MA Thesis Through The Alchemical Looking Glass

Through the
Alchemical Looking Glass
An Interpretation of Stephan Michelspacher’s

Cabala: Spiegel der Kunst und Natur, in Alchymia
concerning the Tincture of the Alchemists
A thesis presented to
the Graduate Faculty of Humanities
University of Amsterdam
In partial fulfillment of the

requirements for the degree of
MASTERS OF ARTS
in
RELIGIOUS STUDIES
by
Alinda van Ackooy

August, 2016
0
Table of Contents.
Introduction .......................................................................................................................................... 3
Chapter 1. The Cabala of Stephan Michelspacher .......................................................................... 5
1.1. Stephan Michelspacher and the Cabala ................................................................................. 5
1.2. Christological interpretation of the Cabala ........................................................................... 8
1.3. Paracelsian Influences in the Cabala...................................................................................... 9
1.3.1. The Four Pillars of Medicine ............................................................................................. 9
1.3.2. The Four Elements ........................................................................................................... 11
1.3.3. The Tria Prima of Mercury, Sulphur and Salt ............................................................. 12
1.4. Practical Instructions in the Cabala ..................................................................................... 13
1.5. Conclusion of the First Chapter ............................................................................................. 16
Chapter 2. The First Engraving: 1. Spigel der Kunst und Natur ................................................ 19
2.1. Color Symbolism in Alchemy ................................................................................................. 19
2.2. The Red Blood of the Lion and the White Gluten of the Eagle ......................................... 22
2.3. Prima Materia and Ultima Materia ...................................................................................... 24
2.4. The Diagram of Azoth and Vitriol ......................................................................................... 27
2.5. The Diagram of Four............................................................................................................... 31
2.6. Via Humida vs. Via Sicca ....................................................................................................... 33
2.7. Alchemical Interpretation of the First Engraving............................................................... 36
Chapter 3. The Second Engraving: 2. Anfang. Exaltation........................................................... 39
3.1. The Fiery and Venomous aspects of the Dragon ................................................................. 39
3.2. The Alphabet of Alchemy ....................................................................................................... 42
3.3. The philosophical Egg ............................................................................................................ 44
3.4. Alchemical interpretation of the Second Engraving .......................................................... 46
Chapter 4. The Third Engraving: 3. Mittel. Coniunction. ............................................................ 49
4.1. The Different Tinctures of the Planets.................................................................................. 49
4.2. In the Bowels of the Mountain .............................................................................................. 51
4.3. The Seven Steps of Transmutation ....................................................................................... 54
1
4.4. Zodiacal Ingredients ............................................................................................................... 55
4.5. Alchemical Interpretation of the Third Engraving ............................................................. 57
Chapter 5. The Fourth Engraving: 4. Endt. Multiplication. ........................................................ 59
5.1. The Alchemical Fountain ........................................................................................................ 59
5.2. The Seven Planets, Again ....................................................................................................... 61
5.3. The Resurrection of the Christ .............................................................................................. 62
5.4. Alchemical Interpretation of the Fourth Engraving ........................................................... 63
Conclusion. .......................................................................................................................................... 65
Bibliography. ....................................................................................................................................... 67
Appendix 1. .......................................................................................................................................... 72
2
.
Introduction.
The subject of this thesis is the Cabala: Spiegel der Kunst und Natur, in Alchymia
(1615), written by Stephan Michelspacher. Due to the richness of its illustrations, the
details of the engravings in the Cabala are often discussed in works on the symbolism
of alchemical emblems. However, as fascinating and beautiful the Cabala is, the
treatise as a whole appears to be a rather undiscussed subject among scholars. Authors
such as Stanislas Klossowski de Rola and Johannes Fabricius (1587-1616) have written
about the engravings, considering them as representations of practical alchemy,
whereas others, like Marie-Louis von Franz (1915-1998) and Urszula Szulakowska,
tend to interpret the illustrations from a psychological or Christological point of view.
Antoine Faivre, a prominent scholar in the study of Western esotericism, pointed out
that “for a period of thirty years, beginning with the end of the sixteenth century, there
was a profusion of works whose engravings have as much, if not more, importance than
the text.” 1 We can therefore presume that the engravings in the Cabala contain more
information than would appear at first glance.
The goal of this thesis is two-fold. The thesis aims at presenting evidence that the
Cabala is not to be interpreted as a psychological, spiritual or Christological work. As
the following chapters will show, the engravings are full of alchemical symbolism, filled
with references to alchemical authorities and practical directions. A particular focus of
1
Faivre, Access to Western Esotericism, p.69.
3
attention in our search for answers is the oeuvre of Paracelsus, famous for his works
on iatrochemistry (medical alchemy). Paracelsus firmly believed that a universal
medicine could be created by performing the right alchemical operations in the right
order and with materials that are prepared in the right manner. Carrying out this
alchemical transmutation, the Great Work or magnus opus, would eventually lead to
the attainment of the Philosophers’ Stone. With this Stone, which is not a regular stone
at all, the alchemist was able to transmute inferior metals into silver (argyropoeia) or
gold (chyrsopoeia). It has also been named the Elixir of Life, as this Stone was
supposedly able to consume all diseases.
Secondly, this thesis aims at presenting evidence that Michelspacher intended to write
a practical guideline for the alchemical transmutation in the Cabala. A significant
correlation between the Cabala of Michelspacher and Paracelsus’ The Treasure of
Treasures for Alchemists (1659) exists, assuming that Michelspacher too, has searched
for the treasure of treasures, that is the Tincture of the Alchemists. In chapters 2-5 the
engravings in the Cabala are examined in detail, interpreted and possible alchemical
instructions are set out. The first chapter provides some background information about
Michelspacher, the Cabala, Paracelsus and the operations concerned with alchemical
transmutation. An English translation of the Cabala, written by Leonhard Thurneisser
(1667), is added as appendix for further reading.
4
Chapter 1.
The Cabala
of Stephan Michelspacher
As mentioned before, this thesis holds that the engravings in Michelspacher's Cabala:
Spiegel der Kunst und Natur are not to be interpreted from a soteriological
perspective, but instead argues that they function as instructions for the alchemical
process. A closer look at the text of the Cabala and its engravings shows a correlation
between the Michelspacher’s treatise and several works of Paracelsus. This in itself is
not surprisingly, as Michelspacher was known to be a supporter of Paracelsian ideas
and theories. If we examine the engravings in the Cabala, we can state with certainty
that all four of the combined images illustrate concepts of Paracelsus’ theories on
medical alchemy. Before I continue with the analysis and interpretation of the
engravings in the Cabala (chapter 2-5), an introduction of Michelspacher’s life and
work, the Cabala itself, and a brief summary of Paracelsus’ most influential theories,
is in order.
1.1. Stephan Michelspacher and the Cabala

Few details are known about the life of Stephan Michelspacher, except for his short
career as a publisher (1613-1619). Starting as a Paracelsian physician in Tyrol in the
early part of the seventeenth century, he practiced medicine until he left Tyrol around
1613 and relocated to Augsburg, where he started a publishing house which he ran until
at least 1619. It is suggested that he moved to Augsburg, as Michelspacher was a
Lutheran in a re-Catholicized city, and Augsburg was one of the cities in the Holy
5
Roman Empire where the Protestant and Catholic religions were allowed to coexist. 2
Considering that Augsburg was the center of commerce and one of the most important
centers of print between 1480 and 1630, moving there whilst attempting to start a
publishing house, might simply have been the wisest choice for Michelspacher at that
moment to ensure success in establishing himself as a publisher.3
It has been argued that Michelspacher’s publishing list partly reflects the interests of
Philip Hainhofer (1568-1647), a merchant and art collector in Augsburg. In the period
1613-1619 Michelspacher published works on the subjects of mathematics, geometry,
physics and anatomy, to products of mystic and Hermetic science. Many of his works
contain detailed illustrations. A beautiful example of his illustrious works is the
Catoptrum Microcosmicum, a work on human anatomy with a series of complex prints
engraved by Lucas Kilian (1579-1637) and first published by Michelspacher in 1613.
This anatomical work, written by Michelspacher’s friend and colleague Johann
Remmelin (1583-1632), discusses the macrocosm and the microcosm as the reflection
of divine creation.4 In the following years two subsequent editions were published, the
Elucidarius (1614) and Pinax microcosmographicus (1615), both works featuring
Michelspacher’s name.5
Other works produced by Michelspacher’s publishing house are for example:
 Ein Mathematisch new Invention, einer sehr nutzlichen und geschmeidgen

Hauβ- oder Handmühlen (1617) by Johann Faulhaber (1580-1635),
mathematician and Rosicrucian follower;
 Tabulae Proportionum Angulorum Geometriae (1617) by Tobias Volkmer
(1586-1659), goldsmith and mathematician;
 Inventum Petri Apiani (1616) by Georg Galgemair (1564-1619), mathematician
and astrologer;
 Geometria et Perspectiva (1617) by artist Lorenz Stoer (c.1537-c.1621);
 Ferinae Weltzheimenses (1619) by the earlier mentioned Johann Remmelin.
2
Ackooy, ‘Stephan Michelspacher’. In: Divine Wisdom – Divine Nature. The Message of the Rosicrucian
Manifestoes in the Visual Language of the Seventeenth Century, p. 113. See also Schadelbauer, ‘Zu Johnnes
Rümelin und Stephan Michelspacher’. In: Sudhoffs Archiv für Geschichte der Medizin, pp. 123-127.
3
Künast, ‘Augsburg’s Role in the German Book Trade in the First Half of the Sixteenth Century’. In: The
Book Triumphant. Print in Transition in the Sixteenth and Seventeenth Centuries, p. 320; p. 333.
4
Ackooy, ‘Stephan Michelspacher.’ p. 113.
5
Massey, ‘The Alchemical Womb: Johann Remmelin’s Catoptrum microcosmicum’. In: Visual Cultures of
Secrecy in Early Modern Europe, p. 209f4.
6
In the year 1615 the first German edition of Cabala. Spiegel der Kunst und Natur was
published in the city of Augsburg and printed by Johann Schultes. The Cabala is
composed of a short twelve-page text, accompanied by four large and richly detailed
engravings. The illustrations were designed by Michelspacher and engraved by
Raphael Custos (1590/91-1664), engraver and publisher in Augsburg and son of
Dominicus Custos, who worked as an engraver for Rudolf II in Prague (1560-1612). The
Latin edition, Cabala, Speculum Artis et Naturae, in Alchymia, was published in 1616
in collaboration with David Francke, a printer in Augsburg. This Latin edition contains
a short dedication to the Rosicrucian Brotherhood underneath the title on the front
page: “Rosae Crucis fraternitati dicata edita, quo hac in material amplius nil
desideretur” (Published and dedicated to the Brotherhood of the Rosy Cross, so that
nothing more is lacking in this matter). The title-page further makes mention of “an
unknown, yet mentioned author” and further states that the author is made known
through his publisher’s mark in the first illustration (“Durch einen unbekandten, doch
genandten, wie ihm das Signet in diser ersten Figur Zeugnis gibt”). It is certain to
assume the author of the Cabala is in fact Michelspacher, as the first engraving
contains a monogram with the letters M, L, S and P, serving as a personal monogram
for MicheLSPacher. Furthermore, the first three pages of the Cabala consist of a
dedication to Remmelin, with whom Michelspacher collaborated on the Catoptrum
microcosmicum, signed by Stephan Michelspacher of Tyrol. 6
Whereas the dedication was simply a word of thanks to Remmelin and has no further
significance for the remainder of this work, the following nine pages of the treatise
reveal an explanation of the alchemical work Michelspacher intends to clarify. It is
subdivided into five sections, namely ‘The introduction to the reader of this Art’
(“Eingang an den Leser dieser Kunst”), ‘Preface’ (“Vorred”), ‘The Art’ (“Kunst”), ‘The
explanation of this Art’ (“Erklärung der Kunst”) and ‘A declaration of the most ancient
Stone instead of an epilogue’ (“Zum Beschluβ ein Erklärung des uhralten Steins”).
Throughout these pages Michelspacher explains the necessary steps the reader should
undertake and that by following these steps in the right order, the hidden secrets of
nature will become clear and the reader will have completed the Great Work.
6
Ackooy, ‘Stephan Michelspacher’, p. 113.
7
1.2. Christological interpretation of the Cabala
One of the main contributors to the study and understanding of the engravings in
Michelspacher's Cabala is Urszula Szulakowska. She currently lectures at the Art
History Department of the University of Leeds and has published several monographs
and papers on the history of alchemy. Szulakowska tends to study alchemical
illustrations from a religious and political point of view. The importance of historically
contextualizing such images cannot be denied, however, it does leave the practical
alchemical content undiscussed. This becomes apparent in her publications on
Michelspacher's Cabala. Although Szulakowska does agree that the four engravings
are representing the alchemical work, she believes the illustrations only refer to
practical laboratory work in a superficial manner.7 In her article 'The Apocalyptic
Eucharist and Religious Dissidence in Stefan Michelspacher's Cabala: Spiegel der
Kunst und Natur, in Alchymia (1616)', Szulakowska argues that the illustrations are
“loosely related to a brief traditional account of chemical work,” and concludes that
“the apocalyptic symbology in Michelspacher's Cabala represents a judgement on
those who are not united with Christ within the soul but only within the empty formulas
of external ritual”.8 Thus, Szulakowska suggests that the images should be interpreted
within the frame of apocalyptic symbolism.
Such a Christological interpretation of the engravings in the Cabala is, according to

Szulakowska, connected to the religious and political events that took place in the area
of Tyrol before and during Michelspacher's life. As mentioned before, Michelspacher
originated from the Tyrol region, suggested by his signature underneath the dedication
to Johann Remmelin on the third page of the Cabala. During the 1550's this area
experienced a Counter-Reformation, turning the greater part of the Tyrol region
Roman Catholic. Naturally this brought about changes, such as the repression of
Paracelsian alchemists. The Paracelsians, however, grouped together and maintained
a lively correspondence with the alchemists in Augsburg, a city of religious tolerance.
Szulakowska suggests that Michelspacher was part of this network, as he was both a
Paracelsian and a Protestant, and his work was published in Augsburg.9 Whether
7
Szulakowska, 'The Apocalyptic Eucharist and Religious Dissidence in Stefan Michelspacher's Cabala:
Spiegel der Kunst und Natur, in Alchymia (1616), p. 200; p. 216.
8
Idem, p. 221.
9
Spiegel der Kunst und Natur, in Alchymia (1616), pp. 202-203.
8
Michelspacher was a Protestant or Catholic is significant according to Szulakowska
because “the emergence of Paracelsian alchemical illustration may have been its
function as a psychological compensation for the rejection of Catholic imagery by the
Protestants,” as she argues. Szulakowska underpins this argument by explaining that
illustrations with Paracelsian elements mostly appear in the Protestant regions. 10
1.3. Paracelsian Influences in the Cabala

Whereas Szulakowska states that the Cabala is only loosely related to the practical
alchemical work, this thesis argues that the Paracelsian and other alchemical elements
are indicators that Michelspacher’s treatise is a practical guideline for medical
alchemy. Besides the visual Paracelsian elements, the text of Cabala itself seems to
contain direct quotations from several works of Paracelsus. Phillipus Aureolus
Theophrastus Bombastus von Hohenheim (1493-1541), more commonly known as
Paracelsus, was a Swiss physician and one of the most influential writers in the field of
medical alchemy. He wrote extensively on the subject of iatrochemistry, with which he
laid down the foundation for medical alchemy. Paracelsus rejected chrysopoeia (gold
making) as the ultimate goal for alchemical transmutation, but firmly believed that
alchemy should be a method for preparing medicine and explaining bodily functions.11
1.3.1. The Four Pillars of Medicine

Philosophy, astronomy, alchemy and virtues, also known as the four pillars of
medicine, are present in both the first and second engraving. Paracelsus held that a
general medical theory was necessary in the field of medicine and developed a fourfold
foundation in Das Buch Paragranum (1528-1530), which rests upon these four
pillars.12
Understand then thouroughly that I am expounding the basics of medicine upon which I stand
and will stand: namely, Philosophy, Astronomy, Alchemy, and Virtue. The first pillar,
Philosophy, is the knowledge of earth and water; the second pillar, Astronomy together with
Astrology, has a complete knowledge of the two elements, air and fire; the third pillar,
Alchemy, is knowledge of the experiment and preparation of the four elements mentioned;
10
Szulakowska, The Sacrificial Body and the Day of Doom, p. 2.
11
Principe, The Secrets of Alchemy, p. 128.
12
Weeks, Paracelsus, pp. 6-10.
9
and the fourth pillar, Virtue, should remain with the physician until death, for this completes
and preserves the other three pillars.13
Philosophy, the first pillar, is understanding the authority of nature, because who is a
better teacher than nature itself? 14 Paracelsus explains that the knowledge of nature is
the foundation of the science of medicine, for “nature is the disease itself; and for this
reason it alone knows what the disease consists of”. 15 Paracelsus’ reasoning resulted in
the idea that in medicine like should heal like, therefore rejecting the medical theory
of treating diseases with contraries. Where philosophy is defined in relation to the
lower part of the natural cosmos and relates to the elements of water and earth,
astronomy, the second pillar, is concerned with the upper part of the cosmos and the
elements of fire and air.16 This division of the lower and upper part of the cosmos is
related to the idea of the microcosm and macrocosm. In the Tabula Smaragdina,
attributed to Hermes Trismegistus, it is said “that which is above is like to that which
is below, and that which is below is like to that which is above, to accomplish the
miracle of one thing.” It is a reference to the interconnectedness of the celestial world
and the terrestrial world, as for many centuries people believed that the celestial bodies
could affect the earth, its nature and its inhabitants. 17 In Paracelsus' case, however, the
microcosm refers to man himself. According to Paracelsus this meant that knowledge
about the universe is actually knowledge about the human body, as both are a reflection
of the other. Thus if the physician or alchemist knows how nature and astronomy work,
he knows how the human body works and he knows how to treat physical ailments. For
treatment of these ailments and diseases the physician turned to alchemy, the third
pillar of Paracelsus’ medical theory and a powerful instrument in the making of
medicine, as “alchemy is able to refine materials because it has an understanding of
the astronomical dimension of medicine.”18 In Paracelsus’ view, then, a true physician
has knowledge of all the wonders of nature, both of the lower and upper part of the
cosmos that is, and uses alchemy as a method to produce medicines according to this
knowledge, wherein the ethical virtue of the physician, the fourth pillar of this theory,
plays a pivotal part.19
13
Goodrick-Clarke, Paracelsus, pp. 72-73.
14
Weeks, Paracelsus, p. 10.
15
Idem, p. 111.
16
Idem, pp. 11.
17
18
Weeks, Paracelsus, p. 13.
19
10
1.3.2. The Four Elements
The separation or Scheidung of the four elements of air, fire, water and earth – which
are illustrated in the first and third engraving – is the most significant part of
Paracelsian medicine. It was common for Paracelsus to invent words for methods,
substances, and other things alchemically related, so he called this process of
separation spagyria. As Principe explains, the term derives from the Greek words span
(“to draw out”) and ageirein (“to bring together”), indicating that spagyria was a
process of separating and (re)combining. Paracelsus considered the Creation itself as
a chemical process of separation. Debus elaborates on this idea by explaining the
cyclical process: “First het elements were formed, then the firmament was separated
from the fire. Further separations resulted in spirits and dreams (from the air); water
plants, salts, and marine animals (from earth). Other substances were then separated
from those already created and the process continued until the original primal matter
was once more obtained.”20 Or in other words, Genesis was the first example of the
opus magnum, or the Great Work, as God himself separated the water from the sky,
parted the seas and formed land.
The story of elemental separation in Genesis emphasizes the role of the four elements
in Paracelsus' chemical philosophy. The idea that all matter is composed of the four
elements – earth, water, fire and air – is not a new idea in itself. It was the basis of
Aristotelian physics and many scientists and philosophers after him accepted this idea.
Connected to these elements are the four primary qualities: hot, cold, wet and dry.
According to Aristotle, each element consists of two qualities. Fire is a result of the
qualities hot and dry, water of cold and wet, earth of cold and dry and air is created
from hot and wet.21 The Aristotelian system was later adopted by the eighth-century
Arab alchemist Jabir ibn Hayyan, who developed the theory that one element can be
transmuted into another if the qualities of that element are replaced by the qualities of
a different element.22 Principe explains the Jabirian process of transmutation as
follows:
The “fire” distills off as a flammable and/or colored substance, the “air” as an oily
one, and the “water” as a watery one; the “earth” remains behind as the residue. Once
the elements are separated by distillation, Jābir wants to break them down further
20
Debus, The Chemical Philosophy, p. 56.
21
22
Goodrick-Clarke, The Western Esoteric Traditions, p. 71.
11
by removing one of their two qualities. According to Aristotle, water is the
combination of the two qualities wet and cold with matter, so Jābir orders his
readers to distill the separated water repeatedly from something with the quality of
“dry” – he suggests sulfur. By repeated distillation, the dryness of the sulfur destroys
the wetness of the water, so the alchemist is left with something simpler than an
Aristotelian element: matter endowed with coldness alone. 23
Paracelsus, however, differed on this theory. Although he did acknowledge the

existence of the four elements, Paracelsus rejected the Aristotelian theory that each
element consists of two qualities. Instead he proposed the idea that the elements have
only one quality, or nature: fire is hot, water is moist, air is dry and earth is cold.
1.3.3. The Tria Prima of Mercury, Sulphur and Salt

While Paracelsus partly agreed with the existence of the Aristotelian elements, he
developed a different theory to support his own system: the tria prima, or the three
principles of Mercury, Sulphur and Salt, illustrated in the second engraving. Before
Paracelsus' theory on the three principles, the Mercury-Sulphur theory of Jabir was
adopted by alchemists, which states that all metals are composed of the two principles
Mercury and Sulphur. It is the theoretical foundation of transmutation, as Principe
writes. According to this theory, gold is formed when the purest Mercury and purest
Sulphur are combined in the right ratio, but if the proportions are off or the substances
are impure, it will produce base metals such as silver or lead. This meant that if the
Mercury and Sulphur in a lower metal were purified and combined into the right
proportion, one could produce gold from base metals.24 By adding a third principle to
the Sulphur-Mercury theory – that is Salt – Paracelsus follows Hermes' idea that all
metals stem from three substances: body, spirit and soul.25 Sulphur (the soul) was
considered to be the combustible or flammable element; Mercury (the spirit) was the
volatile or fluid principle; and Salt (body) was the solid component of matter.
According to Paracelsus, then, each substance was composed of these three principles,
as is shown in his famous example of burning wood: “For that which smokes and
evaporates over the fire is Mercury; what flames and is burnt is Sulphur; and all ash is
Salt.”26 The Sulphur, Salt and Mercury they are speaking about here are not the
common substances of sulfur and mercury though. They are Decknamen or cover
23
24
Idem, pp. 35-36.
25
Pagel, Paracelsus, p .267.
26
Waite, The Hermetical and Alchemical Writings of Paracelsus, p. 150.
12
names for the philosophical Salt, Sulphur and Mercury. Through various alchemical
operations the alchemist is supposed to extract the Salt, Sulphur and Mercury out of
the substances and combine them, resulting in the creation of the philosophers'
stone.27 In order to extract the three principles from any substance, Paracelsus used
the chemical process of separation. Paracelsus believed that even the most poisonous
substance could produce powerful medicines as long as the alchemist used chemical
separation to extract the beneficial parts, leaving the toxic part behind. The useful parts
in substances were, not surprisingly, the three principles Mercury, Sulphur and Salt.
Through several chemical processes (distillation, sublimation, putrefaction, etc.) the
principles could be separated from the toxic residue and were recombined once they
were purified and free of toxins, resulting in a powerful, toxic-free medicine.28
1.4. Practical Instructions in the Cabala

The belief that the Cabala is supposed to be read as a guide for practical alchemy is
furthermore supported by the text of the Cabala itself. Although Paracelsus’ seven
stages of transmutation are depicted in the third engraving – namely calcination,
sublimation, solution, putrefaction, distillation, coagulation and tincture –
Michelspacher gives a summary of all operations which are to be used and separates
these per illustration.
But these things do only concern the students of the true and solid alchymy and
spagyrick art, and those that are expert in chymical operations, to whom even the
least occult and arcana of nature will be clear, by help of the degrees, or order of the
scales which are often made use of in operation. As for example the figure by the
number 1 doth declare the degree of calcination, under which also reverberation and
commendation are understood. The second figure doth show the degree of
exaltation, which doth comprehend sublimation and elevation together with
distillation. The third figure doth note conjunction, together with putrefaction,
solution, dissolution, resolution, digestion, circulation. The fourth figure doth
contain multiplication, under which are latent, ascension, lavation, imbibition,
cohobation, as also coagulation, fixation, augmentation and tincture. 29
27
Clulee, 'Astronomia inferior: Legacies of Johannes Trithemius and John Dee'. In: Secrets of Nature, p. 215.
28
Principe, The Secrets of Alchemy, pp. 128-129.
29
“Durch die grad, oder staplen so in der ordnung, in Labore sollen durchgangen werden. Als Erstlich die Figur
No.1 anzeigt, den grad der Calcination, dabei verstanden, das Reverberiren, auch das Cummendiren. Die
ander Figur inhalt ihres grads, als die Exaltation, darunder beriffen die Sublimation, und Elevation, sampt der
der Distillation. Die dritte Figur, belangt die Conjunction, darin wird auch verstanden, die Putrefaction, auch
13
The illustrations in the Cabala all represent certain alchemical operations as
Michelspacher writes.
The first engraving illustrates the operation of calcination, which also contains the
operations of reverberation and cementation.30 Calcination is “the Reduction of
Bodies by the powerful action of fire into Calx”, which means that the matter is burned
off, either by adding a dry corrosive or acids, leaving behind white-colored ashes or
calx. Both cementation and reverberation are methods for calcining matter:
cementation refers to the process of calcination where dry corrosives are added, such
as corrosive salts, and reverberation refers to calcination by adding acid or corroding
smoke to the matter.31 The overall goal of calcination is to remove the “body” of the
matter. “The power of the Arcana, i.e. the true remedies in contrast to the “soups” and
concoctions of traditional Galenic Medicine, derives from their volatility and the
absence of “body”, as Pagel summarizes from the Paragranum.32 Thus, the first phase
of the Great Work is to separate the body or Salt from the matter, hence the first
engraving in Michelspacher's Cabala illustrates the process of calcination. However, if
we read back a few paragraphs in the Cabala, Michelspacher speaks not only of
attaining the Salt as the goal of the first phase, but the alchemist should attain the
philosophical Mercury as well.33
The second engraving illustrates the operation of exaltation, under which the processes
of sublimation, elevation and distillation are also understood.34 Elevation and
exaltation are actually different terms for the same process, namely altering the
matter to a purer and higher level, and sublimation and distillation are two
methods to make this happen.
die Solution, Desolution, und Resolution, auch die Digestion, und Circulation. Die vierte Figur, helt in sich
die Multiplication, dabei ach verstanden, das Ascendirn Lavirn, Inbibiren, Cohobirn, auch Coagulieren,
Figirn, Augmentiern, Tingiern.”
30
The text actually reads cummendiren, which is translated into commendation by Leonardus Thurneiser, who
provided the only English translation of Michelspacher's work so far. However, this is not an actual
alchemical term and seeing that many passages from Michelspacher are copied from the works of Paracelsus
and Paracelsus speaks of cementation, it is more likely that “cummendiren” refers to the process of
cementation. See: Leonhardt Thurneisser zum Thurn, Cabala in Alchemy (1667), British Library, Sloane MS
3676, London; Paracelsus, Of the Nature of Things. In: Sendivogius, A New Light of Alchymie.
31
Ruland, A Lexicon of Alchemy, retrieved at http://rexresearch.com/rulandus/rulxa.htm.
32
Pagel, Paracelsus, pp. 267-269.
33
“Erstlich hab ik einen so hoch auff Saphyer Farb durchscheinenden fewriger Art, mit viel weiβ ein
gesprembt, Spiegel gefunden, darin ich gesehen, der weissen Mercurii, und ihr Sal. So klar als hette ich diese
in meiner Hand.”
14
Elevation, is Rarefaction, when the spiritual portions of a substance are elevated from
the corporeal portions, the subtle raised from the gross, the volatile from the fixed, in
the form of a vapour, by the power of fire, and are condensed at the top of the vessel. Is
is either dry or humid. Dry Elevation (vulgarly, Sublimation) is a process by which the
subtler dry parts are elevated, with adherence to their proper vase. (…) The Humid
Elevation (vulgarly known as Distillation) is the rarified separation of the moist parts
into vapour away from the dry and crude parts.35
All of these methods thus separate the subtle from the gross; the volatile from the fixed;
the spirit and soul from the body. With other words, the principles of Mercury and/or
Sulphur are separated from the Salt. In Michelspacher's case the process of elevation
is only supposed to separate the Sulphur, as the Mercury and Salt are already acquired
via calcination.
The third engraving illustrates the operations of conjunction, putrefaction, solution,

dissolution, resolution, digestion and circulation. Conjunction is a process in which
the congealed spirit (Mercury) is united with the dissolved body (Salt). In alchemical
symbolic language it is often referred to as the marriage or copulation between man
and wife. Rulandus further writes that “the commencement of the union is the
calcination; then the Mercury calcines and triturates the bodies; coition takes place
when the matter begins to become white; then the feminine seed coagulates; and there
arises from both a third substance. Then this loses its individuality, and commences
anew.”36 The conjunction is performed during the chemical process of putrefaction,
a cover term for the methods of dissolution, resolution and solution. The difference
between the several methods then, is that dissolution takes place in a moist heat such
as a sand- or water bath or dung, whereas solution (sometimes called sublimation) is
a dry or philosophical putrefaction, performed in (philosophical) Mercury or vinegar. 37
Resolution is similar to the process of solution, because a dissolving substance such
as vinegar of acid is applied to separate the matter.38 Circulation, then, is when a
substance is placed in a sealed vessel and by applying heat vapors will arise from the
matter and condensate in the top of the vessel. After this the condensed vapors will
return to the heated matter at the bottom of the vessel and the process will start from
the beginning.39 And lastly, digestion is “the action by which a liquid body and a
35
36
Idem.
37
Idem.
38
Idem.
39
Newman & Principe, Alchemy Tried in the Fire, p. 143.
15
fluidic body are united, either wholly or in part, to extract their tincture, to modify
them, to prepare them for dissolution or putrefaction, to cause them to circulate, and
thus to volatilize the fixed and to fix the volatile by means of proportioned heat.” 40
Thus, during this process the earlier extracted Mercury and Sulphur are combined
(conjunction) and prepared for putrefaction, which generally speaking aims at opening
out the matter and dissolving or digesting it by the application of external heat, which
is actually nothing more than separating the pure from the impure, as the impurities
sink to the bottom during putrefaction.41
Finally, the fourth engraving illustrates the operations of multiplication, ascension,

lavation, imbibition, cohobation, coagulation, fixation, augmentation and tincture.
Multiplication or augmentation, is nothing more than multiplying the matter, so
that it can be used indefinitely by the alchemist.42 Ascension and cohobation both
are a form of distillation. During the first process the matter is sublimated into a vapor,
whereas the second method is a process of soaking the matter in liquid and then
removing the wetness by distillation.43 Lavation, commonly known as dealbation
(whitening), is the washing of the Laton, “a certain state of the philosophical matter
when the red color has appeared, but is not yet permanently acquired,” and its goal is
to remove all impurities.44 Imbibition, then, is adding a liquid to the residue in order
for it to soak or saturate in it.45 Through coagulation a fluid matter condensates into
a solid state, whereas fixation makes a volatile substance fixed.46 The final goal of all
these chemical processes is the tincture, the “treasure of treasures,” which is the
medicine the alchemist sought.
1.5. Conclusion of the First Chapter

The Cabala, then, is a representation of the whole alchemical magnus opus, explaining
all of its operations, the substances which are to be used during these processes, as will
become more clear in the following chapters, and the signs the alchemist should be
aware of during these operations, indicating if the transmutational process is going to
be successful. Although my intention is to provide an explanation as to how the Cabala
40
41
Idem.
42
Idem.
43
Idem.
44
Waite, The Hermetic and Alchemical Writings of Paracelsus, p. 363; p. 371.
45
Linden, The Alchemy Reader, p. 88.
46
16
is a prime example of practical alchemy, it should be noted that other interpretations
of this treatise and its accompanying illustrations are possible. In the following
chapters, however, I attempt to explain the basic alchemical principles shown in these
four figures and interpret them accordingly.
17
Figure 1. First engraving, entitled “Mirror of Art and Nature”. From Stephan Michelspacher,
Cabala: Spiegel der Kunst und Natur: in Alchymia (Augsburg, 1615). Courtesy of the Staatsbibliothek zu Berlin.
18
Chapter 2.
The First Engraving:
1. Spigel der Kunst und Natur
Spiegel der Kunst und Natur, the first engraving of the Cabala, illustrates the
operation of calcination according to Michelspacher. During the process of calcination,
the body (Salt) is separated from its soul (Sulphur) and its spirit (Mercury), making it
possible to remove the body from the matter. Michelspacher further mentions that
during the first stage, not only its body or Salt is to be collected, but the spirit or
philosophic Mercury too. Alchemical concepts such as prime matter and ultimate
matter, the azoth and vitriol are discussed in the following chapter, an explanation is
given about color symbolism, the significance of the planets and the difference between
the ‘wet path’ and the ‘dry path’ of alchemy, and an interpretation is given about the
first engraving.
2.1. Color Symbolism in Alchemy

The first engraving (fig. 1), sharing the same title as the book itself, consists of three
horizontal and two vertical parts, combined into one image. In the middle of the top
section a coat of arms is illustrated. It is likely that this is not a personal or ancestral
coat of arms, but should actually be read alchemically. The coat of arms consists of a
shield, a helmet with a torse or wreath and a crest. The shield is divided into quarters
and although the engravings are not colored, the patterns of dots and small lines likely
represent colors. If we consult a standard work on heraldry, it appears that the second
and third quarters are then golden and bear three roundlets in the colors white, black
19
and red, while the other two parts of the shield are colored blue and silver. 47 The
mantling behind the helmet is barred and appears to bear the colors red, white and
black, similar to the quarters on the shield. Above the helmet the crest is placed, which
consists of a crown and wings, and on the wings we see the exact same circles as on the
second and third quarters off the shield. The figure between the wings seems to wear
the same colors as on the first and fourth quarters off the shield and shows seven small
arrows pointing in different directions.
Color is a potent element in visual language, as it is in alchemy. There are several

distinct stages in the alchemical transmutational process and the use of color is one
way to identify the different stages. White, black and red are recurring colors in this
engraving as they are the three major colors in alchemy. They represent the stages of
albedo (white), rubedo (red) and nigredo (black). The first colored stage the alchemist
encounters is the stage of nigredo or blackness. Nigredo is the result of putrefaction or
decomposition. The prepared substance is placed in a closed vessel, hermetically
sealed, and placed in either warm compost or a warm water bath, to prevent the
material from overheating. It induces fermentation and stimulates digestion, resulting
in a black mass, marking the “death” of the prepared substance. It is the first sign that
the transmutational process is going accordingly.48 Upon reaching the nigredo stage,
a continued heating is applied over the following weeks, which starts another change
in the color. This stage is called cauda pavonis, or the “peacock’s tail”, because the
blackness is “replaced by a multitude of short-lived and often-changing colors…
Gradually, the semiliquid mass grows lighter and lighter, finally becoming a brilliant
white, the second of the primary colors of the Philosophers’ Stone”, and marks the
completion of the White Philosophers’ Stone or White Elixir, also known as the albedo
stage. The white material is yet again exposed to continued heating, after which it
changes into the third primary color, red. This is known as the rubedo stage and
indicates the final stage and completion of the Red Philosophers’ Stone or Red Elixir.49
All the elements in alchemical illustrations have a specific meaning or purpose, so even
the colors themselves can tell us which metal to use or in which month the process
should start.
47
Pama, Rietstaps Handboek der heraldiek, p. 69.
48
Haage, Dictionary of Western Esotericism, p. 17.
49
20
In his article Hermatic Heraldry, Rafal Prinke gives an overview of the colors and
corresponding planets and metals, as shown below (Table 1).50 Returning to the first
engraving in Cabala, the colors gold, silver and blue appear besides the three primary
alchemical colors. As mentioned before the pattern of dots indicate that these two
quarters of the shield are golden. Therefore, both the color and the three roundlets
(black, red and white) symbolize the components for making the Philosophers' Stone
or gold. According to Prinke, the remaining quarters in silver and blue represent the
“idea of interpenetration of the two opposing forces,” such as the female and male. 51
There might even be other explanations. The blue and silver might indicate that tin is
the substance used for the transmutation of metals in silver (argyropoeia), the
alchemical process is supposed to take place in a month ruled by Jupiter, or even that
the result of the whole process depicted in these engravings can result in either the
metal silver or a tincture.
Colour Planet Metal Heraldic Colours

White or silver Moon Silver Argent (metal)
Grey or purple Mercury Mercury Purpure (tincture)
Green Venus Copper Vert (tincture)
Yellow Sun Gold Or (metal)
Red Mars Iron Gules (tincture)
Blue Jupiter Tin Azure (tincture)
Black Saturn Lead Sable (tincture)
Table 1. Colors and their corresponding planets and metals.
There are, of course, other details that suggest the coat of arms should be read
alchemically. The three circles, for example, are similar to those on the shield from the
engraving of the hermaphrodite in Thurneisser's Quinta Essentia (1574) and the arms
from the final plate of the Mutus Liber (1677). Three is a significant number in alchemy
and it possibly represents the three principles Mercury, Sulphur and Salt.
50
Prinke, ‘Hermetic Heraldry', p. 65.
51
Idem, p. 68.
21
2.2. The Red Blood of the Lion and the White Gluten of the Eagle
Prinke explains that the shield is commonly accompanied by important alchemical
symbols. 52 Illustrated beside the coat of arms are an eagle and a lion, who appear to be
in a combative position towards each other. The eagle and lion are common alchemical
symbols, often representing the volatile and fixed state of the matter. Thomas Vaughan
(1621-1666) wrote in The House of Light (1651) about the eagle and lion:
In a word, separate the Eagle from the Green-Lyon, then clip her wings, and you have
perform'd a miracle ... the Eagle is the water, for it is volatil, and flies up in clouds as an
Eagle doth, but I speak not of any common water whatsoever. The greene Lion is the
body or Magicall earth, with which you must clip the wings of the Eagle, that is to say,
you must fix her, that shee may fly no more.53
During the process of distillation, the matter is heated in a vessel, releasing vapors and
these vapors are collected in a separate container as a basis for the following
operations. In Of the Sum of Perfection, Geber tells us that the “special cause of that
Distillation, which is made by ascent into the Alembeck, is the desire of acquiring water
pure without Earth.”54 The earth is of course the remaining matter in the vessel,
whereas the vapors that are released during this process result in the purified water.
This is exactly what Vaughan meant when he said that the wings of the eagle should be
clipped after she was separated from the lion. The eagle (water) and lion (matter) are
separated, i.e. vapors ascend from the matter, and fixing the eagle should be done by
clipping its wings, i.e. collecting the vapors in a separate vessel where it will condense
and turn into a liquid. It is interesting to note that Vaughan indicates that the eagle is
female. This corresponds with Prinke's explanation that the eagle and lion represent
two opposing forces, namely female and male.
Another explanation, however, is that the animals symbolize the White Gluten of the
Eagle and the Red Blood of the Lion, as mentioned by Paracelsus in The Book
Concerning the Tincture of the Philosophers:
Take only the rose-coloured blood from the Lion and the gluten from the Eagle.
When you have mixed these, coagulate them according to the old process, and you
will have the Tincture of the Philosophers. 55
52
Idem, pp. 66-68.
53
Vaughun, Aula Lucis, or, The House of Light, pp. 17-18.
54
55
Waite, The Hermetic and Alchemical Writings of Paracelsus, pp. 25-26.
22
In The Transmutation of Base Metals into Silver and Gold (1718), David Beuther
explains that the Blood of the Red Lion is the Sulphur of the Sun and the Gluten of the
White Eagle is synonymous for mercury.56 The Red Lion he speaks of is cinnabar,
which “in its first coagulation, appears to be red in color” Paracelsus wrote in his The
Treasure of Treasures for Alchemists. This Red Lion, or Sulphur of Cinnabar, is
prepared in the following manner:
Take mineral Cinnabar and prepare it in the following manner. Cook it with rain
water in a stone vessel for three hours. Then purify it carefully, and dissolve it in
Aqua Regis, which is composed of equal parts of vitriol, nitre, and sal ammoniac.
Another formula is vitriol, saltpeter, alum, and common salt.57
The mineral cinnabar Paracelsus speaks of is obtained by combining common sulfur

with common mercury, which coagulates into solid cinnabar (mercuric sulfide). 58
Vitriol is either real vitriol, that is iron or copper sulfate, or a cover name for antimony
ore.59 Niter or saltpeter (potassium nitrate) is a naturally found salt, as is sal ammoniac
(ammonium chloride). An eagle is shown in Valentine’s Second Key in Von dem
grossen Stein der Uhralten (1602), where it is equated with sal ammoniac and its
volatily, because of its ability to sublime, that is, when sal ammoniac is gently heated
the salt vaporizes and condenses again, leaving a white salt in the cooler parts of the
vessel. When saltpeter and sal ammoniac are mixed and heated in a retort in a furnace,
a highly corrosive acid mixture is formed, which is able to dissolve gold. It is a type of
aqua regia, or aqua regis as Paracelsus calls it.60 Paracelsus further explains that the
cinnabar dissolved in aqua regis is to be distilled in an alembic with ‘a fire of the first
degree’, putrefied for a month in horse-dung, so that the elements are separated and
the ‘dead’ earth remains. This is the Red Lion. Paracelsus adds that the Red Lion
transmutes itself into the White Eagle by adding fire to putrefaction and sublimation,
whereafter the matter firstly appears black and turns into white. This White Eagle is
actually mercury and the Blood of the Red Lion is the sulfuric component that remains
in at the bottom of glass the vessel.61 According to Waite, the Red Lion is also called
Laton, reminding us of the operation of lavation, where the Laton is washed or
56
Beuther. The Transmutation of Base Metals into Silver and Gold. Retrieved at
http://rexresearch.com/beuther/beuther.htm
57
Waite, The Hermetic and Alchemical Writings of Paracelsus, p. 36.
58
Principe, The Secrets of Alchemy, p. 36; p. 122.
59
Idem, pp. 119-120.
60
Idem, pp. 147-149.
61
Waite, The Hermetic and Alchemical Writings of Paracelsus. Vol. 1, p. 37.
23
whitened.62 When the Red Lion is put in the pelican for further, where after the aurum
potabile or potable gold is formed. This gold is then sweetened with the alcohol of wine,
distilled in an alembic, creating the Oil of the Sun. After elevating and coagulation this
three times, the Tincture or Quintessence of the Sun is produced. 63
2.3. Prima Materia and Ultima Materia

Above the head of the eagle and lion, we notice two short rhymes with the following
text:
Cabala and Alchemy, O God help us to be grateful,

Give thee the medicine most high. For this gift sublime and pure.
Also the Stone of the Wise, The man whose heart and mind Thou openest,
In which alone the foundation lies. Who is perfect herein.
As is plain before thine eyes, To prepare here this Work,
Betimes in these effigies.64 To him may all strength be given.65
On the left side of the coat of arms we see a man standing on the pillar of nature (Natur)
holding the book of prime matter (Primat Materia) in his left hand and an aludel in
his right hand, a glass vessel usually used for the process of sublimation. The man on
the right is depicted on the pillar of art (Kunst) holding the book of ultimate matter
(Ultimat Materia) in his right hand and a pelican in his left hand, a device used for the
process of distillation. An inverted version of the image on the aludel seems to be
illustrated in the pelican (fig.2).
62
63
Waite, The Hermetic and Alchemical Writings of Paracelsus. Vol. 1. p. 38.
Commentary by Waite on the difference between aurum potabile, Oil of Sun and Tincture of Sun: “Aurum
Potabile is gold rendered potable by intermixture with other substances, and with liquids. Oil of Gold is an
oil extracted from the precious metal without the addition of anything. The Quintessence of Gold is the
redness of gold extracted therefrom and separated from the body of the metal.”
64
“Cabala und die Alchymei, Geben dir die hochste artzney. Darzu auch den weisen Stein, In dem das
fundament allein. Ligt, wie fur augen zu sehn ist, In disen figurn zu der frist.” Translation from: Klossowski
de Rola, The Golden Game, p. 58.
65
“Ach Gott hilf das wir danckbar sei, Fur diese Gab so hoch und rein. Wenn du nun auf thuts hertz und fin,
Der da volkomen ist hierin. Zu bereitten hie Dises Werck, Dem sey gegeben alle Sterck.” Translation from:
Klossowski de Rola, The Golden Game, p. 58.
24
Figure 2. Two alchemists showing books concerning the prime and ultimate
matter, while holding alchemical apparatus.
It appears that the pillars both men are standing on are connected to the image below
their feet. Both images underneath them show men working in the mine, either hewing
stone from the inside of the mountain (left) or sorting the extracted minerals outside
the mountain (right). Interestingly, the man holding the book of prime matter looks at
the reader and seems to be walking towards the man on the right, who appears to be
standing still and whose face is directed at the other man. As explained in the previous
chapter, Paracelsus believed that the Creation by God is the first example of Scheidung.
However, during the Creation, God created matter in its ‘prime’ instead of its ‘ultimate’
form. According to Paracelsus, all objects are then to be perfected, as nature is in a
process of transformation. This transformation is possible by the work of Vulcan, “an
immanent virtue or power which works in the matrices (the traditional Elements)”, in
which he is assisted by two other powers or principles, that is the Iliaster, “a type of
primordial matter-energy which essentially is and expresses the entire potential of all
nature”, and the Archeus, “a specific agent to impress the specific and individual
attributes upon the elemental material world”. The work of Vulcan and the Archeus is
often symbolically described by Paracelsus as the alchemist, perfecting prime matter
into ultimate matter.66
The symbols depicted on the apparatus are somewhat difficult to decipher, because
they do not correspond to commonly used alchemical glyphs. It could indicate a
relation with borax or the salt of borax (sal borax). Borax is a dissolvent of all metals,
as Paracelsus describes in A Manual of Paracelsus the Great.67 It is an artificial salt
made from sal ammoniac, nitre, calcined tartar, sea salt and alum, dissolved in urine,
66
Nicholas Goodrick-Clarke, Paracelsus, p. 28.
67
25
and it is known for its ability for soldering gold.68 In A Lexicon on Alchemy, Rulandus
even equates borax with the albedo stage, or the White Philosophers’ Stone.69 In the
pamphlet Medicinisch-Chymisch und Alchemististisches Oraculum (1755) we find an
extensive list of chemical symbols and their Latin and German definitions. The symbol
for borax (bolus communis or gemeiner Bolus) is . If we were to combine the
symbol of borax with the common glyph for salt this would in theory result in
a glyph similar to the image pictured on the aludel. Theoretically, this glyph could
symbolize the salt of borax or the use of borax in the transmutational process as a
whole, or even achieving the White Elixir or White Philosopers’ Stone.
Another explanation for the symbol is that it refers to Mars or iron in

combination with salt and vitriol. Although Mars or iron is usually pictured as , the
arrow points upwards in several alchemical writings such as in the earlier mentioned
Oraculum or Georg von Welling’s Opus Mago-Cabbalisticum et Theosophicum (1735).
Although this might be a bit farfetched, we could also connect this image with the
symbol of vitriol . Turning the glyph 90° counterclockwise, we have combined the
three symbols of iron, salt and vitriol which correspond with ferrous (iron) sulfate or
green vitriol, a significant element within alchemy and one of the possible ingredients
described above for making the aqua regis. A third, and perhaps more plausible theory,
is that both symbols in Michelspacher’s first engraving illustrate the fixed and the
volatile, as “make the fixed volatile and the volatile fixed” was one of the key guidelines
in the making of the Philosophers’ Stone.70 If we take a closer look at the image on the
aludel on the right, it appears that the bottom half of the circle is darker than the upper
half, as if the circle is half filled with a substance. The arrow is pointed upwards, which
could illustrate the chemical process of sublimation, a method used to purify matter or
“make the fixed volatile”. The image on the pelican on the left shows an arrow pointing
downwards, illustrating the “volatile made fixed”.
68
Quincy, Lexicon Physico-medicum, p. 54.
69
Ruland. A Lexicon of Alchemy. Retrieved at http://www.rexresearch.com/rulandus/rulxm.htm.
70
26
2.4. The Diagram of Azoth and Vitriol
In-between the mineworkers two diagrams are portrayed (fig. 3). Here we get some
closer sense of what Michelspacher probably intended with his use of the term Cabala,
for the circle on the left contains the alchemical words Vitriol and Azot in the center.
Vitriol derives from the V.I.T.R.I.O.L.U.M acrostic “Visita interiora terrae
rectificandoque invenies occultum lapidem verum medicinalum”, which translates as
“Visit the interior of the earth and by rectifying thou shalt find the hidden true
medicinal stone.”71 It underlines that the primal matter is found inside the earth, which
is portrayed by the two miners in the engraving.
Figure 3. Detail of the first engraving.
As for the word azoth, Paracelsus held that it is the universal medicine and the ultimate
purpose of the alchemical work. Remembering that Michelspacher wrote Cabala from
a Paracelsian standpoint, we could consider that the Cabala of Michelspacher is the
Cabala of Paracelsus. The word azoth is formed of the first and last letters of the Latin,
Greek and Hebrew alphabets: the A and Z, the Alpha and Omega, and the Aleph and
Tau. Being the first letter of the alphabet in these three languages, the letter A
corresponds with the primal matter at the beginning of the alchemical process, whereas
the last letter of the alphabets symbolizes the ultimate matter or the completion of the
Great Work. The term azoth therefore refers to the beginning and end of all things, and
71
27
in a sense containing all that is in between. This, again, corresponds with the
philosophers or alchemists illustrated on the pillars of Nature and Art, holding their
books Primal Matter and Ultimate Matter. For the primal matter, found in nature, is
the beginning of the Great Work, whereas the ultimate matter, the final goal of the
alchemical work, is achieved by the art of alchemy, which is simply the imitation of
nature.72 “You must use the venerable nature, because our art is generated from this,
through this, and in this nature. And therefore, our alchemical work is the workings of
nature and not of the human will”, as Arnold of Villanova wrote in the Rosarium
Philosophorum (1550).73 In his Lexicon of Alchemy, Ruland explains that different
interpretations were given to the term azoth. It is, for example, synonymous with
quicksilver or mercury, the Philosophical Stone, or the “mercury of philosophers”.74
Azoth is thus considered as a significant element for the alchemical work. This idea is
confirmed through the placement of the words azoth and vitriol in the engraving. They
appear in a geometrical image of a circle, square and triangle. The squaring of the circle
is a well-known alchemical symbol occurring in numerous alchemical tracts, of which
the twenty-first emblem in Michael Maier’s Atalanta Fugiens (1617) is probably the
most famous (fig. 4). Heinrich Khunrath makes mention of it in Vom Hylealischen,
das ist Primaterialischen Catholischen oder Allgemeinen Naturlichen Chaos (1708)
and the frontispiece of Bernard Penot’s De Denario Medico (1608) depicts a
minimalistic image of the “squared circle”. This “rotation of the circle”, as Maier
termed it in his De Circulo Physico, Quadrato (1616), symbolizes the process of
attaining the Philosophers’ Stone. It refers to Aristotle’s “Make of the Man and Woman
a round Circle, and from that extract a Quadrangle, and from the Quadrangle a
Triangle, and from the Triangle make a round circle, and you will have the Magistery”.75
The man and woman personify the opposites of male and female, Sun and Moon, in
the sacred marriage wherein the spirit and the soul conjoin together to become one
72
Wamberg, Art & Alchemy, p. 32.
73
“Igitur venerabili utimini natura, quia ex ea, per eam et in ea generator ars nostra. Et ideo magisterium nostrum
est opus naturae et non opificis”. Villanova, reprinted in Artis Auriferae, vol. I, p. 143.
74
Ruland. A Lexicon of Alchemy. Retrieved at http://www.rexresearch.com/rulandus/rulxm.htm. See also
Holmyard, Alchemy, p. 151.
75
“Fac de Masculo & Fæmina Circulum rotundum, & de eo extrabe Quadrangulum, & de Quadrangulo
Triangulum, & de Triangulo fac circulum rotundum, & habebis Magisterium,” in: Khunrath, Vom
Hylealischen, p. 126.
28
body, also known as conjunction (coniunctio).76 Of this, Paracelsus wrote the following
in his The Aurora of the Philosophers (Aurora thesaurusque philosophorum, 1577):
There are also two matters of the Stone, Sol and Luna, formed together in a proper
marriage, both natural and artificial. Now, as we see that the man or the woman,
without the seed of both, cannot generate, in the same way our man, Sol, and his
wife, Luna, cannot conceive, or do anything in the way of generation, without the
seed and sperm of both. Hence the philosophers gathered that a third thing was
necessary, namely, the animated seed of both, the man and the woman, without
which they judged that the whole of their work was fruitless and in vain. Such a
sperm is Mercury, which, by the natural conjunction of both bodies, Sol and Luna,
receives their nature into itself in union … Hence the philosophers have said that
this same Mercury is composed of body, spirit, and soul, and that it has assumed the
nature and property of all elements.77
In The Secret Work of the Hermetic Philosophy (1650), the work of “a concealed
author”, but supposedly written by Jean D’Espagnet, it is further explained that Sol
and Luna, forming the philosophical Mercury, is then transformed into the four
elements, which in turn produces Sulphur and lastly the Elixir:
The material means of the Stone are of divers kinds, for some are extracted out of
others successively: The first are Mercury Philosophically sublimated … of the
former the seconds are produced; namely the four elements, which again are
circulated and fixed: of the seconds, the third is produced, to wit, Sulphur, the
multiplication hereof doth terminate the first work: the fourth and last means are
leaven or ointments weighed with the mixture of the things aforesaid, successively
produced in the work of the Elixir. By the right ordering of the things aforesaid, the
perfect Elixir is finished, which is the last term of the whole work, wherein the
Philosophers' Stone resteth as in its centre, the multiplication whereof is nothing
else than a short repetition of the previous operations. 78
The geometric shapes thus symbolize the conjunction of Sol and Luna, or the
philosophical Mercury (the circle), the four elements (the square) and the
philosophical Sulphur (the triangle), whereas the circle in the center illustrates the
Elixir or the Philosophers’ Stone.79 Rotating the circle is therefore synonymous with
the entire alchemical process according to Maier, wherefore it might represent the
76
Linden, ‘The Ripley Scrolls and The Compound of Alchymy’, p. 92.
77
Waite, The Hermetic and Alchemical Writings of Paracelsus, Vol. 1, pp. 65-66.
78
Dee, Fasciculus Chemicus: or chymical collections, pp. 202.
79
Chen-Morris, ‘From Emblems to Diagrams: Kepler’s New Pictorial Language of Scientific Representation’,
pp. 144-146.
29
azoth, as this is the beginning and end of all things. 80 Interesting, as Michelspacher
turned the letter A of azoth into a stylized triangle in the first engraving, perhaps
implying that the A of azoth is also the tria prima of Paracelsus.
Figure 4. Emblema XXI. In Michael Maier, Atalanta Fugiens.
Returning to the engraving in Cabala, two crowned serpents enclose the azoth and
vitriol, forming a caduceus similar to the caduceus in the illustration of Basil
Valentine’s Twelve Keys (1599). The caduceus is a famous symbol for Hermes, the
messenger of the gods, in Greek mythology, and connected with the planet Mercury in
Roman iconography, therefore symbolizing either the planet Mercury, quicksilver or
the principle Mercury of the Paracelsian tria prima. However, the most plausible
explanation for the crowned serpents, who appear to be hissing towards each other, is
that they symbolize the philosophical Mercury. Nicolas Flamel (c.1330-1417) wrote
about the two serpents, wrapped around a caduceus, in his Exposition of the
Hieroglyphicall Figures (1624):
These are the two Serpents, given and sent by Juno (that is, the nature Metallic) …
These are the two Serpents, wrapped and twisted around about the Caduceus or rod
of Mercury … these two I say, being put together in the vessel of the Sepulcher, do
bite one another cruelly, and by their great poison, and furious rage, they never leave
80
Szulakowska, The Alchemy of Light: Geometry and Optics in Late Renaissance Alchemical Illustration, pp.
154.
30
one another … and finally, killing one another, be stewed in their proper venom,
which after their death, changeth them into living and permanent water. 81
The Sepulcher is a reference to the philosophical egg (ovum philosophicum), a glass

vessel in the shape of an oval body and a long neck, in which the substance is placed.
The neck of the flask is sealed by melting the sides together, also known as the “seal of
Hermes”, and then, for example, placed in a furnace for putrefaction, until the matter
turns black (nigredo).82 The two serpents Flamel speaks off, changing “into living and
permanent water”, is referring to the philosophical Mercury, which is the first matter
of the Great Work. Around the snakes the four elemental qualities are depicted – hot,
dry, cold and moist – referring to Galen’s theory of the elements, where each element
is connected to two of these qualities. Paracelsus rejected Galen’s medical system of
wet, cold, dry and moist, wherefore the placements of these humors outside the
mercurial caduceus show that Galen’s theory has no place in Paracelsian alchemy. The
circle is furthermore divided into 360 degrees, showing the twelve regions of the
zodiac, each region counting 30 degrees.
2.5. The Diagram of Four

Composed of three separate rings, the diagram on the right illustrates the four
Aristotelian elements of earth (Erdt), water (Waser), air (Lufft) and fire (Feuer) in the
outer sphere; the four pillars of medicine as described by Paracelsus in Das Buch
Paragranum in the second circle, namely Philosophy (Philosophiæ), Astronomy
(Astronomiæ), Alchemy (Alchimæ) and Virtues (Virtutes)83; and the four alchemical
substances sulphur, bismuth (Wismatt), vitriol and antimony (Antimonium) in the
inner circle. In the middle of the diagram we find a square in which the planets are
repeatedly represented in the following numbers: Venus twice, Mars twice, Jupiter
twice, Saturn twice, Mercury four times, the Moon four times and the Sun once. If we
look at the placement of the planetary symbols, it seems as though Saturn is connected
with antimony, Mars with Sulphur, Jupiter with bismuth and Venus with vitriol. In
Offenbahrung Der verborgenen Handgriffe auff das Universal gerichtet (1624),
Valentine wrote that antimony is the bastard of Saturn, bismuth or marcasite the
bastard of Jupiter and vitriol the bastard of Venus. Mars dissolved in the ‘red Oil’ turns
81
Flamel, Exposition of the Hieroglyphicall Figures, pp. 67-69.
82
Principe, The Secrets of Alchemy, pp. 123-124.
83
31
into vitriol (of Venus), becoming the ‘Sulphur of Mars and Venus’. This mixed with the
‘Sulphur of Sol’ becomes a medicine for both men and metals.84 Looking back at the
‘Tincture of the Sun’ described in paragraph 2.2., which leaves a white body, Valentine
explains that through various preparations of this tincture, the body or ‘Salt of Sol’
remains at the bottom like calx vive. Abstracting the spirits of it will leave a red powder,
the ‘Sulphur of Gold’. The extracted ‘Sulphur of Gold’ grinded together with the
‘Sulphur of Mars’ is then dissolved in the ‘Spirit of Mercury’ and prepared with the
silver calx (calcined silver), forming the “united Bride and Bride-groom”, or the
conjunction of the King and Queen, Sol and Luna. With this “extracted soul of Sol” one
can prepare the aurum potabile.85 The seven sigils in the right diagram are therefore a
practical reference to the alchemical work, as they represent that Venus, Mars, Jupiter
and Saturn are to combined first, whereafter Mercury and Luna are conjoined and Sol
is the final preparation of the process.
Figure 5. Personal monogram of Michelspacher.
Returning to the first engraving in the Cabala, letters are placed around the diagrams,
forming the word Gott or God. Although this might assume that the mentioning of God
indicates that the work itself is religious, this is often not the case. Many alchemists
used to call their alchemical knowledge donum dei, or in other words a gift of God, a
term which is “a technical phrase used in medieval and Renaissance theological and
legal literature dealing with the status of knowledge”. Science and religion are separate
disciplines nowadays and referring to God without religious intention is considered
unusual. Michelspacher's use of the word God is therefore common usage regarding its
historical context and it is possible that it has no specific religious meaning
whatsoever.86 The A and O in the middle refer again to the Alpha and Omega, a symbol
84
Valentine, Offenbahrung Der verborgenen Handgriffe auff das Universal gerichtet, pp. 42-43.
85
Valentine, The Last Will and Testament of Basil Valentine, pp. 179-183.
86
Principe, The Secrets of Alchemy, pp. 192 – 193.
32
for the totality of God. It is also a reference to the Azoth mentioned earlier and it is
likely connected to Michelspacher's fourth engraving illustrating Christ. Remaining is
the symbol in the middle of the diagrams, a combination of the letters M, L, P and S,
which is likely a personal monogram for MicheLSPacher (fig.5).87
Figure 6. Example of the Wet Path or via humida (left) and the Dry Path or via sicca (right),
two different methods to produce the Philosophers' Stone.
2.6. Via Humida vs. Via Sicca

Lastly, the third and final part of the engraving Spigel der Kunst und Natur (fig. 6)
illustrates two alchemists at work in the laboratory. Regarding laboratory alchemy,
specifically the preparation of the Philosophers' Stone, a distinction can be made
between the Wet Path (via humida) and the Dry Path (via sicca).
Via Humida, or the Wet Way, provokes separation of the three essentials by a
process of fermentation and exaltation, or their extraction with a menstruum
derived from a fermentation process and determined to the particular kingdom of
the matter. Via Sicca, or the Dry Way, provokes separation of the essentials by
processes of calcination, fusion, sublimation, amalgamation, and dry distillation or
prepared materials. The transfer of subtle principles from medium to medium
occurs during fusion.88
Via humida involves a process of numerous distillations and solutions and is

reasonably safe, although it takes a longer period of time to complete. An example of
87
Spiegel der Kunst und Natur, in Alchymia (1616)', p. 217.
88
Bartlett, Real Alchemy: A Primer of Practical Alchemy, p. 100.
33
this route is found in Basil Valentine's Twelve Keys, where the twelve “keys” refer to
the different operations in the alchemical process towards the Opus Magnum or the
Great Work, such as a watery separation of materials, a solution process, putrefaction
with fire or the cycle of volatilization and fixation.89 In Michelspacher's engraving the
alchemist on the left represents the Wet Way, illustrated by the numerous flasks and
furnaces (fig. 7). Positioned in the back is the centerpiece of any alchemical laboratory:
the
Figure 7. Alchemist with distillatory equipment.
athanor. The origin of this term derives from the Arabic tanncron and the Hebrew
tannour or altannour, both meaning oven or furnace. Others believe the origin of
athanor is found in the Greek athanatos, meaning “immortal, because of its durable
fire”.90 Its unmistakably tower-like shape earned it its name turris athanoris, or the
tower athanor.91 Looking back, we see that the coals are contained in the turret (A), the
lower part of the middle furnace, and the athanor (B) itself is placed on top of the turret.
89
Principe, The Secrets of Alchemy, pp. 160-161; Greenberg, From Alchemy to Chemistry in Picture and Story,
p. 56.
90
Chambers, Cyclopœpedia, I, C.V. ‘athanor’.
91
Plaisance, ‘Turris Philosophorum: On the Alchemical Iconography of the Tower’, p. 340.
34
The athanor is connected with the other two furnaces on its left and right side, most
likely a sand bath (C) and a water bath (D).
Figure 8. Alchemist working with open fire.
Although not visible in this image, both baths are connected with the athanor by means
of small openings, making it possible for the heat to travel from one furnace to the
other. Both baths are used for distillation, illustrated with the alembics, consisting of a
vessel, or cucurbit, containing the matter (1); a capital or the head of the apparatus,
for the condensation of the vapours (2); and a receiver on a stool, where the condensed
substance is collected (3). Around the athanor shelves are placed, holding other vessels
and capitals. The alchemist is standing in front of a still (E), a furnace also used for
distillation, while next to it a sublimatory (F) is placed, a furnace used for sublimation.
A basket of coals (4), a tub with water (5) and some tools are laying on the ground next
to him, including a trough for goldwashing (6), a coal-shovel (7) and a tool to remove
the ashes from the furnace (8).
As opposed to the time consuming via humida, the via sicca is a more difficult,
accelerated process, and rather dangerous, due to the risk of combustion or
35
explosion.92 Authors connected to this route are for example Nicholas Flamel (ca. 1330-
ca. 1417) and Eirenaeus Philalethes (1628-1665).
In the engraving this is illustrated by the alchemist standing in front of his furnace (A)
with an open fire (fig.8). Bellows (1) and tongs are placed on the side of the furnace and
in his hands he holds a diopter (2), a tool to protect the eyes from the blazing fire. On
his left side a crucible (B) is placed surrounded with flames, to illustrate the use of a
crucible, namely to fuse metals. The image further shows a melting pot (C), wherein
crucibles are placed. Surrounding the melting pot are several heat-resistant tongs,
casts and other tools to handle molted metal.
Although it appears that both pathways were known to the alchemists of the past, the
humid path was commonly used. Whether they were cautious to perform the
operations of the dry path and therefore could only describe the wet path, or if they
were reserved in sharing their knowledge regarding the dry route, is something we
cannot know for certain.
2.7. Alchemical Interpretation of the First Engraving

Although the first engraving of the Cabala is covered in alchemical symbolism
referring to the alchemical process of transmutation as a whole, certain elements of the
image indicate actual practical directions. The interpretation of the eagle and the lion
shows a connection with The Treasure of Treasures for Alchemists of Paracelsus, in
which he describes the method for preparing the Sulphur of Cinnabar. First, cinnabar
is obtained by combining vulgar sulfur with vulgar mercury, which coagulates into
solid cinnabar. Second, this artificial cinnabar is purified and afterwards dissolved in
aqua regis, a highly corrosive acid able to dissolve metals, even gold. The aqua regis
Paracelsus speaks of, is either composed of vitriol, saltpeter and sal ammoniac, or
vitriol, saltpeter, alum and common salt. Vitriol can refer to both the iron or copper
sulfate or to antimony ore. Third, this mixture of cinnabar and aqua regis is distilled
for a month, leaving the ‘dead’ earth or residue behind. This earthy residue is called the
Sulphur of Cinnabar or the Red Lion. Fourth, the Red Lion is transmuted into the
White Eagle through putrefaction and sublimation. The Blood of the Red Lion remains
as a residue at the bottom of the vessel, whereas the mercurial White Eagle is collected.
92
Caron, Dictionary of Gnosis and Western Esotericism, p. 238.
36
The name Eagle indicates sal ammoniac or the Mercury after sublimation. When the
Red Lion is further prepared, aurum potabile, the Oil of the Sun and the Tincture of
the Sun is being produced. It appears, therefore, that the first engraving illustrates the
first stage of producing the Tincture of the Philosophers.
37
Figure 9. Second engraving, entitled “Beginning. Exaltation”. Courtesy of the Staatsbibliothek zu Berlin.
38
Chapter 3.
The Second Engraving:

2. Anfang. Exaltation.
Anfang. Exaltation, the second engraving of the Cabala, illustrates the operation of
exaltation according to Michelspacher, under which the processes of sublimation,
elevation and distillation are also understood. All these methods separate the spirit
(Mercury) and soul (Sulphur) from the body (Salt). Michelspacher further explains that
the process of elevation is only supposed to separate the Sulphur, as the principles of
Mercury and Salt have already been acquired through calcination. According to
Klossowski de Rola, the second engraving of the Cabala shows the entire process of the
Magnus Opus, illustrating the beginning and the end in producing the Philosophers’
Stone.93 The following chapter discusses the different interpretations of the dragon, the
significance of the philosophical egg and the circular alphabet is translated.
3.1. The Fiery and Venomous aspects of the Dragon

The engraving Anfang. Exaltation shows a wingless, dragon-like beast with a three-
tiered crown, horns and udders, and appears to be breathing fire. Several
interpretations have been given for the fire-breathing dragon underneath the vessel.
Some scholars assume that it represents or relates to one of the beasts from the biblical
Book of Revelation. Szulakowska, for example, argues that the beast is a combination
of the four characters from the Book of Revelation, that is “the two Beasts from the Sea
93
39
and the Earth, the dragon who pursues the Apocalyptic Virgin and the Whore of
Babylon.”94 In the Book of Revelation the red dragon has seven heads, ten horns and
seven crowns (Revelation 12:3), whereas the beast from the sea has seven heads, ten
horns and ten crowns upon his horns (Rev. 13:1), has similarities with a leopard, feet
like that of a bear and the mouth of a lion (Rev. 13:2). The beast coming from the earth
has two horns, similar to a lamb and made fire come down from heaven on earth (Rev.
13:11-12), while the beast connected to the Whore of Babylon has seven heads and ten
horns (Rev. 17:3). Szulakowska furthermore compares the engraving in the Cabala with
the engravings of the papal Antichrist on Lutheran pamphlets, which appear to share
a certain resemblance.95 Klossowski de Rola, author of The Golden Game, also assumes
that the beast refers to the Book of Revelation, although he provides a further
interpretation of the beast in relation to alchemy. He suggests that the beast portrays
the primal matter with horns that show a connection to the zodiac sign of Aries,
whereas the “triple crown” refers to the three realms of nature: animal, vegetable and
mineral.96
As the engraving is titled Exaltation, the main purpose of the image is to show the
exaltation of the common base metals and in which manner this is executed. According
to the text of the Cabala, sublimation and distillation are required in this stage. While
both operations tend to purify a different substance, sublimation is usually performed
to purify (mineral) salts, whereas distillation is primarily the purification of liquids.
However, the basis of both operations are the same: the substance is heated, then
cooled down, after which the condensed vapor can be collected. Because the remaining
liquid (distillation) or solid matter (sublimation) has been exposed to the continued
application of heat, the impure qualities of the matter are removed, leaving a purer
substance to continue the work with. Due to the importance of fire in these operations,
it is possible that the beast is in fact a dragon representing the fire used during these
operations. Its dragon-like feet, reptile-like tail (dragons are often depicted with
scales), horns and its fiery breath, are characteristics commonly used to illustrate a
dragon. Michelspacher himself writes that “the philosophers’ fire is the art, seeing
without fire all labour is vain”. As fire is the prime instrument of alchemy, the dragon
94
Spiegel der Kunst und Natur, in Alchymia (1616)', p. 215.
95
Idem, p. 214.
96
40
might symbolize fire with all of its creative and destructive aspects. Although dragons
are usually depicted with wings, the wingless-dragon in the Cabala might refer to the
separation of the volatile from the fixed. Paracelsus told us “that which is spirituall is
raised from what is corporeall, and is subtilized, volatile from fixed, and that in dry
things, as are all Mineralls, and the pure is separated from the impure”. 97 Therefore,
the dragon might also a representation of the fixed matter, while the two winged
dragons or chimaeras at the top of the engraving portray the volatile substance.
However, taking the possible interpretations above in consideration, there is another

explanation for the dragon in this engraving, namely that the dragon is a Deckname for
a component used to produce the philosophical Mercury, or philosophical Mercury
itself. “Mercury is our doorkeeper … secret furnace, oven, true fire, venomous Dragon
… Green Lion … it is our Royal Mineral”, Philalethes wrote in the Metamorphosis of
Metals.98 In Open Entrance to the Closed Palace of the King (1667), he mentioned “our
Fiery Dragon, in whose belly is hidden the magic Chalybs” and “the Babylonian dragon,
which kills everything with its venom”.99 The dragon in Philalethes’ obscure
description symbolizes antimony, whereas the matter inside his belly refers to iron.100
Newman explains that, in this chapter Of the First Operation – Preparation of
Mercury by means of the Flying Eagles, Philalethes is telling us that crude antimony
and iron must be combined.101 Philalethes further states that “it is best when extracted
by means of our Chalybs (steel), which is found in the belly of the Ram”.102 Aries is one
of the zodiacs belonging to the fiery triplicity, therefore representing fire. If the
antimony ore is reacted with iron through the application of heat, the star regulus of
antimony is formed, which, combined with common mercury produces the
philosophical mercury.103 Philalethes even speaks of “the kingly diadem, which is cast
out of the menstruum of our harlot”, referring to the star regulus of antimony being
extracted from the impurity of antimony and reminding us of the three-tiered papal
crown Szulakowska spoke of.104 Although the dragon’s crown might simply be a
reference to the royalty of this mineral.
97
98
Waite, The Hermetic Museum, p. 243.
99
Waite, The Hermetic Museum, p. 166; p. 170.
100
Principe, The Secrets of Alchemy, pp. 162.
101
Newman, Gehennical Fire, pp. 126-130.
102
Waite, The Hermetic Museum, p. 114.
103
Newman, Gehennical Fire, pp. 126-130.
104
Waite, The Hermetic Museum, p. 166; Newman, Gehennical Fire, p. 130.
41
The horns of Michelspacher’s dragon are most likely a reference to the zodiac sign of
Aries, the first sign of the zodiac under which the beginning of creation took place and
a possible indication that the alchemical work commences in spring. Aries plays a
significant role in John Dee’s Monas Hieroglyphica (1564), wherein he states that the
zodiacal sign Aries is part of the fiery triplicity.105 Considering that Aries is associated
with iron, as Aries makes up one of the two houses of Mars, this could symbolize iron
sulfate or green vitriol, as discussed in the previous chapter. 106 The dragon’s udders,
then, could refer to the second sign of the zodiac, Taurus, which is depicted underneath
the belly of the dragon. However, as Taurus is usually considered a bull and not a cow,
a more plausible explanation is that the udders of the dragon refer to the lac virginis
or ‘virgin’s milk’. According to Rulandus it is also called ‘Philosophical Vinegar’ and it
has the ability to dissolve metals. Paracelsus thought the philosophical vinegar to be
vitriol-water, whereas the virgin’s milk is also synonymous with the water of
mercury.107
3.2. The Alphabet of Alchemy

Similar to the diagrams in the first engraving, concentric circles are illustrated in the
second engraving (fig. 9). The outer sphere is divided into twelve sections of 30
degrees, which presumably shows the regions of the zodiac with its degrees, even
though the actual zodiac signs are not inserted in the circle. The twenty-three letters of
the Latin alphabet are shown in the inner circle, which are connected to the twenty-
three alchemically related terms illustrated in the middle disc of the diagram. From A
to Z the following cabalistic-alchemical alphabet is depicted in Table 2.
Cheyri refers to the four-petalled yellow wallflower cheiranthus cheiri, which

supposedly contains both cleansing and warming effects, and is an arcane remedy as
Paracelsus writes in De Vita Longa (1562).108 It could also refer to flos cheiri, defined
by Ruland as the essence of gold. A third possible explanation is that cheyri is a
reference for cheizi, a Paracelsian term related to quicksilver, the White Elixir, the Red
Elixir, aurum potable (potable or colloidal gold) or antimony.109
105
Josten, A Translation of John Dee's “Monas Hieroglyphica”, p. 103.
106
Newman, Gehennical Fire, p. 164.
107
Ruland. A Lexicon of Alchemy. Retrieved at http://www.rexresearch.com/rulandus/rulxm.htm
108
Soukop, Chemie in Österreich, p. 239.
109
Ruland. A Lexicon of Alchemy. Retrieved at http://www.rexresearch.com/rulandus/rulxm.htm
42
A Aurum Gold
B Bley Lead
C Cheyri Cheiranthus cheiri
D Dracken blutt Dragon’s blood
E Eisen Iron
F Farb des Wercks Color of the Work
G Grad des Δ Degree of temperature
H Haupt des Rabe Raven’s Head
I Iovis Jupiter
K Kupffer Copper
L Luna Moon
M Mercurius Mercury
N Natur Nature
O Oleum Oil
P Potabile Potable
Q Quinta Esse. Quintessence
R Rebis Rebis
S Salmiac Sal ammoniac
T Tragant Tragant
V Vitriol Vitriol
X Essig Vinegar
II Ignis Fire
Z Zinober Cinnabar
Table 2. Alchemical alphabet.
‘Dragon’s blood’ (sanguis draconis) could refer to any dried resin, cinnabar (mercury
sulfide) or the Philosophers’ Stone.110 The ‘Head of the Raven’ (caput corvi) refers to
the nigredo stage of the alchemical work.111 ‘Potable’ could be another reference to
aurum potable, or simply to a tincture in general. The Rebis refers to the first stage of
the alchemical process, in which man and wife, masculine and feminine, body and soul,
110
Stratford, A Dictionary of Western Alchemy, p. 28; Ruland. A Lexicon of Alchemy; Greenberg, From Alchemy
to Chemistry in Picture and Story, p. 71.
111
43
are conjoined. 112 Rebis literally means “two-thing” in Latin and it defines the
philosophical Mercury and Sulphur combined into the starting material.113 ‘Tragant’ or
gum tragacanth is obtained from the sap of a plant and used to bind powders,
therefore making it a useful ingredient for making pharmaceuticals.114
3.3. The philosophical Egg

At the central point of the engraving an alchemical vessel is portrayed, also known as
the philosophical egg, as its function is to “give birth” to the stone.115 Enclosed in the
philosophical egg is a variety of animals representing the whole alchemical process.
From bottom to top is illustrated: a lion and a white swan, a black raven, a peacock, a
phoenix and finally the Sun emerging from the vessel. The lion and swan are the
impure substances that ‘die’ through putrefaction, represented by the raven (caput
corvi), after which the matter is ‘reborn’ like a phoenix rising from its ashes and turns
into the Solar Perfection of the Philosophers’ Stone, symbolized by the Sun. An
intermediate stage of this process is the cauda pavonis, or the Peacock’s Tail.116 The
fire, or dragon, underneath the alchemical vessel heats the matter inside, illustrated by
the circular lines in the vessel going straight upwards and representing the vapor
produced by the heat of the fire. The abbreviation V.W.I.W.V. stands for “Our Water is
Water Ours” (Unser Wasser ist Wasser Unser) and might relate to the biblical text of
John 4:14: “But whosoever drinketh of the water that I shall give him shall never thirst;
but the water that I shall give him shall be in him a well of water springing up into
everlasting life”, as Szulakowska argues.117 In Abraham von Franckenberg’s (1593-
1652) Raphael oder Artzt-Engel (1676), we find an appendix from an anonymous
author, titled De Aqua VW+WV sapientum (‘The Water of the Wise’), in which the
axiom V.W.I.W.V. is expanded to: Unser Wasser ist Wasser Unser: ein himlisch
Wasser, ein Wasser des Lebens: ein Schlisch Wasser, welchem alle Geister lieben;
roughly translated into: Our Water is Water Ours: a heavenly water, a water of life: an
artificial water, which all spirits love.118 Alhthough Schlisch could also refer to the
112
Ruland. A Lexicon of Alchemy. Retrieved at http://www.rexresearch.com/rulandus/rulxm.htm.
113
114
Soukop, Chemie in Österreich, p. 239; Schmieder, Geschichte der Alchemie, p. 402.
115
116
117
Spiegel der Kunst und Natur, in Alchymia (1616)', pp. 217 – 218.
118
Franckenberg, Raphael oder Artzt-Engel, p. 45.
44
English Schlick, a metallurgical definition for finely crushed ore or metals (i.e. gold, tin
or lead).
Figure 10. Detail of the philosophical egg. Second engraving.
The axiom V.W.I.W.V. could, however, simply be a reference to the alchemical sigil for
water, represented by the upside-down triangle illustrated around the alchemical
vessel. Although one might assume that this triangle contains the Paracelsian tria
prima of Salt, Mercury and Sulphur, the circular sigil slightly differs from the regular
symbol for Salt , as there is an extra vertical line added forming the symbol ,
suggesting a particular salt. Where the vertical line pointed to the right, the symbol for
vitriol had appeared. The vertical line pointing upwards, however, suggests Alumen
plumosum (asbestos) or cinnabar.119 Each triangular point is connected to a cluster
containing zodiacal signs. The symbol for Sulphur points at a cluster containing the
symbols of Aries, Cancer and Scorpio, of which Leo is the ruler. The symbol for Salt is
connected with a cluster containing the symbols of Libra, Virgo and Gemini, with the
sign of Taurus as their ruler in this illustration. The symbol for Mercury points towards
the signs of Sagittarius, Pisces and Aquarius, ruled by the sign of Capricorn. Clustering
these four together might relate to the one third of the year, as Sagittarius represents
the last period of autumn and the Capricorn, Aquarius and Pisces the following winter.
The other clusters, however, are not categorized by this order, making Michelspacher’s
intentions with this categorization quit unclear.
119
Lüdy, Alchemistische und Chemische Zeichen, Tafel 4, p. 4.
45
A large star is placed on top of the vessel pointing towards the M of Mercury,
accompanied by two dragons or chimaeras at the top of the vessel, representing the
volatile aspect. It appears that their claws illustrated that the fumes coming from the
alchemical vessel should be captured and condensed for the next stage of the
alchemical process. Although one might assume that the six-pointed star refers to the
Seal of Hermes, the neck of the tube does not appear to be sealed. Radiating from the
star are six lines, each leading to a separate star in the circle. One line radiates from
the bottom left point of the mercurial star, two lines from the bottom middle point and
the last three lines radiate from the bottom right point. Although it is quit unclear what
these stars symbolize, a possibility is that each star is connected to a letter of the
alphabet mentioned in the previous paragraph. If we follow the lines of the six stars
from left to right, it appears they are connected to cheyri, gold, fire, vitriol, tragant and
sal ammoniac. This, of course, could simply be a coincidence, but remembering that
alchemical emblems are filled with obscure details, the stars are most likely of
significance in the engraving.
3.4. Alchemical interpretation of the Second Engraving

Similar to the previous chapter, the second engraving illustrates both generic
alchemical symbols, as well as direct practical guidelines. It has been suggested that
the dragon in the second figure symbolizes Mercury, also called the Green Lion.
Philalethes’ interpretation of the dragon explains that antimony ore is to be combined
with iron, forming the star regulus of antimony. The star regulus combined with
common mercury then produces the philosophical Mercury. Considering the Red Lion
mentioned in the previous chapter, however, the dragon here refers to Paracelsus’
Green Lion. In The Treasure of Treasures of Alchemists, the Green Lion is the next
stage in producing the Tincture of the Philosophers. In his chapter Concerning the
Green Lion, Paracelsus teaches us that the vitriol of Venus is to be putrefied for a month
with the elements of water and air, after which the matter is separated into two colors,
white at the bottom and red above white, being the red tincture of vitriol. Here, the
vitriol of Venus could to the aqua regis discussed in the previous chapter, making
copper sulfate the vitriolic element in the aqua regis, whereas the water and air
probably refer to the remaining two ingredients of the aqua regis: saltpeter and sal
ammoniac. Interesting though, is that the red vitriol is synonymous with the Eagle and
46
the white matter at the bottom of the vessel with the Blood of the Red Lion (sanguis
draconis). Paracelsus, however, explains that “the red tincture of the vitriol is so
powerful that it reddens all white bodies, and whitens all red ones, which is wonderful”.
Throughout the putrefaction of the Eagle and the Red Lion, the matter will turn black
first (caput corvi), then white, and finally the Green Lion will appear. Paracelsus calls
this the tincture, transparent gold, the true and genuine Balsam, the Balsam of the
Heavenly Stars. He further explains that this balsam, or the Green Lion, is to be
combined with the Earth of red Sol and the Sulphur of Sol. Looking back at the previous
chapter, it is explained that the Tincture of the Sun, or the Red Lion, leaves a white
body (Salt of Sol) as a residue, which is most likely the Earth of red Sol Paracelsus
means. Abstracting its spirits will leave a red powder, that is the Sulphur of Gold. The
Earth of red Sol, the Sulphur of Gold and “the liquid of the minerals’, that is, the Green
Lion, are then put together into a pelican, congelate (the process of congelation) and
dissolved, completing the Tincture of the Alchemists. 120 The second engraving, thus,
illustrates how the Red Lion is turned into the Green Lion, that is, the second stage of
attaining the Tincture of the Philosophers.
120
Waite, The Hermetic and Alchemical Writings of Paracelsus, pp. 38-39.
47
Figure 11. Third engraving, entitled “Middle: Conjunction”. Courtesy of the Staatsbibliothek zu Berlin.
48
Chapter 4.
The Third Engraving:
3. Mittel. Coniunction.
The third engraving, titled Mittel. Conjunction, illustrates the operations of

conjunction, putrefaction, solution, dissolution, resolution, digestion and circulation.
Whereas the first two engravings illustrate the process of extracting Mercury and
Sulphur, the third figure illustrates the conjointment of the two principles and their
putrefaction, where the impure qualities are separated and the matter is purified. In
the following chapter this ‘sacred marriage’ of Mercury and Sulphur is explained and
the alchemical sigils are interpreted.
4.1. The Different Tinctures of the Planets

In the third engraving a terraced mountain is depicted, or the outside of a mountain to
be more precise, with a fountain on top (fig. 11). Two separate jets of water emerge from
the fountain in the engraving and at its foot we can read again the abbreviation
V.W.IW.V. The two men in the foreground show that the alchemist must follow Nature
or his natural instinct, as is illustrated by the adept on the left who follows the animal
into the mountain, while the other man, blindfolded, is too blind to see his way. The
animal entering the mountain symbolizes Nature, the primal matter, or perhaps the
49
volatile nature of Mercury.121 The mountain has three terraces and on each plateau a
personification of the planets is portrayed. On the left side of the mountain we see, in
ascending order, Venus as a female holding a burning heart and a mirror, Mars as a
male wearing a suit of armor with a sword and shield in his hands, and the Sun as a
regal man with a scepter in his hand while making a V-shaped hand gesture. Although
the illustration is slightly unclear, the gesture of the Sun is perhaps illustrating the ICXI
sign (the name of Jesus Christ), a benediction or blessing sign, or a reference to the
heavenly sphere, considering that the Sun points towards the zodiac sphere. Ascending
on the right there is Saturn as a man holding a scythe and a baby, Jupiter as a crowned
male with a scepter in one hand and what appears to be a bundle of thunderbolts in the
other, and the Moon as a female wearing a crescent moon on her head while holding a
spear and a horn in her hands, most likely representing Artemis or Diana. The male
figure at the top of the mountain is wearing a winged helmet and wings around his
ankle and is a personification of the planet Mercury. In his hands he holds a caduceus
and a six-pointed star, similar to the star in the previous engraving, while he is standing
with one leg on the top of a hexagonal fountain. Interesting about this placement is
that it reminds us of the tinctures and their differences of which Valentine speaks of in
his Triumphal Chariot of Antimony (1678):
Moreover the Reader will observe that many Stones tinge particularly, (for all fixt
tinging powders are by me called Stones) but yet one tingeth deeper than another;
as first; The Stone of the Philosophers which far transcends all others. Next which
are the Tinctures of the Sun, and of the Moon. As to the white. Then the Tincture of
Vitriol or Venus, and the Tincture of Mars, both which contein in them the Tincture
of the Sun, if they have bin formerly brought unto fixation; next to these follow the
Tincture of Jupiter and Saturne for the Coagulation of Mercury and then finally the
Tincture of Mercury itself. 122
Valentine further explains that this stone, which he calls the Stone of Fire, tinctures
Luna, Jupiter and Saturn into gold, whereas Mars and Venus are untouched by its fiery
essence, as they both already contain the Tincture of the Sun. This Stone of Fire, which
he also calls the Tincture of Antimony, is not made of crude melted antimony, but is
121
Sirc, Emblems and Alchemy, p. 205; Sestak, Science of Heat and Thermophysical Studies, p. 92; Wamberg,
Art & Alchemy, p. 158. See also: Franz, Alchemy, p. 12; Jung, Dreams, p. 269.
122
Valentine, Triumphal Chariot of Antimony, pp. 187-188.
50
prepared antimony made of the mineral stibium, which is a native sulfide, and fused
with iron.123
Another explanation for the hierarchical order are the ingredients linked to the seven
planets. Although Venus is the personification of copper and Saturn the personification
of lead, the first engraving showed a direct connection between Venus and vitriol, and
Saturn and antimony, both two starting ingredients in the alchemical process. Mars
and Jupiter are normally personifications of iron and tin, but in the first engraving a
connection between Mars and sulfur, and Jupiter and bismuth is made. The
hierarchical order in the third engraving might actually refer to vitriol and antimony
as the starting ingredients, after which sulfur and bismuth are to be added, resulting
either in Sol and Luna, or suggesting that Sol and Luna should be added in order to
attain the philosophical mercury.
4.2. In the Bowels of the Mountain

Inside the mountain a temple is placed wherein the sacred marriage, or conjunction,
of the King and Queen takes place. The King holds a scepter and seems to reach towards
the Queen, who holds three flowers in her hand. The flowers might refer to the white
and lunar ‘philosophical tincture’, the red and solar ‘metallic tincture’ and the blue
‘flower of wisdom’,124 or one of the alchemical triplicities, such as the Paracelsian tria
prima or the the albedo, rubedo and nigredo stages. The image of the royal couple,
however, is similar to the First Key of Basil Valentine (fig. 12), symbolizing the
“primitive materials” of the Stone. Greenberg explains that “if impure gold is heated in
the fire (three times – the queen holds three flowers), the king will emerge. The king is
gold (perhaps seed of gold or sophic Sulphur). The queen represents purified silver
from which is derived sophic mercury. The first purification gives the “primitive
materials” of the Stone – derived from gold, silver, and mercury.”125 The three flowers,
then, could therefore refer to the triple purification of the King. 126 This motif of three
roses is also visible in the earth surrounding the mountain. The sacred marriage of the
King and Queen allude to the section of the Tabula Smaragdina, which says that “the
123
Thompson, Alchemy and Alchemists, p. 242.
124
Roob, Het Hermetische Museum, p. 420.
125
Greenberg, From Alchemy to Chemistry in Picture and Story, p. 57.
126
Read, From Alchemy to Chemistry, p. 57.
51
father thereof is the Sun, the mother the Moon.”127 At the back of the temple a furnace
is placed. The cupola is decorated with the Sun and Moon, corresponding to the King
and Queen below, accompanied by ten stars possibly referring to the ten Sefirot of the
Cabala or the Pythagorean tetraktys 1 + 2 + 3 + 4 = 10.128 A phoenix with widely spread
wings stands on top of the temple as the ‘crown of the alchemical work’, symbolizing
the consummation or completion of the Great Work.
Figure 12. Prima Clavis or the ‘First Key’ of Basil Valentine.
The mountain might symbolize the Philosophers’ Stone or could indicate that, as the
temple is hidden inside the mountain, the Philosophers' Stone “lies buried in the earth
and must be extracted and cleansed”, reminding us of the V.I.T.R.I.O.L.U.M. acrostic
‘Visit the interior of the earth and by rectifying thou shalt find the hidden true
medicinal stone’.129 This could be a reference to the primal matter, metals or minerals
that are found inside the earth, hinting towards the two miners in the first engraving.
Another explanation of the mountain in the third engraving, however, is that it
represents the alchemical vessel itself. The temple itself is then a representation of the
127
128
Wilson, ‘Jabirian Numbers, Pythagorean Numbers and Plato’s Timaeus’, p. 5.
129
Jung, Dreams, p. 274.
52
contents of the alchemical vessel wherein the King and Queen, masculine and
feminine, are joined together in the process of conjunction.130 According to the words
of Hermes Trismegistus “the earth is the nurse thereof,” which might indicate that the
vessel is made of some sort of earth, such as clay.131 Therefore the mountain could be ‘the
earth that nurses’ or in other words: the vessel that provides continuous warmth. This
idea corresponds to Paracelsus’ Of the Nature of Things, in which he said:
As a man may return into the womb of his Mother, i.e. into the Earth, out of which
hee was first made a man, and shall again bee raised at the last day: so also all Metalls
may returne into living Mercury againe, and become Mercury, and by Fire bee
regenerated and purified, if for the space of forty weeks they bee kept in a continuall
heat, as an infant is in his Mothers wombe. So that now there are brought forth not
common Metalls, but Tinging Metalls.132
In this passage we see the reference to the earth as the womb, i.e. the mountain as the
vessel, where the man refers to the king in the temple, or the golden matter in the
vessel. If we take a closer look at the mountain it becomes clear that the mountain itself
is placed both on the earth as well as in the water. In The Triumphal Chariot of
Antimony, Valentine teaches us that:
all Things, which are generated in the Bowels of Mountains, to be infused from the
Superior Stars, and take their beginning from them, in the form of an aqueour Cloud,
Fume or Vapour, which for a very long time fed and nourished by the Stars, is at
length educted to a tangible form by the Elements. Moreover, this Vapor is dried,
that the Wateriness may lose its Dominion, and the Fire next, by help of the Air,
retain the Ruling Power. Of Water Fire, and of Fire and Air Earth is produce: which
notwithstanding are found in all things consisting of Body, before the Separation of
them. Therefore this, viz. Water is the first Matter* of all things, which by the
Dryness of Fire and Air is formed into Earth.133
Valentine, too, refers here to the alchemical vessel as “the Bowels of Mountains”, in
which the matter is prepared so as to separate it from the elements. Corresponding
with this are the four circles in the corners of the engraving, representing the four
elements of earth, water, air and fire and possibly refer to the entire process and its
130
Von Franz, Alchemy, p. 12.
131
132
133
Valentine, The Triumphal Chariot of Antimony, p. 184-185.
53
wholeness. However, the mountain might also represent the furnace or fire itself,
heating or “nursing” the vessel, i.e. the temple.
4.3. The Seven Steps of Transmutation

Paracelsus’ seven steps of transmutation lead up to the temple and each step is
inscribed with an alchemical operation: calcination, sublimation, solution,
putrefaction, distillation, coagulation and tincture. Of this, Paracelsus said in Of the
Nature of Things (1650), that the alchemists must know about the degrees to
Transmutation, i.e., the stage leading to transmutation: “If any one will climbe that
Ladder, he shall come into a most wonderfull place, that hee shall see and have
experience of many secrets in the Transmutation of Naturall things.” 134 The third
engraving thus symbolizes the entire opus and the ascending aspect of the steps is a
common theme in emblems and allegories throughout the Middle Ages. The reference
is here to Jacob’s heavenly ladder, connecting the terrestrial and celestial world, as
captured in the Tabula Smaragdina’s famous phrase ‘that which is above is like that
which is below, and that which is below is like that which is above’. 135 In the Mutus
Liber (1677) the ladder is seen standing on the first engraving, reaching from heaven
to earth, whereas the fifteenth and last plate shows the ladder laid upon the ground,
symbolizing the completion of the Work.136
Like all components in the transmutation of metals, the number of operations and their
order differed from writer to writer. Where Paracelsus argued that the above
mentioned seven stages were necessary to complete the opus, Philalethes set out ten
steps in Tres tractatus de metallorum transmutatione (1668), which were calcination,
dissolution, separation, conjunction, putrefaction, distillation, coagulation,
sublimation, fixation, and exaltation. Ripley wrote about twelve processes or ‘gates’ in
his Compound of Alchymie, being calcination, solution, separation, conjunction,
putrefaction, congelation, cibation, sublimation, fermentation, exaltation,
multiplication and projection.137 Valentine, too, described twelve ‘keys’ or operations
to complete the Great Work. Like Ripley and Valentine, Antoine-Joseph (Dom) Pernety
134
135
Idem, p. 28.
136
Patai, ‘Biblical Figures as Alchemists’, p. 203-204.
137
Newman, Gehennical Fire, p. 118.
54
(1716-1796) held that there were twelve processes necessary, but connected each of
these operations to a sign of the Zodiac in Dictionnaire mytho-hermétique (1758):
1. Calcination – Aries, the Ram

2. Congelation – Taurus, the Bull
3. Fixation – Gemini, the Twins
4. Solution – Cancer, the Crab
5. Digestion – Leo, the Lion
6. Distillation – Virgo, the Virgin
7. Sublimation – Libra, the Scales
8. Separation – Scorpio, the Scorpion
9. Ceration – Sagittarius, the Archer
10. Fermentation – Capricorn – the Goat
11. Multiplication – Aquarius, the Water-carrier
12. Projection – Pisces, the Fishes138
Interesting though, is that the order of operations set out by Michelspacher in the
Cabala differ somewhat with Paracelsus’ seven steps, even though he appears to follow
Paracelsian writings. As Michelspacher explains, the first image illustrates calcination,
under which also reverberation and commendation are understood. This is in
agreement with Paracelsus’ first step, and with the other order of operations described
above. Calcination, therefore, seems to be the first stage in the alchemical process,
regardless of which path or theory is being followed. The second engraving then
illustrates exaltation, which comprehends sublimation and elevation together with
distillation. Although sublimation is also the second step in Paracelsus’ ladder,
distillation is only the fifth process. Similar irregularities in the order of the operations
is seen in the third and fourth engraving, although both Michelspacher’s last engraving
and Paracelsus’ final two steps mention coagulation and finally tincture, as the
completion of the Great Work.
4.4. Zodiacal Ingredients

Encircling the image are the twelve signs of the zodiac and its degrees, accompanied
by twelve alchemical hieroglyphs symbolizing ingredients. Regarding the alchemical
hieroglyphs, they supposedly represent, from left to right, the following ingredients:
the star regulus of antimony, verdigris, vitriol, sulfur, antimony, sal ammoniac,
cinnabar, auripigment/orpiment, salt of tartar, nitre, common salt and alum.
138
Read, From Alchemy to Chemistry, pp. 32-33.
55
Figure 13. The ‘sacred marriage’.
According to Valentine, the star regulus (‘little king’) of antimony is, together with the
sophic mercury a necessary component for preparing the ‘Balsom of Antimony’, a
balsam beneficial against severe diseases. With Hungarian antimony, crude tartar and
saltpeter, the regulus is prepared.139 Theodor Kerckring (1638-1693), however, wrote
in his commentary on the The Triumphal Chariot of Antimony, that the regulus of
antimony should not be prepared with crude tartar, but with the salt of tartar. 140
Although, in the previous chapter it is discussed that the preparation of the star regulus
consists of antimony and iron. Verdigris, then, is a copper acetate, often used as a
pigment for dying, due to its green color, and is made by subjecting copper to vinegar.141
Like verdigris, orpiment is an ‘artificial’ pigment, yellow-colored, and commonly
known as arsenic.142
139
Valentine, Triumphal Chariot of Antimony, p. 42.
140
Kerckring, Basil Valentine his Triumphant Chariot of Antimony with Annotations, p. 97.
141
Newman, Promethean Ambitions, p. 65.
142
Idem, p. 119.
56
Interestingly, though, the signs of the zodiac are placed in order relating to the
personifications of the planets, instead of their regular order. This might be a reference
to the work of Paracelsus, The Treasure of Treasures for Alchemists (1659) in which
he states: “Have your stars wandered out of their course, and are they straying in
another orbit, away from the line of limitation.”143 On the far left of the zodiac arc,
Taurus and Libra are connected with their planetary ruler Venus. Scorpio and Aries are
placed next to their ruling planet Mars and Leo is linked to the Sun. Mercury is the
ruling planet of the highest two signs, Virgo and Gemini, while the Moon rules Cancer,
Jupiter rules Sagittarius and Pisces and Saturn is the ruler of Capricorn and Aquarius.
Taurus is the second astrological sign of the Zodiac, again indicating that the work
starts in springtime.
4.5. Alchemical Interpretation of the Third Engraving

The main purpose of the third engraving is thus the ‘sacred marriage’ of Sulphur and
Mercury. In the second chapter it is explained that the first engraving illustrates the
process of preparing the Red Lion, whereas the third chapter illustrates how the second
engraving symbolizes the process of preparing the Green Lion. The third engraving,
then, illustrates the conjunction of the Red Lion, or Sulphur of Sol, with the Green Lion,
or philosophical Mercury. This conjunction takes place in a pelican, where both Lions
are congelated and dissolved together, or ‘married’, whereafter the Tincture of the
Alchemists is created. The third engraving thus illustrates the third and final stage of
producing the Tincture of the Philosophers.
143
57
Figure 14. Fourth engraving, entitled “End: Multiplication”. Courtesy of the Staatsbibliothek zu Berlin.
58
Chapter 5.
The Fourth Engraving:
4. Endt. Multiplication.
Finally, the fourth engraving, titled Endt. Multiplication, illustrates the operations of
multiplication, ascension, lavation, imbibition, cohobation, coagulation, fixation,
augmentation and tincture. The final goal of all these chemical processes is the
Tincture of the Philosophers, or the Tincture of the Alchemists, which is the ‘treasure
of treasures’ and the medicine the alchemist sought. In the following chapter the
Fountain of Life is explained, as well as an analogy of Christ’s resurrection with the
creation of the Philosophers’ Stone.
5.1. The Alchemical Fountain

In the final engraving of the Cabala, Christ is seated in a hexagonal baptismal font,
while water is streaming from a wound in his chest (fig. 15). After Christ was crucified,
his body was pierced by a lance, so as to be sure that he was dead. According to the
Gospel of John, “one of the soldiers with a spear pierced his side, and forthwith came
there out blood and water” (John 19:34). The fountain in which Christ is seated is
inscribed with the words The Fountain of Life (Der Brun des Lebens). The basin, which
is topped by a large three-tiered fountain, is similar to the hexagonal fountain in the
third engraving and refers to Book of Zechariah, wherein “a fountain will be opened
for the House of David and the citizens of Jerusalem to cleanse them from sin and
59
impurity” (Zech. 13:1). “Those who took upon the exalted figure of Jesus on the cross
and see there the saving love of Yahweh will receive eternal life from the Savior’s
fountain”, as Forestell further explains. The water gushing from Christ’s side
symbolizes the gift of living water as he promised the woman of Samaria in John 4:10
and it is the gift of eternal life. “But the water that I will give him, shall become in him
a fountain of water, springing up into life everlasting”, as written in John 4:14. The
water thus symbolizes the gift of life, whereas blood is a biblical symbol for life, while
signifying the importance of Christ’s death.144 In the fourth engraving of the Cabala,
Christ therefore represents the matter which has undergone death and became
resurrected or reborn in a more perfect form, similar to the alchemical death and
resurrection of putrefaction.145
The alchemical fountain is a recurring element in alchemical imagery and is often

depicted in the alchemical garden of roses (Rosarium). Due to the flourishing garden
surrounding it, the fountain can be seen as a symbol for growth in the alchemical work.
The fountain reminds us of Valentine’s First Key in which he speaks of Der Brun des
Lebens:
For whoever drinks of this golden fountain, experiences a renovation of his whole
nature, a vanishing of all unhealthy matter, a fresh supply of blood, a strengthening
of the heart and of all the vitals, and a permanent bracing of every limb. For it opens
all the pores, and through them bears away all that prevents the perfect health of the
body, but allows all that is beneficial to remain therein unmolested. 146
The fountain can also refer to the regenerative and healing powers of Mercury,
symbolizing its dissolvent qualities. In Andreas Libavius’ Alchymia (1606), the
alchemical fountain, or ‘Bath of the Philosophers’ symbolizes the “menstruum in which
the resulting sophic Sulphur and sophic mercury are conjoined”. Another example of
such a ‘mercurial fountain’ can be found in the first woodcut of the Rosarium
Philosophorum (1550). The fountain pours three spouts, the lac virginis (Virgin’s
Milk), acetum fontis (the Spring of Vinegar) and aqua vitae (the Water of Life).
According to McLean, the Virgin’s Milk symbolizes a female, lunar principle, whereas
the Spring of Vinegar symbolizes a male, solar principle. The three streams merge
144
Forestell, The Word of the Cross, pp. 89-90.
145
146
Valentine, Ein kurtz summarischer Tractat, von dem grossen Stein der Uralten. Retrieved at
http://www.levity.com/alchemy/twelvkey.html.
60
together at the basin of the fountain, representing the primal substance or the Mercury
of the Philosophers, wherefore the fountain symbolizes the vessel in which the water
of Mercury is transformed.147 David Beuther wrote about the ‘Fountain of Youth’ that:
The Green Dragon of Hermes, or as the Green Corrosive (Omnivorous)

Snake, or as the Green Lion, although Theophrastus called it the Tree
Frog, imbibing an air of wisdom and coating his back with wax; but in
reality, it is the White Lily, the water of the Wise, for from it comes the
Elixir of Life, and the Fountain of Youth… This is our Fountain and
our Soil, in which is found that which you will harvest --- the Corpus
Solis et Lunae (Body of the Sun and Moon), which can be further
purified.148
Again we see the reference towards the ‘Water of the Wise’, or sophic Mercury, bringing
forth the Elixir of Life, the Fountain of Youth, i.e. the completion of the work. This
mercurial water is often one of the first components made in the alchemical process,
as this water is essential to the latter stages of the operation.
5.2. The Seven Planets, Again

Returning to the fourth engraving, the topmost tier shows Mercury with the acronym
V.W.I.W.V. displayed again. The acronym is written above Mercury in this image,
contrary to the third engraving where V.W.I.W.V. is placed underneath Mercury and
the second engraving where the axiom is placed in the middle of the alchemical egg.
The placement of the axiom most likely differs purposely in each engraving, perhaps
illustrating the significance of Mercury in the process. Saturn and Jupiter are depicted
below Mercury in the fourth engraving and below these Mars and Venus stand in the
alchemical fountain. Interestingly though, Venus is making a similar V-shaped hand
gesture as the Sun in the third engraving. Whereas the Sun pointed towards the
heavenly sphere with his right hand, Venus is pointing downwards with her left hand,
perhaps symbolizing the Gospel of Matthew wherein Christ told the blessed who went
to Heaven to stand on his right and the damned who were send to Hell on his left (Matt.
147
McLean, ‘A Commentary on the Rosarium philosophorum’, accessed at
http://www.levity.com/alchemy/roscom.html.
148
Beuther. The Transmutation of Base Metals into Silver and Gold. Retrieved at
http://rexresearch.com/beuther/beuther.htm.
61
25:31-46). Connecting the third and fourth engraving, the Sun and Venus might
illustrate "that which is below is like that which is above and that which is above is like
that which is below to do the miracles of one only thing”. Similar to the placement of
the axiom, the position of the planets or metals deviates from their positions on the
third engraving. As explained in the previous chapter, the third engraving shows a
hierarchical order with Mercury on top, followed by the Sun and the Moon, Mars and
Jupiter and lastly Venus and Saturn. The fourth engraving, then, might indicate that
the philosophical mercury should be prepared first and is to be combined with
antimony (Saturn) and bismuth (Jupiter), forming the first stage of the process. This
matter, then, is to be prepared with sulfur (Mars) and vitriol (Venus) as the second
stage of the process. Lastly, if these five planets are conjoined into two separate matters
(each tier in the fountain pours two streams), Sol and Luna or Sulphur and Mercury
are to be married, creating the Water of Life.
5.3. The Resurrection of the Christ

While seated in the fountain, Christ offers two chalices to the Sun and the Moon
kneeling on either side of him. Lying near them are respectively three and two crowns,
connected to the five remaining planetary signs or perhaps referring to the number of
times the process needs to be repeated, similar to the three flowers in the third
engraving symbolizing the triple purification of the King. At the bottom of the
engraving the five planets or metals angrily shake their bellows at Sol and Luna,
possibly positioned at the same peak illustrated in the third engraving as it displays a
similar fountain on its summit. A crossed pair of flaming swords hovers above them,
referring to ‘fiery sword’ of Vulcan, symbolizing the necessity of fire in the opus. Clouds
surround the scene, reminding us again of Hermes Trismegistus’ saying that above is
like below and vice versa, while the scene with Christ is encircled with a rainbow,
perhaps referring to the various colors of the alchemical work. The font is enclosed by
a squared vineyard, reminding us of the circle, square and triangle configuration in the
first engraving. The vineyard itself is possibly a reference to Ripley’s Fifth Gate of
putrefaction: “Soon after that Noah planted his vineyard / Which royally flourished
and brought forth grapes / After which space you shall not be afraid / For it likewise
shall follow the nourishing of our stone / And soon after that 30 days be gone / You
shall have grapes right as ruby red / Which is our Adrop, our Ucifer, and our red
62
lead.”149 In Ripley reviv’d (1678), Philalethes goes into further detail about this fifth
gate:
Thy Earth then being renewed, behold how it is decked with an admirable green
colour, which is then named the Philosophers Vineyard. This greenness, after the
perfect whiteness, is to thee a token that thy Matter hath re-attained, through the
will and power of the Almighty, a new vegetative life: observe then how this
Philosophical Vine doth seem to flower, and to bring forth tender green Clusters;
know then that thou art now preparing for a rich Vintage. 150
The reference about the “greenness, after the perfect whiteness” refers to the Green
Lion, attained after the Red Lion which leaves a white body.
Behind Christ a winding path or water stream leads towards the walled city of
Jerusalem where a scene from Christ’s crucifixion is shown, while an angel floats above
the city. This again is a reference to the Book of Zechariah, which states that “on that
day the Lord will put a shield about the inhabitants of Jerusalem so that the feeblest
among them on that day shall be like David, and the House of David shall be like God,
like the angel of the Lord, at their head” (Zech. 12:8). The angel refers to the ‘angel of
the Lord’ and the path towards Christ makes it possible for the citizens of Jerusalem to
cleanse themselves from sin and impurity. A straight line connects the city of
Jerusalem with the tetragrammaton on the left, the Hebrew name for God (YHWH)
engraved within the Sun. A dove wearing a halo is flying from the city of Jerusalem
towards the Sun, referring to Yahweh who pours a spirit of kindness and prayer over
the House of David (Zech. 12:10). 151 The dove then passes through Mercury in his flight
and descends into the font. This creates an equilateral triangle, formed by the apex in
the tetragrammaton, the Fountain of Eternal Life and the city of Jerusalem as its basal
corners.
5.4. Alchemical Interpretation of the Fourth Engraving

The fourth and final engraving of the Cabala, illustrates the Tincture of the
Philosophers, the Water of Life, Elixir of Life. Christ symbolizes the death of the Red
Lion and the resurrection of the Green Lion after the process of putrefaction. He offers
149
McLean, Ripley’s Fifth Gate. Retrieved at http://www.levity.com/alchemy/ripgat5.html.
150
Philalethes, Ripley reviv’d, pp. 352.
151
Forestell, The Word of the Cross, p. 89.
63
both Sol and Luna a chalice, symbolizing that Sulphur and Mercury are to be conjoined
together in order to attain the Tincture of the Philosophers. The fourth engraving thus
illustrates the Tincture of the Philosophers, the Universal Medicine, which consumes
all diseases.
64
Conclusion.
Considering the information that is gathered in the previous chapter, this thesis
concludes that the Cabala: Spiegel der Kunst und Natur, in Alchymia, is in fact a
treatise written for the alchemist who sought practical directions. It is demonstrated
that an important connection between The Treasure of Treasures for Alchemists of
Paracelsus and the Cabala of Michelspacher exists, therefore we assume that it is
plausible that Michelspacher’s Cabala is a practical guideline for the creation of the
Tincture of the Philosophers. “Take only the rose-coloured blood from the Lion and the
gluten from the Eagle. When you have mixed these, coagulate them according to the
old process, and you will have the Tincture of the Philosophers.” These words, written
by Paracelsus in The Treasure of Treasures for Alchemists, are in a sense the essence
of the Cabala.
As we have explained, the engravings in the Cabala illustrate the three major stages in
Paracelsus’ transmutational work for the Tincture of the Philosophers. The first
engraving illustrates how the alchemist is to obtain the Sulphur of Cinnabar, or the
more commonly known Red Lion, by the operations of coagulation, dissolving,
distillation, putrefaction and sublimation. Ingredients such as cinnabar, vitriol,
saltpeter and sal ammoniac are possibly the key elements in this first stage of making
the Tincture. The second engraving of the Cabala illustrates the second stage of this
process, that is preparing the Green Lion through processes such as putrefaction.
Vitriol of Venus, copper sulfate, saltpeter, sal ammoniac are probable ingredients
during this process. The Green Lion is then to be combined with the Red Lion, by
placing both matters into a pelican to congelate and dissolve, after which the Tincture
of the Alchemists is created. This ‘sacred marriage’, or conjunction of the two
65
substances, is illustrated in the third engraving. To conclude the Cabala,
Michelspacher portrays the completion of the alchemical transmutation in the fourth
engraving, where Christ symbolizes the death of the Red Lion, the resurrection of the
Green Lion and the Water of Life, or Universal Medicine, that is attained after this.
66
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Appendix 1.
Cabala
The looking Glass of Art and Nature in Alchymy
What that most ancient stone of the wise men is,

which being a triple, yet but a simple stone.
All which being already briefly considered from several writings, and for the benefit of all
and every one of the laborious lovers of the Art, by the assistance of God proposed so
perspicuously and in a very clear glass, and exhibited by four pictures cut upon brass
plates.
By an unknown, yet known Author, as the engraved figures of the first figure, now
translated out of the German language into Latin doe testify.
By a mighty lover of wisdom, and there with a description by way of an argument of a
certain most excellent Philosopher, dedicated to the fraternity of the Rosy Cross, and
printed, where by no more may be desired in this matter.
Printed in Augsburg, by Johann Schultes

in Verlegung Stephan Michelspacher of Tyrol
1615
72
To the most excellent and renowned Johann Remmelin a Suede, a famous
Doctor of Philosophy and Physics at Ulm.
To my much respected Lord and Patron.
Most excellent and most famous Doctor, and very much to be respected, after so many
petitions and requests some while [?], your excellency out of your mere propense
affection, as well towards me, as towards the most commendable and excellent arts and
sciences, especially of true medicine and philosophy (that I as one unskillful may in the
meantime not express the singular knowledge and experience thereof, wherewith your
Excellency being endowed, doth exceed many others) hath delivered an Anatomical
work of the wonderful frame and condition of all and every part of man’s body, being
the most noble of all the creatures, most artificiously described, and with a due
proportion one to another, as if they did represent som ething of these parts closely
joined together, together with a brief and [?] description of the same, entitled and newly
conceived in Latin Pinax microcosmographicus, which after ages doubtless will not
forget.
But when I had resolved from that time daily to publish that anatomical work, and the
longer I forbore to put the thoughts of my mind into art, I have been impeded by several
obstacles, yet nevertheless at the earnest request of many learned men, who seemed to
be very well pleased with the work of the Anatomy, I obeying with the consent of your
excellency very hardly obtained, at last I put it forth to Light a little before the due time:
only I did admire ascribing it to the exceeding great modesty of your Excellency, which
would not consent that that work should come forth by prefixing the name of the
Authors thereto, whereas notwithstanding the effigies and arms cut in the frontispiece
of the Catoptrum might instruct and informed the beholder thereof.
But having in consideration that most excellent and most noble person Philip
Hainhofer, a most famous noble man of Augsburg that Catoptrum together with Pinax
hath been humbly dedicated by me and presented to him, as to the safeguard and
protection of a most worthy patron, in regard his noble excellency is a singular lover of
such artifices, and a very doctorous priser thereof, and with all that these things may
be made known to princes and potentates, to all and every one of which the most
famous virtues of his excellency have been known, and at present he may especially
enjoy due thanks for the same, and of his great clemency have a favour for me.
But that most noble Hainhofer from a mere delectation, and never enough
praiseworthy assertion wherewith his excellent virtue is fervent towards such artificial
undertakings, as also many very great lovers of artifices, and very learned men have
earnestly, more earnestly, yes most earnestly have asked the unknown name of the
Author, as a due trophy of his labour, and how soon the Anatomical Labour and treatise
was perceived, and had obtained by my earnest solicitations the liberty of prefixing and
making known the name of the Author, it was printed. Having therefor obtained this
occasion, to with having received the present judgment of very learned and skillful men
of the stone of wise men not impertinently elaborate, but in a very useful treatise from
the author somewhat obscurely nominate therein, by submissively offering and
ascribing it to your Excellency I shall endeavor to make it appear, partly that the desire
of very many who admire the anatomies may be obviated in notifying the Author of the
73
Microcosmicum Catoptrum, and his Pinax microcosmographicus [?] having indeed
obtained a grant to my repeated petition, partly that it may in some measure be
satisfactory to the memorable love and desire of your Excellency, as it were natural in
you to true Chymistry amongst the other arts and sciences which adorn ingenious
spirits. Partly also that as far as by the assistance of God I shall obtain a more dexterous
commodity, I may in the meantime in some measure declare and manifest my gratitude
due to your Excellency for the manifold benefits hitherto conferred upon me.
Withal I beg that this little Treatise may be cheerfully received by your Excellency, and
that I have after may enjoy your favour and love, and that you and all precious unto
you may be embraced under the gracious protection of the almighty, and that I may be
comprehended by his integrity. Given at Augsburg the 5th of May 1615.
Your Excellences,
Most dutiful servitor
Stephan Michelspacher
of Tirol
The Author of this translation salutes the benevolent/candis reader.

Friendly reader, seeing many things cut out in pictures doe here and there occur in the
[?] or German tongue, which might easily be an impediment to other nations, and at
the very entry some things may seem obscure to a man of small experience: therefore
I have judged it necessary to premise the interpretation thereof over against the work
of the Author, and the context. And to subjoin by the addition of a brief discourse a
more full declaration thereof, of that most excellent and anonymous philosopher. Good
men will take this in good part. Farewell.
The interpretation of those things which in the pictures are written in the
German language.
The first picture of this little treatise, as a title thereof.
1. The looking glass of Art and nature – nature, art. Cabala and Alchymia doe exhibit
to you a very great medicine, as also the Wiseman’s stone, which is but one foundation,
as may be seen in these figures. God grant that we may be thankful for this very great
and precious gift. O God when thou doth open any man’s mind and heart, that he may
be perfect for preparing this work, thou certainly bestows upon him all courage and
fortitude. The hot, cold, dry and moist, the earth, the water, the air, the fire.
The second picture.
2. The beginning, the exaltation. Nature, Sal ammoniac, Tragacanth, vinegar,
Cinnabar, Lead, sanguis draconis, iron, the color of the work, the degree of fire, the
ravens head, Copper.
The third picture.
74
3. The middle, The Conjunction, the Tincture, the coagulation, distillation,
putrefaction, solution, sublimation, calcination.
The fourth picture.
4. The end, multiplication, the fountain of life. Follows the Drexode or Context of the
Author.
The introduction to the reader of this art.

Seeing he that readeth without understanding doth see many things, but has no relish
to them, he is rightly compared to the shadow of a wall, and is more miserable then one
that is wholly blind, who not seeing doth understand. Wherefore turning the looking
glass, you shall summarily observe, and all things are to be seen in this looking glass,
namely to enter into no by paths and labyrinths, but to pass straight through a circle,
and to meet a ternary placed in a quaternary by a unity in the centre, and on the other
hand to be free carried from the centre into the ternary by the quaternary to the circle.
Hence the whole looking glass is made up, wherein a blind man doth see black, white
and red, otherwise plunged in the mine. From thence the mystery is revealed, and the
gross body is freed from the elementary bonds, and is made subtle, until it be
augmented, a hundred, if so a thousand times, and without end. He is indeed happy,
who doth perfect this thus. I do assuredly present and offer these things to any instead
of a New Year’s gift for the perfection of this art.
The preface.
Friendly Reader, beloved in Christ, seeing all things, and all arts and gifts are in the
hand of the Almighty God, that they may be bestowed on whom he willeth according
to his mercy. So of his mercy he hath abundantly bestowed on me his own creature, a
miserable man in this corruptible world, and with his infinite grace hath supported me
in this present work, seeing he hath called me who am unworthy to reveale his high
mysteries, whereas the Almighty God might have granted and bestowed the same upon
many others who for exceed me by many degrees in virtues, honours, learning, and
dignities of this world.
Wherefore seeing this light is granted to me by God, that thence the praise may be to
himself, and the benefit to my neighbour, it will be convenient not to hide it under a
bushel or bed, but to set it upon the table, that all that cometh and entreth in may see
and understand what he must do or intermit in this business.
I have therefore proposed this light most simply, as in a looking glass for the vulgar like
to myself in figures or pictures, and by the Cabala, or the art of Alchymy. I frame for
all, I have resolved to communicate to the lovers of nature who are expert in Spagyrick
operations, wherein I trust they shall clearly see an absolute knowledge of the looking
glass, that from their they may at their pleasure reap the fruits and utilities thereof, and
chiefly such as are condureable for the life and health of man’s body, and then may find
also a decent temporal sustentation of a Christian life and for a most plentiful eternal
life both of body and soul.
75
The Art.
O beginning consider thine end, and then O end consider thy beginning: for I bestow
upon the lovers of this art only both steel and a looking glass so far off and subtly sought
for any man from hence shall know briefly the way and path of attaining to the true
place, wherefore take mine advise, and frequent smiths shops, if you would obtain your
desire. Because in iron wrathful enough you shall find precious sugar for he knows
nothing in this Art, who refuses to work in iron, neither doth he find the end of his
time, as he that fighteth shall find it, because the balsam thereof doth balsomat all
things, and doth shew to every one the [?] of science and art. For a point is a part of a
circle, which also is found both in a quadrangle, and in a triangle. If you attain to this
point, you attain to a perfection, and escape from all tribulation, misery and danger. In
this thing you have the complete art, which if you understand not the things that I have
written are in vain, but impute the blame on your selves, and forbear to meddle there
with.
The explanation of this Art.

In this celestial looking glass, elicited out of steel by three distinct forms, and very being
diaphanous by the truth of art and nature cooperation by some celestial fire, faculty
and power of a ray, I could see very thing which mine eyes, yea which heaven and earth
were able to comprehend.
For first of all I found this looking glass to be of a pleasant sapphire colour throughout
very white, of a fiery property, in which respect, I saw Mercury and the Philosophers’
Salt so manifestly, as if they had been in mine hand.
Then I found another looking glass of the strength and virtue of pure steel, wherein I
saw the Philosophers’ Sulphur, like the flower called Celandine of so with a salt of a
vegetable–nature: by increasing, and augmenting, that I could not pull enough of the
flowers therefrom, it appeared so fruitful in this glass.
The third looking glass sprung out of these two perfectly, wholly of a fiery redness, and
like fire, for within a little spare it presently waxed hot, and as pure fire did flame, so
that without fear I could not touch it with mine hand, for I declare that I saw the divine
power, and the chiefest Arcanum lying hid therein. For I found therein the
Philosophers’ Fire, by which all things in all are maturated, by the means of the visible
elementary fire, which fire hath been sought by many, but found by few.
Now by sedulous diligence, and help of the spagyrick art, I [?] these three glass
altogether in one, wherein when I please I see most perfectly God, and all things, with
the riches of the poor: whence it deserved rightly to be termed the treasure of treasures.
This I keep carefully by me, lest it be taken away by stealth, or lest others get hurt
thereby.
Hence I trust without question that this slender introduction will sufficiently declare
to wise men, how these pictures will produce fruit to the lovers of the spagyrick art,
provided they be in favour with God and nature, they shall also draw out of this glass
76
more then I, or other shall describe form the things that are now described and
proposed, and in these figures signified for finding out the same.
But these things doe only concern the students of the true and solid Alchymy, and
spagyrick art, and those that are expert in Chymical operations, to whom even the least
occult and arcana of nature will be clear, by help of the degrees, or order of the scales
which are often made use of in operation. As for example, the figure by the number I
doth declare the degree of calcination, under which also reverberation and
commendation are understood. The second figure doth shew the degree of exaltation,
which doth comprehend sublimation, and elevation together with distillation. The
third figure doth note conjunction, together with putrefaction, solution, dissolution,
resolution, digestion, circulation. The fourth figure doth contain multiplication, under
which are latent ascension, lavation, imbibition, cohobation, as also coagulation,
fixation, augmentation and tincture.
They who are to pass this way must ascend by these degrees, to wit, of these three
glasses to make one by means of the four chiefest pillars, which are Philosophy,
Astronomy, Alchymy, and the Virtues. And by the Alphabet of the second figure in the
circumference of the circle declaring plainly and perspicuously from letter to letter the
true matter of this art. Where for when A.B.C. and the characters are in order known,
you will easily see what is to be seen, even as in the first and third figure, the four
qualities and the elements, which are the hot, dry, cold and moist, which truly shew the
first and last matter, by which you shall attain to all as I have briefly described them,
but I forbear to add more: seeing very excellent, illuminated and very learned men of
God have also written after this manner before me, especially because I have here
proposed to young students those things which might be done, from which they shall
draw perhaps a greater understanding conducible for their profit.
For much writing yields little profit, seeing all the four things are sufficiently clear (I
trust) here in figures. But when I shall understand that the lovers of this art are not
content here with, but doe require more, not sparing my pen to cloath those things in
a better order, and by approved experience from the foundation. For shortly a little
book shall follow if God and leisure permit, which from point to point shall be divided
into four parts for the rule of the two pillars or columns which are to be seen in the first
figure of nature and art.
In the meantime, rest satisfied with this simple proposal and forerunner of this very
looking glass, and remember that sublime things doe rather appear to those that are
humble, then to the proud seeing the proud require not a slender understanding.
Wherefore this prescribed and proposed glass is only set before those who understand
this art, and the spagyrick operations.
A declaration of the most ancient stone instead of an Epilogue.

Here I conclude, the foundation in the Chymical art is the chiefest medicine, which is
a little compounded flower, created and framed, most worthy by God, the viscous
nature, the first ens, as philosophers teach: for from our art, nature, as the highest
tincture doth proceed, wherein there are three principles, for which cause our Stone is
77
also triple mineral, animal, vegetable, that is, the body, the soul, and the spirit,
produced thus from nature itself, like sweet honey, and moist salt, the Lunar Stone is
liquid like butter, the Solar is the Green Lion, the occult Sulphur, the philosophers’
gain, better than the soul of the body. The quintessence is our fire, a flower causing
generation, besides which no other fire can operate it.
The philosophers’ fire is the art, seeing without fire all labour is vain, albeit you should
work a hundred, or a thousand years, yet without it your undertakings would all be in
vain, nor would you attain to any perfection, but lose both your time and money:
wherefore be diligently watchful in your studies, and certainly inquire. Make use of the
spirit that doth vivify fire without light and coals, which may quicken dead metals, for
this fire is supernatural, hid in vive calx, and horse dung; yet you shall remark, that
albeit by these things you be freed of many troubles, yet you cannot attain to the end
thereby, and therefore they must not be sought amongst horse dung. For it is folly to
handle such [?], which easily deserve the decision of all. Wherefore see that you know
that most ancient stone, and you shall obtain your desire. He is a most happy man that
obtains this gift from God.
The Authors context

here follows a description of the Anonymous
philosopher dedicated to the fraternity.
A brief discourse, or proofe of the tenuity of sacred
philosophy, and chiefest medicine.
Jehovah is trinune.
All things were made of nothing
the spirit of God moved upon the waters
the chaos
the first hyle of philosophers, all things
were created of water.
The firmament, minerals, vegetables, animals.
The macrocosme is
from the centre and quintessence
the microcosme is
the most perfect creature of all created things
man is the image of the most high God
the immortall soule is the invisible celestiall fire
78
rom the fall: beholds the Messias
who is the light of grace and nature
he is the first matter of a perfect body
the matrix of the mid world
the balsome and mumy
and the incomparable magical magnes
in the microcosme.
The philosophers water, from which are all things,
in which are all things, which governeth all things
wherin a mistkae is, and wherin that mistake is
corrected.
A sound mind in a wholsome body
pryaers without weariness
patience and delay
the matter, the vessel, the furnace, the fire, the
coction is but one thing only
one thing alone and therin only one, the beginning
the middle and the end.
It doth admit no forain (?) thing, and without it, it is perfected
behold it is in mercury, which the philosophers seek.
Fontina diaphanous
is the two fold mercury
the rotation of the sphear of all the planets
and the black ens (?) in a moment fuming from the lucent
death and life
regeneration and renovation
the beginning of fixation, the midle and end
the summe and foundation of all secret magick
the quintessence, of macrocosmo and microcosme,
or philosophical mercury
of the celestiall invisible fire of the living salt
79
of metalls and as much as is sufficient
let it be done by the magi-philosophical art,
by circulation, solution, coagulation and fixation
the highest medicine
wherin is the greates wisdome, the perfect
health, and wealth more then sufficient.
All things proceed from one, and all are for one,
festimation and ostentation tend to the pit.
There is enough spoken
of the simple and plaine manner, all malice
beeing rejected: Pathmos is an obstacle.
The will of God be done,
to God alone be glory.
At last both name and age must pass through fire – Paulus
The end.
80
Finis.
81

MA Thesis Through The Alchemical Looking Glass

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MA Thesis Through The Alchemical Looking Glass

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Through the

Alchemical Looking Glass

An Interpretation of Stephan Michelspacher’s

In partial fulfillment of the

Alinda van Ackooy

1.1. Stephan Michelspacher and the Cabala

Other works produced by Michelspacher’s publishing house are for example:

 Ein Mathematisch new Invention, einer sehr nutzlichen und geschmeidgen

Such a Christological interpretation of the engravings in the Cabala is, according to

1.3. Paracelsian Influences in the Cabala

1.3.1. The Four Pillars of Medicine

Paracelsus, however, differed on this theory. Although he did acknowledge the

1.3.3. The Tria Prima of Mercury, Sulphur and Salt

1.4. Practical Instructions in the Cabala

The third engraving illustrates the operations of conjunction, putrefaction, solution,

Finally, the fourth engraving illustrates the operations of multiplication, ascension,

1.5. Conclusion of the First Chapter

2.1. Color Symbolism in Alchemy

Color is a potent element in visual language, as it is in alchemy. There are several

Colour Planet Metal Heraldic Colours

The mineral cinnabar Paracelsus speaks of is obtained by combining common sulfur

2.3. Prima Materia and Ultima Materia

Cabala and Alchemy, O God help us to be grateful,

Another explanation for the symbol is that it refers to Mars or iron in

Figure 3. Detail of the first engraving.

Figure 4. Emblema XXI. In Michael Maier, Atalanta Fugiens.

The Sepulcher is a reference to the philosophical egg (ovum philosophicum), a glass

2.5. The Diagram of Four

Figure 5. Personal monogram of Michelspacher.

2.6. Via Humida vs. Via Sicca

Via humida involves a process of numerous distillations and solutions and is

Figure 7. Alchemist with distillatory equipment.

Figure 8. Alchemist working with open fire.

2.7. Alchemical Interpretation of the First Engraving

The Second Engraving:

3.1. The Fiery and Venomous aspects of the Dragon

However, taking the possible interpretations above in consideration, there is another

3.2. The Alphabet of Alchemy

Cheyri refers to the four-petalled yellow wallflower cheiranthus cheiri, which

Table 2. Alchemical alphabet.

3.3. The philosophical Egg

Figure 10. Detail of the philosophical egg. Second engraving.

3.4. Alchemical interpretation of the Second Engraving

The third engraving, titled Mittel. Conjunction, illustrates the operations of

4.1. The Different Tinctures of the Planets

4.2. In the Bowels of the Mountain

Figure 12. Prima Clavis or the ‘First Key’ of Basil Valentine.

4.3. The Seven Steps of Transmutation

1. Calcination – Aries, the Ram

4.4. Zodiacal Ingredients

4.5. Alchemical Interpretation of the Third Engraving

5.1. The Alchemical Fountain

The alchemical fountain is a recurring element in alchemical imagery and is often

The Green Dragon of Hermes, or as the Green Corrosive (Omnivorous)

5.2. The Seven Planets, Again

5.3. The Resurrection of the Christ

5.4. Alchemical Interpretation of the Fourth Engraving

What that most ancient stone of the wise men is,

Printed in Augsburg, by Johann Schultes

The Author of this translation salutes the benevolent/candis reader.

The introduction to the reader of this art.

The explanation of this Art.

A declaration of the most ancient stone instead of an Epilogue.