A red-faced sun rises above a city; stunted trees stand in the foreground; representing either the culmination of the alchemical Great Work or the star of hope that inspires the alchemist through his tribulation.
Release any thought, behavior or idea that you’ve picked up on your journey, so you can uncover the pure gold of the spirit within you.
“THE FOUR ALCHEMICAL RULES.
1. Follow (your) Nature.
It is useless to seek for the sun by the light of a candle.
2. First know; then act.
Real knowledge exists in the triangle composed of seeing, feeling, and understanding.
3. Use no vulgar processes.
Use only one vessel, one fire, one instrument.
The door to success lies in the unity of will and purpose and the proper adaptation of the means to the end. There are many roads leading to the celestial center. He who follows the chosen path may succeed, while he who attempts to walk on many paths will be delayed.
4. Keep the fire constantly burning.
If the molten metals are allowed to cool off before they are transformed into higher ones, they will become hard again, and the whole process will have to be recommenced from the beginning. Use the inextinguishable lamp. Its light will not go out unless it is driven away by force.
THE FIVE THINGS NECESSARY TO OBSERVE IN THE PRACTICE OF ALCHEMY.
1. To recognize the true PRIMA MATERIA.
It is to be found everywhere; but if you do not find it in your own house, you will find it nowhere. It is a living substance that can be discovered only in places inhabited by man. It is the only substance from which the Philosopher’s Stone can be prepared, and without that substance no genuine silver or gold can be made. In thirty pounds of ordinary mercury, there is usually not more than one pound of the true substance; and a hundred pounds of ordinary sulphur usually contain not more than one pound of that which is useful. It can only be found above the earth, but not below it. It is before everybody’s eyes; no one can live without it; everybody uses it; the poor usually possess more of it than the rich; the ignorant esteem it highly, but the learned ones often throw it away. The children play with it in the street, and yet it is invisible. It can be perceived by the sense of feeling, but it cannot be seen with the material eye.
2. Use for the preparation of the PRIMA MATERIA only the rose-colored blood of the Red Lion and the pure white gluten of the Eagle.
Let your Will be strong, but without anger, and your Thoughts be pure from that which infects the lower strata of the earth’s atmosphere. Let the fire of the divine Will penetrate deeply within your soul, and elevate your mind to the highest regions of thought.
3. Obtain the sacred Fire.
It is not of man’s making; it cannot be bought, but it is given for nothing to those who deserve it.
4. Then follow Multiplication and Increase, for which purpose weight and measure are necessary. Weigh all things with the scales of justice, and measure them by the rule of reason.
5. The fifth is the Application, that is to say the Projection upon the metals.
This will be accomplished by nature without artificial aid.”
In the “Pronaos of the Temple of Wisdom” by Franz Hartmann
The Qabalistic Tree of Life represents many things, but in the interests of this post it symbolizes the “Path of Return” to one’s higher self and actualization:
“It seems to me that brutal, unchecked power must ultimately be balanced by Chesed before one can attain any further. Believing might is right is a roadblock to spiritual progress when entering the Abyss.
We know Chesed is Mercy. Mercy must be sought, attained and given before the Abyss can be crossed. The Abyss is a leap of Faith. We must return to a child-like state or we stagnate and die. The so called Geburan “Path of Power” ends here. It is limited and microcosmic and only suitable for the aspirant who refuses to take up the Path out of ego-fear (which, I suggest is impossible for any one who has truly attained to Tiphareth.
I believe that 5=6 in the A.’.A.’. system, or the attainment of Tiphareth, along with the ensuing “Knowledge and Conversation of the Holy Guardian Angel”, may in fact be attained via this so called Path of Power). However, in my opinion, any magickian who has achieved Knowledge and Conversation of the Holy Guardian Angel–and is operating their True Will–cannot, but act in accordance with 1. Universal, 2. Consistent and 3. Self-Evident natural laws–which are ultimately Balanced and not Mars heavy.”
From Lev Grossman, the author of “The Magicians” that spawned the show on SYFY (I love that show):
“A magician is strong because he feels pain. He feels the difference between what the world is and what he would make of it.Most people carry that pain around inside them their whole lives, until they kill the pain by other means, or until it kills them. But you, my friends, you found another way: a way to use the pain. To burn it as fuel, for light and warmth. You have learned to break the world that has tried to break you.”
This is a wonderful statement. A magician is (hopefully) someone who looks at their pain and tries to feel it and understand it. The challenges we’ve been through in our past is part of what shapes our Will (the reason we are here) in the world. We’re not running away from hard times but validating them as lessons and as a way to know and love ourselves! Are you a magician?
“Magic is the highest, most absolute, and most divine knowledge of natural philosophy, advanced in its works and wonderful operations by a right understanding of the inward and occult virtue of things; so that true agents being applied to proper patients, strange and admirable effects will thereby be produced. Whence magicians are profound and diligent searchers into nature; they, because of their skill, know how to anticipate an effect, the which to the vulgar shall seem to be a miracle.”
– The Goetia of the Lemegeton of King Solomon
Pythagoreans celebrate sunrise by Fyodor Bronnikov
Every year at Christmas, I think about the ancient traditions that usher in the winter season. These folk beliefs form the foundation of how we celebrate the holidays in modern times. Why do we bring an evergreen tree into our livingrooms? Who is St. Nicholas? Why is Christmas red and green?
If you take a step back, keep an open mind and do some research, it’s easy to see that many of these traditions are symbols for winter survival. An evergreen tree stays green despite being blanketed by snow. The Christmas lights we hang are a representation of the fire of life going strong through the winter darkness. The gathering together of family to feast and exchange gifts comes from our interdependent, tribal origins. And the celebration of the birth of Jesus comes from the Winter Solstice.
December 21st is the longest night and the shortest day of the year. It is brought about by the turning of the Earth and happens every year without fail, just as the Sun rises and sets everyday. At the Winter Solstice, the Sun is “reborn” for the coming year and the days literally become longer. The light increases. Not surprising that Jesus’s birthday is celebrated near the solstice, because it is synonymous with the birth of light.
There is no solid evidence that Jesus ever existed on earth, but the story of his life mirrors many ancient myths from cultures all over the world. It is the story of the sacrificed King, who’s death brings about the bounty of crops and the survival of the people.
From the “Women’s Encyclopedia of Myths and Secrets” by Barbara Walker: “It seems Jesus was not one person but a composite of many… He was eaten in the form of bread as were Adonis, Osiris, Dionysus and others… Like Attis, Jesus was sacrificed at the Spring Equinox and rose again from the dead on the third day, when he became God and ascended to heaven. Like Orpheus and Heracles, he ‘harrowed hell’ and brought a secret of eternal life, promising to draw all men with him up to glory (John 12:32). Like Mithra and all the other solar gods, he celebrated a birthday nine months later at the Winter Solstice… ”
It’s more than interesting, it’s important. It’s vital to our sense of humanity – to be open to learning how our social structures developed. It’s more important than ever this Christmas to love our fellow man and respect his path. I hope all of you have a wonderful Christmas holiday. The article below is a bit of fun too 🙂
bowl from the late 2nd century B.C. which reads: “DIA CHRSTOU O GOISTAIS,” which has been interpreted to mean either, “by Christ the magician” or, “the magician by Christ.”
“A bowl covered with engraving that reads, “DIA CHRSTOU O GOISTAIS,” (interpreted to mean either, “by Christ the magician” or, “the magician by Christ”) is considered by many researchers as the world’s first known reference to Jesus Christ.
The artifact, dated to between the late 2nd century BC and the early 1st century AD was discovered by a team of scientists led by renowned French marine archaeologist Franck Goddio, during an excavation of the underwater ruins of Alexandria’s ancient great harbor.
The discovery could also provide evidence that the early Christians and Pagans shared many rituals and practices, and Christianity and paganism at times intertwined in the ancient world.
Via NBC News:
A team of scientists led by renowned French marine archaeologist Franck Goddio recently announced that they have found a bowl, dating to between the late 2nd century B.C. and the early 1st century A.D., that is engraved with what they believe could be the world’s first known reference to Christ.
If the word “Christ” refers to the Biblical Jesus Christ, as is speculated, then the discovery may provide evidence that Christianity and paganism at times intertwined in the ancient world.
Team leader Frank Goddio of the Oxford Center for Maritime Archaeology, said that “It could very well be a reference to Jesus Christ, in that he was once the primary exponent of white magic.”
The jury’s still out on whether the bowl is actually referring to the real Jesus Christ, but there’s no hiding the fact that even the prophet’s contemporaries compared his abilities to sorcery (Jesus was often accused of using demons to do his bidding).
Similar to the Jewish mystic Elijah (the undisputed patron of Lurianic Kabbalah and rider of fire chariots), the real Jesus was a wonder-worker who could freely go in and out of Super-Saiyan-mode. After his death, he was often linked with the Roman cult-hero Mithras and the magician Apollonius of Tyana, both pagan figures. Jesus’ “magical” side certainly wasn’t always unknown to modern thinkers. It was the 16th century philosopher Giordano Bruno who was one of the first to suggest that the real Jesus was just an extremely talented mage.
The engraving ‘could very well be a reference to Jesus Christ, in that he was once the primary exponent of white magic.’
Was Jesus Christ the magician? Times of Jesus Christ were imbued with magic and in the Hellenistic period of time, the lands around the Mediterranean have mixed different religions, traditions, philosophies and superstitions.
The Egyptians, Greeks, Romans and Jews were convinced that it is possible to possess the power of the gods, demons and spirits, and use it for your own purposes.
“The important thing was his power to do miracles,” writes Morton Smith in “Jesus, the Magician” and adds that “even the stories that seem to deny Jesus’ power to do miracles take for granted his reputation as a miracle worker…”
The ‘Book of Matthew’ refers to “wisemen,” or Magi, believed to have been prevalent in the ancient world. Egyptologist David Fabre, a member of the European Institute of Submarine Archaeology says the bowl is also very similar to one depicted in two early Egyptian earthenware statuettes depicting a soothsaying ritual.
“It has been known in Mesopotamia probably since the 3rd millennium B.C.,” Fabre said. “The soothsayer interprets the forms taken by the oil poured into a cup of water in an interpretation guided by manuals. The “magus” could have practiced fortune telling rituals using the bowl to legitimize his supernatural powers by invoking the name of Christ,” according to Goddio and Fabre.
“It is very probable that in Alexandria they were aware of the existence of Jesus” and of his associated legendary miracles, such as transforming water into wine, multiplying loaves of bread, conducting miraculous health cures, and the story of the resurrection itself,” according to Goddio.
The Bible reports that Jesus was accused of practicing magic, and the second century Roman philosopher Celus is quoted in the writings of the early Christian apologist Origen as saying that Jesus learned the arts of magic on Egypt, and then returned to his own country with these acquired skills.”
Believing or Not Believing is Not a Concern at All; You Simply Love. You See a Rose Flower. Do You Believe in It or Do You Disbelieve in It? You Don’t Do Anything, You Simply Look at It… You Look at a Rose and Something of the Rose Reaches to Your Heart. Outside the Rose is Flowering, Inside, the Heart Starts Flowering.
A strange visual language developed from the 18th to the 20th century behind the closed doors of American secret societies. It’s a languae made up of all-seeing eyes, ominous skulls, hourglasses, arrows, axes, and curious hands holding hearts. Each of these icons was deeply symbolic for the thousands of people — mostly men — who participated in rituals of borrowed meaning, where ancient Egypt, biblical Christianity, and some homegrown amusements like wooden goats on wheels met the rise of American folk art. The American Folk Art Museum’s (AFAM) Mystery and Benevolence: Masonic and Odd Fellows Folk Art from the Kendra and Allan Daniel Collectionexamines this often hidden history through its arcane artifacts.
Mystery and Benevolence was curated by Stacy C. Hollander, chief curator and director of exhibitions at AFAM, and Aimee E. Newell, director of collections at the Scottish Rite Masonic Museum and Library. It features over 200 objects recently donated to the museum by Kendra and Allan Daniel, who spent three decades buying up the once-secretive art. Installed in the museum, the objects are an exuberant display of the “golden age” of Masonic and Odd Fellows objects, when American decorative and folk art merged with the need for a sense of belonging in the new country.
“After becoming an independent nation in the 1780s, America was seeking to establish its own cultural identity; Freemasonry offered a source of images that resonated with the new nation’s values of equality and liberty,” Newell writes in the accompanying catalogue. “Freemasonry’s visual language and American style began to intersect almost as soon as victory over the British was declared, and continued to adapt as the nation grew and the fraternity evolved. ”
Much of the exhibition contextualizes this long-hidden art in the history of the societies, such as their charity work. The Odd Fellows, formed in 18th-century London, were organized as a benevolent group to support the sick, orphans, and those who died without money for a funeral. One of their mission statements is proclaimed in red and gold on a large wooden sign: “Bury the Dead.” There are also axes indicating how the Odd Fellows saw themselves as “pioneers in the pathway of life”; staffs topped with a heart in the hand were a reminder to be open to others.
Similarly, even the more ghoulish imagery had some meaning connected to charity, and selflessness. The skulls, hourglasses, and skeletons holding shields painted with the word “fidelity” were all reminders of mortality, and how one’s brief time on earth could be better dedicated to others. Reverend Aaron B. Grosh wrote in 1853’s The Odd Fellow’s Manual: “Only the good or evil of our lives will survive us on earth, to draw down on our memories the blessings of those we have aided, or the contempt and reproach of those we have injured.”
“The outward form of each symbol offers a different point of access, but in its context within the lexicon of the fraternity, deeper meanings are revealed to those for whom the symbols are signified,” Hollander writes in the catalogue. “In this, the art of fellowship is not dissimilar to the art of alchemy, its secret knowledge also protected by its practitioners.”
The Masons are the country’s oldest established fraternal order, with numerous lodges founded in the 18th century across the US. In one painting on view at AFAM, their most famous member, George Washington, stands proudly at a Masonic altar. The Odd Fellows soon followed and quickly gained an important membership of their own, as did other societies like the Knights Templar, Shriners, and Junior Order of United American Mechanics. All were mostly white, male, and protestant, albeit from across different economic classes.
The objects in Mystery and Benevolence are seductive with their strangeness and feel somehow accessible through the ordinariness of the materials. I remember visiting the Masonic Hall on 23rd Street in Manhattan, and the tour guide (a Mason) pointing out that all the grand architectural flourishes were fancy fakery. The Corinthian columns, the Renaissance murals, and the Gothic arches that adorned different meeting rooms were all plaster — beautifully painted, but mimicry of the exotic and ancient all the same.
Likewise, the objects in this exhibition are visually stunning, from a late 19th-century staff wrapped with a snake to a towering column topped with a globe. There are some truly masterful pieces, like an intricate marquetry table by James J. Crozier, yet for the most part, the artists remain unidentified and the closest an object gets to a precious material is in the application of some gold leaf on the edges.
These are rare artifacts of an occult culture, each a labor of love for their ritual purpose, not originally intended as art, but as a tool of connection through shared rites. The value of these pieces goes beyond their folk art status. They represent a clandestine history embedded within the story of the United States, where for decades a large percentage of its men would amble over to the local lodge after dark, have a drink (or several), don a scarlet robe, then ponder a skeletal memento mori — or take a ride on a wooden goat around the lodge room.
“The Arbatel de magia veterum (Arbatel: Of the Magic of the Ancients) is a Renaissance-period grimoire – a textbook of magic – and one of the most influential works of its kind. Unlike some other occult manuscripts that contain dark magic and malicious spells, the Arbatel contains spiritual advice and guidance on how to live an honest and honorable life.”
“The Arbatel is claimed to have been written in 1575 AD. This date is supported through textual references dating from 1536 through 1583. It is believed that the final editor of the Arbatel was Swiss physician Theodor Zwinger, and that it was published by Italian printer Pietro Perna. The author remains unknown, although it has been speculated that a man named Jacques Gohory may be the author. Like Zwinger and Perna, Gohory was a Paracelsian (a group who believed in and followed the medical theories and therapies of Paracelsus).
The focus of the Arbatel is on nature, and the natural relationships between humanity and a celestial hierarchy. It centers on the positive relationships between the celestial world and humans, and the interactions between the two. British poet and scholarly mystic Arthur Edward Waite (A.E. Waite) noted that the Arbatel is clearly Christian in nature. He wrote that it does not contain any form of black magic, and that it is not connected to the Greater or Lesser Keys of Solomon, which were focused on demonology.
The most frequently cited book in the Arbatel is the Bible. In the manner it is written, it appears that the author of the Arbatel must have had many portions of the Bible memorized, and that this highly influenced his writings.
The Arbatel was an extremely influential work for its time. It is said that one cannot understand the meaning of the Arbatel without also understanding the philosophy of Paracelsus. It viewed theosophy in an occult sense, and was perhaps the first written work to do so. Prior to the Arbatel, theosophy was generally used as a synonym for theology. It was the first writing to make the important distinction between human knowledge and divine knowledge.
Not all views of the Arbatel are positive, however. Dutch physician, occultist and demonologist Johann Weyer condemned the Arbatel as being “full of magical impiety” in his book, De praestigiis daemonum. In 1617, two professors at the University of Marburg in Germany intended to use the Arbatel as a textbook for students. Actions were taken against those professors by the University, and the book led to a student’s expulsion. Further, in 1623, an individual accused of being a witch, Jean Michel Menuisier, claimed to have used incantations from the Arbatel.
The first edition was most likely published in Basel. Some claim there had been earlier editions, although there has been no evidence to substantiate this. Since 1575, there have been several reprints. In 1655, Robert Turner translated the Arbatel to English, and printed it in his “Fourth” book of Heinrich Cornelius Agrippa’s “Three Books of Occult Philosophy.” In 1686, Andreas Luppius wrote a German translation of the Arbatel, and in 1855, Scheible completed another German translation, correcting Luppius’ errors. In 1945, Marc Haven created a French translation of the manuscript. Finally, in 1969, it was translated again into English in the British Library’s Sloane Manuscripts. This English translation resulted in many errors and missing sections, and included a “Seal of Secrets” not included in any other version.
Through its original edition and later translations, the Arbatel remains a fascinating look into ancient spiritual advice, and the different philosophies and views of the world from the 16th Century.”