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The Secrets of Alchemical Symbols

1 . The Lion and the Swan D. Stolcius von Stolcenberg, Viridarium chymicum , 1624

2. The Phoenix

3. The Rebis

4. The battle of Sol and Luna

5. Squaring the Circle

6. The Amphitheatre of Eternal Wisdom, Hanau Germany, 1604

7. The Ninth Key from D. Stolcius von Stolcenberg, Viridarium chymicum , 1624

8. Vitriol from Daniel Stolcius' Viridarium Chymicum (1624)

9. Vitriol from Musaeum Hermeticum

10. Daniel Mylius' Opus Medico-Chymicum (1618)

The Lion and the Swan D. Stolcius von Stolcenberg, Viridarium chymicum, 1624

There are four elements in this image that are connected by an ouroborus symbol. The lion represents the essence of spirit and the swan symbolizes the feminine soul. Here the lion consumes the female swan within the stage of the work that she represents, namely, the albedo. Thus the silver, or white stone, is in the process of being transmuted into gold. The lion and the swan, spirit and soul, are captured in their cosmic counterparts, sun (Sol) and moon (Luna), within the ouroborus. Typically the snake devouring its own tail is presented as a circle representing a state of primal unconsciousness; activated but not going anywhere. But, here we see this symbol in the form of the infinity sign, thus indicating a shift toward conscious integration of the energies of spirit/Sol and soul/Luna.

The Phoenix

In alchemy, the mythical phoenix bird represents the culmination of the opus. Understanding the mythology of this fantastic creature reveals the reason alchemists chose it to represent successful completion of their work. As far as we know humans alone possess the knowledge of their own mortality. That we know we will die gives meaning to our days. In myth the phoenix was endowed with this sacred knowledge. Thus, in seeing its death draw near the phoenix prepared a nest of wood and resin upon which it would perch itself. It then exposed the nest to the full force of the sun's rays. The embers, bursting into flames, consumed the phoenix and reduced it to ashes. Out of these ashes arose another phoenix. The rebirth of the phoenix reflects the aspect of immortality associated with the philosopher's stone.

Alchemically this fabulous bird represents regeneration. But there can be no regeneration with first there being a process of dissolution. "No generation without corruption" is an alchemical recipe that succintly describes this process and explains the phoenix's death and resurrection. Death of the body (the matter) is necessary in order to eliminate the coarse, unconscious elements from the prima materia. The method used to accomplish this is calcinatio, the fire operation.

In China the phoenix is particularly well known as a symbol of the sun. Ash in alchemy symbolizes the resulting matter left behind in this act of purification. The matter, in other words, is reduced to its most essential and pure state. It provides the ground (the salt) from which a new spiritual body is born. We need physically die in order to have this rebirth experience. Every moment offers us the opportunity to transform consciousness into a more awakened state. The phoenix is an excellent symbol that reminds us of the ever-transforming cycles of life and death.

The Rebis

When the alchemist has achieved a high stage of integration, soul and spirit combine to form a "double thing" known as the rebis. In this picture we see the alchemist as a double thing; in this case a hermaphroditic figure integrating masculine and feminine energies. He holds measuring tools that are used to draw circles and squares. These are the shapes of the spiritual and earthly realm. He stands triumphantly upon the dragon of chaos that represents primitive unconsciousness - the lead, the devouring mother, etc. Notice that the shape of the overall picture is spherical, suggesting the alchemical image of the philosophical egg. In this egg, the alchemist is mirroring the biological stages of his physical birth. This picture then depicts his involution into consciousness. He has given wings to the earthen reality upon which he stands - he literally 'understands' life with gnosis wisdom. Surrounding his head are the powers of the heavenly spirit: (clockwise) Mars, Venus, the Sun (Sol), the Moon (Luna), Jupiter and Saturn.

The battle of Sol and Luna

In this colorful picture we see the sun and moon personified into warriors clashing in mortal combat. On the left, riding a lion, is Sol, and on the right is the moon, Luna, riding what appears to be a composite creature, half bird (eagle?), half lion. Each bears a shield that signifies as aspect of its opposite. Sol's shield is comprised of three crescent moons and the shield of Luna depicts a golden sun. Also, it is significant that Sol is clad in blue, while Luna is completely naked. Unlike Sol who shines brightly, Luna is in her new moon face, that is, her face is completely black. The backdrop behind these warring opposites is colored red. In fact, the overall color-scheme consists of the primary colors of alchemy: black, white and red.

This picture shows an early attempt at combining the masculine and feminine opposites. Already there are aspects that indicate a readiness for the transformation that will bring about a coniunctio oppositorum. The chief of these attributes lies in the fact that the opposites are engaged in conflict. In other words, they are attracted, excited, ready and preparing for union. Less apparent are the 'seeds' of their ultimate integration, namely, each carries within itself an aspect of the other. This shows itself in the emblems on their shields. The pair reminds us of the yin-yang symbol where the opposites have transformed into a complementary relationship and together they form the 'One Thing' (the Tao).

There is an innocent quality reflected in both figures. The blue color of Sol's vestment is an attribute of Jupiter and Juno signifying a "religious feeling, devotion and innocence" (Cirolot, Dictionary of Symbol, p. 52). Jupiter, whose metal is tin, is believed to consist primarily of sun with only a small amount of water. It is therefore well disposed to receive Sol. Another favorable sign of integration is reflected in the images of the moon on the Sol's shield, indicating the inner feminine, the anima, of his otherwise fiery nature. By contrast, Luna is unclothed and dark. She is open to receiving Sol, but not without some resistance. She must be won over. Her shield points to her animus, the spirit that already signifies an aspect of masculine energy within her nature. That she rides on the back of a griffin suggests that the readiness to receive the sun, much like the imagery found in the Annunciation of Mary, identifies this time and place as the threshold of salvation. This union of opposites is necessary for the individuation process to proceed.

Griffins were often viewed as guardians who stood watch at sacred places. Psychologically, the griffin "symbolizes the relationship between psychic energy and cosmic force" (Cirlot, p. 128). In other words, this warring pair of opposites precipitates a transformation simultaneously on the individual and collective in the cosmic dimension. The goal of alchemical work is to transmute metals and the states of consciousness they represent out of their chaotic state into a refined cosmic order. In this picture, the clash between opposites represents an early meeting between Spirit (Sol) and Soul (Luna).

Squaring the Circle

As with other alchemical images, this etching was believed to possess all that is needed to transform lead into gold. A caption above the picture proclaims, "Here followeth the Figure conteyning all the secrets of the Treatise both great & small." The image echoes a recipe from the Rosarium, "Make a circle out of a man and woman, derive from it a square, and from the square a triangle: make a circle and you will have the philosopher's stone." The circle containing the male and female figures is the microcosm and the larger outer circle represents the macrocosm. Note how the alchemist connects the concentric circles with a sexton. Circles are considered feminine in nature because they act to contain matter, much in the same way a womb acts to hold within itself the embryo. The square represents a masculine aspect and signifies earth with each of the four elements.

Finally, the triangle symbolizes fire and acts to connect and integrate the above with the below. In the same way it signifies body, soul and spirit. Male and female energies are fused into a complementary wholeness that forms the basis for effective functioning in reality (the square). Extending outward from this inner psychic structure, human consciousness is brought into a divine relationship with the cosmos (the large, outer circle). Thus, there is inner and outer harmony within oneself, with the opposite sex and with the universe.

The Amphitheatre of Eternal Wisdom, Hanau Germany, 1604

This masterpiece of alchemical art was designed by the 17th century theosophist, cabalist and Hermetic mystic Heinrich Khunrath. The woodcut depicts a formal alchemical laboratory. For interpretative purposes we can divide the image into two major sections. On the left is the oratory (a meditative enclosure) where we see a kneeling alchemist beneath a tent. A tent provides temporary housing and the suggestion here is that the alchemist is on his way through prayer and meditation toward achieving enlightenment (as symbolized by the more permanent temple in the distance and beyond that the door to eternal wisdom). The tabernacle is inscribed with the words: "Happy the one who follows the advice of the Lord," "When we attend strictly to our work God himself will help us" and "Do not speak of God without enlightenment." The words written within the plume of smoke are: "Prayer ascends like smoke a sacrifice acceptable to God." Smoke, of course, refers to a transmutation process of changing solid matter into a gaseous substance.

On the right is a working laboratory replete with an oven (athanor) and on the mantle above many jars containing ingredients to be used in the cooking. The labels reveal their contents: Hyle (primordial matter), Ros celi (dew of the sky), gold potab (potable gold), Azoth (Sophic Mercury) and Sanguis draconis (dragon's blood). The two supporting pillars are inscribed with the words "reason" and "experience" (on the column in the foreground). Written on the athanor is a caution to "Hasten gently."

In the center foreground of the picture are many musical instruments on a table. The words, "Sacred music causes flight to sadness and evil spirits because the spirit of Jehovah sings happily in the heart with holy joy" are written across the hanging tablecloth. Behind the table is the alchemist's chair and directly above the table is a seven-pointed, star-like lamp that indicates the seven alchemical operations.

Finally, above the open doorway is the inscription, "While sleeping, watch!" In other words, alchemical work involves use of the conscious as well as unconscious operations. In all, Khunrath's diagram describes many prayers and recipes needed to successfully do the work of the spiritual, psychological and physical work of alchemy. He accomplishes this feat in an elegant, beautiful woodcut that truly inspires with its economy of word and image, use of severe perspective and transcendent symbolism.

The Ninth Key from D. Stolcius von Stolcenberg, Viridarium chymicum, 1624

This image is the ninth key from Basil Valentine's series of the Twelve Keys. It describes the stage known as the "peacock's tail." The bottom section shows three hearts with a snake emanating out of each; their circular motion recalls the movement of a wheel and with it the sense of yoga (yoke). The snake, or serpent, is the symbol of transformation and in this form recalls the ouroborus. The three hearts represent body, soul and spirit and more essentially the principles of Salt, Sulphur and Mercury. Together they form a small mandala symbolizing the wholeness of the Self. Together the three elements in this section of the picture are joined together within the wholeness of the outer circle. Psychologically, this part of the image indicates that all three aspects are flowing in harmony with each other.

The upper section shows two figures, one male and one female, posed in such a way as to form a cross. At each point of the cross we find some animal depicting various aspects of the opus. Beginning at the top there is a black crow sitting on the man's feet. This is the nigredo, the blackening, where the work begins. Moving counterclockwise, we come to the white swan perched on the woman's head. The work moves from the nigredo to the albedo, the whitening

stage of the opus that is associated with the feminine. At her feet is the symbol of the peacock's tail. The peacock's tail marks the precipitation of the final stage - the beginning of integration. The "eyes" on the peacock's tail were thought to represent all universes and the iridescence of its colors the entire spectrum of light that reflects the infinite dimensions of consciousness. Finally, as we move to the man's head, we see the phoenix bird wings stretched wide in a triumphant pose.

Adam MacLean (The Alchemical Mandala, p. 78) mentions that these birds represent the four elements. The Crow=Earth, Swan=Water, Peacock=Air, Phoenix=Fire. He points out the various polarities that are formed by specific connections made between each bird and the point of contact (head or feet) of the male and female figures. These polarities -the four elements, the three principles, the masculine and feminine and the four stages of the work- when adequately experienced prepare the adept for complete integration.

It is interesting to note also that the movement in the upper section is contrary to the bottom section. These counter-movements remind us that alchemy is an opus contra naturum, that its work moves contrary to nature, not to oppose it but rather to facilitate both evolution and involution.

Finally, another way of viewing this picture is to trace the outline of the design instead of focusing on its details. Then, what appears is a cross above a circle. This is the symbol for Antimony, a poisonous metal that is derived from stibnite. In prescribing antimony, instead of stibnite, Valentine sickened many of his brother monks, thus the name "Anti-monk" gave rise to the word anitmony. It is also significant to note that the Star Regulus ("petty king")which is produced from antimony fascinated Sir Isaac Newton many years later. The crystallized shards from the Star Regulus pointing outward and inward ultimately contributed to Newton's formulation of the laws of gravitation.

Vitriol from Daniel Stolcius' Viridarium Chymicum (1624)

Our modern word "vitriol," meaning "caustic speech", is derived from an acronym used by medieval alchemists to describe the essential processes used to transmute minds and metals. The acronym V.I.T.R.I.O.L. was composed using the first letter of each word in the following recipe: visita interiora terrae rectificando occultum lapidem. (Visit the Interior of the Earth, rectify what you find there and you will discover the hidden stone.)

In the accompanying picture we find this recipe written in the outer ring; the symbols contained within represent various elements that give meaning to the recipe. Beginning at the very top there is a chalice into which are poured the vital energies of Sol and Luna. This vessel is further influenced by a constellation of male powers (Mars and Saturn) on the left and female powers (Venus and Jupiter) on the right. The chalice is seated on the symbol of Mercury, the ambi-sexual agent of transformation.

Below Mercury is a ring that acts in the same way yoga, meaning yoke, works to connect the three remaining elements; the chalice itself representing water, the shield of the double headed eagle symbolizes air, the Lion, fire, and the middle shield is the Pentacle of Earth. Between the shields are the Sphere of the Earth Globe and the Sphere of the Heaven, meaning that these two worlds are to be integrated (as above so below for the making of the one thing).

Directly atop the Pentacle of Earth is a smaller globe with a cross. This is the symbol for vitriol. In chemical terms it is the acid (hydrochloric acid) that penetrates into the lead - the Interior of the earth that is psychologically the unconscious- where we begin the work of rectification. (Note how the modern meaning of the word vitriol stems from a physical substance; acid evolves into caustic words!). It is a common expression in alchemy that gold is found deep inside the lead, and that by bringing consciousness to it, the lead ascends out of its nigredo state and arises to become a pure white stone. Ultimately the hidden stone, that is the red stone or the philosopher's stone, is contained in nascent form within the shadows of the unconscious.

Vitriol from Musaeum Hermeticum

This alchemical mandala is used as a teaching device much in the same way Tibetans used yantras. By meditating on this image the initiate brings together in his mind the recipe "VITRIOL", the symbolic powers of numbers one through seven and many astrological and mythological signs. At the very center of the picture is the face of an alchemist. This places him at the point of totality, the place where things arise and return to his consciousness. One is the symbol of identity. Out of the one issues the archetypal pair of royal opposites: the Solar King of masculine consciousness and the Lunar Queen of feminine consciousness. Each can be seen on either side of the diagram.

The King sits on the back of a lion and the Queen is mounted upon a whale or dolphin. The elements of earth and water are shown as the hill beneath the lion and the ocean from which the giant fish emerges.

The large, inverted triangle outside the main circle indicates the realms of Body, Soul and Spirit. Body is at the very bottom represented by the cube of earth surrounded by five planets, Soul (anima) is positioned in the upper left hand angle accompanied by an image of the sun, and spirit is in the right angle above a picture of the moon.

Earth and water elements that occupy the bottom corners of the diagram are completed with the salamander, the elemental creature of fire, and a bird symbolizing air in the upper right hand corner. Thus, we have all four elements represented.

The alchemist's body presents us with five elements. His left foot is in the water, his right in the earth element, his left hand holds a feather (indicating air) and his right hand is shown with a torch (fire). Finally, above the alchemist's face, at the very top of the diagram is a pair

of outstretched wings. These represent the ultimate spirit, or quintessence.

The number six is found in a combination of two triangles, one drawn directly on the alchemists face and the other as the larger triangle already described in the number three. The inner triangle represents Salt which corresponds to the cube of earth, Sulphur relates to the solar forces and Mercury, in this case, refers to the lunar spirit.

Seven finds its place in three locations:

The seven-pointed star of the planets, representing evolution of consciousness Vitriol, the seven lettered recipe that symbolically describes the operations needed to

complete the opus The series of circles within each of the angles of the seven-pointed star. These pictures

describe the cycle from nigredo through metamorphosis to final resurrection.

Taken as a whole this mandala is an exercise in imagining the critical elements of the work, what they represent and most importantly how they come together in the mind of the alchemist.

Daniel Mylius' Opus Medico-Chymicum (1618)

In this alchemical masterwork, engraved by Matthieu Merian, there is a clear demarcation between the world above and the world below. Yet, these two dimensions are joined into a philosophical wheel with two connecting half circles and one central disc at the center of which is a triangle containing the sign for Mercury. Frabricus comments on this last point where he writes, "This is the magic point standing for unity, the origin and the center. Having

reached the still point of the turning world, the alchemist is immersed in the center of his being, realizing here the divine light of Absolute Reality, or the nature of Mercurius philosophorum the immovable mover of the moving universe" (Alchemy, p. 160). This description compares well with the mystical meaning of Sufi.

An alchemist is seen in physical form below this magnificent scene wearing a coat of stars, white one side and dark on the other. He stands in a grove of trees, each of which bears a symbol of the planetary metals and twelve fundamental substances. The alchemist holds a twin-bladed ax in either hand reinforcing the division of opposites in the manifest world. Yet he stands upon the backs of two lions sharing one head. This indicates his powers of discrimination and freedom from the opposites. This lion represents sulphur and mercury. Each lion emerges from fire on the left and water (a spring) on the right.

To the alchemist's right is a naked man, Adam, whose left arm is chained to the celestial realm up above. His right hand supports the Sun, which in turn is supported by a lion rampart. The man stands on the wings of the phoenix bird, which as we know from mythology is consumed by fire and then to re-emerge from the ashes. The entire left side of the engraving is bathe in white light, day, while the right is devoted to the realm of the feminine, night and the unconscious. There we find a naked woman, Eve. Her right hand, also chained, carries a bunch of grapes, suggesting the themes of fruitification and transmutation of grapes into wine. From her right breast radiates the Milky Way that further emphasizes her abundance. Her extended left hand, together with help from a Stag, supports the Moon (Luna). We will recall that Actaeon, the huntsman, was caught spying on Artemis bathing and as a punishment was transformed into a stag. Both Eve and the stag stand on the wings of an eagle (Aquila) which holds dominion over earth and water. Above the alchemist's head is a ring of seven stars, each of which associate to stages of the work. Moving counterclockwise, we see the raven that represents the nigredo, the White Swan or the albedo stage, the Winged Dragon or Cockerel, the Pelican with its association with sacrifice and finally the resurrection symbol of the Phoenix. This wheel is completed in the Spiritual realm where there are Hierarchies of Spiritual Beings and symbols of the Trinity. The central disc consists of a number of concentric circles that describe symbolic recipes for integrating the worlds above and below. At the very center there is the final instruction for joining these elements: "four kinds of fire are required for the work."

Alchemy Diagrams