Ancient treatises translations and commentaries and presentations of hidden pieces of evidence in myths, art, nature, and science history to reunify disconnected cultures and prove that Alchemy has a good chance to be the basis of all ancient religions myths.
“When the nature of the gods disappears, there appears the nature of things” – Cicero.
“Deprive the body of body and that which has no body provide a body“ – Rosarium Philosophorum. Metals killed in a certain way can germinate again, as their forms endure over time in the materials that had made their graves.
This concept, known as Magisterium Corpi, is what Alchemy is for, and along with the key concept of Secret Fire, it can clash dangerously with certain religious beliefs. Because we can extend this notion to reigns other than mineral.
The assumption that alchemy is a proto-science born from the personal and reeling intellectual efforts of Neolithic people, and developed through the various ages of bronze
and iron up to the sophisticated acme of the Baroque period represents our crucial misunderstanding. It is increasingly clear that it may be just the opposite.
Alchemical mechanisms must have two characteristics that seem contradictory today: being “unstoppable” and “within the technical reach of the Neolithic”.
When it was more acceptable to look up to the sky to observe analogies and synchronism phenomena.
We have claimed alchemy to serve a millenary series of “guardians” and aimed not at the needs of the average person. So this strange science art has fallen asleep. Because it does not have appreciable practical results for the average man. It gives no purpose other than to perpetuate the millennial chain of phoenixes.
Hermes/Mercury, the contradictory polymorph, is Zeus’s main servant. When the ‘liar’ par excellence turns into the King’s mouth, he becomes unable to lie. Mercury is not the god of alchemists… he is Alchemy tout court. If Athena is the goddess of pristine Wisdom, Hermes/Mercury is the context, the assumption, and the element. If we fail to understand the god Mercury, we will never be able to interpret Alchemy.
From above: Hypnerotomachia Poliphili, attributed to Andrea Mantegna’s school; miniature from Épître d’Othéa, Codex Bodmer 49; Daniel Cramer, Emblemata Sacra 1, engraving n. 42 Alta Cadunt; Greek vascular art portraying Dionysus offering a hare to Demetra and Persephone, Amassis painter c. 560–515 bc; Copper engraving, Nicola Tiberi 18th, Museo Civico Palazzo D’Avalos.