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LabyrinthDesigners & the Art of Fire

Alchemy works translations, commentaries, and presentations of hidden evidence in myths, art, nature, science history

  • Classical Alchemy
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  • Anatomy of an Alchemical Machine
  • The Sound Sacrifice
  • Introductory Notes to the Boards of Pure Force

Air Alchemy, the Dust

Air Alchemy, the Dust

IN CONSTRUCTION…

1 I wish I didn’t have to, but I’ll start with a quote, in this case from Novum Lumen Chymicum: Est in aere vitae occultus cibus”, the nourishment of life is hidden in the air…

By nourishment of life, Cosmopolita the alchemist means alchemical principles as sparks that have become true rays acting in dusts, dews, salts. Or even sparks that have become true rays acting in Auras, Ether, Quintessence, also called “thick air”.

2 Is it true that many of the alchemical phenomena that neophytes may attribute solely to the Sun or the Moon actually occur in the “realm of Air”?

True. The so-called “solar powders” or “lunar dews” are in reality “aerial” phenomena: no dust arrives from the Sun in molecular form and no humidity falls from the Moon in molecular form. However, that these particles are pushed or influenced by the two astronomical bodies is beyond doubt.

3 Ultimately, it’s dust or, as the alchemists called it, corporeal air…

… opaque, dark, and “formless” air. According to the ancients, not because of any intrinsic property but because of the air proximity to the earth, to the waters, to thunder and lightning, to rain and snow.

4 Nevertheless, the dust of the air, like its fabric, for the ancients was born from the moon…

In fact, for the ancients, the peculiar “humidity” of the dust in the air was not caused by terrestrial waters but by the proximity of the moon.

5 What about the Pulvis Solaris, solar powder?

Pulvis Solaris is a dust probably caused by ionization of molecules suspended in the air. Prosaically, we can conjecture that it is a concentrated nitrogen oxide. The claim of being curative can also be: it is certainly quite ionized. The claim that solar dust is composed exclusively of condensed solar radiation, as some think, is highly unlikely, as well as chemically impossible.

6 The alchemists of the Baroque age – who loved redundancy – called this solar powder an all-encompassing primordial Sulfur, Mercurius and also Son of the Sun…

… as well as Anima Mundi/Soul of the World, Astral Balm, invisible Fire, seed of the Universe. The entity and meaning of which can be deeply understood by reading the sections dedicated to alchemical works. See Before Preparatory Work, Spiritus Mundi.

7 I am surprised that in the list of symbolic epithets given to “solar dust” a name is missing…

The name that I would find semantically most appropriate for “solar dust” is Secret Fire. We will see in the following pages how the Secret Fire is also used as a station in the generation of the Mercurii. But, above all, the Secret Fire is an addition – secret indeed – a pinch of a very powerful salt, which is sometimes used to ‘couple’ two Mercurii (see Second-Main Work).

8 What about the alchemical claim of a “Condensation of the Ether which is moved by the Sunrays and falls drop by drop into a liquid”?

The claim here is to consider the etheric part or aura as something dense and which can “clump together” thanks to the agitation produced by special lenses or burning mirrors. These “agitated” rays are called by many symbolic names, for example Ignis, Latin for Fire. The material collected in the vicinity, however, must be considered “air dust”, most likely particularly “active” due to the ionization of the atoms floating in the air. That the aura falls to dust under the action of the solar rays is a highly unlikely phenomenon. Unless the alchemica aura is made of dust.


9 … also known by the highly evocative name of Sal Naturae, nature’s salt…

We have already seen how the alchemists gave so much importance to the mysterious “nature”, a name that does not even appear so symbolic (see Alchemy and Modern Physics Particles). We affirm here that this “nature” is of an undulatory attitude. See also Air Alchemy, the Fabric.


10 Is it true that alchemists attribute a whole scale of densities to Sal Naturae?

True. For alchemists, the Sal Naturae reaches the disposition of alchemists on earth in a whole scale of densities. See Before Preparatory Work, Spiritus Mundi.


11 Georg von Welling, in Opus Mago-Cabbalisticum, uses the term Conserva Fontinalis do define a certain airborne dust…

Although it was a term that only an Italian could wholly understand, in fact in classical Roman Latin the translation of conserva fontinalis would be “servant of the Fontina gate”. But I guess that von Welling rather meant – in an Italianized baroque Latin – “conservator of the fountain”. The meaning is however easily understood as “salt that brings the power of the solar and lunar source to the earth”.


12 Why not share the recipe for this Conserva Fontinalis, so one can understand what we’re talking about?

In this case we are before the processing of an “heavy” air that is knowingly highly contaminated by the earth. The recipe from von Welling is the following: Take rainwater, dew, or melted snow, put it in a glass jar with a long neck, and close it tightly. The jar should not be more than half full, so that there can be enough air in the jar. During the summer expose it every day to the sunlight, or to a warm place, and, after your vessel has rested a certain time in such moderate and constant heat, you will find that the water will ferment and putrefy, and that a fine earth will have precipitated. This fallen earth is nothing but a thin earth, dust or sand; but whoever knows this earth to its core, and not just its surface, will understand the meaning of Genesis 2:7 “The Lord God formed mankind from the dust of the ground”. If you proceed correctly, by distilling this putrefied water you will obtain a clear, transparent, wonderful oil, very fiery and hot like ardent spirits. This oil is sought by few and known by even fewer.

According to von Welling, during this operation, sunlight was embodied in air and water.

13 So are we to consider the Air only as a kind of battlefield where various forms of particles and rays do struggle – i.e., interfere with each other?

Yes and no, because the ancients did not consider voids between bodies, and therefore the air was a body in itself – however ineffable it was to our senses. In Alchemy, a battlefield is synonymous with “interaction” between two entities. But we will see on the next page how these interactions also include the “fabric” of the air. See Air Alchemy, the Fabric.

14 Could Air be the closest “body” to the definition of “Ether/Quintessence/Aura”?

Yes and no, because for the ancients everything was intertwined in reciprocal interactions. So we moderns never understand when it is a question of raw matter, such as dews and airy dust, or “spirit space”. For an ancient alchemist it was perfectly plausible to make no difference between a spirit and something to be put in a pot.

15 But, above all, air and ether defined two “alchemically” different spaces…

As we will see in more detail in Air Alchemy, the Fabric, air was called the space below the moon, ether the space above.

16 Can we define the alchemical Air as being very close to the concept of Alchemical Light?

Again, yes and no. But we can say that the Alchemical Light definitely “moved” in the Air. And it was part of the realm of the air. See also Alchemy & Light, Introduction and Alchemy & Light, Known Authors.

17 Is it true that Air is not an end in itself but intertwined with the other elements Water-Fire-Earth?

This is a perplexity of modern people, accustomed to divide and analyze individual divisions separately, without considering the connections that made the whole. For the ancients, Air is not only intertwined with the other elements Water-Fire-Earth, but also atmospheric Air is blended with physical Water-Fire-Earth. If we begin to think in terms of “sparks” and “rays”, everything appears, if not clear to our modern eyes, at least plausible.

18 When the ancients said that everything was mixed and full of divinities, did they perhaps mean Air as the “medium”?

We have already seen in Alchemy & Light, Introduction that the Alchemists considered light as a “medium“.

19 According to alchemists, what “inflates” the symbol of the Vesica Piscis, or fish bladder?

The Vesica Piscis, fish bladder, helps the fish stay afloat in the great “philosophical ocean”. See Flow and Reflux.

20 If the Vesica Piscis, fish bladder, was also called “mummy”, can we say that we have some more elements to understand what “inflates” it better, air or “alchemical light”?

The alchemical mummy surrounds the bodies and does not escape the slightest breath of wind. So it should necessarily be a “persistent air”. See also Air Alchemy and Fire Alchemy.

21 Yet, the alchemists, when they referred to the Vesica Piscis, fish bladder, were referring mainly to the Mercurius or spirit of life, was this for them the persistent air?

Alchemists often used the symbol of the fish’s swim bladder to indicate Mercurius or the spirit of life.

22 If Vesica Piscis is also called “mummy”, can we speak of a “field of action”, as in physics?

In a certain sense, sure, we can define this mummy as a “field of action”.

23 Is atmospheric air alone enough for the so-called Air Alchemy?

No. The Alchemy of Air also includes the dust of the air and the fabric of the air (see Air Alchemy, the Fabric). And also, of course, the Air principle, that is, what unites the Fire principle or spark to the Water principle or flowing ray (see also Fire Alchemy and Water Alchemy).

24 What do alchemists mean by Air Dust?

By Air Dust the alchemists mean anything the “middle world”, pneumatikon ochêma – as an intermediary vehicle between the immaterial and the material – encounters on its journey to the earth, through the moon.

25 Are we then to believe that the Soul travels in the air?

No at all. It is the “middle world”, pneumatikon ochêma, that travels, not the soul. The middle world is said to travel, but in reality it continuously doubles. See Doubles, Resonances, Unions, Seeds, Embryos, Births, and Processions.

26 Is it true that Cornelius Agrippa, when he combined his concept of the Quintessence with stellar radiation, also meant an effuvium of air?

True. For Agrippa, nature “analogous to the substance of the stars” was close to the concept of spirit and effluvium. Effluvium in Latin: spilling, pouring, discharge, outflow. See also Alchemy & Light, Known Authors.

27 Wasn’t it perhaps Jabir ibn Hayyan who equated the Quintessence with “dispersed dust”?

Jabir ibn Hayyan speaks of the “Fifth nature” – quintessence, in neolatin languages – as dispersed dust twirling in the air.

28 Is it true that when the ancients spoke of “air” they also meant atmospheric dust?

The ancients said that the air lifts a fine powder from the earth and during the day the sun’s rays penetrate this airy dust. At night the moon moistens it to an atmospheric slime, which thus weighed down descends to the earth and filters into it. Today we know that these dust clouds have the ability to influence the climate and environment in locations thousands of kilometers away.

29 Is it true that for the ancients this slime was an embryo of life?

True. In fact, the ancients said that if a relentless dry heat keeps this fine dust floating in the air, the earth remains a desert. Today we know that these clouds of dust, if they do not fall in the immediate vicinity of the place from which they are torn from the ground, in any case they fall somewhere far away.

30 What was the time of year when the embryo in the falling slime was particularly active?

This glutinous embryo of life was said to be especially present in the May dew or, as the Romans said, ros maialis.

31 Is it true that in the complex soul system of ancient Egypt it was thought that the ba of the deceased behaved similarly to atmospheric dust?

True. The ancient Egyptians believed that the ba of the deceased tended to hover in the high parts of the atmosphere during the day, prevented from approaching the earth’s crust due to the sun; and after sunset (and especially before sunrise) pushed down by the moon to seek refuge in the deepest and most hidden places. Otherwise, the ba simply returns to the corpse.

32 Could the concept of corpuscular spirits have something in common with Lucretius Carus’ concept of “membranes” that detach from bodies and objects?

Titus Lucretius Carus, in De Rerum Natura, said: “… But, since I have taught what the principles of all things are and how different in variety of forms they spontaneously whirl, stimulated by eternal motion, and how everything can be produced from these, I will now begin to tell you what with these things is closely connected: there are what we call simulacra of things, which can almost be called membranes or cortex, since the image has an appearance and shape similar to the object, whatever it may be, from whose body it appears to have emanated to wander”.

33 Could Lucretius Carus’ idea of ​​“wandering membranes” have something in common with Democritus’ idea of ​​the atoms on the surfaces of bodies?

Democritus was specifically talking of Psyche, that for the Greek philosopher is composed of atoms like the body, but so thin that they tend to exit the body, but with breathing they return. With death they exit the body and disperse.

34 Could Roger Bacon’s concept of the multiplication of “Species” have something in common with Lucretius Carus’ concept of “membranes” detaching from bodies and objects?

Roger Bacon’s theory that seems to be contained in the world of rays emanating from every object that launches “species” of itself from every point of itself could have something in common with Lucretius Carus’ idea of ​​“membranes” that detach themselves from bodies and objects. Provide that a “celestial” consistency is given to Lucretius’ membranes and an “earthly” consistency to Bacon’s rays. What is most interesting in this section dedicated to air in Alchemy is precisely that the medium of propagation is air.

35 What is, for the Pythagoreans, the “medium” in which Psyche moves?

For some Pythagoreans, Psyche is in the dust of the air.

36 Do these Pythagoreans mean by Psyche specifically the particles of dust in the air or something else?

By Psyche these Pythagoreans do not specifically mean the particles of dust in the air but the movement that shakes the dust.

37 When Proclus speaks of pneumatikon ochêma did he mean something that was close to air?

As already seen in Alchemy and Modern Physics Particles, pneumatikon ochêma was the name given by Proclus to the second vehicle of the souls in their descent towards the ostreoides ochêma, or earthly body. This middle world, or pneumatic world, in its journey from the immaterial augoeides ochêma had become “impregnated” with stellar influences and then swelled with air and its hovering corpuscles.

38 What was the aerial Saltpeter for alchemists?

The aerial Saltpeter, or Saltpetre, should have indicated any salt that was closely connected to “descended from above”. But, basically, it often had a lot to do with common saltpeter. Also nitrates were believed to have a celestial root.

39 Is it true that for the ancients air was essential for the construction of everything?

The ancients believed that everything passed through the air, to the point that it could even move water, rocks and trees.

40 What about the effluvia theory?

Uffluvium in Latin means pouring, outflow, discharge, efflux. Ultimately, the term effluvium indicates any type of exhalation or emission produced by bodies. According to the theory of Effluvia (scientifically valid until the Baroque age), air was considered a place and universal receptacle of spirits of all kinds, including demons, equipped with aerial bodies, who used the air to perform their miracles. Air was the universal effluvium of the earth, in it converged the exhalations produced by individual things.

41 Is it true that the fire and water rituals were actually connected to the movements of the surrounding air and the fumes produced?

When one lights and extinguishes a fire with water it is difficult to imagine that the greatest movement does not develop in the surrounding air. This was a typical rite performed once a year in the Roman temple of Vesta.

42 Can we say that air is involved in the daily and nightly motion of stellar Mercurius?

When the sun causes the starry Mercury to soar into the upper regions of the atmosphere, it uses the medium of air. When the moon causes the sidereal Mercurius to descend at night from the upper regions of the atmosphere into the recesses of the earth’s crust, it again uses the medium of air.

43 Can we talk of air as an unexpectedly important element in alchemical works?

Alchemists will tell you that fire and water are enough for you, but their starting matter is certainly atmospheric air, for its property of bringing spirits to water and earth. Mercurius, beyond all alchemical methods, can be defined as “movement” that also influences the surrounding environment.

44 Should we distinguish between  chemical and alchemical composition of air?

Chemical composition observes whether the atmospheric air is more or less ionized or full of gases and vapors. To the chemical one, one must add the electromagnetic composition of the air (which “waves” are “swimming” in the air. Sound physicists measure the sound waves that group and expand the air molecules. Alchemical composition foresees “spirits” and “alchemical lights” that hover or “travel” between the various “densities” or steps of the alchemical ladder. In conclusion, there is no need to distinguish between chemistry and alchemy, but everything is explained.

45 Now we can understand a little better some aspects of Alchemy: Is it true that the composition of the air is decisive when working on Mercurius and Spiritus Mundi?

That is rather accurate. The composition of the air is decisive when working on Mercurius and Spiritus Mundi.

46 Are we talking about atmospheric air or “alchemical light” as a means of transmission?

We are talking about “air” within alchemical physics, that is, an unspecified medium that sometimes takes the form of atmospheric air, sometimes of sound, sometimes of smoke and vapor, sometimes of alchemical light, and sometimes of Mercury hovering in the sky.

47 Why is the spirit said to have a close affinity with fumes, vapors, and aerosols?

Because of a law ruling fluid mechanics, known as adhesion of flows, in which the scarce and volatile spirit tends to adhere to larger and faster fluxes and currents, this physical law has many implications in Alchemy. More generally, it is said that Spirit has the nature of air besides having that of fire.

48 Is there an alchemical path that more than others helps us understand the importance of air in alchemical work?

The alchemical path that more than others gives us an idea of ​​the importance of air in alchemical work is the dry metallurgical path: in fact, many “movements” take place in the surrounding air.

49 How does the humid path also hint at the importance of air?

The humid path gives us an idea of ​​the importance of air when it comes to atmospheric “humidity”, to vapours and fumes, to fumes and vapours which act to lift ash and salts in the still, to stellar Mercurius, to external influences.

50 Can we extract Spiritus Mundi directly from the air?

Spiritus Mundi can be extracted from the humidity of the air, and this was performed by salts prepared for their dryness and hygroscopy. See Before Preparatory Work, Spiritus Mundi.

51 Was the transmission of the “philosophical sea” confined to the air only?

The transmission of the “philosophical sea” is said to start from the air, but then passed from there to the water and finally to the earth. See Flow and Reflux.

52 How does the humidity of the air vary during the stellar, planetary and solar movements of the “philosophical sea”?

During the equinoxes or immediately before and immediately after (but especially before) the sun also acts powerfully on the moon and strong dews form. See Flow and Reflux.

For alchemists, during the winter solstice there are winds that cause rain, snow and storms, drought or calm, but it happens only by chance: for the extraordinary level of the sea that arrives in the months of December and January, which is the period in which rain and snow abound most, but it is not general. While during the summer equinox, the stars blow hot and dry winds.

53 Could the air theory be an explanation for the peculiarity of the dew?

The more focused question would be “what makes dew so interesting in alchemical works”? We could answer that, most likely, it is due to its state of ionization. Secondly, we could say that yes, the theory of air also fits dew. Finally, dew seems to be part of the equinoctial, i.e. solar, movement of the “philosophical sea”. The equinoctial tides are so strong as to create steam and dew, especially in March and September. See Flow and Reflux and Solar Alchemy.

54 Are atmospheric phenomena that occur in the air, such as rain, dew, snow and hail, to be considered alchemically as water or air?

Rain, dew, snow and hail are considered to be from the air realm, but must be of the water realm to be worked with alchemically. See Water Alchemy.

55 What made Mercurius, or life spirit, so similar to a general atmospheric air?

The Mercurius of the humid path was impalpable and characteristically volatile. Furthermore, often, during these proceedings the fumes and vapors in the still were called “mercurial”. In the dry path, the real processes were said to take place in the surrounding air through screeches, hisses and whistles. Ultimately, Mercurius, or spirit of life, was for the alchemists so similar to a generic atmospheric air because it was “a white unwritten label”, that is, a spirit of life common to all beings. For example, the Mercurius extracted from metals was the same as that of us humans.

56 What made the great ocean of generic Mercurius peculiar to every different being, and what made it a bearer of diversity like a seed?

The generic Mercurius extracted from the bodies was made peculiar to each diversity by a tiny quantity of Sulfur. Thus Sulfur was said to be “agent” on the “patient”.

57 Is it true that, for alchemists, air exists only in correlation to the earth and not as an absolute?

True. Alchemists speak of a correlation between an animated being and the being that animates. They compared the union of the volatile with the fixed with the concept of air and earth, where the air was what “animates” and the earth represents what is to be animated. Of course, alchemists transpose the concept into the laboratory stage where a volatile salt must lift a fixed salt. See First-Preparatory Works.

58 Is it true that alchemists believed that the life of bodies was contained in the fixed, imprisoned air and not in the water contained in the bodies?

True. Because for the alchemists life was contained in air and not in water. They had observed that all bodies, even metals and terrors, emitted air when heated, or even under the sun. And, since all bodies were vital, even metals, the agent of life could only be air.

59 Why was brewing educational in this sense?

Because the production of beer was said to be the clearest example of “fixed” air contained in matter (vegetable in this case) and released through fermentation processes, which are alchemical processes par excellence. To get an idea, let’s take a look at this excerpt: Memorandum on the fixed air emerging from beer, dated February 14, 1776: “We have to report to the Academy, Monsieur de Montigny, Monsieur Macquer and I, a report from Monsieur the Duke of Chaumes on the fixed air emerging from the fermentation of beer. The Duke of Chaumes observes first of all that the layer of fixed air that forms on the fermenting beer vats is not always of equal thickness, as Monsieur Priestley announced. In the first moments of fermentation this layer is thin; little by little it increases in thickness, rises, until it finally reaches the top of the vat and finally overflows the edges. From this first observation the Duke of Chaumes concluded 1° that the fixed air must be much heavier than atmospheric air; 2° that it did not mix with the latter as easily as was imagined; and these considerations led him to a series of very ingenious experiments. If, for example, we were to lower a jug full of common air into the fixed air of a fermenting beer vat, the fixed air would immediately replace the common air, and the jug filled with fixed air would fill up with water in the same way as if it were immersed in this fluid. As long as this jug is sufficiently clogged, the air fixed there remains pure and can be preserved in this way for experiments. When, after a certain time, we want to exploit this air, and fill, for example, a jar, we will simply have to uncork the jug and pour slowly. If we want to be sure of not paying more than…”.

For fermentation, see First-Preparatory Works.

60 What was the characteristic of “fixed” air for ancient chemists?

Ancient chemists had noticed that the “fixed” air contained in bodies was poisonous or at least unbreathable. Hence the idea that spiritual air was poisonous.

61 Can we extract Spiritus Mundi directly from the air?

Alchemists do not attempt to extract Spiritus Mundi directly from the air, but rather from the humidity of the air by collecting or absorbing it by various means. From the point of view of modern chemistry, it can be observed that this humidity presents a high ionization.

62 What about the theory that wind is an adverse condition for alchemical works?

Wind is a sizeable messy mass of air molecules that fill areas of lower density. The wind behaves like a waterfall or a storm surge. Above, I spoke of air architecture, meaning the air in conditions not disturbed by intense atmospheric pressures. This atmospheric wind produces chemical reactions, not strictly alchemical.

However, an alchemical theory wants the origin of wind and sound to be the same. The alchemists did not speak of disorderly tidal waves of air molecules.

63 Is there any direct use of air during alchemical works?

It is said that Spirit has the nature of air besides having that of fire (see also First Preparatory Works page).

There is talk of “trumpets” or cannulas to introduce air into the tools and help some types of Mercurius fixation. Furthermore, special alembics, pelicans, and vases were foreseen in the Baroque era to help fix volatile substances. For example, Nicaise le Febvre calls some of these tools “eggs”. It was also said that the Spirit had an affinity for fumes.

64 Do we also mean gases and fumes when discussing air in Alchemy?

Absolutely, not only gases, fumes, and perfumes evaporation microscopically influence the atmospheric air, but they become real agents for dissolving or lifting heavier elements.

65 Is it true that a raw material deprived of the ability to emit gasses, fumes,or vapors  considered dead from an alchemical point of view?

True. Not only is it deemed dead from a spirit containment and transportation standpoint, but it also becomes impossible to work with.

66 Can we also mention common fire among the events that can affect the atmosphere?

Yes, bonfires affect the consistency of the surrounding air.

67 What about the theory that air is considered akin to perfumes?

Perfumes surround the bodies. They can often be considered as a second skin. The skin symbol is analogous to the aura.

68 Regarding the pyramids of the Giza plateau originally covered with limestone slabs, can we think that it was for reasons other than strictly architectural?

Limestone is a porous material that absorbs both water and heat. It is a stone that often welcomes and accompanies natural sources of water. Like marble, alchemists often used it to absorb moisture from the air, and with the moisture, the hovering Spiritus Mundi.

69 Is it true that the journey of the Mercurius, or fish bladder, traveled by “density”, in a conceptually non-empty space, continually transforming itself from “agent” to “patient” to “body”?

In fact, for the alchemists, the journey of the Mercurius, or fish bladder in the “density” of a conceptually non-empty space, had to necessarily periodically transform from “agent” to “patient” to “body”. So they imagined a “ladder” of cosmic density in which the Mercurius started, became Sulfur, then rises, then returns to Mercurius, then Sulfur again and rises. This from the most ethereal principle, to the most tangible reality in the alchemist’s tools. Ultimately, the alchemical “journey” of transmutations that occurred before the eyes of the achemists in their earthly works had to be repeated in the cosmos.

Previous: Stellar Alchemy, the Signatures Palace

Next: Air Alchemy, the Fabric

  • Smelting Metals in the Service of the Sanctuary
  • Alchemy & Light, Introduction
  • Alchemy & Light, Known Authors
  • Alchemy and Modern Physics Particles
  • Palingenesis, Seeds in the Wind
  • The Enigma of the Three Salts, i.e. the Alchemical Physis
  • Doubles, Resonances, Unions, Seeds, Embryos, Births, and Processions
  • Flow and Reflux
  • Solar Alchemy
  • Planets, Bells
  • Lunar Alchemy
  • Stellar Alchemy, the Aerial Ropes
  • Stellar Alchemy, the Signatures Palace
  • Air Alchemy, the Dust
  • Air Alchemy, the Fabric
  • Water Alchemy
  • Fire Alchemy
  • Earth Alchemy
  • The Four Alchemical Elements
  • The Subtlety of the Exact Proportions
  • Alchemical Timing & Astronomical Code
  • Differences between Alchemy and Spagyrics
  • Concordances and Differences between Alchemy and Ancient Ordinary Chemistry
  • Before Preparatory Work, Spiritus Mundi
  • Before Preparatory Work, Magnetization
  • First-Preparatory Works, Introduction
  • First-Preparatory Works, Eagle Wings or Volatilization
  • Second-Main Work
  • Third Work
  • Concordances and Differences between the Humid and Dry Path
  • Gold & Alchemy, or Adorn with a Star Ray
  • Gold & Alchemy, Apples to Stop Atalanta
  • Gold & Alchemy, Potable Gold
  • Alchemy Resounds
  • What is the Philosophers Stone?
  • The Genesis on a Small Scale
  • Transmutation of Metals
  • Alchemy and Electricity
  • Short Art Ars Brevis
  • Inner Alchemy
  • Classical Alchemy
    • The State of the Art
    • An Intriguing Case
    • Opus Magnum Scheme
    • Turba Philosophorum’s Ambition
    • Areas of Interest
    • Index of the Names
    • Articles
    • Lexicon
  • Anatomy of an Alchemical Machine
  • The Sound Sacrifice
  • Introductory Notes to the Boards of Pure Force

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