The CR+C : Resources in french about R+C

You can find some interesting resources in french about R+C here.

The CR+C seems to be a serious group, with a good background and filiation.

Suite sur Mme D'Urfée

Texte provenant des Mémoires des Souvenirs de la Marquise de Créquy.

Revenons, pour achever mon premier chapitre du Chevalier de Saint-Georges, sur un rare et curieux présent qu'il me fit remettre par le Maréchal d'Écosse, et qui consistait dans un Noble-à-la-Rose.

Ces pièces de monnaie, qui paraissent de facture gothique, sont précisément de la grandeur d'un double-louis, avec moitié moins d'épaisseur et de poids. Elles représentent un chevalier qui est armé de toutes pièces, et qui tient une rose à la main. Le revers en est chargé d'une croix fleuronnée ; et, quoi qu'en aient dit les dissertateurs et les antiquaires hollandais, qui se disputent depuis trois cents ans sur une chose qu'ils n'ont jamais vue, vous pouvez être assuré qu'il ne s'y trouve aucun millésime, ni aucune sorte d'inscription. Ces pièces ont parfaitement la couleur, le poids et la densité de l'or de ducat. Elles marquent sur la pierre de touche ainsi que l'or le plus pur et celui d'Ophyr, par exemple, et si vous les rompez, il en est pour la tranche absolument comme pour la superficie de la pièce. On a toujours dit que ces médailles étaient d'or philosophique, et quant à l'origine ou la date de ce produit du grand-oeuvre, dont les héritiers de la Rose de Lancastre ne sont pas restés en possession, ou a publié des choses tellement contradictoires, que je n'en parlerai point. Il est plus facile de s'abstenir que de se contenir, disait notre ami Fontenelle.

Toujours est-il que mon Noble-à-la-Rose avait donné dans l'oeil de Mme d'Urfé qui était la plus opiniâtre des alchimistes et la plus déterminée souffleuse de son temps. J'aurai l'occasion de vous reparler d'elle à propos du Comte de Saint-Germain, de Cagliostro et d'un misérable Chevalier Casanova, dont elle était l'adepte, et par conséquent la dupe. Je vous dirai préliminairement, sur Mme la marquise d'Urfé, qu'elle était fille du Marquis de Gontaut-Biron. Je crois me souvenir qu'elle appelait Reine-Claude, et ceci n'importe guère. Son mari, qu'elle avait épousé très-vieux, était le dernier descendant et le riche héritier du fameux Honoré, Marquis d'Urfé, à qui nous devons la composition de cet interminable roman de l'Astrée. Il avait d'abord épousé la belle et célèbre Diane de Château-Morand, qui était la femme de son frère aîné, et du vivant de celui-ci, lequel frère avait trouvé bon de planter là sa femme pour aller se faire ecclésiastique ; ce qui faisait dire au Pape Urbain VIII, qui n'entendait parler que des marquis d'Urfé pour des sollicitations de dispenses, qu'ils auraient eu besoin, pour eux deux tout seuls, d'une chancellerie pontificale et d'un Pape tout entier. Leur grand'mère était de la maison de Savoie, et ils avaient ajouté le nom impérial de Lascaris à celui de leur maison ; je n'ai jamais pu savoir en l'honneur de quel saint.

Mme d'Urfé, qui était notre parente, avait monté la tête à la Comtesse de Breteuil à l'effet d'obtenir de moi l'échange de ma pièce d'or philosophique contre un reliquaire admirablement garni de pierreries, ce qui se voyait parfaitement bien ; mais il était rempli, disait-elle, d'une précieuse collection des plus saintes reliques et des plus authentiques, ce dont je m'obstinais toujours à vouloir douter. Comme il était question de fondre ma pièce au creuset pour en indure la réalité du grand-oeuvre, je finis par me trouver en but à une persécution générale ; il n'y avait pas jusqu'à ma grand'mère qui ne voulût savoir à quoi s'en tenir sur la pierre philosophale. Je m'en fatiguai ; je lâchai prise, et voici le résultat de notre expérience, où vint présider M. van Nyvelt, le physicien.

En décomposant mon Noble-à-la-Rose, on y reconnut seulement une vingtième partie d'or, un quart de mercure, un scrupule de fer, un autre quart de cuivre, un huitième d'étain ; et, pour le surplus, un mélange de sels à base neutre, nous dit van Nyvelt, lesquels se cristallisèrent en prismes pentagones, à la grande satisfaction de la Marquise d'Urfé. — C'est une femme perdue, nous dit ma tante la Baronne ; elle en a la tête à l'envers, et tout son bien s'en ira par le soufflet. Voilà ce qui n'a pas manqué d'arriver, grâce à la munificence du Chevalier de Saint-Georges, et surtout grâce à l'avidité du Chevalier Casanova.

Giacomo Casanova and Marquise d'Urfée

The following text in from the 5th book of "Story of my Life" of Casanova, where he is in Paris.

After the dessert Tour d’Auvergne left us to go and see the Prince de Turenne, who was in a high fever, and after he was gone Madame d’Urfe began to discuss alchemy and magic, and all the other branches of her beloved science, or rather infatuation. When we got on to the magnum opus, and I asked her if she knew the nature of the first matter, it was only her politeness which prevented her from laughing; but controlling herself, she replied graciously that she already possessed the philosopher’s stone, and that she was acquainted with all the operations of the work. She then shewed me a collection of books which had belonged to the great d’Urfe, and Renee of Savoy, his wife; but she had added to it manuscripts which had cost her more than a hundred thousand francs. Paracelsus was her favourite author, and according to her he was neither man, woman, nor hermaphrodite, and had the misfortune to poison himself with an overdose of his panacea, or universal medicine. She shewed me a short manuscript in French, where the great work was clearly explained. She told me that she did not keep it under lock and key, because it was written in a cypher, the secret of which was known only to herself.

(...)

 

From the library we went into the laboratory, at which I was truly astonished. She shewed me matter that had been in the furnace for fifteen years, and was to be there for four or five years more. It was a powder of projection which was to transform instantaneously all metals into the finest gold. She shewed me a pipe by which the coal descended to the furnace, keeping it always at the same heat. The lumps of coal were impelled by their own weight at proper intervals and in equal quantities, so that she was often three months without looking at the furnace, the temperature remaining the same the whole time. The cinders were removed by another pipe, most ingeniously contrived, which also answered the purpose of a ventilator.

The calcination of mercury was mere child’s play to this wonderful woman. She shewed me the calcined matter, and said that whenever I liked she would instruct me as to the process. I next saw the Tree of Diana of the famous Taliamed, whose pupil she was. His real name was Maillot, and according to Madame d’Urfe he had not, as was supposed, died at Marseilles, but was still alive; “and,” added she, with a slight smile, “I often get letters from him. If the Regent of France,” said she, “had listened to me he would be alive now. He was my first friend; he gave me the name of Egeria, and he married me to M. d’Urfe”

She possessed a commentary on Raymond Lully, which cleared up all difficult points in the comments of Arnold de Villanova on the works of Roger Bacon and Geber, who, according to her, were still alive. This precious manuscript was in an ivory casket, the key of which she kept religiously; indeed her laboratory was a closed room to all but myself. I saw a small cask full of ‘platina del Pinto’, which she told me she could transmute into gold when she pleased. It had been given her by M. Vood himself in 1743. She shewed me the same metal in four phials. In the first three the platinum remained intact in sulphuric, nitric, and muriatic acid, but in the fourth, which contained ‘aqua regia’, the metal had not been able to resist the action of the acid. She melted it with the burning-glass, and said it could be melted in no other way, which proved, in her opinion, its superiority to gold. She shewed me some precipitated by sal ammoniac, which would not precipitate gold.

Her athanor had been alight for fifteen years. The top was full of black coal, which made me conclude that she had been in the laboratory two or three days before. Stopping before the Tree of Diana, I asked her, in a respectful voice, if she agreed with those who said it was only fit to amuse children. She replied, in a dignified manner, that she had made it to divert herself with the crystallization of the silver, spirit of nitre, and mercury, and that she looked upon it as a piece of metallic vegetation, representing in little what nature performed on a larger scale; but she added, very seriously, that she could make a Tree of Diana which should be a very Tree of the Sun, which would produce golden fruit, which might be gathered, and which would continue to be produced till no more remained of a certain ingredient. I said modestly that I could not believe the thing possible without the powder of projection, but her only answer was a pleased smile.

She then pointed out a china basin containing nitre, mercury, and sulphur, and a fixed salt on a plate. (etc etc) the folowing part here.

Fortunately, Giacomo Casanova, had the good fortune to enter her Laboratory, and he also had the marvellous idea to put on the paper his stories and adventures, otherwise, nothing would have remain of this historical encounter between these two people.

Where is now this ciphered book that described in full the Great Work ? Where is this marvellous athanor burning at equal temperature ? Lost maybe, or in a private collection for the book ?

Taliamed was in fact Benoît de Maillet, (1656 and dead or not dead, in 1738 in Marseille; consul of France in Egypt, and inspector of the French Establishments au Levant, author of a theory about Earth evolution).

1735 Benoit de Maillet.

If B. de Maillet, was the teacher of Marquise D'Urfée, then he was himself a very good Alchemist and Hermetist. Which can be proved by the dedication his books and the "To the illustrious Cyrano De Bergerac" in the first volume of his Telliamed.

Vol I

Vol II

"Plata del Pinto", is in fact platina, which was discovered in Jamaïca, in Rio Pinto.

This is here an archemical operation, leading to transmute this platina, very near in quality to gold, to its maturity, i;e gold.

She smiles at Casanova, concerning his answer about the Tree of the Sun because of course, the powder of projection is of no use in this process... here Casanova is maybe a little too much confident :) And Mme D'Urfée is very polite.

And what she said about the "certain ingredient" is true, and is quite easy to understand if you compare the process to the vegetal one.

Lunar Tree, Diana Tree.

Chemistry and Alchemical understanding of the Matter

From the scientific point of view, old Alchemists considered matter in a very strange way, even when complex, it was seen as "one" in the beginning, not by the chemical compounds of course, but by its inner "nature" or "quality". An example :

          Iron sulphate, was considered as Green Vitrol. The nowadays chemist will call it by it's scientific name, "Iron Sulphate", and create thus a chemical duality, Iron + Sulfate. The Alchemist do not consider this matter like a duality. It is for them, "Green Vitriol". Not a sulphate, but a "Salt" nature, like Niter or Tartar, or Sea Salt, Alum ... and the quality of this salt was more important than what was in it. We know for example that Niter is fiery and also full of "air", sea salt is not at all like that, it is neutral, and cannot be entirely sublimated (apart it's acidic spirit when in dry distillation) like sal ammoniac for example, full of air too !

"Iron oxide" or "Crocus Martis". A Red Sulphur.

Of course, they did "chemical" things, like mercurial sublimate (corrosive sublimate) by putting muriatic acid (okay ... HCl :) ) and Hydragyrum or "Hg"/Quicksilver, and after by distillating it, but it was not by chemical knowledge, but more by an hermetical understanding. But a chemical thing say nothing about the hermetical nature of this matter. Mercury is a volatile metal, full of fire and air (of fire because it is liquid, and air because it is easely volatilized), add it an acidic nature that gives it a power over metals (fire in a water or a mercury), and "tadam !" you have a kind of "milk", having the power of both elements, Hg and HCl, isn't that beautiful ? Two mercuries together give birth to a more complete mercury ... nice. But this Mercury is seen as ONE thing, not a compound of the two chemical elements.

Four elements into one. The elemental vision is purely an hermetical one.

Maybe you don't know that in alchemy, Red + White = Black,a nd Black + Fire and Secret Fire = green, white, yellow, and red :)

Also know that Sulfur plus Mercury plus Salt = One Stone. So, 1 + 1 + 1 = 1

And one give 3 or 4. And these number, not changing in quantity, can change in quality !

Vitriol of Mars Red Oil by distillation

(from Patrick Rivière's website).

And even if they understood that these three principles (sulfur, mercury, and salt) where united into one part, making for example one "dragon" or one "lion", they still could use their vision of "triality", in this unitary use of the matter.

We change our point of view when we need it. And a little like a quantum physic, we use matter as we want, considering what we want to do.

Homunculus and other kind of living creation.

From a latin word : Homunculus, meaning "little man". It was a work done in the goal to create out one or several kind of matters a little living man, or woman, and sometime both, in a miniature world, or microcosm, alike a fish in an aquarium.

Here the Faust's Homunculus, engraving of the XIXth century.
Quite a caricatural and absolutely non accurate description of the process...

Some old methods give the entire process, saying that a couple, an Adam and a Eve, live in a vessel, where grow a tree in the center. Homunculi should grow, and be fed until they dies.They eat the manna that give the Alchemist (this manna comes from the process of their creation), when there is no manna at all to give, they eat the fruits of the central tree, and then, die, but they can live, 6 years ( !!).  The matters used are really important, if the matters are of bad things, bad persons, or bads quality, the Homunculus will be ugly and of bad nature, of course, if the matters are of good persons, the Homunculus is beautiful and good for the Alchemist. An Homunculus can provide a shel for an adombrement (incarnation of a spiritual soul) of high level. An Homunculus is a production by animal archemy. Of course, other kind of living creatures can born in the hands of the Alchemists, in the different kingdoms. In this case, High entities are linked to this production and have a support for manifesting and communicating with the Alchemist, if he can communicate with, he can learn a lot from. I think particularly of the growing metallic trees, provinding gold and silver apples, after having bloom... like a living plant. Of course, in order to create such a thing, you have to understand the process of creation and of life in these kingdoms, not only from a "biological side" but from an hermetical side of course.

G.Aurach : The Donum Dei.

Of course, we can consider that the Philosopher Stone is a kind of Homunculus, of a female nature, when in the White Stone, and male, in the Red. And the process of creation of the Homunculus is in fact the Great Work process, described in another way.

Note that the Homunculus is not a magical creature, no ritual or life insufflation by a theurgical or thaumaturgical way. It is different from a Golem. A Golem is a very high level of Theurgical Creation in the Kaballistic Tradition. The priest able to made it was most part of the time considered as a Holy man. The ritual can only be performed by a very advanced Magus, because of the complexity of the operation and also the forces involved.

Creation of the Golem.

The Golem is made out of wood, clay, etc, and act more on an astral manner like a spiritus familiaris, or an elemental. Note that the Yidam creation practice in Buddhist tradition is also very interesting.

These five kind of creatures made by an Hermetical Artist, are all different. Homunculus, Golem, Spiritus Familiaris, Yidam and Elemental have not the same purpose or function. Note that the last three can have a body, but it is optional. But they need a place to rest, the Yidam, a Deity, has its Yantra, a sand work, designed as a mandala, in order to give a palace for the Deity, in order for it to come into manifestation, in fact, this is nothing else than a kind of "triangle of evocation" like the one used in magik. The purpose of the Yidam is the Enlightement of the Monk, understanding that all the creation is purely a "mental" thing, imaginary creation. Nothing is real since the moment you can bring something into your world out of nowhere and nothing !

The Spiritus Familiaris and Elemental are made of different manner, ritualistic, non ritualistic, and energies (planetary, elemental, several elements, or all elements together etc), but the purpose is quite the same. They serve to different goals in order to make the Magus' life easier and to accomplish certain important tasks for him.

Mesmer and Bardon

Franz Bardon alias "Frabato".

Both were named "Franz", the first one is Franz Bardon, and the second one is Franz Anton Mesmer.

Lately, I was reading a book in which Mesmer portrait was shown, and ... what a curious feeling, it was like if I was looking at Franz Bardon. Weird. So maybe it worth nothing at all, maybe it is interesting ... just a feeling I share.

Franz Bardon was Cheif of a Rosicrucian order and great Magus. Author of three books upon Hermetical Art (Initiation into Hermetics, Magical Evocation, Key to the True Qabalah), treating of various subjects in Hermtical Art. These books should be read and practiced. They are really, really good.

Mesmer is more known for his Animal Magnetism and also his theories about the influx of the planets upon bodies. Both were quite in the same energy. Maybe this is why they both have the same physiology ... morphopsychology maybe. Mesmer's works should also be read, they are very interesting !

Black Opus

The Black Opus ... Niger nigrius nigro : the black blacker than black is the so called "First Work" in the Alchemical process. This is the first necessary step or colour that should be provoqued by the action of the Secret Fire upon and in the matter enclosed in the vessel.

Here is an example of Black Opus in Dry Way.

We have a kind of deep Black Obsidian Glass.

This phase is symbolised by the Crow, it can also be seen as a Dragon or a Devilish Creature.

You can see that the fans of a crow have a kind of black petroleum peacock colour somewhere, like also the black tail of some kind of roosters. This is the last breath of the Sulphury part in the Matter before the total death.

The Coffin is the symbol used for the egg or vessel during this part of the work. Of course, it can be used both for  the Sage's vase (the glass vessel) or the Nature's Vase (the Matter itself).

Atalanta Fugiens, Michael Maïer. (I colored it).

The Death process is often shown as a dismemberment of the body. The breaking up of the unity lead to chaos and duality, darkness and night of the soul.

Atalanta Fugiens, Michael Maïer.

Splendos Solis, Salomon Trismosin.

Here the Sword is of course the Secret Fire. In the Shamanic tradition, a part of the initiation in the Nagual, is to be dismembered, or even, eaten to the bones. This is a kind of schyzophrenic experience. breaking up the limits of the body in a painful manner.

Catacombes under Paris.

Night of the Soul, beause the Sulphur is the Soul of the matter and the matter swallow it entirely, and then, the sun cannot shine any more.

Splendos Solis, Salomon Trismosin.

The Eclipse or the Black Sun is the astronomical way to explain this death passage.

Note that a Sun eclipse is the Moon passing in front of the Sun.

This is in link with the said "Caput and Cauda Draconis". The axis of Darkness.

Here is the Eclipse again, with the Crow (not far from Crown), the skeleton.

The putrefaction, death, rotting process, is the first secret, or Key of the Art to discover or uncover.

When something is rotten by the Art, Nature's Cycle begin. In a Great Sorrow is the seed of the Great Joy.

Saturn's sickle in the skeleton's hands in well known under this popular form :

Tarot of Marrseille's Arcana XIII is not the "Death", it is the Arcana with no name.

“The LORD had prepared a great fish to swallow up Jonah. And Jonah was in the belly of the fish three days and three nights.” (Jonah 1:17, King James Version).

King James translation of Matthew 12:40. This verse says “He (Jesus Christ) will be three days and three nights in the heart of the earth, just as Jonah was “three days and three nights in the whale’s belly.” (Matthew 12:40.)

The myth is the same, because the Laws of Nature are the same. The seed, to be multiplied, need to die in earth during winter.

Jesus not yet Christ.

When you work in the lab, one of the aspect is the death of the matter, and the other is the link between the matter and you, your aura, your psyche. This is a very important law : the interdependence law. What you generate in other, you feel it too, in backward ! Not only in the lab, but also everywhere/time in your daily existence ! This is very important to understand that.

When you face the Dragon, someone I know say "making it going out of the woods", and you terrace it, (mean put it into terra, or earth = burrying it for putrefaction), you die with it. It is fully an energetical and psychological process that takes place in the Alchemist.

De Lapide Philosophorum, Lambsprinck. Secunda figura, "putrecaftion".

You face the Dragon and its deadly breath.

This process can be lived and experienced in several manners, by dreams for examples, or visions. But in everyday life it can be like a nervous breakdown, a melancholia in the clinic sens of the word.

This is really going deep in the "Tartar" or Hell (why do you think the tartar salt or wine salt, is called like that ? Something to dig here maybe, and the barrels' end are like the symbol of "salt" principle = all this surely because the secret fire is the generator of the process in the matter), encountering the lowest part of yourself, in the Kingdom of Hades and Hecate, your shadow, like Peter Pan, running after it and wanting to reintegrate it back to himself. Everything crush and you have no more energies to go on.

Some soap to fix it ? 

Like a fever outbreak, the inner Black Stage can go up and down, but it is still there, often during several years. Sometime, suicide is the end of this stage for some Alchemists. Most part of the time, we experience the zomby state, being a dead man, a dead soul in a "living" or almost, body. Almost because when you have an outbreak you cannot even walk, all your forces are elsewhere, you don't know where and you don't even care.

Some matters are harder to bear. They fit us too much. We are too much linked with them, they really, actually are our Dragon. What they feel, even a little, we feel it too...Very much. Be careful with Nigredo, do not lead to death any kind of matter just for fun, you'll have to bear that after. What you begin, you have to finish. Like if you take normal people and you crushed down all their life for fun, without resurrecting them to something higher. You manipulate lives, life, forms of life, and as a bringer of Secret Fire, you are responsible for your actions and its applications.

 If you kill it, you resurrect it.

Just do what the Secret Fire teaches you.

Finally, we understand that more the death is profound, more your resurection can be dramatic. That's just an equilibrium.

You not have to be dead physically in Achemy, but dead internally, until all your cultural aspect dies, and all your natural aspect live (you see, you read this page with symbols on it, theses symbols are culturaly generated, a pure invention, like your name. This is very important. Alchemy is too much often transmited under a deep blanket of culture, cultural aspect, historical things, myths, stories, weird names and symbols ... all this crush when you have enough of it. Why should you care about culture when you seek to understand nature ? Don't you have enough of the process evolving in the egg to show you everything you want to know ? The fantastic aspect, romantic, or "mysterius" atmosphere dissolve. No more name is applied to things, you don't even care about names, you just see the things.

This is a way of the integration of the Black Opus in your self, do not fear death and its profound signification and gifts. More you resist giving the putrefiable things, more you suffer. What you resist persist !

I've also though about the enjoyment of the Black Stage. It is a little crazy to think like that, but at a moment you do not really care about the Blackness. You already know pain, you already know what is suffering. You already know what is Black, and what it means. Also where it lead you to.

In Holotropic breathing, death is linked to the birth process. You were in heaven in the mother's womb, and you are expulsed, violently, and suddenly. Like Adam and Eve. And this passage is tremendously painful for the baby. And when you are out, it is the resurrection, but ... you are separated from the heavenly state of before (you didn't even know maybe that you were so well, but appears so by the contrast of the birth process). The child, will repress this traumatism and build himself around a wounded psychism, a post traumic desorder not healed. Black Opus is reliving this in a sens.

Animus, Spiritus et Corpus.

A crow on the navel/belly, the whole in a closed circle/womb/vessel/egg.

The planets are the different stages of the processus of evolution, and Saturn is shown Black.

In Kriya Yoga we are told about granthis, one of them is in the Sri Lahiri's system, the belly granthi located in the navel/ wound, directly linked with the trauma of birth. This is not only a trauma for the child, physical child, but also for the soul of the child, diving deep into darkness and density of the physical plan, under a vast pressure of matter. Do you know that human baby is the only animal that have a navel ? A wound, maybe physically healed, but not really psychically.

The Secret Fire's action in the Athanor, and the expulsion of all the insanity of man.

So, before birth, or springtime, you die. And when you are old, and you think your time is over, you non healed trauma of birth reactivate (like everytime you feel bad, or are afraid of something). And you are afraid of death, because you unconsciously "think" that it is the same painful process than the so called "birth" (of the baby) !

With this integration of the Black Stage, you begin to see the print of fear of death everywhere in your life, and in the world. In the slightest thing. Could you imagine a world where nobody would be afraid of death ?

The inner Nigredo can be triggered by some pathworkings. I will not give here a lot of details, I think that, when you are ready, you know where to go in order to find this place.

Meteorologia cosmica, Robert Fludd.

The Black Sun, Eclipse.

MEMENTO MORI.

Keep silent

This is a little reflexion about people's understanding of Hermetical Art and Alchemy. And the lack of comprehension we sometime have to face. This is why :

Keep this advice in mind from the Mutus Liber, meditate and Pray the Superior Force, and know to

STAY SILENT.

Today, you are taken for a silly man if you speak outloud about Alchemy... the most part of the time you receive little smiles, and most part of the time people don't even understand what you are talking about - at all - "You do what ? isn't it illegal ? you made chemistry studies ?".

They try to understand it by making link with what they know, physic, chemistry etc, but how could they ? You understand Alchemy by doing it, not even by studying the subject in books. Alchemy is an experience of Life and a Life experience.

The spiritual subject is not very well known, and the Hermetical subject, even less, and if you mix these two together, how can you expect from non initiated persons a little of understanding of what you do, or seek ?

You could even talk with a non lab Alchemist, he would not understand the core of it. He never felt the action of the Secret Fire in a matter, he never encountered the living Archetype you triggered in the vessel.

Then, why trying to communicate if you feel that the most part of the message will be lost ?

Frankly, speaking about alchemy today is taking risks for your social relationship and success. You can be taken for a psychotic : "I gazed into the Black Opus Vessel and I saw in my mind's eye..." you can be sure that people will laught. And when you think objectively "every body is laughing at me and it makes me feel a little sad" don't dare saying that outloud, otherwise you could be taken for paranoid and depressive !

You take your conclusions very quick in this case.

Finally, if you do not share with other friends/alchemists (operative of course, otherwise they are NOT alchemists), you can be frustrated and feel a kind of lonelyness.

When you try to open the mind of your relatives, or they deny - in most case, it is implicit, they answer nothing, or they listen (just listen it is not heard) and it is ... unfruitful. When you talk to your mother about regeneration you can have answer like "ha, if it could remove my wrinkles"...

Nobody is prophet in its own country wright ? Well, the man who said that is a genious, but certainly a disappointed genious :)

Even when you told them the potencies of certain tinctures - and it is big deal, and even when they believe in you and what you say, they still ask no basic questions like "How do you do that ? What is it ? How does it works ? Why ? How many time ? I could do that myself ? Is it hard to do ? Could you explain me ? "

And even when someone say "I will try that (if you guide me)", and you say okay, ... six month after, still nothing happend. If you ask for a reason : "Oh I had no time/money for that", or "when would you like me to do that ?" so you see, the complexity of the alchemical subject is a question a inner fire. When you are ready, you go, that's all.

You could show them hundred of photos of the Magnum Opus, at the end you are asked "and you make what with that ?"... not ready. Open, but not yet ready.

Even when someone hear about and beleive, he can still not be ready, the mind do to comprehend. The mind do not really grasp, the fire is not there, no "ding" in the mind, no "aha" !

Sometime it can be sad. Because being ready can never occur.

There is also the fact that sometime, you have to face negative responses to the work you do -even if you didn't ask for. That's why it is best to not show any curent work, until it is finished, otherwise you can be disapointed if you care too much about other's though. Thing that should not occur.

Read and work ... but pray too.

I often present old resources, books, etc, and of course books are important in the Oratory part of the Alchemical/Hermetical studies, BUT, Lab work is of a such importance, that it can almost perfectly (when the intuitional & understanding part of the Alchemist is awaken) do the "thing" by itself.

It is paradoxal, but, when you have found some truth in your alambic or vessel, then, in fact, you can read Alchemical books, and understand them.

If you read 'green dragon' 'silver knight' 'red lion', 'kiss of the pricess' and such and such, how can you identify who is who ? Maybe you know who do what ... and what else ? You cannot really go further than that.

Reading, working, it's okay. You maybe missed the prayer part in the message above.

I said : "when the intuitional & understanding part of the Alchemist is awaken", this can be done by meditation, or prayer. This is a very very important part.

We can see the thing a little like this image above.

I wish you all, good meditation, good reading, and good lab work ! May you take enjoyment, and find truth !

May you  see that you ARE One with Nature, that's the Point of all this !

Secrets Symbols of R+C

Here you can find an old book, (in german sorry) but with nice symbols !
Enjoy !

A R+C group : Sodalitas Rosae Crucis et Solis Alati

I have found that the resources of this group are interesting :
http://www.rosae-crucis.net/resources.htm

Some docs are in old german but also in english.

Enjoy !