December 13, 2016

Lecture : Les Miroirs Magiques - Entraînement et Rituel

J'ai reçu gracieusement (merci Alliance Magique !) il y a peu le petit livre de 55  pages portant pour titre "Les Miroirs Magiques : Entraînement et Rituel" par  Ernest BOSC.

Ce dernier a été récemment réédité chez Alliance Magique aux Editions de la Clef d'Or.


C'est un plaisir d'avoir ce livre dans les mains pour moi qui suit versé dans les miroirs magiques depuis tant d'années. On y voit clairement que l'auteur expose et relie l'éthique personnelle et la clairvoyance comme allant de soi et étant une nécessité, - ce qui ne fait pas de mal -, et malgré l'époque de l'écriture, le livre n'est en rien daté ni suranné. Cette science des miroirs magiques, restant sans une ride aucune. 

Ce cher Ernest (pour les intimes), nous présente avec clarté un grand nombre de miroirs magiques plus divers les uns que les autres, et nous donne de l'inspiration quant à se les fabriquer tous et à les tester. De miroirs plutôt simples aux miroirs complexes (comme le narcotique), il nous donne un petit aspect historique, pratique, et de pratique ésotérique à chaque fois. Il y a de quoi faire !

Non content de nous présenter le phénomène de voyance, il nous donne aussi des prières afin de garantir une voyance efficace et saine. C'est orienté Chrétien, mais chacun y puisera de l'inspiration pour une trame de prière personnelle. 

Un petit livre certes, mais finalement assez dense vis à vis des informations qu'il contient, et fera un premier apport intéressant à la pratique des miroirs magiques.


Résumé :

S’il est bien une méthode de voyance et de divination célèbre, c’est celle de l’usage des miroirs magiques, qu’ils soient faits de métal, d’eau ou d’obsidienne. Pourtant, malgré l’engouement pour l’usage de cet outil, il n’existe qu’une infime quantité d’écrits permettant tant d’en expliquer la fabrication que l’usage. Cette réédition d’un ouvrage du début du 20ème siècle contribue aujourd’hui à combler un peu cette lacune...

12,00 €

October 17, 2016

From M.P.Hall collection of texts.

Is represented here the generaly idea of the Magnum Opus.

Description :

Chaos behind them.

Sun and Moon on the top, holding respectively :

Sun :

Black Stage with a crow.
Red Stage - Rubedo as a King.

Moon :

Green Stage - viridis, as a peackoc.
White Stage as Albedo represented as a swan.

Both are upon a sphere/microcosmus egg, vase of the Art, containing an Ouroboros with three head.

Assuming that these heads are for multiplicative capacity or for "Salt, Sulfur & Mercury" is not indicated clearly.

October 16, 2016

Luxinsale

"Derrière les portes fermées"...
Une boîte de Polaroid et un ouvrage sur l'Iconographie Alchimique. 

Parce que la lumière et la Lumière, jouent un rôle étonnant dans l'Oeuvre Alchimique. 

Cette curieuse réaction, cette impression, cette gravure d'image sur un support lunaire et "salin" est proprement merveilleux. 

Il est alors normal de lier Art et art, Heliographie, Selenographie et "Photographie". Les pratiques Alchimiques et les pratiques photographiques sont tellement proches sous certains aspects !

Cette Pierre Blanche, pure et vierge va alors être fécondée des rayons soufrés de notre Soleil. Mais est ce que ce Feu est alors un révélateur ou va t'il réellement s'y imprimer ? 
Révélateur par l'intérieur ou par un effet de coction et de rencontres dans le vase de l'art et de la Nature... ?

Il est emprunt de multiples fonctions qui feront méditer celui qui rencontre sur son chemin Alchimique, dans sa pratique, ce mystère.


September 12, 2016

L'Ancre des Philosophes

Pour tous les Argonautes, les Nautoniers d'Hermes, les "Souchu de Rennefort", en bref, les marins de la Mer Philosophique, le symbolisme nautique a très souvent été utilisé (voire même par Jules Verne ! Car il est dit qu'il y a un symbolisme Alchimique et hermétique caché dans ses ouvrages). 


L'ancre est un symbole très important, elle aussi largement usitée dans les représentations graphiques ayant pour but de nous figurer par l'image et non par mille mots le sens précis de cette opération pratique. Car ici, bien au delà de la représentation philosophique,  nous sommes ici au niveau "archétypal du processus", c'est à dire, hors chimie proprement dite, mais dans le protocole même de la mise en oeuvre. Deux protagonistes, un ancre, un poisson. 

Cette ancre, symbole de l’alourdissement, de la fixation du vaisseau (ou plutôt, de ce qu'il y a dedans...), a la capacité de stopper dans sa course ce qui est si fuyant, si volatil et instable. Cette ancre égale au riche symbolisme des pommes d'or du Jardin des Hespérides. Si riche de sens et si importantes que Michael Maïer en fera un ouvrage entier : l'Atalante Fugitive. 

Elle est ici accompagnée de sa Rémora, ou de son Dauphin selon la lecture que l'on en fait (dans tous les cas "un poisson" => Fulcanelli en décrit très bien le symbolisme Alchimique) et ceci nous indique bien qu'il faut un hameçon pour le pécher, un appât pour l'attirer, une ancre pour le fixer. 
En un mot, l'aimanter ... et le capturer. 

Alors donc, péchons, bouillons, puis rôtissons ! (Cf. Cyrano de Bergerac). C'est cette opération fondamentale qui ici peut se lire par diverses manières selon la méthode pratique employée, elle fait en effet parfois référence, dans la Voie Sèche, au début de l'oeuvre proprement dit, et à la capture de la précieuse Rémora, ou embryon de la Pierre, qui a curieusement la forme d'une vesica pisci, vessie de poisson, qui rempli en effet son rôle de se "gonfler" à la remontée. Chose curieuse s'il en est puisque cette opération nous montre à quel point les métaux sont réellement vivant et comme ils peuvent interagir entre eux dans les conditions idoines. Cet oeuvre par la Voie sèche ne concerne curieusement que des Mercures. Des Mercures générant ensuite LE Mercure, si précieux, cette rosée qui sourdra de la terre par une patience, et un réglage parfait de son feu. En dire plus serait mal avisé et la pratique seule permettra alors de comprendre la nature de cette ancre, et de ce Dauphin. Mais nous pouvons de manière générale voir aussi ce symbole comme la nature même du dit "dernier oeuvre, ou tierce opus". Car là, la matière se coagulant va alors fixer son Mercure en son sein.

Nous rapprocherons par analogie, le symbolisme du caducée, qui lui volatilise plutôt que de fixer, car ce dernier est une ancre du Ciel. Le, ou les serpents faisant alors office de "rémore/s". Qui comprend l'ancre comprend le caducée et inversement.

Il y a réellement beaucoup à en dire, et le sujet pourrait encore aller bien plus loin dans les concepts des Principes Hermétiques de la matière même, mais laissons cela pour une autre fois.

August 05, 2016

De Louis Cattiaux

« L’Alchimie n’est permise qu’à ceux qui sont vraiment assez détachés pour recevoir la puissance, la richesse et la vie dévoilée sans jamais avoir la tentation de s’en servir contre quiconque ou pour écraser les autres ou pour se glorifier personnellement.

Malheureusement, beaucoup de ceux qui l’abordent le font dans un esprit de lucre qui les égare irrémédiablement, et toute leur malice se tourne contre eux, les ruine de toutes façons et les fait piétiner devant le mur de la raison raisonnante pendant toute leur vie, malgré leur foi 
remarquable en la réalité de la science divine.

C’est pourquoi il faut prier et attirer les maîtres qui ont possédé cette science sainte à fond, afin d’être inspiré par eux dans sa recherche… » 

Louis Cattiaux

May 14, 2016

Translations : Hepar Sulfuris, study of crystallizations...

Hepar Sulfuris

Here is presented the successsion of colours while the heating and cooling of Liver of Sulfur/Hepar Sulfuris

Nothing really Alchemical here, because the reaction in itself is chemically well known.

Liver of Sulfur is the fusion of an Alcali Salt & Sulfur S, giving consequently to the sulfur the possibility to be soluble in water and alcool, or in other solvents. 


We create a sort of saponification which can prove to be very useful in other works, properly alchemical that time. As always, those who have ears, listen...

The work on Sulfur S, is a major one in the approach of metallic works (archemical and alchemical ones). 

Haarlem Oil, the famous remedy created by an Amsterdam Alchemist, in also a solubilisation of Sulfur, but  in lin oil and turpentine, and makes it extremely bio available for the human body. Sulfur is extremely difficult to make bio available or soluble, but fortunately, there are few tricks.

Here, we could say that the chemical process can be done also from an Alchemical point of view, not with chemical elements, but alchemical ones. With the principles of the matter.

We could underline here that it is the archetype of the process that can be done at several levels in the matter. 

We also have here, chemically speaking, a fixation of the element Sulfur. Which is volatile by nature, and somewhat still present, because if we heat it enough, it will volatilize again, or burn.


Study of crystallization

Here crystallization of Sulfur S at 99.99%.

Crystallization was probably a marvel to the "non chemicalized" yeyes of the ancient alchemists. Fiding these "gems", soluble in water, was possibly a wonder or a sort of rare curiosity. How ? Why ? And even more, these salts gave something while distilled, or mixed with "acids". From a dry alcaline earth, disinclined to give something valuable, one could, with the use of the right mercury, sprout some beautiful "gems". Wasn't it astonishing ?

We have, with salts, metals, gems, examples of crystallizations, colours and various forms, leading to meditation and curiosity. These shapes, angles, perfection forming by evaporation are wondrous. 

We had the tendency, since the forthcoming of chemistry, to make commonplace to crystallization. We were taught to see only a pile of atoms, pity ! There is here, a great mystery that we should perfectly understand in order to go forward in the understanding of the Magnum Opus. Yes, the Stone is a crystal. So, how do they born, grow, are composed of ? Why do they form ? What is their nature ? Unfortunately, I cannot further expand on this here as much as I'd like, and I let you to your meditations and searchings.

However, alchemically speaking, and this is where it becomes relevant, far beyond atoms, - and in reality ours beloved ancients alchemists had no idea of it, and you can also nowadays, not using this concepts in order to acheive the Magnum Opus, the proof is that, at that time there were far more metallic transmutation than now, but back to the subject -, we can study crystallizations in the frame of Philosophy/'Chemistry' and try to see through the mechanics of our protagonists, so well known now : Sulfurs, Mercuries, Salts, with an S at the end, yes, because, even if all Sulfurs are a Sulfur, and all Mercuries ... you know, you get it; we are here in the scope not speculative, but operative, and we need greatly of distinctions between principles. Because, even if they are linked to the general archetye of the matter (Principle itself : Sulfurs => Sulfur archetype), they are not all behaving the same in every situations depending of their qualities (volatile, fixe, volatilized, fixed). Still with me ? Good.

The vegetable potash salt, K2CO3, the one found in general in the vegetable kingdom, is properly constitutive to the structure and life of the plant itself. 
Extracted from the ashes, this salt bears in itself a complex nature, and, alchemically speaking, almost complete, id est, Sulfur, Mercury and Salt.

I said, alsmost complete, because its nature is to be deliquescent, and thus, put in the open air, will attract water, and form a liquid, but, yet, it will dry and crystallize, and this after a delay of a month or two depending of the climate. In reality, all the deliquescent salts do the same. But why ? Because it drank. If we think like children, we could imagine that this salt was very thirsty. Now, it had enough water. And it will retain only what it needs and this will dry out, naturally not deliquescent anymore. Yes, it was dehydrated ! And if ever we heat again this salt, it will be again deliquescent and form a water very quickly. Fire, made it dehydrated again and removed the humidity. As we know, fire is the opposite of water.

Why then will we find this salt in the vegetable kingdom ? If we look closely the kindgoms we could see that minerals are from earth element, plants from water, insects from air and animals/humans from fire. Thus, "tartar salt", is linked to water/plants. It will be able to find the water it needs there.

I let you know meditate of the animal kingdom salt....


About Liver of Sulfur.

Let seen now a little bit more the characteristics of this matter, with simples expriments. We already let it melt and cool. And we observed a curious change in colours, going from yellow green to beige, to brown, to red brown and going back to the normal colour by the same scale. 

This matter do not lack of synonymes : Barège Salt, Liver of Sulfur, Hepar Sulfuris, Salt Duobus... And this matter is completely deliquescent.

Barège From Germany.

It is sometimes used in metal patinas, in order to burnish or in the blackening statues or jewells, and its action, after having myself tested it on silver, is immediate and drastic (under liquid form), the lunar shinning at the very second that the liquid is applied, completely disappear under a coat of shadow, of a black, brownish colours, sometime, depending of the concentration of the solution, the colour will be of old gold, and even sometimes a bit reddish. 
Shall we scratch a bit the surface that the colours vanishes. Butter of antimony (SbCl) is also used in order to blacken metals, but in a more martial area of applications : in armory, to blacken the steel of guns & rifles. I don't know if it is still used, but it was.

Liver of sulfur bought in store is often quite expensive. It is also of a rough quality, quite not well mixed. 

But, two methods can generate this liver of sulfur : The wet one, and the dry one.

The wet one uses water, NaOH or KOH and flowers of sulfur, and everything is mixed together in due proportions. The best is to use the deliquescented salts. In fact, only strong bases can "wet" the sulfur and make it soluble. We were talking a bit about saponification earlier, and it is the case so to speak.

The second one, the dry, is just a fix alcali and flowers of sulfur, fuzed together at the lowest possible temperature in order to avoid any sublimation of the sulfur. If ever you do this, do it in open air, in a non metallic dish, and wear gloves and complete face  gazmask with the appropriate cartridge, no kidding.

In the first case we get a very nice red solution, thick and tinging the side of the glass in a characteristi yellow colour. The dry method gives a brownish/Yellow green mass, looking like liver. Thus the name "liver of sulfur". 

For the following of the operations, we dissolve a bit of this mass in water, and wait for the complete solution. Add a bit of water if ever it is needed. You can also wait for its complete dissolution by deliquescence. It is just longuer.

A yellow liquid appears : 


Following this, let this liquid evaporate in the open air.

Curiously, I wore the dish with one hand and it let a kind of print in the liquid. Why is the liquid not reacting the same at this place, I don't know and can't really explain it. Furthermore, the water was cold. 

We get a whitish paste, crystalline, and of great finesse.

The paste is not deliquescent and will be gathered with a bit of water, forming a milk.

We can call this matter the "Milk of Sulfur".

If we let the Liver in deliquescence and that we put it under a solvant, like alcohol, then we have a very nice tincture, at first yellow, then red, it is pure sulfur. A little bit of patience, let the tube, without moving it, at normal temperature, and you'll have beautiful needles of pure sulfur forming inside the alcohol. They will fall on the bootm becaus of their own weight. The alcohol reached a point of saturation and the crystallization occured by itself. Too much alcohol for too less sulfur will not give you nice crystals, the sulfur being too much diluted will not crystallize as nicely. Unfortunately I don't have to photography of my needles of sulfur :( They can reach about a cm long.

And, we find again here our crystallization of sulfur ... like in the above article. Same result, not the same methodology. One dry, one wet. 


Crystals of Sulfur under formation.

Diluted Liver under alcohol.
See the richest red above, and depleted liver below. Clearly sulfur prefers alcohol than water + alcali. 

We can use sulfur upon metals, in order to blacken then, as statd above, or even in order to "work" on them and to extract, so to speak, their soul. Is it a ionic solution ? Maybe. 

We will play a bit with it, let's go now !

Take a bit of liquid liver of sulfur, and put it on copper, it will blacken in the moment. And it will give, with time, what we could call a lychen or a crown of venus.

Blackening.

Growth of crystals. Nice :)
Chemicall but very nice to witness.

Okay, so, what now ?

Lets put this ring under a little bit more Barège and and wait again a moment without touching it :

Wondrous.

Sulfur is fixed on the metal, and the alcali salt crystallizes. Becaus it is freed from the bond with sulfur. This action will draw ions of copper, giving the blue colour.

Is it finished ? No. Will still can have fun and have wonders to witness, a transmutation ? No, unfortunately ! But, for our ancestors, a beginning maybe to their eyes. In old books of Goldsmiths we can find such recipes, tinging metals into another colours in order to make profit. That type of frauds was pretty cmmon at that time (around 1700).

One can maybe use tin or aluminum leaves for this process. But it is here just a curiosity.

Take the previous solution and add KOH over it, everything will precipitate under a black pit, but with slow heat, it will be blue again. (I present the experiment as I did myself, maybe there is a shorter version of it).

With KOH and heat.

Silver leaves.

Here, I've poured three drops of this blue "tincture" of venus, on silver leaves (no it is not transmuted depites the appearances because under HCl test everything disolves).

Tadammmm ! We could believe it is pure gold. 

We have a very nice colour, it looks like gold. Some parts though are not yet coloured, because they have not been in contact with the liquid.

I hope you enjoyed it folks, it is better to share the photos that stay aslepep in the computer than forgetting them. 

If ever you would like to make this experiment, don't forget the simples rules of security.