument in M-DM-0zmir, Turkey

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Wikipedia - Ataur Rahman Khan -- Former Prime Minister of bangladesh

Wikipedia - Atawa Station -- Railway station in Mihama, Mie Prefecture, Japan

Wikipedia - A Taxing Woman -- 1987 film by JM-EM-+zM-EM-^M Itami

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Wikipedia - ATC code C04 -- Therapeutic subgroup of the Anatomical Therapeutic Chemical Classification System

Wikipedia - Ategumia adipalis -- Species of moth

Wikipedia - Ategumia ebulealis -- Species of moth

Wikipedia - Ategumia -- Genus of moths

Wikipedia - Ateia (gens) -- Ancient Roman plebeian family

Wikipedia - Atelodesmis -- Genus of beetles

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Wikipedia - Atethmia algirica -- Species of moth

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Wikipedia - Athanasios N. Miaoulis -- Greek naval officer and politician

Wikipedia - Athanasius Rethna Swamy Swamiadian -- Roman Catholic bishop

Wikipedia - Athar Jamad Masjid -- Mosque in Tamil Nadu, India

Wikipedia - A Thatch-Roofed House with a Water Mill -- Painting by Jacob Isaacksz. van Ruisdael

Wikipedia - Atheist feminism

Wikipedia - Athel Cornish-Bowden -- British biochemist

Wikipedia - Athemistus -- Genus of beetles

Wikipedia - Athena (Marvel Comics) -- A fictional deity

Wikipedia - Athena (rocket family) -- Lockheed Martin expendable launch system

Wikipedia - Athenian military

Wikipedia - Athens Kifisos Bus Terminal -- Bus station in Athens, Greece

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Wikipedia - Athens University of Economics and Business

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Wikipedia - Athos Careghi -- Italian cartoonist of emilian origin

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Wikipedia - Athrips flavida -- Species of moth in the family Gelechiidae from southern Africa

Wikipedia - Athrips thymifoliella -- Species of moth

Wikipedia - A. Thurairajah -- Sri Lankan Tamil Academic and vice-chancellor of the University of Jaffna (1934-1994)

Wikipedia - Athuru Mithuru

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Wikipedia - Athymhormic syndrome -- Rare psychological or neurological condition

Wikipedia - Atia (gens) -- Ancient Roman family

Wikipedia - Atilia gens -- Ancient Roman family

Wikipedia - Atimia (genus) -- Genus of beetles

Wikipedia - Atimiini -- Tribe of beetles

Wikipedia - Atimiliopsis -- Genus of beetles

Wikipedia - Atimiola -- Genus of beetles

Wikipedia - Atinia (gens) -- Ancient Roman plebeian family

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Wikipedia - Atiq Ullah (Kashmiri leader) -- Mirwaiz of Kashmir

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Wikipedia - Atkinson, Minnesota -- Unincorporated community in Minnesota, US

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Wikipedia - Atlanta Knights -- Former minor league ice hockey team

Wikipedia - Atlanta Millionaires Club -- 2019 studio album by Faye Webster

Wikipedia - Atlanta mixed-income communities -- Atlanta, Georgia, United States housing planning policy

Wikipedia - Atlantic-Congo languages -- Major division of the Niger-Congo language family

Wikipedia - Atlantic Flyway -- Major north-south flyway for migratory birds in North America

Wikipedia - Atlantic Meridional Transect -- A multi-decadal oceanographic programme that undertakes biological, chemical and physical research during annual voyages between the UK and destinations in the South Atlantic

Wikipedia - Atlantic (Semitic) languages -- Disputed Pre-Indo-European Language Family

Wikipedia - Atlantic Terminal -- Long Island Rail Road station in Brooklyn, New York

Wikipedia - Atlantis (Aquaman) -- Fictitious place in DC Comics

Wikipedia - Atlantis: Milo's Return -- 2003 film

Wikipedia - Atlas Autocode -- 1960s computer programming language

Wikipedia - Atlas Coal Mine -- Inactive coal mine in Alberta, Canada

Wikipedia - Atlas (comic book series) -- Comic book series by Dylan Horrocks

Wikipedia - Atlas Comics (1950s) -- 1950s comic book publishing company

Wikipedia - Atlas (DC Comics)

Wikipedia - Atlas Mill, Ashton-under-Lyne -- Cotton mill in Greater Manchester, England

Wikipedia - Atlas (rocket family) -- Family of American missiles and space launch vehicles

Wikipedia - Atlas/Seaboard Comics -- Term for line of 1970s comics

Wikipedia - Atli Dam -- Prime Minister of the Faroe Islands

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Wikipedia - Atmaram Sadashiv Jayakar -- Indian naturalist, military physician and surgeon (1844-1911)

Wikipedia - At Midnight I'll Take Your Soul -- 1964 film directed by Jose Mojica Marins

Wikipedia - Atmiya University -- Private university in Gujarat, India

Wikipedia - Atmosphere -- Layer of gases surrounding an astronomical body held by gravity

Wikipedia - Atmospheric chemistry -- The branch of atmospheric science in which the chemistry of the atmosphere is studied

Wikipedia - Atmospheric dynamics

Wikipedia - Ato Kwamina Yanney Snr. -- Ghanaian movie maker

Wikipedia - Atolmis rubricollis -- Species of moth

Wikipedia - Atomariinae -- Subfamily of beetles

Wikipedia - Atom (character) -- Name shared by several fictional comic book superheroes from the DC Comics universe

Wikipedia - Atomic Age (design) -- Design style from the approximate period 1940-1960, when concerns of nuclear war dominated the West during the Cold War

Wikipedia - Atomic age

Wikipedia - Atomic Age -- Period of history (1945-)

Wikipedia - Atomic and molecular astrophysics

Wikipedia - Atomic Blonde -- 2017 film by David Leitch

Wikipedia - Atomic bombing of Hiroshima and Nagasaki

Wikipedia - Atomic bombings of Hiroshima and Nagasaki in popular culture -- Cultural works on the atomic bombings

Wikipedia - Atomic bombings of Hiroshima and Nagasaki -- Use of nuclear weapons towards the end of World War II

Wikipedia - Atomic bombs

Wikipedia - Atomic bomb

Wikipedia - Atomic carbon -- Chemical compound

Wikipedia - Atomic chess -- chess variant where pieces "explode" upon capture, also removing surrounding pieces

Wikipedia - Atomic clock -- Extremely accurate reference clock used as a standard for timekeeping

Wikipedia - Atomic (cocktail) -- Champagne cocktail

Wikipedia - Atomic (computer science)

Wikipedia - Atomic Data and Nuclear Data Tables

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Wikipedia - Atomic emission spectroscopy -- Analytical method using radiation to identify chemical elements in a sample

Wikipedia - Atomic Energy Act of 1946 -- US law on the control and management of nuclear technology

Wikipedia - Atomic Energy Centre, Dhaka -- Research institute in Bangladesh

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Wikipedia - Atomic Energy of Canada

Wikipedia - Atomic Energy Organization of Iran

Wikipedia - Atomic Energy Research Establishment (Bangladesh) -- Research institute in Bangladesh

Wikipedia - Atomic Energy Research Establishment -- Former main centre for nuclear power research and development in the United Kingdom, located near Harwell, Oxfordshire, England

Wikipedia - Atomic energy

Wikipedia - Atomic fact

Wikipedia - Atomic force microscope

Wikipedia - Atomic force microscopy

Wikipedia - Atomic formula -- mathematical logic concept

Wikipedia - Atomic Heritage Foundation

Wikipedia - Atomicity (database systems) -- Property of the ACID database system

Wikipedia - Atomicity (programming)

Wikipedia - Atomic layer deposition -- Thin-film deposition technique that deposits one 1-atom thick layer at a time

Wikipedia - Atomic layer etching -- Method that removes material, one 1-atom thick layer at a time

Wikipedia - Atomic line filter -- Optical band-pass filter used in the physical sciences

Wikipedia - Atomic mass unit

Wikipedia - Atomic, molecular, and optical physics

Wikipedia - Atomic nuclei

Wikipedia - Atomic nucleus -- Core of the atom; composed of bound nucleons (protons and neutrons)

Wikipedia - Atomic number -- Number of protons found in the nucleus of an atom

Wikipedia - Atomic operations (computing)

Wikipedia - Atomic operation

Wikipedia - Atomic orbital -- A wave function for one electron in an atom having certain ''n'' and ''M-bM-^DM-^S'' quantum numbers

Wikipedia - Atomic physics -- Field of physics

Wikipedia - Atomic Power (film) -- 1946 film

Wikipedia - Atomic propositions

Wikipedia - Atomic radii of the elements (data page) -- Wikimedia data page

Wikipedia - Atomic ratio -- Measure of the ratio of atoms of one kind (i) to another kind (j)

Wikipedia - Atomic Robo-Kid -- 1988 video game

Wikipedia - Atomic Rulers of the World -- 1964 film

Wikipedia - Atomic scale

Wikipedia - Atomics International -- Nuclear technology company

Wikipedia - Atomic Skull -- Fictional characters in DC Comics

Wikipedia - Atomic spacing -- Distance between two nucleus

Wikipedia - Atomic Spy (book) -- Biography of Klaus Fuchs by Nancy Thorndike Greenspan

Wikipedia - Atomic structure

Wikipedia - Atomic theory -- Model for understanding elemental particles

Wikipedia - Atomic tourism -- Tourism involving travel to nuclear sites

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Wikipedia - Atomic vapor laser isotope separation

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Wikipedia - Atomidine

Wikipedia - Atomised (film) -- 2006 film

Wikipedia - Atomised

Wikipedia - Atomism (disambiguation)

Wikipedia - Atomism (logical)

Wikipedia - Atomism (social)

Wikipedia - Atomism

Wikipedia - Atomists

Wikipedia - Atomist

Wikipedia - Atomium -- Building in Brussels, Belgium built in 1958

Wikipedia - Atomized individualism

Wikipedia - Atom (Ray Palmer) -- Fictional character, a superhero that appears in comic books published by DC Comics

Wikipedia - Atomu Mizuishi -- Japanese actor

Wikipedia - Atom -- smallest unit of a chemical element

Wikipedia - Atorolimumab -- Chemical compound

Wikipedia - ATR 42 -- Regional turboprop airliner family

Wikipedia - Atractelmis -- Genus of beetles

Wikipedia - Atractocarpus benthamianus -- Species of plant

Wikipedia - Atractomorpha similis -- Species of grasshopper

Wikipedia - Atractoscion aequidens -- Geelbek, a fish in the family Sciaenidae

Wikipedia - Atrapa los Millones -- Chilean game show

Wikipedia - A Treatise on Poetry -- poem by Czeslaw Milosz

Wikipedia - A Treatise on the Binomial Theorem

Wikipedia - A Tree Grows in Brooklyn (novel) -- 1943 semi-autobiographical novel by Betty Smith

Wikipedia - Atrichopogon levis -- A species of biting midges in the family Ceratopogonidae

Wikipedia - Atrina serrata -- Species of bivalve mollusc in the family Pinnidae

Wikipedia - Atriplex semibaccata -- Species of plant

Wikipedia - Atropa acuminata -- Species of plant

Wikipedia - Atropa belladonna -- Species of toxic flowering plant in the nightshade family.

Wikipedia - Atrophoderma -- Dermatologic terminology

Wikipedia - Atrophodermia vermiculata -- Dermatological condition

Wikipedia - Atroxima afzeliana -- Plant species in the family Polygalaceae

Wikipedia - Atroxima -- Plant species in the family Polygalaceae

Wikipedia - ATS (programming language) -- Programming language

Wikipedia - Atsuko Miyaji -- Japanese cryptographer

Wikipedia - Atsumi Onsen Station -- Railway station in Tsuruoka, Yamagata Prefecture, Japan

Wikipedia - Atsumi Tanezaki -- Japanese voice actress

Wikipedia - Atsuo Asami

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Wikipedia - Atsushi Tsutsumishita -- Japanese comedian

Wikipedia - Atsu Station -- Railway station in Mine, Yamaguchi Prefecture, Japan

Wikipedia - Attack aircraft -- Tactical military aircraft that have a primary role of attacking targets on the ground or sea

Wikipedia - Attack helicopter -- Military helicopter with the primary role of attacking targets on the ground

Wikipedia - Attack (upcoming film) -- 2020 action thriller film by Lakshya Raj Anand

Wikipedia - Attaku Yamudu Ammayiki Mogudu -- 1989 film by A. Kodandarami Reddy

Wikipedia - Atta Mohammad Hami -- Pakistani poet

Wikipedia - Atta-ur-Rahman (chemist) -- Pakistani chemist

Wikipedia - Attelabidae -- Family of beetles

Wikipedia - Attelabinae -- Subfamily of beetles

Wikipedia - Attention deficit hyperactivity disorder predominantly inattentive

Wikipedia - Atterberg limits -- Geotechnical characteristics of a soil related to its water content

Wikipedia - At the World's Limit -- 1975 film

Wikipedia - Attila Mizser -- Hungarian modern pentathlete

Wikipedia - Attiqur Rahman -- Pakistani general and military governor

Wikipedia - Attius Tullius -- 5th-century BC politician and military leader

Wikipedia - Atto, Archbishop of Milan

Wikipedia - Atto (archbishop of Milan)

Wikipedia - Attorney-General (New Zealand) -- New Zealand minister of the Crown

Wikipedia - Attractor -- Concept in dynamical systems

Wikipedia - Attribute-oriented programming

Wikipedia - Attuma -- Fictional comic book supervillain

Wikipedia - Atubaria heterolopha -- Genus of hemichordates in the pterobranchian class

Wikipedia - Atul (company) -- Indian chemical company

Wikipedia - Atwater, Minnesota -- City in Minnesota, United States

Wikipedia - Atyidae -- Family of crustaceans

Wikipedia - Atypoidea -- Superfamily of arachnids

Wikipedia - Auberge du Soleil -- Restaurant and resort in California, with interiors designed by Michael Taylor.

Wikipedia - Auberge (restaurant) -- Former Michelin-starred restaurant in Amsterdam, Netherlands.

Wikipedia - Auberon (comics)

Wikipedia - Aubert Cigale -- Family of high-wing cabin monoplanes

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Wikipedia - Aubrey K. Lucas Administration Building -- Building on the campus of the University of Southern Mississippi in the US

Wikipedia - Aubrey K. Lucas -- American academic

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Wikipedia - Aubrey Smith (athlete) -- Jamaican track and field athlete

Wikipedia - Aubrieta libanotica -- species of plant in the family Brassicaceae

Wikipedia - Auburn Theological Seminary

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Wikipedia - Aud Blankholm -- Norwegian nurse and administrator

Wikipedia - Audeen W. Fentiman -- American engineer,and academic

Wikipedia - Audience -- People who participate in a show or encounter a work of art, literature, theatre, music or academics

Wikipedia - Audiomack -- Media streaming service

Wikipedia - Audio MIDI Setup

Wikipedia - Audio mining

Wikipedia - Audio mixing (recorded music)

Wikipedia - Audio mixing -- Process by which multiple input sources or sounds are combined into one or more output channels

Wikipedia - Audio-to-video synchronization -- Relative timing of audio and video

Wikipedia - Audio Units -- Application programming interface for audio software in Apple's macOS and iOS

Wikipedia - Audio Video Bridging -- Specifications for synchronized, low-latency streaming through IEEE 802 networks

Wikipedia - Audi R8 -- Mid-engine sports car manufactured by German automobile manufacturer Audi

Wikipedia - Audism -- Form of discrimination against people who are deaf

Wikipedia - Audit committee

Wikipedia - Audition (1999 film) -- 1999 film by Takashi Miike

Wikipedia - Auditorio Josefa Ortiz de Dominguez -- Arena in Queretaro, Mexico

Wikipedia - Auditorio Miguel Barragan -- Arena in Coahuila y Tejas, Mexico

Wikipedia - Auditory arrhythmia

Wikipedia - Audit -- Systematic and independent examination of books, accounts, documents and vouchers of an organization

Wikipedia - Audley Miller -- English cricketer and Test umpire

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Wikipedia - Audrey F. Manley -- Pediatrician, public health administrator

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Wikipedia - Audrius ButkeviM-DM-^Mius -- Lithuanian politician

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Wikipedia - Audrys Nin Reyes -- Dominican Republic artistic gymnast

Wikipedia - Aud the Deep-Minded (Ketilsdottir) -- 9th-century Icelandic settler

Wikipedia - Audubon, Minnesota -- City in Minnesota, United States

Wikipedia - A.U.E. -- Russian criminal group employing children

Wikipedia - Aufidia (gens) -- Ancient Roman family

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Wikipedia - Augsburg Book of Miracles -- 16th-century book manuscript

Wikipedia - Augsburg-Hammerschmiede -- Planning district in Bavaria, Germany

Wikipedia - Auguries of Innocence (poetry collection) -- Book by Patti Smith

Wikipedia - Augusta, Minnesota -- Unincorporated community in Minnesota, US

Wikipedia - Augustana Lutheran Church (Minneapolis, Minnesota) -- Church in Minneapolis, Minnesota

Wikipedia - August Bischler -- Russian chemist

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Wikipedia - Auguste Baudin -- French admiral and colonial administrator

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Wikipedia - Auguste de Keralio -- French military and nobleman

Wikipedia - Auguste Delaherche -- French artist and ceramist

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Wikipedia - Auguste Houzeau -- French agronomist and chemist

Wikipedia - Auguste Lumiere -- French inventor

Wikipedia - August Emil Holmgren

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Wikipedia - Augustine of Canterbury -- Missionary, Archbishop of Canterbury, and saint

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Wikipedia - August Michaelis

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Wikipedia - Augusto, Michaela, and Lorenzo Odone

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Wikipedia - Augustus Cummins -- British weightlifter

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Wikipedia - Au Ka-wang -- Director of Immigration, Hong Kong

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Wikipedia - Aulandra longifolia -- species of plant in the family Sapotaceae

Wikipedia - Aulax -- Genus of evergreen shrubs in the family Proteaceae

Wikipedia - Auliepterix -- Extinct genus of moths in family Micropterigidae

Wikipedia - Aulis Akonniemi -- Finnish shot putter

Wikipedia - Aulus Ducenius Geminus -- First century AD Roman senator and prefect of Rome

Wikipedia - Aulus Marius Celsus -- 1st century Roman senator, military officer and governor

Wikipedia - Aulus Postumius Albus Regillensis (consul 464 BC) -- Consul of the Roman Republic

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Wikipedia - AuM-CM-0r the Deep-Minded (M-CM-^Mvarsdottir) -- Legendary Norse princess

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Wikipedia - Aunt Clara (film) -- 1954 film by Anthony Kimmins

Wikipedia - Aunt Jemima -- Brand of pancake mix, syrup, and other breakfast foods

Wikipedia - Aurach (Regnitz, Mittelfranken) -- River in Germany

Wikipedia - Auraiya, Nepal -- Village development committee in Narayani Zone, Nepal

Wikipedia - Aurelia gens -- Ancient Roman family

Wikipedia - Aurelija MikuM-EM-!auskaitM-DM-^W -- Lithuanian actress

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Wikipedia - Aureopterix micans -- Moth species in family Micropterigidae

Wikipedia - Aureopterix sterops -- Moth species in family Micropterigidae

Wikipedia - Aureopterix -- Genus of moths in family Micropterigidae

Wikipedia - Auria (gens) -- Ancient Roman family

Wikipedia - Auriculotherapy -- Pseudocientific alternative medicine practice based on the idea that the ear is a micro system, which reflects the entire body, and that physical, mental or emotional health conditions are treatable by stimulation of the surface of the ear.

Wikipedia - Auriga (constellation) -- Constellation in the northern celestial hemisphere

Wikipedia - Auriscalpium vulgare -- Species of fungus in the family Auriscalpiaceae from Europe, Central America, North America, and temperate Asia

Wikipedia - Aurora Arias -- Dominican writer

Wikipedia - Aurora (comics)

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Wikipedia - Aurora Liljenroth -- Swedish academic

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Wikipedia - Aurunculeia gens -- Ancient Roman plebeian family

Wikipedia - Aurus Senat -- A full-size luxury car and limousine manufactured by NAMI in Russia

Wikipedia - A Useless Death -- Book by Patti Smith

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Wikipedia - Auster AOP.9 -- British military observation aircraft

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Wikipedia - Austin Burton Edwards -- Australian mineralogist and petrologist

Wikipedia - Austin City Limits -- American television music program

Wikipedia - Austin Frakt -- Health economist

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Wikipedia - Austinite -- Arsenate mineral

Wikipedia - Austin K. Doyle -- United States Navy Vice admiral

Wikipedia - Austin Metro -- supermini British economy car

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Wikipedia - Austin Mitchell -- British Labour politician

Wikipedia - Austin S. Miller -- American Army General

Wikipedia - Australasian Performing Right Association

Wikipedia - Australia-Asia debating -- Form of academic debate

Wikipedia - Australia at major beauty pageants -- Australia at Miss Universe, Miss World, Miss International, and Miss Earth

Wikipedia - Australian Air Corps -- Australian military aviation unit

Wikipedia - Australian Air Force Cadets -- Youth military organisation of the Royal Australian Air Force

Wikipedia - Australian and New Zealand Journal of Family Therapy -- Academic journal

Wikipedia - Australian Archaeology -- Peer-reviewed academic journal

Wikipedia - Australian Army Cadets -- Youth military organisatio of the Australian Army

Wikipedia - Australian Army -- Australia's military land force

Wikipedia - Australia national badminton team -- National badminton team

Wikipedia - Australian Atomic Energy Commission

Wikipedia - Australian Charities and Not-for-profits Commission -- Charity regulation agency of the Australian Government

Wikipedia - Australian Competition and Consumer Commission v Baxter Healthcare Pty Ltd -- 2007 High Court of Australia decision

Wikipedia - Australian Competition and Consumer Commission -- Competition regulation agency of the Australian Government

Wikipedia - Australian Criminal Intelligence Commission

Wikipedia - Australian Defence Force -- National military force of Australia

Wikipedia - Australian Dream (1986 film) -- 1986 film by Jackie McKimmie

Wikipedia - Australian Family Physician

Wikipedia - Australian fifty-cent coin -- Current denomination of Australian currency

Wikipedia - Australian fifty-dollar note -- Current denomination of Australian currency

Wikipedia - Australian five-cent coin -- Current denomination of Australian currency

Wikipedia - Australian five-dollar note -- Current denomination of Australian currency

Wikipedia - Australian funnel-web spider -- Family of mygalomorph spiders

Wikipedia - Australian High Commissioner to the Solomon Islands -- Wikipedia list article

Wikipedia - Australian High Commissioner to Trinidad and Tobago -- Wikipedia list article

Wikipedia - Australian Human Rights Commission -- Human rights institution of the Australian Government

Wikipedia - Australian Libraries Copyright Committee -- Australian trade association

Wikipedia - Australian National Airways -- Australia's predominant carrier until the early 1950s

Wikipedia - Australian Naval and Military Expeditionary Force -- Australian Army and naval expeditionary force during World War I

Wikipedia - Australian Navy Cadets -- Youth military organisation of the Royal Australian Navy

Wikipedia - Australian one-cent coin -- Former denomination of Australian currency

Wikipedia - Australian one-dollar coin -- Current denomination of Australian currency

Wikipedia - Australian one-dollar note -- Former denomination of Australian currency

Wikipedia - Australian one-hundred-dollar note -- Current denomination of Australian currency

Wikipedia - Australian Securities and Investments Commission -- Corporate regulation agency of the Australian Government

Wikipedia - Australian studies -- Academic field of cultural studies of Australia

Wikipedia - Australian ten-cent coin -- Current denomination of Australian currency

Wikipedia - Australian ten-dollar note -- Current denomination of Australian currency

Wikipedia - Australian twenty-cent coin -- Current denomination of Australian currency

Wikipedia - Australian twenty-dollar note -- Current denomination of Australian currency

Wikipedia - Australian two-cent coin -- Former denomination of Australian currency

Wikipedia - Australian two-dollar coin -- Current denomination of Australian currency

Wikipedia - Australian two-dollar note -- Former denomination of Australian currency

Wikipedia - Australian Woman's Mirror -- Australian weekly women's magazine

Wikipedia - Australia TradeCoast -- Economic development area of Brisbane

Wikipedia - Australia -- Country in the Southern Hemisphere

Wikipedia - Australopithecus afarensis -- Extinct hominid from the Pliocene of East Africa

Wikipedia - Australopithecus africanus -- Extinct hominid from South Africa

Wikipedia - Australopithecus anamensis -- Extinct hominin from Pliocene east Africa

Wikipedia - Australopithecus bahrelghazali -- Extinct species of hominin of Chad from 3.5 mya

Wikipedia - Australopithecus deyiremeda -- Proposed extinct species of hominin of Ethiopia from 3.5 to 3.3 mya

Wikipedia - Australopithecus garhi -- Extinct hominid from the Afar Region of Ethiopia 2.6-2.5 million years ago

Wikipedia - Australopithecus sediba -- Two-million-year-old hominin from the Cradle of Humankind

Wikipedia - Australopithecus -- Genus of hominin ancestral to modern humans

Wikipedia - Austrian Air Force -- Air warfare branch of Austria's military

Wikipedia - Austrian Armed Forces -- Combined military forces of the Republic of Austria

Wikipedia - Austrian Economics

Wikipedia - Austrian Legion -- Paramilitary organization

Wikipedia - Austrian Pilgrim Hospice to the Holy Family -- Catholic pilgrimage hostel in Jerusalem

Wikipedia - Austrian school of economics

Wikipedia - Austrian School -- School of economic thought

Wikipedia - Austrian World Summit -- Annual climate conference in Vienna

Wikipedia - Austrium -- Proposed chemical element.

Wikipedia - Austrocidaria similata -- Species of moth

Wikipedia - Austro-Hungarian Compromise of 1867 -- Establishment of Austria-Hungary

Wikipedia - Austromartyria porphyrodes -- Moth species in family Micropterigidae

Wikipedia - Austromartyria -- Monotypic genus of moths in family Micropterigidae

Wikipedia - Austromuellera trinervia -- Species of tree in the family Proteaceae from north-eastern Queensland

Wikipedia - Austromuellera -- Genus of trees in the family Proteaceae from north eastern Queensland, Australia

Wikipedia - Austronesian languages -- Large language family mostly of Southeast Asia and the Pacific

Wikipedia - Austrostipa hemipogon -- Species of plant

Wikipedia - Austrothemis nigrescens -- Species of insect

Wikipedia - Austrumi Linux

Wikipedia - Autarky -- The quality of self-sufficiency, especially regarding economics

Wikipedia - Authoritarian capitalism -- Economic system in which a market economy exists alongside an authoritarian government

Wikipedia - Authoritarianism -- Form of social organization characterized by submission to authority

Wikipedia - Authoritarian socialism -- socialist economic-political system rejecting political liberalism

Wikipedia - Authorization for Use of Military Force Against Iraq Resolution of 2002 -- Joint resolution of the United States House of Representatives and Senate

Wikipedia - Authorization for Use of Military Force Against Terrorists

Wikipedia - Authorization for Use of Military Force of 2001 -- Authorizes the use of military force against those responsible for the attacks on September 11, 2001

Wikipedia - AutoAdmit -- Law forum

Wikipedia - AutoCAD DXF -- File format family

Wikipedia - Autochthon (ancient Greece) -- Original inhabitant of a country free from admixture of foreign peoples

Wikipedia - Autoconfig -- Amiga system for automatically setting up hardware peripherals

Wikipedia - Autodromo Miguel E. Abed -- Race track

Wikipedia - Autoepistemic logic -- Formal logic for the representation and reasoning of knowledge about knowledge

Wikipedia - Autographiviridae -- Subfamily of viruses

Wikipedia - Autoimmune regulator -- A transcription factor expressed in the medulla (inner part) of the thymus. It is part of the mechanism which eliminates self-reactive T cells that would cause autoimmune disease.

Wikipedia - Automata-based programming

Wikipedia - Automated mining -- Removal of human labor from the mining industry

Wikipedia - Automated species identification -- Taxonomic AI processes

Wikipedia - Automatic Ground Collision Avoidance System -- American military aviation safety

Wikipedia - Automaticity -- The ability to do things without occupying the mind with the low-level details required

Wikipedia - Automatic meter reading -- Transmitting consumption data from a utility meter to the utility provider

Wikipedia - Automatic programming

Wikipedia - Automatic taxonomy construction -- The use of software programs to generate taxonomical classifications from a body of texts

Wikipedia - Automatic terminal information service -- Continuous broadcast of aeronautical information near airports

Wikipedia - Automatic transmission -- Type of motor vehicle transmission that automatically changes gear ratio as the vehicle moves

Wikipedia - Automatic vehicle location -- Means for automatically determining and transmitting the geographic location of a vehicle

Wikipedia - Automba, Minnesota -- Unincorporated community in Minnesota, US

Wikipedia - Automicrite -- Limestone constituent

Wikipedia - Automimicry -- Mimicry of part of own body, e.g. the head

Wikipedia - Autonegotiation -- Signaling mechanism used by Ethernet by which devices choose common transmission parameters

Wikipedia - Autonomia Operaia

Wikipedia - Autonomic Computing

Wikipedia - Autonomic computing

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Wikipedia - Autonomic Insignia of Good Services -- Honor awarded by Madeira

Wikipedia - Autonomic nervous system -- Division of the peripheral nervous system supplying smooth muscle and glands

Wikipedia - Autonomic Networking

Wikipedia - Autonomic System Specification Language

Wikipedia - Autonomic Systems

Wikipedia - Autonomism in Quebec

Wikipedia - Autonomism -- Anti-authoritarian left-wing political and social movement and theory

Wikipedia - Autonomist Association -- Austrian political party

Wikipedia - Autonomist Marxism

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Wikipedia - Autonomists for Europe -- Italian political party

Wikipedia - Autonomist

Wikipedia - Autonomous Administration of North and East Syria -- De facto autonomous region in Syria

Wikipedia - Autonomous administrative division

Wikipedia - Autonomous communities of Spain -- First-level political and administrative division of Spain

Wikipedia - Autonomous diver -- International minimum standard for entry level recreational scuba diver certification

Wikipedia - Autonomous Region in Muslim Mindanao -- Former autonomous region of the Philippines

Wikipedia - Autonomous Republic of Crimea -- Administrative division of Ukraine; disputed with Russia since 2014

Wikipedia - Autonomous republic -- Type of administrative division similar to a province or state

Wikipedia - Autonomous scuba diver -- International minimum standard for entry level recreational scuba diver certification

Wikipedia - Autosomal dominant

Wikipedia - Autour d'une cabine -- 1894 film by Charles-Emile Reynaud

Wikipedia - AutoWorld (theme park) -- Former indoor theme park in Flint, Michigan

Wikipedia - Au Train Formation -- Geologic formation in Michigan, United States

Wikipedia - Au Train Island -- Island in Alger County, Michigan

Wikipedia - Autronia (gens) -- Ancient Roman plebeian family

Wikipedia - Autumn Milk -- 1988 film

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Wikipedia - Auvergne-Rhone-Alpes -- Administrative region of France

Wikipedia - Auxanography -- The study of the effects of changes in environment on the growth of microorganisms, by means of auxanograms

Wikipedia - Auxentius of Milan -- Theologian and bishop of Milan, Italy, c. 355 - 374

Wikipedia - Auxiliary nurse midwife -- Village-level female health worker in India

Wikipedia - Auzata minuta -- Species of hook-tip moth

Wikipedia - Auzata semilucida -- Species of hook-tip moth

Wikipedia - Auzata semipavonaria -- Species of hook-tip moth

Wikipedia - Avalanche (comics)

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Wikipedia - Avalon (Marvel Comics)

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Wikipedia - Avengers Arena -- Marvel comic book series

Wikipedia - Avengers (comics) in other media -- Marvel Comics team in other media

Wikipedia - Avengers (comics) -- Comic book superhero team

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Wikipedia - Avenging Spider-Man -- American comic book series from Marvel Comics

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Wikipedia - Aviation Industry Computer-Based Training Committee

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Wikipedia - A Visit from the Old Mistress -- Painting by Winslow Homer

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Wikipedia - Avon River (Mid-Coast Council)

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Wikipedia - Avrami equation

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Wikipedia - Avrion Mitchison

Wikipedia - AVR microcontrollers

Wikipedia - Avro Anson Memorial -- Australian military memorial

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Wikipedia - Awake and Remixed EP

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Wikipedia - A. W. Bhombal -- Two-star rank admiral in the Pakistan Navy

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Wikipedia - AWK (programming language)

Wikipedia - AWK programming language

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Wikipedia - Awn ar-Rafiq -- Sharif and Emir of Mecca

Wikipedia - A Woman Misunderstood -- 1921 film

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Wikipedia - Awtazavodskaya line -- line of the Minsk Metro

Wikipedia - Awtazavodskaya (Minsk Metro) -- Minsk Metro Station

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Wikipedia - Axa XL -- Bermuda-domiciled insurance company

Wikipedia - Axe Cop -- American webcomic

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Wikipedia - Axel Munthe, The Doctor of San Michele -- 1962 film

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Wikipedia - Axel Pressbutton -- Comics character

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Wikipedia - Axenic -- A microbiological culture with only a single species or strain of organism

Wikipedia - Ax-Grothendieck theorem -- An injective polynomial function from an n-dim complex vector space to itself is bijective

Wikipedia - Axial precession -- Gravity-induced, slow, and continuous change in the orientation of an astronomical body's rotational axis

Wikipedia - Axinidris namib -- Species of ant

Wikipedia - Axiom of determinacy

Wikipedia - Axiom of limitation of size

Wikipedia - Axiom of real determinacy -- Axiom of set theory

Wikipedia - AXIS (comics)

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Wikipedia - Ax-Kochen theorem -- On the existence of zeros of homogeneous polynomials over the p-adic numbers

Wikipedia - Axolemma -- Cell membrane of an axon specialised for action potential transmission

Wikipedia - Axoplasmic transport

Wikipedia - Axum (programming language) -- Domain specific concurrent programming language originally developed by Microsoft

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Wikipedia - A+X -- Comic book series

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Wikipedia - A. Y. Milam -- American politician

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Wikipedia - Ayumi EndM-EM-^M -- Japanese visual artist from Tokyo

Wikipedia - Ayumi Fujimura -- Japanese voice actress

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Wikipedia - Azaleodes brachyceros -- Moth species in family Palaephatidae

Wikipedia - Azaleodes fuscipes -- Moth species in family Palaephatidae

Wikipedia - Azaleodes megaceros -- Moth species in family Palaephatidae

Wikipedia - Azaleodes micronipha -- Moth species in family Palaephatidae

Wikipedia - Azaleodes -- Moth genus in family Palaephatidae

Wikipedia - Azamino Station -- Railway and metro station in Yokohama, Japan

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Wikipedia - Azanian People's Liberation Army -- South African paramilitary group

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Wikipedia - Azeemiyya

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Wikipedia - Badminton Association of Thailand -- Thailand's governing body for badminton

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Wikipedia - Badminton at the 1992 Summer Olympics - Men's singles -- Badminton at the Olympics

Wikipedia - Badminton at the 1992 Summer Olympics -- Badminton at the Olympics

Wikipedia - Badminton at the 1992 Summer Olympics - Women's doubles -- Badminton at the Olympics

Wikipedia - Badminton at the 1992 Summer Olympics - Women's singles -- Badminton at the Olympics

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Wikipedia - Badminton at the 1996 Summer Olympics - Mixed doubles -- Badminton at the Olympics

Wikipedia - Badminton at the 1996 Summer Olympics -- Badminton at the Olympics

Wikipedia - Badminton at the 1996 Summer Olympics - Women's doubles -- Badminton at the Olympics

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Wikipedia - Banana equivalent dose -- Informal measurement of ionizing radiation exposure; approximately 0.1 microsievert

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Wikipedia - Banarjhula -- Former Village Development Committee in Nepal

Wikipedia - Banaula -- Village development committee in Sagarmatha Zone, Nepal

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Wikipedia - Banda Sea Plate -- A minor tectonic plate underlying the Banda Sea in southeast Asia

Wikipedia - Banda Station -- Railway station in Sagamihara, Kanagawa Prefecture, Japan.

Wikipedia - Bandeau -- Bust-wrap, a simple strapless form of brassiere or swimsuit top, or a similar garment worn in Ancient Rome

Wikipedia - Bande dessinee -- Comic of the classical Franco-Belgian style

Wikipedia - Banded honeyeater -- Species of honeyeater in the family Meliphagidae with a characteristic narrow black band across its white underparts. It is endemic to tropical northern Australia.

Wikipedia - Banded stilt -- Species of Australian bird in the family Recurvirostridae

Wikipedia - Bandidos MC criminal allegations and incidents -- Criminal incidents involving the Bandidos Motorcycle Club

Wikipedia - Bandits in Milan -- 1968 film

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Wikipedia - Bandlimited

Wikipedia - Bandlimiting

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Wikipedia - BandM-EM-^M MitsugorM-EM-^M VII -- Japanese kabuki actor

Wikipedia - Band of Brothers (miniseries) -- American TV mini-series

Wikipedia - Band of the Brigade of Gurkhas -- British military band

Wikipedia - Band of the Dzerzhinsky Division -- Military band unit of the Russian Armed Forces

Wikipedia - Band of the Hand -- 1986 film by Paul Michael Glaser

Wikipedia - Bandra Terminus-Bhagat Ki Kothi Express -- Train in India

Wikipedia - Bandra Terminus-Bhavnagar Terminus Express -- Train in India

Wikipedia - Bandra Terminus-Bhavnagar Terminus Weekly Superfast Express -- Indian train route

Wikipedia - Bandra Terminus-Bikaner Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Dehradun Express -- Train in India

Wikipedia - Bandra Terminus-Delhi Sarai Rohilla Express -- Train in India

Wikipedia - Bandra Terminus-Gandhidham Weekly Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Ghazipur City Weekly Express -- Train in India

Wikipedia - Bandra Terminus-Gorakhpur Antyodaya Express -- Indian express train route

Wikipedia - Bandra Terminus-Gorakhpur Avadh Express -- Train in India

Wikipedia - Bandra Terminus-Haridwar Express -- Train in India

Wikipedia - Bandra Terminus-Hisar Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Jaipur Weekly Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Jaisalmer Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Jamnagar Saurashtra Janta Express -- Train in India

Wikipedia - Bandra Terminus-Lucknow Weekly Express -- Train in India

Wikipedia - Bandra Terminus-Mahuva Express -- Train in India

Wikipedia - Bandra Terminus-Mahuva Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Muzaffarpur Avadh Express -- Train in India

Wikipedia - Bandra Terminus-Palitana Express -- Train in India

Wikipedia - Bandra Terminus-Patna Weekly Express -- Train in India

Wikipedia - Bandra Terminus-Ramnagar Express -- Train in India

Wikipedia - Bandra Terminus-Udaipur Express -- Train in India

Wikipedia - Bandra Terminus-Udaipur Superfast Express -- Train in India

Wikipedia - Bandra Terminus-Vapi Passenger -- Train in India

Wikipedia - Bandra Terminus-Veraval Superfast Express -- Train in India

Wikipedia - Bandwidth-limited pulse -- Type of wave pulse

Wikipedia - Bandwing -- Subfamily of grasshoppers

Wikipedia - Bane (comics)

Wikipedia - Bane (DC Comics) -- Fictional character in the DC Comics universe, a supervillain

Wikipedia - Bane in other media -- Depictions of Bane outside comic books

Wikipedia - Banerjee -- Brahmin surname from the Indian subcontinent

Wikipedia - Banfikot -- Village development committee in Karnali Pradesh, Nepal

Wikipedia - Banfill Tavern -- Building in Fridley, Minnesota, United States

Wikipedia - Bangalore Mirror -- Newspaper

Wikipedia - Banganga River (Jammu and Kashmir) -- River in India

Wikipedia - Bang Bang (Jessie J, Ariana Grande and Nicki Minaj song) -- 2014 single by Jessie J, Ariana Grande and Nicki Minaj

Wikipedia - Bangerz Tour -- 2014 concert tour by Miley Cyrus

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Wikipedia - Bangladesh Islamic Front

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Wikipedia - Bangladesh Islami Chhatra Shibir

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Wikipedia - Bangladesh Jamaat-e-Islami

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Wikipedia - Bangladesh Nursing and Midwifery Council -- Government regulatory agency

Wikipedia - Bangladesh Securities and Exchange Commission -- Government regulatory body overseeing the stock market

Wikipedia - Bangladesh special operations forces -- Military units trained to conduct special operations

Wikipedia - Bangladesh Vision 2041 -- Socio-economic in Bangladesh

Wikipedia - Bang Min-ah -- South Korean singer

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Wikipedia - Bangor-class minesweeper

Wikipedia - Bangus Valley -- a Himalayan sub-valley of the Kashmir Valley

Wikipedia - Banias (microprocessor)

Wikipedia - Banihal Qazigund Road Tunnel -- It is an 8.45 km road tunnel in the Indian state of Jammu and Kashmir connecting Banihal and Qazigand.

Wikipedia - Banjo-Tooie -- 3D platform video game developed by Rare Limited

Wikipedia - Bank BIC Namibia Limited -- Commercial bank in Namibia

Wikipedia - Bankers Also Have Souls -- 1982 film by Michel Lang

Wikipedia - Banket (mining term) -- The beds of auriferous conglomerate in the Witwatersrand gold-fields

Wikipedia - BankGiro Miljonairs -- Dutch television game show

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Wikipedia - Bank Leumi

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Wikipedia - Banknotes of the pound sterling -- Promissory notes denominated in pounds sterling

Wikipedia - Bank of Africa Tanzania Limited -- Tanzanian commercial bank

Wikipedia - Bank of Africa Uganda Limited -- Ugandan commercial bank

Wikipedia - Bank of England M-BM-#5 note -- Smallest denomination of England's banknotes

Wikipedia - Bank of Sweden Prize in Economic Sciences in Memory of Alfred Nobel

Wikipedia - Bank SBI Botswana Limited -- Commercial bank in Botswana

Wikipedia - Banksia acanthopoda -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia aculeata -- Shrub of the family Proteaceae native to the southwest of Western Australia.

Wikipedia - Banksia acuminata -- Species of shrub in thefamily Proteaceae endemic to south-west Western Australia

Wikipedia - Banksia aemula -- A shrub of the family Proteaceae found on the Australian east coast

Wikipedia - Banksia alliacea -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia anatona -- Species of flowering plant in the family Proteaceae native to Western Australia

Wikipedia - Banksia aquilonia -- A tree in the family Proteaceae native to north Queensland

Wikipedia - Banksia armata var. armata -- Variety of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia ashbyi subsp. boreoscaia -- Subspecies of shrub in thefamily Proteaceae from the north-west coast of Western Australia,

Wikipedia - Banksia ashbyi -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia attenuata -- A species of plant in the family Proteaceae found across much of the southwest of Western Australia

Wikipedia - Banksia baxteri -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia benthamiana -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia bipinnatifida -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia blechnifolia -- Species of shrub in the family Proteaceae from Western Australia

Wikipedia - Banksia borealis subsp. borealis -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia burdettii -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia candolleana -- Species of shrub in thefamily Proteaceae endemic to Western Australia

Wikipedia - Banksia canei -- Shrub in the family Proteaceae found in subalpine areas of the Great Dividing Range in southeastern Australia.

Wikipedia - Banksia chamaephyton -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia coccinea -- An erect shrub or small tree in the family Proteaceae native to the south west coast of Western Australia

Wikipedia - Banksia columnaris -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia corvijuga -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia cypholoba -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia dallanneyi subsp. agricola -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi subsp. dallanneyi -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi subsp. media -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi subsp. pollosta -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi subsp. sylvestris -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi var. dallanneyi -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dallanneyi var. mellicula -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia densa var. densa -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia densa var. parva -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia dentata -- A tree in the family Proteaceae which occurs across northern Australia, southern New Guinea and the Aru Islands

Wikipedia - Banksia dryandroides -- Species of shrub in the family Proteaceae from the south coast of Western Australia

Wikipedia - Banksia echinata -- Species of shrub in the family Proreaceae endemic to Western Australia

Wikipedia - Banksia elderiana -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia elegans -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia epimicta -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia ericifolia subsp. macrantha -- Subspecies in the family Proteaceae native to New South Wales

Wikipedia - Banksia ericifolia -- A woody shrub of the family Proteaceae native to Australia and found in Central and Northern New South Wales

Wikipedia - Banksia erythrocephala var. erythrocephala -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia fasciculata -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia fraseri var. fraseri -- Variety in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia fuscobractea -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia gardneri var. brevidentata -- Variety of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia gardneri var. gardneri -- Variety of plants in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia gardneri var. hiemalis -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia gardneri -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia grossa -- A shrub in the family Proteaceae endemic to Southwest Australia

Wikipedia - Banksia idiogenes -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia ilicifolia -- A tree in the family Proteaceae endemic to southwest Western Australia

Wikipedia - Banksia incana -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia insulanemorecincta -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia integrifolia subsp. compar -- Subspecies of plant in the family Proteaceae from eastern Australia

Wikipedia - Banksia integrifolia subsp. integrifolia -- Subspecies of plant in the family Proteaceae from eastern Australia

Wikipedia - Banksia integrifolia -- A tree in the family Proteaceae that grows along the east coast of Australia

Wikipedia - Banksia ionthocarpa subsp. ionthocarpa -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia kingii -- Extinct species of tree or shrub in the family Proteaceae found in Tasmania

Wikipedia - Banksia kippistiana -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia laevigata subsp. fuscolutea -- Subspecies of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia lanata -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia lemanniana -- Shrub of the family Proteaceae native to Western Australia

Wikipedia - Banksia lepidorhiza -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia leptophylla var. leptophylla -- Variety in the plant family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia leptophylla -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia littoralis -- Species of tree in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia longicarpa -- Fossil species of tree or shrub in the family Proteaceae found in South Australia

Wikipedia - Banksia lullfitzii -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia marginata -- Tree or woody shrub in the family Proteaceae found throughout much of southeastern Australia

Wikipedia - Banksia meganotia -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia meisneri subsp. ascendens -- Subspecies of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia meisneri subsp. meisneri -- Subspecies of plants in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia meisneri -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia micrantha -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia mimica -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia nobilis subsp. nobilis -- Subspeciesof plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia nobilis -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia novae-zelandiae -- Extinct species of shrub in the family Proteceae found in the South Island of New Zealand

Wikipedia - Banksia nutans var. cernuella -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia nutans var. nutans -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia oblongifolia -- A flowering plant in the family Proteaceae found along the eastern coast of Australia in New South Wales and Queensland

Wikipedia - Banksia octotriginta -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia pallida -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia paludosa -- A shrub in the family Proteaceae native to New South Wales, Australia

Wikipedia - Banksia petiolaris -- A flowering plant of the family Proteaceae native to Western Australia

Wikipedia - Banksia plagiocarpa -- Species of shrub in the family Proteaceae native to Queensland

Wikipedia - Banksia platycarpa -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia plumosa subsp. plumosa -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia polycephala -- Species of shrub in the family Proteacea endemic to Western Australia

Wikipedia - Banksia porrecta -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia prionotes -- Species of shrub or tree in the family Proteaceae native to the southwest of Western Australia

Wikipedia - Banksia prolata subsp. archeos -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia prolata subsp. calcicola -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia prolata subsp. prolata -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia proteoides -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia pseudoplumosa -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia pteridifolia subsp. pteridifolia -- Subspecies in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia pteridifolia -- Species of shrub in the family Proteaceae native to Western Australia

Wikipedia - Banksia pulchella -- Species of shrub in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia purdieana -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia quercifolia -- Species of shrub in the family Proteaceae from the south coast of Western Australia

Wikipedia - Banksia recurvistylis -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia repens -- Species of shrub in the family Proteaceae' native to Western Australia

Wikipedia - Banksia robur -- Species of shrub in the family Proteaceae from the east coast of Australia

Wikipedia - Banksia rosserae -- Species of shrub in the family Proteaceae endemic to inland Western Australia

Wikipedia - Banksia rufa subsp. chelomacarpa -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. flavescens -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. magna -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. obliquiloba -- Subspecies of plant in the family Proteacea eendemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. pumila -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. rufa -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia rufa subsp. tutanningensis -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia saxicola -- Species of shrub in the family Proteaceae native to Victoria (Australia)

Wikipedia - Banksia scabrella -- A species of woody shrub in the family Proteaceae from Western Australia

Wikipedia - Banksia sceptrum -- flowering shrub in the family Proteaceae from Western Australia

Wikipedia - Banksia seminuda -- Species of tree in the family Proteaceae found in south west Western Australia

Wikipedia - Banksia ser. Crocinae -- Taxonomic series in the genus ''Banksia''

Wikipedia - Banksia ser. Dryandra -- Series of ''Banksia'' species in the plant family Proteaceae

Wikipedia - Banksia ser. Grandes -- Taxonomic series in the family Proteaceae

Wikipedia - Banksia ser. Prostratae -- Taxonomic series in the family Proteaceae

Wikipedia - Banksia serratuloides subsp. serratuloides -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia ser. Spicigerae -- Taxonomic series in the family Proteaceae

Wikipedia - Banksia ser. Tetragonae -- Taxonomic series in the family Proteaceae

Wikipedia - Banksia sessilis var. cordata -- Variety of plant in the family Proteaceae from the extreme south-west corner of Western Australia

Wikipedia - Banksia sessilis var. cygnorum -- Variety of plant in the family Proteaceae from the coast of Western Australia

Wikipedia - Banksia sessilis var. flabellifolia -- Variety of plant in the family Proteaceae from the South West Botanical Province of Western Australia

Wikipedia - Banksia sessilis var. sessilis -- Variety of plant in the family Proteaceae from Western Australia

Wikipedia - Banksia shanklandiorum -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia shuttleworthiana -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia solandri -- Species of shrub in the family Proteaceae from southwest Western Australia.

Wikipedia - Banksia speciosa -- Large shrub or small tree in the family Proteaceae found on the south coast of Western Australia

Wikipedia - Banksia sphaerocarpa var. caesia -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia sphaerocarpa var. dolichostyla -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia sphaerocarpa var. latifolia -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia sphaerocarpa var. pumilio -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia sphaerocarpa var. sphaerocarpa -- Variety of plant in the family Proteaceae native to the Southwest Botanical Province of Western Australia

Wikipedia - Banksia sphaerocarpa -- A shrub or tree in the family Proteaceae widely distributed across the southwest of Western Australia

Wikipedia - Banksia spinulosa var. cunninghamii -- Variety of shrub in the family Proteaceae from the east coast of Australia

Wikipedia - Banksia spinulosa -- A woody shrub in the family Proteaceae, native to eastern Australia

Wikipedia - Banksia splendida subsp. macrocarpa -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia splendida subsp. splendida -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia squarrosa subsp. squarrosa -- Subspecies of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia strahanensis -- Extinct species of tree or shrub in the family Proteaceae known from western Tasmania

Wikipedia - Banksia stuposa -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia subg. Spathulatae -- Subgenus in the family Proteaceae

Wikipedia - Banksia subpinnatifida var. subpinnatifida -- Variety of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia subpinnatifida -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia subser. Longistyles -- Subseries in the family Proteaceae

Wikipedia - Banksia telmatiaea -- A shrub in the family Proteaceae that grows in marshes and swamps along the lower west coast of Australia

Wikipedia - Banksia tenuis var. reptans -- Variety of plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia tenuis var. tenuis -- Varietyof plant in the family Proteaceae endemic to the South West Botanical Province of Western Australia

Wikipedia - Banksia tenuis -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia tortifolia -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia tricuspis -- Species of shrub or small tree in the family Proteaceae endemic to the south-west of Western Australia

Wikipedia - Banksia tridentata -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia trifontinalis -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia undata var. splendens -- Variety of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia undata var. undata -- Variety of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia undata -- Species of shrub in the family Proteaceae endemic to Western Australia.

Wikipedia - Banksia vestita -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia victoriae -- Species of shrub or tree in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia vincentia -- Species of shrub in the family Proteaceae native to New South Wales

Wikipedia - Banksia violacea -- A shrub or tree in the family Proteaceae found in low shrubland in southern regions of Western Australia

Wikipedia - Banksia viscida -- Species of shrub in the family Proteaceae from semi-arid inland Western Australia

Wikipedia - Banksia -- Genus of flowering plants in the family Proteaceae

Wikipedia - Banksia wonganensis -- Species of shrub in the family Proteaceae endemic to Western Australia

Wikipedia - Banksia xylothemelia -- Species of shrub in the family Proteaceae endemic to southern Western Australia

Wikipedia - Banksieaeformis -- Genus of plants (fossil)

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