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Copyright e 2006 by Guy Ogilvy

All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission from the

publisher except in the case of brief quotations embodied in critical articles or reviews. For information address Walker & Company,

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ISBN-10: 0-8027-1540-0 ISBN-13: 978-0-8027-1540-1

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First U.S. edition 2006

357910864

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THE

ALCHEMIST'S KITCHEN

EXTRAORDINARY POTIONS

& CURIOUS NOTIONS

Guy Ogilvy

Walker & Company New York

WaDDEN SD01t5

71zis book is dedicated to Sidi Ibrahim Izz ai-Din and

Aclzarya Ma11jred Junius, with sincere thanks for a// that they shared.

For thosr ~eking 10 c:xplorr Alchemy further Alch(rtty. 5.-mur ..( tht' CMtiiOs Slirott' of tlrr Sc111l byl1ru\ Burc.khJrdt and

Thr Praa14al Jlaud/xo('~· o.J PI.Jrtt Alchmry b)· M~ntred M Juruu~ u.- mJ,,pemJble gu1d~

Alcx~nder vo11 Bl'rnu•-' Alrlu•~tm· rmd Htilkmtst,

17rr Ur1•tr Cowist Guide to <llthrmy by Bnan Cotnoir Jlld M1rcea Ehade'> '11rr r:~~~~e aud tlrr Cmublt• .He abo highly recommended, a' an!

Tirt' G.:>ldm <.amr· b\ \cJnJ,Ia, l<lossow\1., De RoiJ (for AlchenucJI emblt'ms) and

Adam 1\.kLean's Aiel• my wc:b<Jce ~~ lrt•tty tt>m ·alrlrl'my (for prl'tty rnuch evc:rychmg.

mdudm~ mo't uf 1he mutt"' 111 thl' book)

l'or cho5e lmpll'ed b) the rraltical append!<~ C.wtm.m ChttiiiSif)' b~ l<t'VIIl M Dunn and I ormu/.11 )"or P.Jmttrs b) Rob..rc M~\'ey dee both excellcnc buol. ~.

Marry th•nk to '>1r Fr•n<IS Mdv•lk, for JC< "" co lm cxlraordm.1ry hbr.1ry, to Dam! 'iuttnn Jml john Marunc.:~u lor thdr cditonal ,,smr.IH(.'c,

md t< VJltona for k..-epmtr the kitchen cookmg.

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tlrry ar.· pnf,;rmr.f czl Y•"" own mk.

CONTENTS

Inaoduction

The Secret Art

Ecce Homo

Fire and Metals

Back to Nature

Sulphur and Mercury

The Chym.ical Wedding

Thrice Great Hermes Potion Makers

Creation

The Elements

Heavenly Metal

Minerals and Pigments

&Above Spagyrics

Angel Water

Archaeus ofWater

PrimumEns

Circulatum Minus

From Minor to Major

Opus Magnum

Lapis Philosophorum Going for Gold

Appendixts: Basic Metallurgy

Ceramics and Glass Artists' Pigments

Artists' Media

Alchemical Chemistry

Useful Recipes

Incense & Perfume Bhasmas and Fermentation

Plant Planet Correspondences Astrological Hours and Alchemical Symbols

1

2 4 6

8

10

12 14

16

18

20 22 24

26

28

30 32 34

36

38 40 42 44

46

47 48 49 so 52 54 55 56 58

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INTRODUCTION

The Royal Art of alchemy remains one of the most enduring and baffling human enterprises. It is called the Royal Art, because it was practiced by, or on behalf of, kings and princes as far back as the legendary "Yellow Emperor" Huang-Di [ca. 27th c. sc] and as late as the 17th century, when the Holy Roman Emperor Rudolf II devoted much of his time to its study.

But what exacdy is alchemy? Even the origin and definition of the word are obscure. In China it represents the quest for immortality, in India it is the art of making medicines, while in the West it is associated with the quest for the Philosopher's Stone, which transmutes base metals into gold. Alchemy is all these things, and more besides.

Alchemists are perfectionists, seeking to perfect everything they work with, including, and most especially, their own souls. Quite how they go about their business - and why - is the subject of this book. Confining ourselves in the main to the Western alchemical tradition, we will look at the philosophy and principles that guide alchemists, the materials they work with and the obscure, but fascinating, language and symbols they use to express their art.

But be prepared - alchemy is not easy to make sense of. It is full of pitfalls and paradoxes. Getting to grips with it requires imagination and concentration.

1

THE SECRET ART in pursuit of gold

To open a typical alchemical work is to be confronted by a bewildering mixture ofbaffiing text and extraordinary, incongruous imagery. Directions for making Tite Stone are couched in arcane terminology and accompanied by pictures of strange hermetic symbols or magical dreamscapes in which royal families act out a bizarre soap opera involving marriage, discord, infanticide, regicide, hermaphrodism and graveyard sex, accompanied by a fantastic bestiary of dragons, green lions, unicorns, phoenixes, and salamanders. The writers of such books often have strange Latinized pseudonyms and lives full of intrigue and mystery.

The 17th century Polish alchemist Michael Sendivogius is a good example. Twice escaping torture and imprisonment from rapacious German princes, he performed transmutations for Rudolf II, whom he served for many years as physician and advisor, and he was also possibly the first person to isolate oxygen.

Where, amid all this confusion, is the poor neophyte to start? If you want to be an alchemist, or at least get stuck into a few alchemical potions, you have first to think like an alchemist. Remarkably, alchemists of all ages and all lands tend to share the same vision. They may have a strange way of saying things, but at least they are saying the same thing. More or less. T hey all believe that we, and almost everything else, are not all that we could be. Except gold. The story of alchemy, at least in the West, is, in a nutshell, the story of gold and our relationship with it. This story begins, fittingly, in a mythic Golden Age at the dawn of our time.

2

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EccE HoMo in the beginning

Consciousness dawns on Primordial Man. He finds himselfbathed in the light of the fiery Sun; standing upon the earth; breathing air. Ecce Homo. His wonderment is encroached upon by an ever increasing need. He thirsts for water. Mercifully it calls and attracts him. Fire, earth, air and water. Man in his element. Night falls on the Golden Age. Engulfed by darkness and a sense ofloss, Primordial Man is confronted by duality: night and day; light and darkness; heat and cold. In the Sun's absence he yearns for its light, its f1re. But until he is able to steal it, fire remains the property of the gods. It falls to earth as thunderbolts and blazing lumps of meteoric iron, while from below it erupts balefully from volcanoes and, sparked by sunlight through crystal, rages destructively through forests.

Meanwhile, at the water's edge, he learns of depth and reflection and finds all that he needs - to slake his thirst, fill his belly and fire his imagination. He is drawn by richly colored clays - red and yellow ochres, the color of blood, fire and sun; white kaolin the color of bones, teeth and moon; black clay the color of night. He sees them, he touches them. They color his fingers, he paints his body. Armed with the colors of the Great H-Ork, the colors of the races of man, he can create likenesses of things. By calling a thing to mind, its spirit manifests itself through his hand and palette. In this way he gains power over his rivals and allies: the spirits he feels around him, his fellow man, and the animals he hunts for hide, flesh, and bone.

4

FIRE AND METALS from golden age to iron age

As well as garish clays, the streambeds also bore lumps of native gold -bright and shiny. the color of the sun. Precious. Intriguingly heavy, hard, but not too hard, it could be worked with stone and fashioned into the finest artefacts, things that never crumbled or decayed.

Gold, however, was not the only metal immediately available. Meteoric iron was also found lying naked on the ground. Dull, hard and unworkable, it nevertheless had a gold-like ring to it, and despite its earthy appearance was believed to have fallen from the sky. This conferred on it an awesome, mysterious, celestial quality. Artefacts fashioned from meteoric iron had magical qualities, but before this metal could be effectively worked mankind had first to become master of fire. Similar substances were encountered hidden, half-formed in their matrix of rock, as the goldstreams were pursued into the earth. Fire wofd yield them up.

Fire transforms things. It transformed our lives. It allowed us to bake the river clays into vessels for cooking, carrying and storing; into bricks for building furnaces that could create sufficient heat to extract metal from rock and mould it into all manner of tools, first hammers and tongs, then blades - ploughshares and weapons.

Once fire had been sufficiendy mastered, the struggle for dominion over the earth was on. Despite being the symbol of perfection and permanence, gold had set us on the path of change, the metal road leading to the industrial machine age, nuclear technology and the Philosopher's Stone.

•

BACK TO NATURE the principles of life

For all his technological prowess man remains at the mercy of the elements, as much a part of the living environment as everything else on Earth. Alchemists accordingly believe that Nature is the principle that unifies all things and governs their individual natures, and they also recognize that everything in Nature is reflected in

ourselves. To the alchemist, the universal life-giving principle within

Nature is spirit, while the unique essence of each thing is its soul. These, together with the third principle, the body, form the tria prima. The easiest way to approach this central theme is to turn to the willing guidance of the plant kingdom, whose three principles are yasily identified.

Plant alcohol, or ethanol, is called spirit because that's what it is - the spirit of a plant; the same whether made from grapes, grain or mandrake roots, thus the universal principle of the vegetable kingdom. The individual essence of a plant - its soul - is found in its essential oil (a rose has many names, but its fragrance is unique). The body, thirdly, is an invisible salt, extracted from the plant's ashes by separating the "subtle from the gross," as we shall see later.

The salt of plants obligingly acts as a bridge between the vegetable and mineral kingdoms, the entry point to mineral alchemy, the operations of which mysteriously reflect the processes within the transforming soul of the alchemist. The key to these processes is the interaction of the tria prima, so let's take a closer look at them and the rich symbolizm with which alchemists clothe them.

8

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9

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SuLPHUR AND MERCURY the reconciliation of opposites

In alchemical terminology soul and spirit go by the names of Sulphur and Mercury. Quite distinct from conunon sulphur and quicksilver, they are instead the first principles of being, originating at the dawn of creation. Together they form a duad, a polarity of complementary, but opposing forces that must be reconciled. Like the yin-yang symbol, they not only reflect each other, but contain the starting point of the other. Hence the myriad paradoxes that make classical alchemical recipes so confusing.

Sulphur, as the soul, is consciousness, the individual spirit. The hot, dry, fiery, masculine principle, it is the active, engendering seed, called Sol and lhe Father of lhe Stone. It is form - eidos

- the idea of a thing, as opposed to matter, the expression of the idea. Its symbols include the Sun, the stag and the Red Lion. In its unpurified state it is the red man, who quarrels with the white woman. When exalted, or perfected, he becomes the Red King.

Mercury, as the spirit, is the life-force, the Universal Soul in all things. It is passive, feminine, cold and watery, the eternal feminine, the Prima Materia- first matter, the matrix, the mother of all things. Unrefined, Mercury is symbolized by the dragon, the serpent, the Green Lion, and the white woman who, when exalted, becomes the White Queen or the White Lion, the unicorn, or the Moon called Luna and Diana, the virgin divinity in Nature.

The third principle, Salt, acts as mediator between Sulphur and Mercury. It is the spark between them, the child of the union, the harmonizing balancing point of their polarity.

10

11

THE CHYMICAL WEDDING the marriage of the sun and moon

Mankind is a paradoxical creature, full of contradictions and warring passions. The spirit wants to rule the world, the soul just wants to be happy. Their conflict is often sytnbolized in alchemy by a man with drawn sword and a woman with an eagle or by two fighting animals, such as eagles, or the dog and bitch, whose fighting leads to frenzied copulation and death, symbolizing the fatal futility of

the love-hate relationship. To escape this brutal cycle, and before harmony can be achieved,

the inessential must be removed - the subtle separated from the gross, for as long as spirit and soul are chained by the material state they cannot be freed. The lesson is simple- if we identify too strongly with our physical selves we are doomed to share the body's death, so this false identity must be sacrificed, destroyed to reveal the true self. Likewise, a seed cannot flourish until the outer husk has rotted and fallen away. The substance that breaks down the material body is Philosophic Mercury, a rarified spiritual solvent, the preparation of which presents the laboratory alchemist with one his greatest challenges.

Released from their limited state, both Principles can be purified and reconciled, whereafter their sacred union can occur. This is the chemical wedding of the Red King and the White Queen. The child of their union is the transcendent androgenous ~hild, spirit ensouled; the immortal spiritualized soul described m the title of an anonymous r8th century alchemical tome as The Hermaphrodite Child of the Sun and the Moon.

12

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THRICE GREAT HERMES tricksy psychopomp

The genius ofWestern alchemy, and mercurial guide to all alchemists, is the legendary Hermes Trismegistus. Although considered one of the ancients and equated by the Arabs with the prophet Idris (Enoch), he combines the divine qualities of the Graeco-Roman

Hermes-Mercury and the Egyptian deity Thoth. Hermes is the divine messenger mediating between heaven and

earth, the trickster god of the crossroads, patron of both merchants and thieves. Thoth, meanwhile, is the patron of the sacred sciences, also a mediator, understood as operating at every level of being. He serves the gods, but also precedes and even creates them, for he is the self-creating arch-magician, the Word in action. He has but to name a thing and it springs into life.

Appearing at the meeting point of history, legend, and myth, Hermes Trismegistus is a tricky character to pin down. He shifts roles and identities from one moment to the next. As the archetypal trickster he is the inner and outer teacher, the balancing point between all polarities, often referred to as Hermes or Mercurius.

Credited to Trismegistus is a body of writings called T7te Hermetica. Written down in early Christian Alexandri~ but clearly of more ancient inspiration, and practically unknown in Europe until the Renaissance, their impact was considerable. Hermes describes man as the great miracle, the microcosm made "in the image of God," with all he needs to achieve his divine destiny. The best-known Hermetic text is the enigmatic guide to the Great Work known as The Emerald Tablet (see opposite page 1) whose meaning is inexhaustible.

14

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15

PoTION MAKERS physician, heal thyself!

One of the main subjects of the Hermetica is medicine, and in a series of texts Hermes instructs Asclepius, the semi-divine healer of Greek mythology. The Staff of Asclepius, a stick with a snake winding up it, is the international symbol for medicine, and Hermes' Caduceus, with two snakes, has also become widely used as a medical symbol. The perfect equilibrium symbolized by the Caduceus is the aim of all holistic medicine. Thus all alchemists, as "Sons and Daughters of Hermes" consider themselves healers, and often refer to the Stone itself as the Universal Medicine. Jabir Ibn Hayyan (721-815], Michael Maier [1568-r622], and Robert Fludd [1574-I67o], were all notable physicians as well as legendary alchemists.

The first thing to be healed by the alchemist is the very thing from which a medicine is made. In making a medicine from rosemary, for example, the alchemist seeks to perfect the plant itself. While a chemist might consider the resulting potion simply a combination of purified compounds from a dead plant, to the alchenust it represents the very idea of rosemary. As such it is more alive than ever before, in perfect resonance with its ideal form.

In order to understand how the alchemist can entertain such an extraordinary notion it is necessary to go back to the dawn of Creation itself and establish the metaphysical principles upon which the alchemical philosophy is based.

16

•

17

CREATION in the beginning

To the alchemist Creation is the Great Work of the One, a universe ensouled and inspired. Contrary to contemporary theories that suggest that matter gives birth to consciousness, the alchemist's view of Creation is metaphysical - spirit precedes matter. Thus the Great Work of the alchemist is to restore fallen matter to spirit.

The Hermetica describes a cotnpellingvision of Creation. Hermes witnesses the painful sacrifice of divine unity, the rending of the Void, as the mysterious advent of the Logos (the Word) precipitates a smoky darkness, which condenses to a "watery substance," the Prima Materia. The Logos is the "Son of God," the creative principle, eidos, which seeds the chaotic waters, which in turn become the matrix of all forms. Thus the One, through reflection, becomes Two, giving rise to a third principle which, like Thoth, mediates and governs this polarity, allowing their fruitful union by acting both as generative spark and midwife.

Thus are established the three Philosophical Principles- Sulphur ~ (Logos/eidos), Mercury~ (Prima Materia/hyle) and Salt 8. If a mercurial, almost paradoxical, factor can already be discerned in this scenario, this is to be expected and accepted. Nothing other than the Absolute makes absolute sense and the alchemist must be both supple and subtle in his or her understanding. These lofty concepts are brought down to earth in the alchenust's kitchen, as shall become clearer later on.

The first ideas to manifest from the interaction of the Three are the Four Elements - the template for all created things.

18

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THE ELEMENTS fire, water, earth, and air

The four Philosophical Elements are symbolized by triangles. Ascending Fire ~ and Air n are upward pointing triangles, while descending Water 'V and Earth s;z point downward. The triangles

of Air n and Earth s;z are crossed, being relatively less ascending and descending respectively. The four Elements as a group are

symbolized by the cross + (page 58 lists all the symbols used in this book). As archetypal forms preceding the manifestation of matter, these Elements are not to be confused with the atomic elements, nor with the conunon substances with which they share their names.

Each element shares its qualities with two others (opposite). This provides the dynamic that allows for cyclic transformation within matter, known as the Rotation of the Elements. ~ is the most volatile of the Elements, s;z the most fixed. ~ and n are the masculine Elements, s;z and "V feminine. Alchemists see all things as mixta, mixtures of the four Elemental qualities. For example, common water and alcohol are both Water, but alcohol ("firewater") has

more elemental~ in it, while water has more is. In traditional cosmology, the first things created from the

Elements are the Heavens, the Zodiac, the fixed stars and then the seven planets, literally "wanderers," each of which has specific

qualities that have particular resonances with all things on Earth.

20

21

HEAVENLY METAL the magnificent seven

To the alchenust, as to the ancients, the seven planets are the celestial forms of seven divine beings. The traditional planetary order is based on the planets' speed against the fixed stars and was eventually recorded by the Chaldaeans [c. 700 BC). A remarkable pattern relates this order to the days of the week (below).

The brightest heavenly bodies are the Sun 0, the Moon), and Venus~. corresponding to gold, silver, and copper, the three native metals found shiny and workable on Earth. Ancient metallurgy unearthed four more pure metals; iron, tin, lead and quicksilver, corresponding to four remaining unpaired planets. Slow moving Saturn ) matched ponderous lead, fiery red Mars (5 ressembled warlike iron, speedy Mercury ~ echoed fluid quicksilver, and tin crackled like the thunderbolts of Jupiter 4.

In seeking to refine and purify their own souls, alchemists also discover the planets, from base) (Saturn/lead) to saintly 0 (Sun/ gold), resonating within themselves. We still use such adjectives as saturnine, mercurial and jovial to describe peronalities that reflect particular planetary qualities. Animals and plants also have planetary qualities -lions are solar, unicorns are lunar, while spiky plants are ruled by Mars, and apples by Venus.

ocn

~II JlUIIlflfry ~ ) (D ) Mltl!s !J JJNie NuJn; <5 fl)

22

I

MINERALS AND PIGMENTS the secret colors of the Art

The ancients found many practical ways of expressing planet-metal

associations, particularly in sacred art. Amongst the earliest known

pigments were the iron oxide ochres employed by palaeolithic cave painters [c. 30o,ooo Be onward]. Early metallurgists, potters,

and glassmakers found more exquisite colors in naturally occuring metallic ores and minerals. More recendy, the ancient Egyptians,

masters of the art of creating magnificent colors, invented the peerless

Egyptian blue (a copper silicate), the earliest known artificial pigment and the ftrst to capture the color of the heavens (see page 4$).

The Crucifixion (opposite) by Raphael [1483-1520] is a striking example of pigments being used in full awareness of alchemical

planet-metal correspondences, even employing the same traditional

planetary arrangement shown on the previous page. The Sun 0 and the Moon) are rendered with gold and silver,

while Venus ~ and Mars 0 provide the copper and iron pigments for

the green robe of the angel below the Sun 0. Saturn) and Jupiter

4, in turn, supply lead-tin yellow for the garment of the angel below the Moon ). In the middle, Christ's blood and loincloth

are painted with the quicksilver-sulphur con1pound vermilion, the

pigment color held by the Chinese to represent eternal life.

24

As ABoVE so below

However pigments and potions are mixed, they will not be truly alchemical unless they are made at the right moments. Timing i~ crucial to n1aximize planetary resonances, and this requires an

understanding of the heavenly movements. The seven wanderers move through the twelve constellations of

the Zodiac that divide the solar year, their constantly changing pos1tions determining a unique balance of qualities for each moment. Internally the planets represent seven specific modes of the soul that the alchemist must develop to progess in the Great Work, while the Zodiac corresponds to twelve processes that the soul must cyclically

endure on the path of return to the Absolute. In the northern hemisphere the astrological and alchemical

year begins with Aries at the spring equinox, when day and night are of equal length. The process through spring to midsummer then marks the ascent of the Sun, which later declines toward its midwinter death and subsequent spring rebirth. Tied to this, the vegetable realm, as the most immediately solar-dependent kingdom, flourishes and recedes with the solar year, while the monthly waxing and waning of the Moon controls its juices, drawing the sap to the upper parts and back down to the roots. The herbal alchemist is therefore compelled to heed the injunctions ofParacelsus that he:

". ·. should know the imzate nature of the Stars, their complexion and property, as well as a physician ut1derstands the nature of a patient, and also the concordance of the ~tars, lrow they stand in relation to ... all things that grow and spritzg.from the matnces or tlze Elements M d' · · · h ·-' · · · 11

1 • • • • e zcme zs wtt out vame if 1t LS not from Heaven.

26

SPAGYRICS putting the djinn in the bottle

And so to potions! Spagyria is a term coined by the great Germanic physician Paracelsus [1493-1541] from the Greek spao- to draw out; and ageiro - to gather. It is equivalent to the alchemical dictum "Solve et coagulaf' (dissolve the fixed and fix the volatile), and has become a general term for the production of alchemical medicines. Making spagyric potions is the ideal way to start getting to grips with alchemical ideas and practice, and most of the key processes can be carried out in the kitchen with some basic equipment. When making a potion from a particular plant, work should begin on the day of the week and during the planetary hour that correspond to its planetary rulership (see pages 56-58).

For a basic spagyric tincture a herb is ground up and macerated Qeft to steep) in warm grape brandy inside a sealed jar for two weeks. The

brandy, which already contains plant Mercury ~ (alcohol) becomes

infused with the herb's Sulphur ~ (essential oils). The tincture is

then filtered and the soluble Salt e painstakingly extracted from the

plant residue (see page 30 for instructions). This separates the inessential

from the essential, the subtle from the gross. Finally the 9 is added

to the ~ and ~ tincture, recombining the three Principles. The only

thing discarded is the insoluble plant residue.

Distillation (opposite) is key to more sophisticated spagyric work. A

plant's $ may be extracted by distilling it in water. The ~ collects on

the surface of the distillate and is easily drawn off. ~ can be extracted

~fermenting the plant (see page 55), but since~ is universal, the same m all plants, any ethanol distilled to at least 96% purity will do.

28

ANGEL WATER collecting the secret fire

~ature is full of secret bounty. Con1mon dew is the distilled ess ence of Heaven and Earth, a condensation of the Universal Spirit; the Secret Fire. The best way to collect it is to use purified plant salts which are highly hygroscopic and absorb dew from the air. Plan:

Salt 8 is understood alchemically as a transitional substance, since it bridges two kingdoms, in this case vegetable and mineral.

1. Bum any plallt matter to ashes, oak bark is best. 2. In a large pot add the ashes to 2o times their volume of rai11water. J. Boil for 20 minutes to extract the water-soluble e. 4· Cool and .filter imo a large pan. 5. Evaporate the liquid, stirring rapidly as the 8 starts to solidifY. 6. Grind the dry 8 and heat it itr a pan. TI!is is called calcination, literally 11making like chalk." i- Calcine for several hours at around 500 • c -}ill/ blast on a gas stove. 8. Dissolve the cooled 8 in filtered rainwater. 9. Repeat sta_ees 4 to 7 at least twice until the 8 is really wlrite. 10.

Repeat stages 1 to 9 rmtil you have at least two mps of8. 11. In the late evettittg, ideally on a fine spn'tlg t1ight dllrillg the waxing ), spread thee out thinly itt .fiat glass or porcelain dishes. 1 z. Pliue the dis/res in at1 opetz spot outside, raised ul£'11 off the ground. 13. At stmrise coiled tire dis/res a11d pour their contents into a distillatiotrjlask, avoiditzg all contact u~th skin or metal. Tire e should have liquified, at least partially. 14. Gently distill qff this 11Atzgel JMJter" until the 8 are dry. 15. Pour into a dark glass jar atzd seal tightly. 16. Save the 8 likewise, ~~~rich cat1 be 11sed cormtless times for this purpose, becomirzg increasitzgly charged with Secret Fire.

The 8 made in this way is the Sal Salis (Salt of the Salt), the Salt proper, but there is another 8 called the Sal Sulphuris (Salt of the Sulphur), which is extracted from the plant soup remaining after

~ or ~ have been distilled. This is boiled down to a tar, burned, ground, reduced to ashes and then extracted like the Sal Salis.

Angel Water can be used as a tonic (a few drops in water for a bright eye and a shiny coat), saved for use in other potions, or it rnaY be further developed by making the elegant Archaeus l!(Water.

30

If ructnLs Jr~ 'E4rt6 to Ht4vtn 4ni lescenls "J4in to E4rt6J CqmfininJ t6t fDWtr qf 46ovt 4ni 6efDW.

31

ARCHAEUS OF WATER fractional distillation

To master the art of distillation takes considerable care and expenence. Alchemists such as Hieronymus Brunschwygk f145o-I5I3] and john French (I6I6-1657] devoted great tomes to the subject. Distillation is a rotation of Elements - a fluid is heated to evaporation point, becoming a gas that recondenses back to fluid upon contact with a cool surface. To assemble a distillation train, procure a borosilicate glass distillation flask, a simple condenser and a glass receiving vessel (see page 29). For a rapid distillation, direct heat can be applied to the distillation flask; for more gende distillations place the flask in a water bath, heating from below; for hotter distillations at a constant

temperature use an ash or sand bath. The alchemist knows many types ofWater - elemental Water,

Chaotic Water (hyle), and various other substances, mysteriously described as "Our Water." Even common water is not JUSt one thing, it is a fluid of subtle variety, the only liquid that expands upon

freezing, with vital magnetic and mediating properties. Angel Water can be used to prepare a potion known as the Archaeus

of lMlter, the method for which uses fractional distillation to separate water into twelve Philosophical parts (shown opposite). A few drops will enliven any other water used for purposes such as fermentation. Each of the twelve waters, prior to their recombination, is suited to

different purposes - for example through repeated distillations one

water can be made sharp enough to act on metals. Distilling volatile fluids can be explosively dangerous. Many an

alchemist's kitchen has been reduced to ashes. Protect yourselfl

32

PRIMUM ENS salt volatilization

Having mastered the art of distillation, and the extraction of salts I

the potion-maker may be ready to attempt a superlative spagyric potion, much revered by Paracelsus, and called by him the Primum Ens (First Being). The profound integration of~,~, and 9 acheived by this process raises a plant to the same resonance as its spiritual blueprint, maximizing its healing potential.

Mattria: 1. Pure plant Merrury ~ (etJumol), made by carefully distilling brandy seven or eight times (Spirit ojWint), or alternatively bought commercially (Ideally made from grapes). 2 . Plant Sulphur~ (essential oii,Jor txample rosemary) - we can txtraa this ourselves (see page 28) or it can also be bought from a good sourrt. J. Salt e from tht same plant (see page 30). Method: 1. Decant 150 ml of~ into a 50oml retort with a vent at the top. 2. Little by little, via the vent, add Jog of pure dry e from the same plant as the~. J. Gradll4lly heat the retort in a sand bath to a very gentle simmer, so that it distills over gently into a fouk. You should notict after a while a delicate 11snoufall" of tiny particles over the simmering oil. TIIis gradUQ/Jy incrwts, rising to the thi'OQt of tht retort and frosting the glass. This is a spagyric wondtr, the Volatilization of Salt. 4· When the residut tums to a honey-like consistency halt the distillation. 5. Rttum tht ~ to the retort and distill again. This time the ~ will wash thee down into the receiving flask. 6. Distill again and thee will again frost the throat of the retort. J. Clean the retort with turpentine and allow to dry. 8. Distill again, adding 150

ml pure plant~- All the 9 will come over, combintd with the~ and~-

This recipe, like many others in alchemy, can defeat even the experienced chymist (hermetic chemist), unless he or she attends closely to every single part of the process - traditionally, secret recipes were deliberately confused to foil the unworthy. A teacher can help, but these days adepts are thin on the ground. However, if you do find yourself becoming frustrated, remember the alchemical adage "when the student is ready, the master will appear."

34

35

CIRCULATUM MINUS the lesser work

The Circulatum J\1.itzus represents the culmination of plant alchemy and is a very tricky potion indeed, mastered by only a handful of people since the method was first published in London by Baron Urbigerus in 1690 (a summary of the method is given on the right). Its name means Lesser Circulation, the Greater Circulation being the Philosopher's Stone itself (circulation is simply a gentle distillation in a closed vessel, achieved when the temperature inside the vessel is just enough for a continuous evaporation and recondensation).

The Lesser Circulation actually involves digestion and distillation rather than a circulation, suggesting instead a mysterious exaltation of the materia similar to the Stone. Great patience is required, and purity is of the essence; the matter must remain uncontaminated.

If successful the Circulatum should have a peculiar penetrating odor and a sharp corrosive taste. The test is as follows: Cut up fresh green leaves from an aromatic herb like mint and immerse them in the matter. The liquid will cloud as tiny drops of oil form and rise to the surface. Eventually the exhausted dregs fall to the bottom. The oil contains the combined Principles of the plant. This oil can be separated and the remaining Circulatum redistilled from the vessel and stored for future use.

Whoever masters this process can truly be called an alchemist.

36

Mri: C1& f'4tl Prin&ifo rf" font- e, ~ ""'~ ( .MiiucJ (kmon 64m) tw'*s wJ[ 6ut 6«s ry attU ~; CllniiiCI or (g<

,n-.. Mt~J: 1. a~ imbibe ~ e wit{, rF ~ rf ~ ""'6akn una it is fco1mt/ just to & JOint rf wdJitit

2. JJ/ • Gttft ~ mm ~.for Cu&.. 3- »fst lit~ 40 ·c in "foss jm; cqvmJ » it rAII.sti£[ ~ 4- ~r 9 or 10 timt:s" "'wili , ~~ ~ mm ~.-~to m4iMiin ~ J4llll ~· rU¥ e J,JJft .ru; S4tJmiJ #r /;wt four wetis ""'r.w lwrtvti to "M k ~ s- All six to+ (ilfl(f ~x vcCumt rf rm ~· 6. Sl4! ""'~lit 40 ·,.for g ku &II ~ Jfim, .Jl\lt7li timt:s ~ ?· wfxn II cbtnt rf U blu 6ttn o&rJ 'IIU{ ~ 8 ~ Uti II~ "Jt#IRIICt, ~ ~in 11 _,. W, ~ emf tf,.rt ~ ~ ~ CX>Ifl(f IM'Ij ntJt & ~. 8. cc6o&!tz (i.e. retrlrn itt~ fD itt jJJ mul

mG.s6[[ At 6ejm .for" tDm! rf .srvm timt:s. 9- Distill une ~time mul you ,. &not itt Lciltr wqr{, rf ~·

37

FROM MINOR TO MAJOR transformation to transmutation

Having reached the pinnacle of the plant work, the alchemist is ready to proceed further. While the Circulatum Minus effects an apparently miraculous transformation, the Greater Circulation is said to go one step beyond, actually transmutit1g elemental metals into gold.

The accounts of respected, and previously sceptical, authorities, such as scientist Van Helmont [I58o-I644] and 17th century physician Helvetius, describe their incredulity as they witnessed and then personally performed transmutations of base metal into gold using a powder of projection, produced by mysterious strangers who sought them out and then vanished. In the case of the legendary French alchemist Nicolas Ramel [133D-I418],it was the chance purchase of a strange and ancient book that ultimately lead to his discovery of the Stone, and the attainment of fabulous wealth and immortality.

But how can such things be possible? The enigmatic adept Fulcanelli may shed some light on the process, as quoted by Jacques Bergier, a French nuclear physicist who met him in 1937:

"There is a way of manipulatitrg matter atrd etrergy so as to create what modern scitnee calls a force-field. This force-field acts upon the observer and puts him in a privileged position in relation to the universe. From this privileged position, lie has aatss to realities which are normally concealed from us by time and space, matter and energy. This is what we call the Great J.t&rk."

Common language cannot adequately descibe such things. To approach an understanding we must identifY entirely with the alchemical perspective, while in order to move from the speculative to the operative we must also identify entirely with the materia itsel£ In alchemy the empathic participation of the alchemist is key.

38

p

39

Orus MAGNUM paradise regained

The goal of the Great Work is nothing less than t11Uon with the Absolute. Before this process can even begin, however, the lower reconciliation of spirit and soul must take place, requiring the total capitulation of the lower self. The Work begins when the traveler has reached the end of his tether, and realizes that there can be no further progress away from the Source. The alchemist is on his own.

Freed from association with a false identity, spirit and soul can

embrace. The purified Sulphur and Mercury must now marry and give issue to the hermaphroditic child, a process known as the "Work of the Sun." Hennetically sealed in a glass egg from now on, the crucial matter, freed from all inessentials, is incubated in seclusion (symbolized by the first flAsk in the emblem series opposite).

The union of soul and spirit results in the conception of a new being embodying both principles, which is then subsumed by the appearance of the Crow's Head, signalling the Nigredo, the awful black phase when all seems lost. Hopefully the matter begins to lighten, but then a separation takes place and all appears to volatilize, rising and falling like goose down. From these ashes springs new life; the three flowers in the bottom left flask symbolizing the purified Tria Prima - the Body too has been resurrected.

It all sounds so easy, but the majority of alchemists never succeed in even reaching this point, having started with the wrong material.

40

uaio~S of t6t runfo! Pri:ncipCts.

Tbt CrDW~ 6e4l p6i~JDfbk f""n]P.Cti4n.

Tbe fixe/ is vo(4/i(k:el

.ftm4Ct llfsons m4Ct.

Tbe crow~ 6eal wblttntl fy t6e v~in~ mie£.

Tbe w6itt E(ixi1)

first ltJrtl if te!ftction.

41

CowR.c<UtsrrNus

(ftm4Ct 4nl m4Ct unjfy. A 6eaven£y 6Cfll 4f!t4rs.

T6c crow~ 6cal souC

S'f4T4tinJ]rom 6o'IJ.

Tbe Rt/ E(ixifj

te!ftct flxi!Y·

T6e 6k£ t4rt6 4!/t4rs wit6in t6e 6CUl.

T6e 'row~ bt~ tomtCttt S'f4TtWn.

Proj"tion "UJ"''"ts tbe f""'" of tbt :,tone.

LAPIS PHILOSOPHORUM the Philosopher's Stone

Key to the elaboration of the Stone is the Prima Materia wh 'd . . th f , ose 1 entity IS e greatest secret o alchemy. This primordial matter is in all created things, but there is only one substance from wluch it can be drawn out and purified. What is this One Thing or primum agens? In the anoem texts the adepts answer only in riddles. "It is a stone that lS not a stone," " ... it 1s thrown into the street by servant maids , children play with it, yet no one prizes it..." As common as dirt, it is everywhere to be found and is everywhere "esteemed the vilest and meanest of earthly things." If this thing is identified the Prima Materia can be released from its fetters, the subtle separated from the gross, whereupon the Philosophic Mercury comes forth - and the rest of the process is "women's work and child's play."

The Work begins with the uruon of the liberated Principles (previo11.s pa.~e). By applying heat "gently and with great ingenuity" we allow Nature to take its course. The progress of the Work is observed according to the colors that the matter displays. If the Nigredo is survived there should be a yellow dawn followed by a peacock's display of colors that heralds the white Albedo stage, the arrival of the White Queen, the White L10n, or the swan, the Elixir that transmutes to silver and confers immortality if ingested. The subsequent reddening of the matter is the Rubedo, the triumphal arrival of the Red Kmg. the phoerux. This is the Philosopher's Stone, a weighty, glistening. waxy powder that acts as a universal medicine in all three kingdonlS and, when digested with gold, becomes the Powder ofProjection that transmutes a thousandfold its weight of molten metal into gold.

42

THE PHILOSOPHERS' STONE ..... 111Jqr 4((, ~tin pI s6im."

TIU MACROCOSM MAN, THE MICROCOSM THE DIVINE

43

GoiNG FOR GoLo onwards and upwards

This book can only serve as an introduction to alchemy. Making

alchemical potions requires a solid grounding in herbalism and a.<;trology, as well as a good grasp of alchemical principles. Actually using such potions responsibly and effectively is a different matter. Many spagyrists are not physicians and leave the prescribing of therr remedies to the discretion of the medical practitioners they supply.

An effective way to use spagyrics as part of one's own process is to make a potion for each day of the week using safe herbs corresponding to the planet in question (see page 56). A couple of drops of a Sun potion on a Sunday, a Moon potion on a Monday and so on helps tone and harmonize the inner cosmos.

If your appetite has been whetted, and you fmd yourself rolling up your sleeves in excitement, do be prepared for many frustrations and even disasters along the way. Mercuri us, as we have warned, can

be a very tricky guide, punishing complacency, overeagerness, and carelessness. For those who proceed with sufficient care, however,

the rewards are incomparable. If you let yourself be guided by the

alchemical dictum" ora, le~e, lege, lege, relege, et labora!"- pray, read, read,

read, reread, and work! - the glory of the world may be yours.

"Becwem eremal birth, resurrection from rhefall and rhe disnwcry of the Pllilosophcr~ Stone, tlrere is no difference." Jacob Boelrme, shoemaker am/mystic. [1575-1624}.

44

45

APPENDIXES - BASIC M ETALLURGY

From sunple bc:gllllll.'l&' m around 6£00 oc to the end of the lhlttecllth ccntut\ mcullurm ~;nev. onh me St.'\'CI1 II1Ctm ci :anuqwo plld. ~ copper 1r00. un,lod and quid:sihu

be ~-d If produced at tcmpemures of 01er IJOO'c. srucltl'rl tmn w.l'> :1 ~p<~ng)' OJ ;b. I mtxl'd 11 ith waste sl~g l1UI ~ heated and hammered 10 opel tht' sbg and then for&ed_ ""'

0 GOLD melting point 1064'C) IS hishJ> m31le:lble, :and IS iJ LEAD (mdung pomt ).n'C) is h1ghfy duCtile and m~~

thus ras:.\ v.uktd Gold l'i fuund in IU!J\1: Corm m depoms .t'ld doo not rormde C'J.\11~ . It is n01 found m ~form but it, th:n an be rnt:.cd U1lere lhcsc depo<tts ~me crOOed gm'l:!ly •..N:JtrJ"- sulphide on: g:denl appetrs l'el)'mtt.1llic GalenJ ca.'l easil) bt stre211l beds an be found bc:lri:l.; pm."'IUSh rare gold proco'!Cd to gJ~"C pure lead, and lhti could 1J11: been~ nu~ Earl) gold :anc!acts often lui\: M'CI' "impuntic::'l" In a c.lfllp lire, in whit·h moltc:n le.ld 11oukl collect at till: :and the a.'lCICtiU named the a!lo) of gold and silver bottom. nus lS 3 kc)' to 2 centr.d ml·t.1llurglal pn:x~1 • the lliCTRIJ M Gold an be ~ed from the ~u n:ducuon of 211 ore must be JOCOmpanied by 2 ~ 10 usmg CIJaNTA'IlON -mwngthegokJ.stl\t:rall~ a hqukJ that all<w.S the meul to flov. Olllt!<.cpm:dl'Oil! v.11h rommon 5Jll atm.'cd the · \'1:1' to foon a ..oluhlc the sull solid \\-'3.\tC material, or Stmgue.

chloride th21 u.'2Shcd n.-. Aqua r~..r.s (w page 5Q) an :also be used 10 sc:pmte Sill'tr from s..'Oid as 11 ani} diooM:s the former

) SILVER (mcltir1g pomt 962'C) ~&second only to f\0111 Ill ductWl}' and aull'dlilin and like gold IS CISI'l}' 'IIIOrked Sth'tf OCt'lln tn nati\T l'orm. but ICI)' r.rrely H V.l0 laiTll'ih and hlrlen v."hen cxpcR'd to sulphur or hrdrogcn ~ulphidc tn 1he m The lead ores*m2lto.'Jl'5C:OOt.ams somcsih'CI'. If the lead h hdttd 10 25h, bnunz lead aode. a ,nu!J bead rl ~il\'tf rc:m3J!lS.

If a audble nude fran bon ' · . -.ed 11 will · ..;ort thelcad oodc This p~. knov.r .1· CIJPPELLATION 1\J.' the mlln means o! sih'tf producr · · · r ~: !tnnfL

~ COP PElt (melting pottU Ire;' C) IS nWlc:lblc and duailc It 11.a; the first meW to be widely made mto v.etpo~ and tools, f'rom around 60CO BC onv.'31'd Copper v.~ first \\orkcd bJ a simlbr V.:J}' 10 ~ones. but If h:unmcrcd repeatedly 1t becomea brittle. lllis Clll be n:medied by ANNEALING, prdol~ helung ~ufficlmt to make tht' ml'IJl glo11, fni~J\\ed by slo\\ adtf11: The c:arlie5t smelted roppt:r anebas appeare131'0Ulld 4oo:J BC. Gn:c:n malachite was the copper ore used~ l"lJiy '>llldters. It is J:lO'~iblc that maladute placai tn poot:rs kilns, ~~ tempcmture. o( llOO.l~·c, and >uhsequen~· iooning copper ~ w:~.• the initial ut'p!!'3ll011 for smelting.

0 fltON lmt:lung poou 1538 • C) ls the most common metal on Earth, but is almost Jl(\'Cf found m native~ It was found by the ancients In lhc rom of meteors, which V.'Cre uutiall; V.'Orkl'd like ston: ~mde iron Ilia)' 113~ been :w.ubhle a.~ e:lrf) a,,

around 2' 00 BC but wa:. n01 common unul OH:r a millcnmum !Jter Iron ore !!> eascy lt.EDUCED by rharm:~l hut on only

46

4 TIN (melung pou11 232 ·C) b r01 found m native form. It is malle:lblc and doolle and qwte ~t 10 corms•on. Tin objects date from around 2rnl BC, and u was ~melted by reduCtion wuh charcoal. Initial!) tin \\JS thought to be a lOOn of lead. EJrlycopperillldtm

tfucoo.'CI'Cd that mixing d•ffcrc:nt ores produced an ea,ief b111g stronger metal· thiS metal was !ItO~ T1n ·~ h•ghly ~14lllne •trucrure mc;aru dut \\hen deformed n 8JVCS an :~udilile Oj

~ ~ClCSILVElt, or mct'CUI}' (mcltmg pomt ·39'C) b the only metal that is liquid at room tempcr.uure. E<lrly punficum techniques induded S(jUl'tmng it through leather. It IS highly pruonous Jnd hJs long lx.'t."ll knotln ~ ludt E.ltr.laJOO cJ quK~her from ores ~ulh 4\ cinrubar (mercunc·~ulpludc) is t'.lml-d out by di~tillation 'incc mercul) compounds dc:I.'Om)JOie

and 1ulatih1e at moderate tcmpcr:11ures. Quicic.tlltr W1IJ dbsoil't' b'C~d and ~iller, a.'\d Ulb plll(CSS cJ AMALGAMATION \\3.\ often used to~ th~ metab fmm tmpuntics.

Pour \llhet metJb \\ere diSlUil'fCd tn the mtddlc ~ ARSENlC was di)C()Vt:red by Allettus MlgOIJ)

(1193-121!0) when he h1.::ued ar..entOUS a<ide \\llh [lliKC liS \Ieight of soap. ANTIMONY

was formed b\ roo.sting •tihium :antimon) IUiphtde. tn an 11'01'1 pot !IlMUTH I\ a.~ produced at the end of the J61h rcntury by rt'(lucmg the oxtdc wtth charcoal ~NC wa:. knol'l1l m China around I -tOO. It too \V:b reduced !rom ttS oxJde u;lll8

charcoal. In the late 18th C zmc v•a:. added to liquid copper ID

make the fir..t Jlt.US In the nC'IIo world PLATINUM v..s u~d by prc-Cnlumbtan Natil·e Americaru., only becoming knOwn to Europe:ut~ Ill the ~L'<lt."t!nth century.

CERAMICS AND GLAss

brov.liS, copper ~ Olide fat grec~ 3lld turquoises, cobalt oxide for blues, and m3llganese dloxlde for lilac, purple and brown.

IS 2 ~..OC (~h3pe;lbie) suh.wlce formed by the gradual a.J.Y of IIUil(l".ili such as feldspar to give minute panicles of ::;a silic:.aiPS mr<ed v.ith water and 01her compounds. The ~ wund 10,~ 8C that da~ heated to !ugh temperaturo GI.~ is a suoog, hard wearing, lnen, biolqpcilly inactive, and ~ ~ bci:Ome ~wt~vo-eanng and wong is one of the turning ol course ~~ material. It is made pnmanly from silicl p:Jin~lll manl.:xfHton Fired m a kiln at temperatUI'(::) between (silicon dia.ude), the most abundant mineral on Earth. Normal ~·c and 1200'C cby remainS slightly porous and b koown aolids have regular molecular structures, however, many as ~· FIMg at higher temperatures CIUSCS the day lllllabb if cooled quickly assume 2 norH:r}~ solid w ~ ,ilnf), produang stofltu'<lrt Pon:ebm Is a tine saucture ·a glass m the general sense. SiiiC."::IS one ri the me bcxly fired 10 \ltnlic:mon to become tranSiuscent. few materials that forms a glass at llOITllal coolmg r.ues I'J'f'OI"'etnl cones, v.nidl melt at different degrees Pure silica has a melting pomt of 1723 ·c. To redU<.-e ti hell Borboon, m: often used to measure firing this melting pointto about UXX> • C scxb ash or potash cycles and djpul thermometers are also popular. It is is added, and lime l\ added to counter lhe solubility t;o ~ 10 judge kiln tanperature b\c the color d that soda ash or pcnsh cause in the~' The mix 0c: !dCJiq ceramic (the temperature of metals C2ll is then heated in a luln at about noo·c unul fused.

Jho be CSOJIU!ed from this list) ;..~ii~~:~~ Other ingredients sometimes used are lead ), \Vhlch impans more bnll1311Ce, and boron that improo.'tS the

Lowest \'imlc red 10 dark red om red 10 cherty red Chen)· red to bnght cherry red Bnght cherry red 10 orange Orange 10 !t:llovo Ycb 10 light )tiliw

-4-o.oso·c 650-750'C 750-800'C IJ00.900'C 900-llOO'C 11~1300'C

01) ~ can be foll'llCd by hand and v.ith simple tools, by tui'!UI13un a pooer·s wheel or by pouMgslip (a mixture ol cby md "22ee' 1 IIllO a mould. Once formed the clay ~ a.!Joy,ed to dry, :after ~~o'hif:i, illS known ~gremum-e and tS very bnulc It ClUl be fnd unglmd 111 a "btscun finng. ' and then fired a second time "llh an 2pplation of glaze, or it an be fired in one cycle "ith or without an application ri dry gbze

Gbzc. "bm fired, melts 10 fotm a hard glassy ~ II ab.~ C2tthenware \esseb tO hold liquids Mixed from finely ground mgedlentS • an be applied b)· dusting onto the dav OOica. or by maing v.lth "'ater to ~ ~ poured on, or dipped into. Glazes art a spt:eialized : ~ combinmg sdta, alumina to mcreasc viscosity when ~~and a Hux to lmer the melting pomt. Lead *> glue. use lllait ~ 'lf> a Hux. ~ash, pcxash or other alkaline Huxes crack~"" . gl;azes whkh often form crazing J1'lltem5 of fine ~ thq enol ~.such as tin 4 oxide, are also used. ~ the cbrr;:::~ Clln be ~ed wnh the glaze itself, painted ~~~azc (~ before glazing (underglaze) or on top o( the

). Example. mclude; iron o oxide for21llbc:rs and

47

thermal properues lllodul fat labw2re

Glass normally has a green tinge from iron o impunhes, but an entire rainbow of colors C3ll be made using different meuls. Meullie gold 0 in small concentratiOns produces a rub)· glass. Silver ) compounds produce colors from orange-red to yello9.. Adding more tron makes a monger green. Copper ~ oxide produces a turquoi..o;e color, whtlc metallic copper produces a very dark opaque red. CoOOlt makes blue glass. Manganese ClUl be added Cor an ameth}'SI color Tm 4 o.'dde together \\ith antimony and arsenic oxides makes opaque whue glass.

Glass was first manufactured around 2500 BC. The Ancient Egyptians made small jars and bottles by winding

continuously heated glass threac.b around a bag of sand on a rod. Glass blov.mg was diSCO\'ered

in the first millennium 8C and enabled the quick production of large leakproof vessels Glassblowing u~ three fu!Tl3(tS · one for

the molten gla.o;s, a seoood for reheating the piece being worked on as ~. and a

third for annealing, i.e., cooling the glass slowly enough to avoid cracking and reduce stresses. A$ well as the blowpipe. toob used in gJasslllcl\\108 include shaping block:.. an tron rod

lla .....MI.o< nr;eezers and '~ shears. known as a JXW)', l t-""'"'• • formed by Intricate glassware ideal for an alchemical lab can be bes and heating, manipulating, and joining preformed rods, tu

simple blown vessels using a.lrohol bmps, or nowacby:. propane

or 01}-gen flames

ART ISTS' PIGMENTS

PJGJLENT.S mW>t be albO!uble and rea.'>(mabl} hght·IJ,.,t Tht.'} m prepam:l ~>ruse bl grinding linch· anto a pl.ste 1\llh a hule v.'alcr W>tng :1 gl<L\S muller on J glas.s surfafe (if coarse, gnnd 10 a potle and mortar first). For oil p31ntll\C oil ~tt"ad of water

0 GOLD hammm'd lea) thin~ to make gold lc:af can be applied to most surf:lres It can be made from leaf 1nto a pa.int

v.11h gum arnb1c or gdaonc:, often aik:d shell gold ) .Sil VElt like gold can be .1pplied ti leaf or made mto :a paint but u r.mushes 111 umc 11.1th e<posure to air.

~ COPPEll ores mabl:hirc (green) and azunre (blurJ make good prgmmts, holrie~'Cfthe linerlht1 :are ground the paler their color. Pouring together strong solutiOI\S oC blue vitnol (ropper sulphate) and sodl 2Sh (sodium carlxmale) preap1Ule5 311

aruficiaJ malachne Verdigns IS copper acetale, soluble 111 w21er or alcohol for use, 1t can also be dissoiYed 10 res~n

111 •iuch ca-.e 11 v.illrum br'own 1n arr If not varnished. It Colli be grm.n as a crust on copper stnrs s~ m a mason 131' v.1th ''llltp' 2l the houom. ldt in a wann pbt:e The oldest known artilicial ptgmenlls Egypti;u1 blue. acopperstlicale By dry weight: mlx 10 rmts limcsrone (willting} With II rmts malachite and 24 pans quartz Grind rhOfUUghly to homogenu.e Add a flux of soda ash or potash, hot to around 900"C then keep at ~c for at leas! I 0 hours Cool and grind for pigment o Ill ON Red ochre, veUov. ochre m 5ien113 and m umber m all 1ron oxides, the latter !'lo'O :are also weD koolln an "burnt" forms made by l'aldning the rdv. Natural green tanh !J1811lents conwn 11011 sillcaw Manm3de tr011 alddts :are also useful Jlll!lllt'lllS ranging from~ to reds to bi'O!>.ru

~ ~ILVERIIII!S red ore nllll2W, mercuric sulpbide. makes a line ptgtnmt Yt1Tni.bon IS anilidal cinnm made blllllXIng together molten sulphur and quidsilvn' to furm black nreromc su/pbide. He2led In a suitable dosed eatthenw'3re vessel !1m sublinwes to fonn red merc/J1'1c sulphide, chemically the same ('(Jllpound but uansformed in ro1or 0o not II)' thiS at honle. qUick.siJver 1.'> htghfv !OXIC

) LEAD pegmenrs are toxic. Minium IS lead oxide, a bnght ~h orange, made by prolonged hlj!h temper.~~ure heaung ci lead Ill air WHITE LEAD is lerJd carlxmale. Pbre lead strips Ill earthenware jar.i -ith a bnle wine mqar and digest somewhere warm .~ some month5 a NUst of white lead

48

should ha1e formt-d 4 TIN. Now raren ~. leackm (lead stamJOII!) range; from a light lemon ydlo-A to a~ pmktsh rolor MIX 3 pans m1mum thoroughly wnh 1 pan a-ode PJ.ss through a I'Cf)' line mesh to hdp ~ L~ mrx. Heat ~lov.1y to 600"C, ketp atthL'> tempenaure for 2 l'Kxrrs hear fu11her, and keep at 800"C for another hour QQ ~~~

COBALT IS the k~ mgredJent 1n smalt, a blue gta.; powdt.'f' Heat quanz and a potash flux 111rh moo¢! coba/1 oxide to make an op;1qt1e blue g1a.u 10 II SO C to fuse RciTIO\'C ~hile hoc md plu~ mto told water to break up before gnndmg 1nro pigment Cobalt blue, di\tUien:d in 1~2. ~ cnba!J alumlnaJe. Grind I pall coballchlcnde211d5paru aluminium cblorlde and heat for 5 mmutes 111 a

lt:Sl tube oYt.'f' a strong g25 llamt ANTIXONY 1.'> used 1n Sa pies )dow, an arulictaJ lead antrmooate

tlw dates back to Anoent Egypt. made by C2luning a lead compound with an anumony compound. ULTRAJLUIN.E 1.'> prepared from mu~eral lapis lazuli Spnnkle lind\· ground bptl lazuli with lin.o;eed oil. M;&ke a p35te from equal parts of c:anmila wax, pme ~m and colophon). Add one sateenth pan bructd oil, one qua11er pall rurpenune and 1 he same of masoc Mtx 4 pallS of th1s pas!e With I of the lapis bzuh and digest fiX a month. ~I the mixture tn "''3JTI'I wa:er umilthe blue parudes separ11e and seule. Vltramanne W3.$lirst synthesized 111 1828

LAD pigments are made frtm organk· soul\es such as madder (n:d). unnpe buckthorn berries ()1!1lol'. ), npe buckthool

bemes (Breen) aro cochineal beetles (crmen). MIX a saturated soluuon of pou.'h and gnnd 2!ld

mash the sourre maner in 11 until no more color comes out. Mill6 SJXlOIU of alum v.1th half a Jlllll of warm w•tcr for each pint of colored poush

MJIUtKJJl. Pour Ill the alum solution 10 rreop1utt ptgment ln.,olulk INDIGO powder can ~ I))CI!

as a pigment. The Maya m:ldc a fine artilil:ul blue Ill he'JIIOg a ml't of mdi~ and palygor5ltite cia) 2!XfC

for about S hours IS su1tahle

lONE 11AC1 Boil animal bono (chlCken bones art good) unril rar free Wrap tightly rn alumimum foil and hc3l the package m a strong gas llamc: for an hour ~. UOIIT"JP and grind for pigment LAJlP JLAClt L\ rarix!ll ga~ bv plaong a metal sutflce ovc:r a lamp flame ~or 'udc:d pamring 1ts fineness makes It ideal for mk

A RTISTS' M EDIA

of pi8JDC~lt and a binder. GU.M AllAIIC is fAll~'! II 2 ~binder used to make WATEltCOlDU, -dtr·'21~~ • Crush

'~t- ~such 11 chalk added. GOUACHE. rt allh .an t+-•-· "-~ 3dd IWice their volume of -,nlil.: w a •u..- I"""-· • ~ P" w dissOf'.e. To reduce briltJcness add a small dtt~~•:; sugar Mix 1 pan gum arabic soultion with 2 ;::' pPIIl ,-em W3IC1' (all pans are by volume).

._ TIJ(POA 1:5 a vet}' long IZiling medium. Gtnd! ~ lht •"hlle from the )Uik lhen roll die~ &on palm to palm until dry. Hold the yolk acnbanc 00.-nr.anl and pinch to releze the ipti!IIO a YC!5$Cl .we ~ the membrane. Nil 11xs dnh equal pans of W2ler or white wine mqpr ~LIS( wllh pgrnenl pZitC. GLAJll is made nh cg wbit and 15 ide2J for ddJare illummalion .at oo i*d»IICIIL llc2t egg white until the foam is dry. The ipd • the bonom of the l'eSSCI 15 glair.

.51U ll Jllf ('()llq rh3r fill5 or coats a sur&ce to prorea and JnPR • JU the next layer. :aAIIJT .uiN GUJE, a specific rypr d anlnal glue (srr /XII(t 5l), is an cxcellc:m size and an also be used as a~ dnqmcdium miled dira11ywilh water based J¥llCIII paste. Soak I pan rabbit skin glue in 18 pans water until ~. !hen Ia smdY (•llhout boiling) in a double boiler lid dmMtd WDN. dc:rM.-d from milk. is a size thai an mo be tacd as a quid drying wugh paint medium. Sift 2 J*U porodcred casein UllO 8 pans water and ren'lOYe

~ bt .!lllnng. Add I pan anrnroniwrt ~ m ab 10 stand for half an hour. then add 8 pans d._, .\T.UQf is another size; stir 1 pan srarch IJOIIdcr no 3 l*U rold Yr'akr w bm a p151e then blr • no 3 pans boiling water When the ldubon .!laiU to dear ~ it from the heal To :-<Llu!c uh "'Xer 'lLVf GUll, extracted from by~ the .skin or bones in water, 15 a good

sa.e (Q- use on ~l

OIL JIAQrr . ilstn...1JOI\\ 15

SUIJXisintll) ~ 10 maJre. follow the OIL w~e for grinding pigmeru, using UN~ If the~ are OIL, or POppy OIL, and it is ready for use.

P1int ~ oil lllnr*y~ Iindy ground one can work them lllto b!t harden through usmg a palette knife. Oil paints do llOl dly ·~and ~"Ode their ~ical reaction, gMng Oil painlti'S time to ~ bJad ~ ltpainhngs. Ochres Speed the Oil's "drying,"

do.n. The craft oC Oil painting rests on

49

lllZ!enng the me of the many resins and spiriu Milable The following recipes are just a laSle of the posslbililJCs. UllllOsl care mUSt be taken usang volatile and flammable materials.

VA.llNI.SifD pror«t Oil pain~. CYerl If a glauy finiVl is not desired It is still best to apply one (after the palming has completely dried), and then use a wax linhh. ~ ooen

very similar to varrushe$, are used to thin paint to apply a Yeil oC rolor while keeping it strong enough to adhere . . The traditional rule is to paint "&I OYer Jean; each

successive layer having less pigmml and mere Oils and resins. llAJUll ~ comes in pale ydlow lumps. Mixing equal parts in JIUU GU.M .sPmm M TIJ'DEN"l''NE (hcrafter jll5t

"lurpenllne') and ~ daily Wltil the resin is dissolved makes a good Y1lr11i5h thai doubles as a glazr.

.MA.\TJC makes a good Y1lr11i5h mixed and heated with IWice its Wllume oC turpeOOnc:. For a thin high gloss varnish mix 1 pan VEND TUDENTINI <X" CANADA J.AI SA II( with 2 of turpentine. A good sweet smelling vatnm! for siZed and sealed wood is 3 pans venice turpentine and 1 pan OIL M ~ LA~ warmed tqjelher to blend. A IQiiJl vamls!JQ arc: hard and vers.lle, serving as palllling media, final varnishes, or z fix3liYC5 when thinned Nowadays they are made with COPAI. 11 a subslirute crush I pan of the copal

resin to powder and bonle wilh 4 pans benzene urull nearly dissolved, then mix with 3 pans turpenline and heat

gendy to fuUy dmohoe. If this W3l11l solution is left unsealed the benzene will ewporaae to leave a copal and turpentine varnish. A good wax linBh 10 miuce gloss on a vambhcd painling is I pan beeswax to 3 J*tS. 'IIXA'l'IVI.S, used 10 fix piAment in place, are essenllal to the preseMiion of drawings in

charcoal, chalk and pasrd. Mix 1 pan »ftr r It with 50 putS methyl alcohol To use place the picture on the floor and blow the fixative vapor just above It to give an even coat

ENtAI191'IC uses beeswax as a medium. c.efully heal I pan beeswax and 3 pans turpenllne until the wax has melted, then stir while cooling. Grind piSments thorouahiY into

the wax before applying with a bruVI 01 palerte knife. Another recipe uses equal pans of sdt deml resin, beeswax. oil of spike lavender and turpentine. ftUCO is the specialized technique of painting directly on lime plasler. Mix Jlme.proof piBn.etiiS to pasae with warer and plitU dlrcctly onto fresh plaster.

ALCHEMICAL CHEMISTRY

MINERAL ACIDS are morg:miC aolh derived from chemical mcuons The d!SOO\enes of Jllthree allli~ bdo"' arc attribuu:d toJab1r Ibn lbyyan (8th q, as~ Aqua Rt'gia NEVER add 1vater to an a1.1d, the rt'3<lion can generate con'!dcmblt: ht'3t and may boll and )pat d.uw:rous y. Al\X'.\YS add acids a~rcful~ to water.

OlL M VITRlOL l'rom the n;une Zd)'llli·Zfl) grven Jt by J3hir Ibn lil}1dll, IS be:ter lcnot.n to lb as StJtli'HOmt ACID It v;:zs mgin31l} dxaint:d b) de) distillation of green 1ilnol (b)'tirotzS mm sulp/xlle) or blue 11triol (b)'drous roppcr sulplxue). '\Then heated the5e decompose to erodes. gh1ng cJf \\31l'l'

andszdpburtrladde, which in tum combine as a dJ.Iute solution of sulphunc acid TI1e alchemist Johann Glauber (17th C) prcp:ll'ed u by burrung sulphur 1\lth saltpeter • __ .. in the presence of 5h .. 'JITI. The .Yitpeter decomposes and crodizes the sulphur to gl\t: sulphur mo.tide, which romhino 11ith watt'!' to produce sulphunc acid A later tdinemenl of this process heats uon P)11te mill' to form anb)drous 11011 sulpba!e Heating to 48o'C, th~ bre2ks down to gl\"e 11011 oxide and sulphur trio:cide gas. Thi.s g:r; Clll1 be passed through water to produce sulphunc acid of an~ desired ronccntr:llion. The diagram shows rwoW3)'S an ~~ohich one em Pf'e\'Cll the w:ilt.'l' "sucking balk" .IS this gJS di5SOIICS.

NITRIC ACID · •nganallv known a' A~ 'ZORru (strong water) or SPOUT M NITRE 1\<b liN pn:pa1cd b1 di)tilhng gm:n 1itriol (1,. " flllpnate) 'Aith saltpeter :md alum. 1he folfov.'lll!( n:ethod IS bao;cd on the one used hy Glauber. Appnnilllllely equal part\ by u.eigfu of C01lfr'nlrattlJ

oil of 11triol and ~peter are pi3Ced 111 ~ rcton Ileal rr.e mon mel brownish red fumes appe:tr .... flich Cl/1 be condcnsc:l Ill 3 cooled rectc\'et lO

a brov.nliquid Further purification by distilbtions reduces the coiOf31ioo from 1mpunues to gl\t: a fwmng aqu.t fonLs

SPIRIT M SALT, or HYDROCHLORIC .ACID Is lll3dc b)· re:1a111g common \.ll1 " 1t!, od , •f \ nn .. l (rulpburlc add) prodllcilg SAL MIRABlLIS (sod:um ndpbate) and highly dangeorus, 3Cidic b)virogen chlfJrlde gas. If the 011 of vitriol is high!)· conctntr.Ued the gas produced Cl/1 be Jl3.SSed through V.'altr to make a soluuon of the spuu of salt The top diagram l>~ two 'A'a)'S an 'Aiuch one Clll1 pm'Cnt the water "sucking b3ck" as the gas di-.•;ol\'es. If the mlpbunc

50

acid is dilu~e, then M•me of th! gas produced 11.1U form~ bydrocbloric ac1d With the water in !he ~~llf b)drochlori, aetd ~:. the goolt'Xl't':I.S salt ~hould lx: used, the resulting SOiuiJln can be distillt:d to gave aqueous bydrochloric acrd, wnh ~ some bydrQR!!n c.blonde 8lb txJiled off first, and maxed cumrr!:

s.tlt and );If m1rabl~ left an the ~~ If occ:ss sulphuric acid I) used, the solullOn once dUIIIJcd

off Villlle:~·~e Cl)~ of sal mirabt!~

A~ RIGIA, !nerally royal 11.11er, IS 011:

of the f1:11 ~IS able tO ~-e gold~ plaunum It is a mi.wreof aqua (Oitl$ tllllTIC

«id) and 5pltlt of salt (bydrrxhlorlc acid). Bel result:. arc ohrained using concen~r.~.ted aoili 10 the

ratio l:j by mlumc Aqua Regia Joo:,es II) elft'Ctlll!!le55 so mix afresh for each use.

.ALKALIS, from the Arabic cd-qa/1 (onguul~·ashesa the slll\\ort pl30t), arc <;llts of metals such as sodzwn poltl.sslU1II

and caldum tlul fonn biller, Cllbtic, sbppery solutm fth Water .• ~ art a )UhCltegot) of bases.

LI.M.E or ~CXLI.ME L'> calCium oxide prepared b) Clldnlng hmotonc to a wmpcr.11un: d around 900 • C (dWk IS a soil poroo) form or hme.wne) ThiS hme-bummg 1\'35 pr.lctll'ed

by the anCients for the producl!Oil of lime monar M-AUD LIME i.~ lime that has been )'akoo with wa~& to form alkaline caluum hrdmxidc, th•s process generates great heat A cooled

suspensaon or fine ~laked lime in water i:. knoll11 :IS JdlU M LIME and rta\.15 violent!)" 11 11h acids and aUlJ:k.\ l!'iar.)

mt.UI.s. lf sL!ked June b heated :abo1-e ~'Cit deaxnpa'O

to form hmc and waer. l.imevo'l!Sh 15 pun: sllkd lilne an v.att'l'. \lhen dr} 11.!> c2lcne cnu produce a unique ~urbl't glol\ ~'hitCI\"3Sh ~ nude from sbked hmc md ctwk v.ith Other aJju1o tN1 m3y tncludt· glu<!, salt, ground rk:e or mob.~SCS.

POT~H. a\ it; name Implies. ~:. prepared quite simply fmm 11 ood JSh Moe the as~ u.ith w;~ter,

adding as much a~h a.~ tht:volumeofwaterMU reasoflJbil allow. Sur every so oflen to a1'0id the St'tiament lddl~

Soluhle pot.t~h v.1U lea<h out from the other ansdlbfc mancr then the soluuon can be filtered and e~'2p0flted to lc'Jit

' ~h~ an unptJR: poush. Calcirung ....:11 punfr 11 further. iter 11 be salts can be d~:..soh'Cd, filtered .md e~~ed ag;aan. Th~> C21

repeated as many ume as requred

....... h b p-~.-l from the ashe. of plan~. ,AjH like= pu<-'' ll;!""'-u •

:tfJIJA weed such as kelp, which bolh have a hagh sodium ~1\\011 ~~ .-A but the result is likely to contain poo15h

C2l1 be~· ((lltefll. soda a..~h ran be made b): the Leblanc process a> ..d. .~ pu~ our reope foe spirit of salt left off Take sal .'hleh ~~It and fuse it at red heat together with limestone m~~~~ --'·e a blac:k ash. SOda ash Is leached from lhis • ...1 cn;uc.- 10 ITilll\ 31"' cooled the other products of thi.~ reaction being ilto;oluble. ::~~abo occur naturally, ~~Y \\here seasonal - evapor.~te. One such CClllllple IS the rruneral NA'I"RON ~ is 2 mixrure of narurally occuring soda ash and sodium ~e round on the edges of lakes m J..ov.er Egypt ~3[100 ,'2:> used Ill mummilic2oon.

t.YE S(JIIdlme." refers to ~ulions of 'iOda ash or ~ II tS al.<OO U5Cd for soluoons of CA~TIC :IJilA (gx/:111'1 h)dro:xide) and CAU~TIC l'O'IMH (pOlasstum h)'flroxide), prepared by -.:ll"lgll'J.K of lime .-ith soda ash or powh. This J:IIXJI16 produco a solution of e2usuc soda, or e2uslic jXXlS!l, and a limestone precip;ute. A medieval recipe loraus!X:sodaaystals calls for I pan each of slaked lime Dl soda~ ,,th I pans v.'aler, boiled until the volume is ll3Md, filtered 2nd dean ted I 0 times then evaporated.

INDICATOR PAPE'll is u'>ed to lest for acids and bases. A simplellldDt<lfpapercan be made from red cabbage Simmer a brgr finely chopped red C2hb:lge until the water is a deep purple. Cool the wa~er, add drops to an absorbenr add free paper then bzic dry at a low temperature. The paper v.1lltum pink for acid:. and blue or grttn for bases. IJtmus paper, prepared from liChens S!Xbl'lochro/echta Jartarnz, turns red 10 acids and bade to blue 10 ~ 20th C. industrial rectpe:s c!ll for fermenting the lichen •th prush, unne and hme. Sampler recipes recommend boiling 8!0UDd OChcn 10 exuaa the serls!tive rolonng material. Blue tiunus paper 1.) pl'q)ared by ampregnating white IXIPtt "ilh thi<i latmus nwuure. Red Utmus Is IIWclhe 521!1e ~ but a few drops of an add are~ to rum 11 red first

~ 3lso known a) ............ .. ( ~'---~ ................ . .: •lUll() natura!!)· blooming on rocks

lllsat)e of . /IUra :ns !he 11.-aid, hence sal (salt)

e ( rocks). To obuln it from this

:':s;::~-e.filrerandm~. It can tt:aacr ~ tnau'lg rumuum animal waste, rotting \-egetable "ttl~~ ...._.,te With high lune content, and poosh, In a cone the stale llllne r of SIJ'2\\' Th~ pile is ''\l.~ered" weekly \\ith "We~ the sak ~t animals. Ooct "ripe" the heap is left a ~ filtere:='erWilJ efllor~:e on its surface to be gathered,

and ev.lporated to give raw saltpeter. If potaSh

51

Is ilddcd during solution the calcium and magneswm impundcs react 10 form more nitre and the precipiwted a~rbonates which e2n be filtered out. The solution can be fun her c lanfied by adding a In de glue, which forrru. a. o,cum WJth lmpunues !hat can be skimmed off. Funher purification can be made= by dissolvmg an excess of this natre 10 boaling water A:. nitre is more soluble than the common impuriti~ the solution will be ;~lmost en!lrely of nitre, the less soluble impuriues remaining solid. This can be filtered or carefully decanted on<e seuled, and evaporau:d to produce beautiful needle-like nitre crystals In floral arrays. CHILI .SALTPETEll (wdium nitrate) gers Irs name from a

V2St nat ural deposil in South America

~AL AKKONIAC (amm0111um chloride) forms on volcaniC rocks near fume-releasing \"ents, and was made at the andent temple of Jupuer-Ammon in Siwa on the Egypcian·Ubyan border b) burning c:~mel dung and collecting the white residue thar

condensed from the smoke. )ab1t's preparation of ~IIU'IU~ ~ALU tTR.IN..U IS ammonaum chJonde made by heating a mixture of urine and common

salt. Whenever organic mauer containing 11ilroget1

is submiued to destruaive distillation, more or less AX.MONIA IS formed, notable sources bemg putnd unne,

human hair, and the hom:; and hooves of oxen or dt.-er- hence ~ALT or ~IIUT M KAllT~KOJl.N The literature shows some confusiOn as the whtte oystalline substance formed by the destruCtive distillation of rhese last twO IS often named Sal Ammomac as well, although chemically it ~ ammonium carlJonate. When sublimated Sal Ammoniac (ammonium chloride) forms munonra and spirit ol salt, both of whiCh aruck metals \\ith a vengeance. Ammonium salrs al)gJ\"e off ammonu when hcarecl. Ammonia Is h1ghly soluble in water and forms ammonium bydroxide, a strong base with properuo ~imilar 10

alkaline solutions.

JIIIO.VHDRO~ is a much more recent discovt.'f)'

but worth klcluding here. It is first on record as being prqlll'ed in 1669 by Hennig Sande, who heated

the residue of evaporated urine (a normal pcoon discha~ just under one and a half gr.uTL\ of phosphorous per litre ol

urine) with powdered charcoal, condensing the V'Jpors into a waxy rna.~ that glowed in

the dark. A more <k.1ailed descnpuon based on Leibniz's instructiOOS LS: Boil urine to rt-duce it to a thKk syrup. lle:Jt until a n.-'d oil di.~tills up from at, and draw that off. Allow the remarnder to cool and grind il finely. Mix the red oil lxick into the ground material Heat that mixture SU"'Olggy for ~IXtcen hours First whtte fumes come off, then an od, then phosphorus. The phosphorus may be passed mto cold water to solidify

U SE FUL RECIPES

CHARCOAL IS JX'(ldoced ~ hc:lung •u.xl1n 1he ~e of the Ol)Et'fl 1n 211: ll C2ll also be lltlde from boot Chunl31 hums holler :and dc3ncr t1un wood and L~ useful to ~mdung 31ld forgJng for lhdc: roson~ \food chamJ31L, mu.l'l c-.ubon and ha~ been made since prdllst!X) Conicll pdes d •ood 1\m made w1th openin&' a1 the lxxlorn and a central !liuft for lunut'<l air flo\\, lhe pdc 1\"35 ~ • 1h curf or ll'l'l d:!l, 2nd the lin"~! qaned a1 the bouom d the 5hafl '"> SUIUbl) do5ed cmtaJner dIll) wood placed 10 a tKX eJlOUI!h lire •ill produce cNrroal 1\llh a bale cxpcnmenution IllS lmporUnltO ab JUS1 enough 83P for~ 10 c:5C1pe the coru:aner •'irhotn :aDov.mg the free lb. of • ltw •wid reduce the wood 10 ash ~of 'llle or~~~ dlatcoal ~ popubr b dr2wing. To produce !ll1l2ll quammes fdlovt 1he lil5U\ICUOOS for malw1g bone bbck on pr.1g1: 46 replacing the bones 1111h Sl!lpped IVo!g'i.

GUNJIO'WIER. or black poMier ts a rruxrun: of !oalqxter ~ll( and arlxn Earfv Chinese reopes ustd equal ~ 10 make a fast burning. bur nor oplotsiYe. pov.dcr A

axnpos!IIQ!I ltw awchcs wei the cflcmbln of the reactJOil IS

IS pw ,gkpelcr 2 p:lttS sufP!ur and 3 pw chxroaJ Mil the JrF1iMs Yotlilr damp. USIIJ8 ~ ro make a dense cake whidJ 0111 be brolcm U110 gram •flen dry For IIDI ~roll& usc !dined ~er Melal salts C2l1 add color 10 the c:xplosKJO, e g. mum sails b ~ or orange. pwsslum sab for purple, and suonuum sails for red This is the basis of~'Oiks

AHUUL GWE l'i made by~ animal tudes, lendons and ~ U1 111'31er until rhe) 11M broken down 10 f!1Ye a

!hid glue .ruch can be Slt3ll1ed cif. Take en 110110 hell 100 quddy or the I!IIXl~ wi lun and dattcn The PJC can be <kicd 011110 sure. Mil with hoi •"Jier I I by \IOiume ro use Glue made dlis 'fl'lV 1m been li5Cd b' mlennia 3lld l'i &0011 b' arpcnuy - hide glue joklu are repaal* and ~eYe~ sible. Hide glue l'i ktpl 6quid b Wl:lrlq in a double bc:llcr

r.unm Is made by TAlDI1NG animal 5ldns 10 keep rhem pliam ('YCI) :llicr they have bewne wei and dried OUI JPn F"nt smpc otf :lithe fa! and na from the 8csh side, then rub a 5UOII8 soludon d pwsh or lime 11110 the b side and ave b' a roup1e d <13)$ untillhc fur becomes loose Scrape lhe b side Mlh a sharp knR unlil dean. Traclboially lhc llC:II Sllifle IS lx.Jthw, an ~ 1em1 iJr

52

rubbuJ~ <"Jmnure dung (uswlly dog_, iniO !he sian 10 ~

il5 elastidt} 1111h eMme ll"::CIIOilS Once the hide b no <b.n spring~· and la1-s flat !he dung L\ washed OUl lhoroughly r. ~ 3l'l.' lead1t:d from crusht'<l oak bark u1 wa1er, 1010 ~Vhicli ~ 1~ imme15Cd for lhn:c da\li Aher lhts the skin an be Wt!cn OUtiO Wy 311lll\ ~ Sluns 0111 aM be lanncd Yoilh Inn! ~ arumallus JUS! t'llough for Its own hide Clean lhe skin z ~ Cook the br:lirt. m a •mall amoum of 'llo2CI' ~!hem _111 mur Nod' 10 mix ll'cll ~ 1he ~ ts z twx z l'W C2l!lil

work 'llollh 100 It 1010 the flc:sh side then !he f\6 side 111111 )'OI.r

harxk. i.eaYe 11 for about seven hows then ll1llllmC !he ~ in ll'atc:r overnight The v.'31c:r mw then be 1IURcd OUI r1 rhe

slon USing a wooden wedge and a rounded sb:Jt Thc!c IOOL\ help keep the sian 5lreiChcd and loose •ildc • dries Smolung 0\'el' a fire once dry helps P~l ~ stiJfenJns agaln if it gets wet

PARCHMENT. sornewnes called VILWX ~ an arumal skin rreared v.ilh sbked lime and dned whde II1Mcd 1o produce a :mouth surfao: for 111n~ ;m pamlliJ upcn A sununary cia 12th C. r«~pe is as rollows: Srnl p m 11

warer fa a dav and a rugtu, rtrnOI'e and wash~ Prqlrt a balh of milk d lime and lllliJiene rhe skins. fdcing them oo lhc flesh side, for a wed (rwo 01 WllliCI'), apaong IWict or IM:t a day. Remove rhe skins and rake olf rhe hair. Makt a fresh mdi d ~me b31h. replace lhe sian~ and agiwe daily for a wed Jttma,oe

them and walih thUrtlUI!hly. Soak in de2n water ror IWO ~. then remove and lie rhe skin ro a drcular frame wilh corch. Dcy.

then shave the skin ~~oirh a sharp knife and le:l\e 111'0 d:M Ill lhe 511n Moislcn and scour the flesh side 111th plllllllil."r

powdt'r After two ~'S repe:11 and full\ $1'1l0('()llhr

flesh ~ With JXIIIIIIIICe paa"der •hile 1\'CI T~ the <.U'd\ 10 flanen Once dn rhr ~ ~rody

PAlER C2l1 be made w1th no chenual

inrc:rveruion, U1 wluch case !he lOikcd boiled. bearen and shredded pbm fi~ become a m«banical pulp H()Wel'('f using an alkali l>reab down the lignin from lhe aJJu1o5le fibers 10 8"'C belief

resulrs in a cbemka/ pulp. Boll pbnr srems in 311 alkali such as sbked lime until !he while fibers are left lloaun8 1n a bnJI'll

allcaline soup. Srrain lhls pulp. soak Ill cle21 li'IICI'o ::

agam and resoak. This pulp can be ~ lhiO\Iflh 2

of Wire mesh on a wooden &arne 10 make she'CIS d p:rper

JNlC L' hght-f.l!.t 311d bums mto !he p:l),'l:. Oak ~ GJJ-L !llk m:cs aused tn,· tnsect auxk. Use the ~~~<~·~·'?/>on,. PJI1S o.t~. 1 pan green \11tl01 (1ron

~"* b! ·~~ arb:, 30 pa~ water. Gnnd the oakgalls .Jo.M!r). 1 ~ su ..... , ..... ~~er Diss!~'~ the gttc11 \itnol and -~~Uln.&UU"" f;:ldy • in me teSI ci [he water. then mll both ltqllilb The rJill ~ crif;X .,11 dcepCI'I if left foe a month Of I'WO With ~ t:P:k somr.g. f.'U'OS 11'011 S21ts w1 MJke an mk that turns ~the edge. titWe exce:.s oakg:!ll makes a weak black. ~~ ~ Mr,djternnem cuttlefish and other ~uc:h mollusc;. ~ kr!8 ~ • th B d2tk brcJoo. ton~. but 11 Ill n<X 11 ~ tNl)lAN [NX. or someomes CHINE~E INK, Is ~ ~ 1 1: ~: urlJon in '~.Aic:f' ftJlCJ~ ground ~ :Jdded to 3 thm gum anbic !>Oiuuoo 9.-ill make

1 sl:ll!* I.OOiln lllk. The gum arable binder also helps

hql Cle arMl Ill ~pcl\!>101\. &d Chtnese 10k

GLA~ PlJ'ITX t"ooll be made by addln to whiung (pore find\ ground chalk) •n rna! ~gh hn\Ctd oil dned It o.n be \IJlded LUa IXble After 11 has

. · · l'UTIY IS slaked lime mel mllted thickly and ltft to stand to fonn a Sm<xlth p;i.'ile. water

The fi~t known ELEC'I'lUc lATI'ERY come.~ froot llaghdacJ dated to 250 BC. and consisls oC an c:artl'k.Tiv.'Ue shell. v.itb :'n _asphalt stopper pien'td by an lttll'l rod v.flich JS SUJTOUnded mSJde the Jar by a cylinder of copper In 1800 Ales.~ Volu reuwented the banery by suc~<mg Ia\~ of ower and llnc (the electrodes) :.eparated by blotting paper soakt:d in bnne (the electrol)1e). A Simple eleruic cell can also be f1l3Cie by pbcing an

uoo or galvanized (Zinc roatt'd) rt111 and a JlleCC of ropper

n:pbiX5 orlJon v.nh ~ilion (see page -16) • 1:::.~~ 1-"~ I'-. J

"~ rom&)UU'KA I

~ ~

YJA1 6 lllllde Ill' saponificaiJon the react1011

b:tftCI\ :al~ 2tld anunal or '-egetable f.us. Soaps gieQhausucprosbareE r-id. 9.-flileausu. !IOda mall:~ soaps lha are solid The most popular fut\ used re b:d, gan ~beef tallow, oli\1: ot1 and palm 011.

A~ poctsS "ith sdid causoc soda or caustl( poush DANlll.l. CEll

Wire (make sure they're not touching) as electrodes in a small jar of vinegar or lemon juJCC. The Dand cell uses a Zlllc deruode 1n ZlllC sulphate solution alxM: a copper electrode in copper sulphate, the two kepi separate in a glass jar b) the different densnJCS C'l the solullOI'IS (see diagram). Another simple battery can be made with ZlllC and carlJon rods immersed in sulphuric aod. fJqlbi\"e hydrogen g;as is produced so tal<e care! Eventually the zinc rod will dissol\"e completely. Lead­

aod banenes use clectroUes of le2d and lc:ld erode in sulphunc acid (diluted about 1:2 b) 'lleight \\1th water)

•~ an X'CIIl3te approach at home. The follov.ing pans by • a.'l ~ used for 10 pans solid uustk. soda, or H pans awtJC p:us1t, ~ in 20 pans hot water; 72 pans beef !Jb OR "3 pans brd OR 75 paru oh1e oil OR 71 pans palm ol Cicml!' mdl the W, if solid The lT<l> liquids are bot miXed J: ~ 4n" C.lll!XIng too V.'21111 or at une\en tc:mpt:rtures are amnon cmn Pour the &t then the causiJc soda m10 a su1table ~and stir or sltlkt \igorously ~lited 'lldl the two hqu~ l!wld 001 separate, if they t1o they must be reshaken or ~tlrred A:a I~ t!lc: JO:IIl an be toted to see if 1t prodllCO ~uds. Tcs b ~ ~ 'lllth indicator paper.

GnMSx zs a a.tti!LUI mineral Calcined a around 150" C roost ciJU cbanally bound watc:r is drt~ off lllllt6xx: ~Tn. Mixing tfry ....... c:r ,..,...,.._ -~ . ~ ~ ''l!tr rdcrrns gypsum, fimly as a paste then ~ 2nd hanierung Into a !>Oiid A good ~ sbould be e\'ell!) maed.

:~lTA:R. ""aS first used In 41lCient Egypt, l:lanrt of 8Ipsum .,.. • ..wl Ccmen

Ike~ Ill . t ~ ~ Ponland cement, anything from 3 to 6 pans of i::..1 • .1:! ~on the Slrl'l'gth ~ less Silld is ~ger' CO}{~ ~ a aJ.1r!,e aggregate to thll> miX makes ~ 2 113r li. . lllOrtat Is made by mixing 1 pan qukklime :tit... ~!and v.ith v.-ater. The quick.une, slaked Ill the

1010 brnc:stone when exposed to air.

The lead and lead oxlde react with the ekxtroi)tc to fonn lc:ld sulplutc and w01ter 9.-hile generatmg a currmL This reacuon can be reversed b)• passing a l'IIITCilt through the banery, thus making the battery rechargeable.

~ need 10 be fixed to a f.lbric's fibers 'iO that they do nOt 'llt':bil OUL 'Jlus often requires a }(OJUlA.N'l', the 11100 popular bong alum "n!Ch mordant:. tea (ro:.e), beetroot (gOld), red omons (orange), madder (red), elderbenies (hlac) and others MIX a ~Cf of )OOr f;abric's \\'elglu of alum in enough 'loOiter ror the f..llxX. Wet the fabnc in warm water then immerse m the mord:lnt

53

ard heat b ooe hour qiffing occasion21ly. Cool omnight Boll )'tU dyestuff m watc:r for half an hour then add coough water to immerse the bboc Heat for one hour or Ulllil the fabric's color~ as you ~ant tt (it "ill lighten alter m.1ng ..00 dtying). Cool the fllbric, nnse and dry. Por a stronger color use more dyestuff. not more twdam. lndigo. or woad, ~no mordant Collect

w1ne In a boctk or vat and stand 1t uJlClii>Ped (or wilh a tittle exposure to .Ill') Ul the sun unul it has fc:rmented The suong smell of aml1l01ll2

tells 11\ 1t is reatly. Add one teaspoon of very finely ground indigo per titn: of unne Stand m the sun for another day and )OO should ha\'e a pale green solution Wa~h )'OUr fabnc or wool wuh ~ . the . ·'-~·ghly and place In the soluuon Keep t

nnse out sCJap u """" • out ~ sWncrged for 10 mUlutes then rem<lYC and squeeze ~quid. The fJbnc or yam wdltum blue in the rur.

INCENSE AND PERFUME

INCENSE at ItS sunpbt L\ the burning of "oods. ~ns and herbs 10 make atom2tic ~oke ItS origins are lost m anuqul[y, although it probably lim a."'Se "hen ""OOCb such as sandalvrood and 283fWOOd were used on 01/Ylplires. Popular !name ingredien~ tfut are QUite read•~ aY3Jiable IDdude; 1P'oods -agarwood. cedar, juruper. pme, sandalwood, aod spruce. lesiDs - peru balsam. copaiba balsam, benzoin, amptu, copaJ, dammar, ~·s blooc. frankincense, ......... bbdanum, mastic, myrrh. opoponax, sandarlc, and stmx. Hetbs - cassia, annamon barlc. cardamom seeds, cbes, roriander seeds. juruper. leon.-, patchouli. rosemary, common and "hite S3Je. m aruse, sweer grass, thyme, vanilla and Yet~Yer.

For non-combustible loose IIICellSe the ingndcilll need sunply be ground (if solid) and mixed It Ilia 10 grind similar ingredients together then mil them once puNerizcd. If some d the iJlan:dients .elqukll the rna can be fonned Into pdlets Pure wood charcoal once Ut 6 ideal b' burning loose 1rwnr Sdf ignlhrls dwroals coouin sakperer, the jqbeler!gn dwt*hll suongly recommended agamst Cornbu.stibie IDa!Die Clll be made using maklw, a natlnlly axnbustible file jOCMdtr lllldt from the bart of an ew:tgttt'll. Simply mix and knead with makko and warm Miter dJen form into cones or roll 0010 thin 5licb Dry lOr a day and a night IJel'tR lighting with a naked flame then fanrung out the llamt 10 leaYe a glowins ap. Some qvedicnls makr axnbu.dlle inctnse more readily than omen, ilr••"* sandalwood works well while fr2nJdncense is cilia* 10

bum. Recipes and ~ are bcsr found chRJuab c:xpcrimerlWion F'IISl aaemprs ar blendlns lncenle will be lllOil sucassful wid: few ingmliencs as )QI

bm which scaus blend tdl with which othe!l. Some SIJBFsttd blends ft; cassia, cJo¥e and salldalwood; cassia, &:analctnsc, sandalv;ood and storax; juniper twtp, SWCitt grass and wblre 5li8Ci coriander seuls, ~. masdc aad mynfL

PEMtua applied 10 rhe body has as venerable aine~Je • InCense. 1bt anc1tm l!gyptian5 made fr.lpnt ~ IDII Wlltl by iountnill8 peals and Olher bflrant nwerials ill diem. Obt Clll

abo simply soak the source marerialln warer to 11111rr a perfumed wash, rasa 10 make I'I:RWaler ilr example. Materials u pedwneiy are obcained ir. many ways. Expression is used to squeeze out (ngranr oils from citruS peel. Essential oils, (the

54

MaR raw fraplces are OOt2incd Cmn Pns, ~ flowers. leaYes. roots,- fruits, t.tnk.

baa, resinS and lichens. FnlpJccs fmn au IOUil1S 11t abo imponant Musk &om the Aa1 mwi

deer, met &om the civel car, castoreum fnxn the 10th Aaitft:at beaa and legcrdary ambagtis, a WDY 8fJ!'IIh

11#wtancr lixmed In the intestines of spcnn whales and loulli ~·ll!l«washcd ashurt, ;,dJ ~~Ions lworyci IISCDI are tar pxl ftDtives. addq a magial depth to blends Dl mttldlng their Sllying power.

In recent times perfumery has deveklped the an ci ~bf noces. Top noces are the illll5t .aaile .ld ~oo.w, Dddlt « tat Mle5 fmn the body ci the f'ragr3nct. wl1ae bl.!t

DDCa are tbe 10051 1oog lasling and uu1r fix the 001cr r.xes DIIIICR encJurinB sce1L The~ e.wniaJ Oils and Dolllla (D.) are al teKiily ~ T~ ~ -bc•p••c. bilter ~. black ptpper. bbxl ~·

cedllrwood, cmander, ga.banum, lalcndcr,llne, Jld AJdi'uil. Dl I'(ICWOOd M«< l'iacs - dan' • · JPIIIIIITI, jasmile D., law:nder ahl . ned.~ lbRr ab;., rose a .. Sl)m. tubclo!c b. .-.! ':: ,... Base Notes - anmue stfd. beeSW3X •

beua..., copahl babam, ~. l;biriiDo

•• , ..... ~ peru bMsam. ~ Sftlt't a, riwmfb., vanllla ab; and YCliYer. A good 01Jf18'-: ilr J>l! • ""'• nann1 perfumes ti to use~ niCkle ~~ III*IID tbe lllio of HJ They shoukl be blenlkd ;:

6 r.-a

then llllftml. 95' grain or grape alcvhol 15 deal ( ci IJI!t suilable subsline u the armteur blender)· 24 drq)SJ~kl l) ~ 1101es, 18 drops d middle 1101es. 18 ~ ci wp naco. ak:ohol6 a good guide to 5tli1 frooL

BHASMAS

,_...,A _,...._v there are methods foe making metallic medicines In u..-. iiLJ""U • aBed ~~ tSanskrit - powder). The process makes ~ rmn meuJs by mixing them With plant ashes until no axe or the origirral meul remams. The aim is to connect mtunately inlrgri: maucr o;r.1th Ofi!'Ulic so !hat ill~ curative power3 can be ;mimil:ud by the body, v.ithout ta<icity. Zinc (which corresponds w 4 like llll) isosy towak with and makes an excellent immune ~ •hen l1tlde into a bhasma \\~th turmeric. Mdlni I. MIX yogurt 1:2 9.1th Miff m a bowl. 2. Mdl a rouple rJ pns r:i dlemicllly pure zinc in a ~ Steel spoon m-er a bunsen burner. 3. 1111:n fU5t mcl1ed (do llOI allow to whiten) pour «PddY ioto the yoghurt water. ·t Stram out the birs ri metal and dean in water 5. Repeat stepS 2 to 4 six mae llmCS. The: metal •ill become quite brittle. This COIT1J*:tes the fusl ~ r:i !1xxlana .rmliatial). 5 Reheat the ZlllC in a la!ge sl2lnless Sled spoon. 6. 'X1len partially melled add some pmd IOOnelic. i. \1ix tha'oughJy (blow OUt if II catches fire). 8. As !he l:U'nl matter begins to whiten add more turmeric and keep ll1liinJ 9 The: metal should he amalg:~mated with the plant matter bui)·llloroi¢Jy. If the romenb oi the spoon sWt to spill over ~let« this ~ is complete, set SOOle aside and continue as bcbt. AI the 2lllt should be mixed t.r~til no visible panicles remain. li'J. Put the mmr:r lll an ~proo( pon:e1am pot and add a more lhzn ~ vaume oi l'resh ground turmeric. n. Add enough disuiic:d 1111ter or 1'211lwatcr to make a fairly loose paste. The inner ~tithellllCshwldappearasartddLSh color. l2 This is the lim bh2sma ~· Pbct the pa m'CI' the bunsen burner at full heat ;: CINCf "ilh a lid to a~ nridaticn. The lid should llOI

tJgtt. Vapor llllm be able to es.:3pe, but llOI to C!lla'. l3 As the mixture ~ to smoke a red oil s!lOIA:J SW'IIO appear 00 the SUtbce. Calcine fOr at

:: 3 hour!, by "hid! lime the bllasm3 o;r.iJJ be li ~ 1'~· Twnolf!Q and alloYi to cool a bit ~ a fady loose p:l;.\te v.'llh as much fresh ~as there is llliXlure m the pot 16. Add the

to the hot bhasma . lllort ~ llUX1Ure and sur in. addmg l? ll:l 16 : ~ a loose paste. 17. Repe:u &CJlS ~alii laal rJ 40 umes. F'tre is the great

~a l'rlt ~ m:rma· by the end d the WIXk the bhasma should t llndtr a fils the finger prinl o;r.ilen gently rubbed. Look at ~ ~ •1We shining a bght on it to be sure that the 'ill rtfle.:t cht ligh amalgamaun Any unamalgamated pal1icles ll"11tr~ be .. ~..=-lf an is well. a tiny pinch of the bhasma mixed

._,1 a.\ a daily tonx:.

55

fERMENTATION

'FEilMENTATION is the processbywh1ch plants produce alcohol. Chemically speaking, alcohol is produced from the interaction of yeast Mth plant sugars. The upper pans of most plants have sufficient amounts of aubome yeast to ferment naturally in the right condition5. The best 5pagyric ~ell\.-c an: produced through natural fermentations. Method: I. Finely chop a quantity of fresh herb. 2. Immerse the herb in up to fh-e

times irs volume of good water in a non-metallic vessel. 3. Cover loosely and s1and in safe place

at a temperature of 16·28 ·C. 4. Stir tMce daily with a wooden spoon. Fermentation should stan Mthln three days. Once

underway the plant matter nses tO the surface and fizzes when stirred. This is cartxm dioxide gas, a by-product of the process. 5. U fermentation

fails to stan, make sure you have some wine yeast activated Mth a little sugar on standby to add before the plant soup goes off (you will

know by the bad smell). Alternatively, yeast and sugar can be added at the beginning to ensure successful fermentation. 6. Shr the brew twice 2 clay anct he sure to cover again (loo.~y) immediately. We want the heavy carbon dioxide to form a layer on the surface of the brew. This ensures the yeast produces plenty of alcohol and protects tbe brew from vinegar·formang b3cteria, which can take over very quickly. U it has you can concentrate the vinegar by freezing 1he filtered brew. Since vinegar freezes a1 a lower temperature than water you can drain it from the icc and freeze it again, repeating till you have a strong vinegar- a very useful alchemical substance, especially

in mineral work. Fermentation is complete once the brew stops fizzing and the plant matter sinks 10

the bottom. 7. DistiU (gently) as soon as fermentation ceases. DistillatiOn will separate both the Sulphur~ and the Mercury ~ of 1he plant. 8. To keep the amount of

water in the distillate to a minimum, while ensuring that aU the ~ and ~come over, tasle the distillate from time to time. When 11 tastes insipid, cease fermen!3tion. 9. U you have an

alcohol meter, test the disuUate to establish the alcohol content. It should be at least 16% ABV (alcohol by volume) if it iS to keep well. 10. U the alcohol content~, lower, pure ethanol (ca 96% ABV or more) can be added. If the Sal Salls and Sal Sulphuris are extracted (see page 30) and added to the diStillate you Mil have a spagyric essence. Such es.~ences actually improve with age like fine wines.

PLANT PLANET CoRRESPONDENCEs

The planets g<)IU1l aB our funaions on every lcvd Spagync medldnc:s C2fltone and harmonae our inner solar system. If our IMCT Venus 1lCCds a boost, for ccample, a spagyrtc tinctUre ol ~ or another Venus herb mav help Here are some rJ the pnnciple quabtics and rulerships of the planet$ and lisu rJ some rJ the planl$ they rule.

0 Slj 15 vitalky, 1."01l500U$11C, the individual soul. It com:spond5 10 Sulphur, the hot, dry,

masculine prinCiple, the acuve, engendering seed, ailed the fahcr rJ the Stone The Sun's inllucnce is ~ bul m exctSS an engender pride and cpsm. Wllhout the cooling. moistenlll8 influencr rl the Moon, n can be arid 1lld burning. The Sun rules the mind, ener&Y wilpowcr. physiologlally the heart, eyes, c:mam and health m ~

that receiveS the seed rl Sulphur and bears the hcnnaphrodilic dukl. Physiologically it rules the stomach, cerebellum, female reproductive organs.lymphauc system and pancreas.

Acanlbus mol/is: acanthus ·~us cas/US: monk· s pepper-Bellis perennls: daisy - Brcusicae: the cabbage farmly · Cart/amine

pratense: cuckoo flower · Cucwnis satMis: CIKUmbtt . Cururbila pepo: pumpkin · CummttJ lorfia tunnenc - Gallum aparine: cloven • lrlilllceoe: irises • Lactuca sativa: leuuce · Myristfca frrJRrtms: nuuncg • Nympboea alba: ~~o-ater lily- RuJa 11111llria: lllOOClWM • Sallas: willows • Sa:djraga: saxifrages . Sedam! telepbtum orpine-Stellar/a media: chlckwttd- Tllta linden (lime) trees · Veronica ojficinalis: spetdwdi­

Vinca minorlmajor. periwinkle -Mast water plaro

AJweUca ~: anaeJica • Alllbmis nobills: xUtfet.r >-( Mercury IS the bstest mowing planet, the ¥ quicksilver ~ service rnedlanng

loman chamomile • 80iswtlitl S«JYY £ankinccnse • BuJWf'rl ~ copll-~ llr'Orllatials Clbrnus · CDimtJvJa C/Jidtttllls: ~ · QnnarrtOIIIUifl ~m. cmnamon · OlnG specill Ill dUus trees • lJroserrJt: all sundcws -Ecblum ~~ wiper's bu&bs . EMpbrasla ojficinDiis-. eydlrighl • Frr.rlcbu aceiWrr :ash (wah.) -llellantbus anws: suNtower · 1,-tiSia ,..,. f ais. pclen seal • Hypericum pedoratum: St. John s wan - Ju1iims r¥o nnut tree - Matrlcarla cfoo,....Wq. Gmnln dlaluomile - MyrrN mynh (with ~)

· Orya flMivtl nee • PtMlflia qfidtttiJb peony • llomtarllt&ls cf/idwJiis: I'05CIIIIIY - llula lf"'l"''a7ts. common rue • Sor6us fiUCII/IC'rla !Owatlll'tC. ~ tlrofiiQtkum.

cbte uce -VlltiDII ..,... misdctoe (wkh ~ and )) Vllts rflri/ml J111PCY111C (with -l and )) • ~

of/icitlt*: P'F

between AlxM: and Below It rules mer11al processes tmcl. rommumcauons. lanf!ua8c, wnting. adap121lility and !he intellect It siJal"o the: same ambMient qualitieS ~ Hemle§/ ThotiVMen:ury. A.s a planetary entity Memuy has a pucmll. triclcsler tendency that expaiCS l"al5chood and l'OIICCit 8elnt! andro(!enous. and contain~ all opposites, he is therefore a rrce operator, independent of a polar opposite, although he ha.\ an an~agtliUSiic relationship with Salum. The planet Memlry is not

10 be ~ with the Mercury o( the Sulphur-Mercury duad Physiologically Mercury rules the neMJU5 system, hearing.

tongue, throat, lungs, coordination, the spmal cord.

Acacia. acaoa spc:oes • ..wr~nm~ pans dill · AMmlsia abrolanum: southemwood · Nropa

~ra: mandngon (with -t; and )) · Bryonltl alba bryony . Cala1lllntba IPfOIIIImQian~

) luna rules the cmouons, III5UICIS the subcomcioud Clbmku • CanDII cam cam.-ay • Corylus a~eJa· 15 lmil•~e. ~ llllltlllq. rdlectiYe ~ II bad . Daucus carota· C3mll • FoertJculum t~

lllflucnccs fl:rdky groMh. and lllllttptlOII The waters fennel (with -ll . Geranium roberfttmum herb Robert rl the ocen. the sap in planls :n1 all bodilv Huids {wllb Cf and OJ . Girli8o btloba: gmkgo . ~ ft lr6ienccd by the Noon, • WIIICSSCd bv the tides flt*a· licorice . LavarulvJa vtra; bYender (With ~ and 0) :n1 the llleiiiiNII qde rlWOIIIIII. AD thing~ grow m ~ -MajoranQ borfrnsis: marjoram ·Marrubium 1'Ulgart: "flue rhythm with the Moon It rules dre2ms, cmooons, sensuality, horehound •. Wercurlalis annllll/perennis: annuallperennl31 lnndtlon. bs dark side 15 the unconsdous, the wilder, baser memary • Morus: mulberry speoes • ~ rom111um< 1115tJ11C13. It IS the bride rl the Sun, Diana, the lunar pldess ol myn1c • OrJwmum 1~: orqpno . Prtrwrlinum ~· the Greeks. Luna Is the White Queen the Wilke Lion, the Elixir ol parsley • PlmpiMllo an1sum: anise . Satureja bor1ensis ~ lmmonal.ity, which corwcns mcu1s mto siWcr It is also Mercury • Sculftlarla lolmj:JIIa: skullcap • Solanum dukatfUII'II' 10 the Sun's Sulphur; the cold, IIIOI5t. p:l\c~ l'cminine principle hiuerswm (wkh *,) . Valerlana offidnalis v:lleND.

56

0 Ven\1\ iS lhe planet of affection, an, and mUSIC. Ven115 .f helps rrcdlale berwc:cll opposites and 10 illlqp'alc di¥enc c:tcrnentS intl harmonious balanc:e. Venllf/Aphrodirc is lhc (JOOdess of Love, but 10 the f.gypllans, lndiaM and Hebrews ills l1JZ(IIIIne. To lhe Indians he is Sukra, who.lilu: Thach. is a teacher and ~'Sioall- lqend !dates !hal Sukra possC55Cd lhc Elixir of I!MXXUIIy. The influence ofVen115 L'l cntirdy bc:nitJI, but ifbadly J!llCl1C(I an promoce 5CliU3I and sensual cxcc:a. Vau naleslhc complcoou, breasts, thym115 gland, fertilily, ~ Inner sexual crgn. blood and cdl bmadon and lhc 5CniC of smell

kbilifa mil/efoUwn: yarrow • }/Ullfl repltlns-. bugle • AlcbemJIIa ~~ bdy's mande · Aqflilarla 9'kdl: apwood. oud (wah +> . Aquilegla vulpis: columbine · An:tiwlt klppa: burdock • Arfelllisfa r'14Fu mJPO!t · &tula: birth tm:s - Casrrma:l satiroa sweet chcsnut (with +> . Uonlli'IIS amliaca: IIIOdlertooo • . Wtrltbtw al ldncb d mini • Nfpt/11

CAitr1a C3llllp • "'""' vup;s: peadl • Pritala ojfidnaJis: ;xunmse . Pyrus 001111111#11£ 1112 • Pyrus 1IIOius 3pple • Rora: I'05C5 (Qh +> .. Srtnll"': 5andalwood (Wilh ~ • SQponflria ~

) juplla' L'l by fir the largest d lhc visible planets. In Wllll'lll

"f- 10 lhc ratriaiYe and inltioryqualilics dSawn,JLpilcr is cxpnl¥e. aencrous. Wll1ll and jowtll. He •lhc I'« of N311R, thr warmth In allthi113S. In m)'lholosy he is the lusty, self-indulgent Jq cl lhc pis This rendclll.'y 10 ea:QI is .lul*cr'J mall weakness. As wtth all lhc pbncls, ~can be imcnal if'laly aspcacd "' ocher pllnecs. Jupilcr prC5idcs Dl'el' law, harmony and rdpn ~ Jupilcr pcrns lhc IM:r,lhc irllnule sysiCIII, drtubtion . .tw ·u~ thWis. reer and rca1t

Aalr. maple, SJQIIOt ·An?±= bippP 1 lUll: honr daDUI •.... 1monla fll/1tlk1rla: I8Jimony • ~ amnilllfl: aJUCit

,_ • MJI 1 •m almood • •Liidrilsuos ~: chmti·Amkirllllllfrltllllr.IIJiia • ........ c#d e,

berony • G•e .., ....,, SMiel chcsnul (WIIh ~ . to.+ "'" .....,., .,_, (wtlh +> . ,.., omus: IIW1III, llowcric ISh • Ftfttltta r#rln* fllniay. Gtlllitmlr llatJ: )dow pliln. Ht1ptf+ '".

hawau·J ·- : IBI*le·A' ··-~ * IIICIIIot • MllisJa 0/fiCtntllls: lmul balm • (k/.-

•dfan: .... (wtlh & . ,_,.. sncrw . ,_.,nd 4 3piCOIIR:Ie·s.!Mqfi;mtllr •

soapviUit • 'io/ldaeo I"JJ2 QUIWI: goldenrod • .__ · sm- /]aJplf*-: taJaD ·rna •• .....,-. umy- r.....-...-. dllllldoi•·-P**"

Cllinele nu-b (wllh & . vn..a. ...., ••. mullcir!. TCZ1111CfftD1 ~: ievafcw - n,-s n II is. thyme - Triliaml saliva· whea • Ver6enll o.f/t=hrillls: ~ • Vttttom'a llmrllodes val¥er • VIola odaraiiJ: ~

~ 5IJum is die c.u.dlm d Thr lhratdd lll:lwcD die J ~ llld lhe apiltiUII world, where die clrxall lnlo

maacr bqpnl. Thr moa dilllntllld slowest moW1s d lhe !Bible plftu, i lqat5dliS .... laioo llld inbiJilon. As die Lml of Order, d knowtqe, nl cllc:ipllne, s-um an be a IC¥Cit

lllllmaslcr. llpansall~and ~medllnlsms. roqdleslldcmnnl ... piocesscs. Salumisprel!fta! as lhe skdelal ~ of Dl:lh or Old f.1lhcr Tnt wllh his SC)thc. mcrcllestly ~ down the old. uselesa or IIII'II'Oidly. This applies ro die em. or lmpuiilies II the aldlemlst's maaia, lrlcluding the COi ltsptulic 11pect1

wilhin him.d s.unn condilions lilclude rheumlllsm, dcpiesllloo Ulll chronic--..

Nroptl Wet Dillli: bclldonnna (will & · C#lrlilllibb .....,, hcnp . "-'"'- Clliiif6Gwu: (lllllfftol •

CuprfsJus strrl/)m1lrrns: cyptal • CJryoptri ji/bHrlllls: male fan . flii/oblaWt .. , 'lllifolha: willow herb • l!l1otJiclyutl~: yabianta·f4N--­

~ hoixlail fern • ,.., JIAIQiicp: bmfl . Fomurll ,_,,

57

~. ,._. #:Jrtalis: fwniory . HallruiMI.r: ivy.

Honlnmt: brutcy ·~· hoiMit·lkr. t .. " : hoDy. Ptlpawr: JXlPjlies (fth )) . Plp.r Mllbyrllalllr: 11M ka¥1 -~oJJicb• Solomon'sal-~oJ/idtttlk. comlrey (wilh +>. r-'*"'*'' ~-

ASTROLOGICAL HOURS

\\'hen makingspagyric preparaliOO) it always ht:lps to remforcc the planeury signarure by perlorming or beginning ~h pi"'CeSS or stage on the correct planeury day and. v. here pn;.~ible, dunng the approprtnc ~·hour. Tradiuonally the day i:; dl\ided 11110 a oumbt.--r of planetluy hours, which \'31'\' accordmg to dtft'ercm S) 1em.' The planetary sequence of these hours al'\\'3)"-i corresponds to the hq>tagram on page 22 when follo\\L<d anti·dod..'Wise.

0 ~UJI

Thu.~ the hour of the Sun 0 i~ followt.'d by the hour of Venus~. then Merauy ~. the Moor ) , SaiUm ), Jupiter 4 and Mars 0. The sequence then repeatS. The Mt hour d each day corresponds to the day in question: the first hour of Suooay 15 a Sun hour. V'k.-v.'S differ 2S 10 when the !b)• is deemed to begin and on the length of planeurr hours According to Celtic, Kaln!listic and blamic IJ'adil.J()fb the day begill.'l after sunset. Sunday tht•rcrorc stut.\ on "Satun.hy" C\>t:ning. S~ems can be fixed or flexible In the lixtd Kahtolistic ~'Stern the day alv.-ays starts at 6.00 p.m In a flexible S)-:>tcm the day begin' after Sunset v;hatevcr the hour.

Other traditlor~S hold that the day srans at sunnse. Again, fixed and flextble sr.;tcms can apply. In these S})(ems each hour~«< rrunutes Alternatively the periods of daylight and ~can~ dl\lC!ed into 12 "hours" which vary 10 length acmding to the line of year- shoo daylight "hours~ in \\inlet, long ones in summer. A popular system amon~t Western alc~IS uses seven equal period.\, starting at midnight (below), the second period matching the day. The advantages of this system arc tha111 b constant, while sunrise ten<:b to occur during the hour that rules the dav.

I

.g >-

f j' f >-

"' "' -o

! f 12 Hours c: § ::>

:::> Ji V) ::;::; lo..

0:00 to 3:26 ~ ~ + <j? ) 0 )

3:26 tO 6:52 0 ) ~ ~ + ~ )

6:52 to 10: 18 ~ ) 0 ) ~ ~ 4 10:18 to H:44 ~ 4- ~ ; (:) ) 0

13:44 tO 1~: 10 ) 0 ~ + ~ ) 0

17:10 lO 20:36 ) 0 ) 0 ~ 4 ~

20:36 to 0:00 4 ~ ) 0 ) 0 ~

ALCHEMICAL SYMBOLS

THlUE PRINCIPLES THE 'fOUR ELEMENTS

~ e ~ ~ is \1 s;z + su~bur S4Ct Mmury 'fin Air W4frr B4rt6 Dt ECnsNiiS

PLANETS &- METALS

) ~ ~ 0 3 4 ) Moon Mmury VtnUS .Sun M•rs JUfUtr 511/Unl

siCvtr ~LiCvtr C1ftr GoCI Inn Tin uJ

58

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