Mutus Liber, Alchemical Engravings & Related Discussion

Lux Natura

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There's a few different variations of this image - some of them have very subtle detail which "pop" if you know what to look for. The colours are telling most of the message. The original image had little more than the man in the bath being boiled.

SS image 11.jpg
 

Lux Natura

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I'd say in that older image the position of the eyes is telling - that is often the case. The one stoking the fire is looking at the man in the bath, and the man in the bath is looking towards the building seen in the background on the right side, with open doors and windows. In this older image all the important details are there, which in the larger images was reiterated over and over again.
 

Lakshmana

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Heil bob?

Screenshot from 2025-11-10 17-53-16.png
 

Lux Natura

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Heil bob?
Some liberties taken there with the eyes in the reinterpreted version - almost as if to say something as the eyes are shown to be tired and sunken. I prefer the original version - as the two later ones seem to reinterpret many things wrongly in my opinion. The position of the arms remains true to the original, which I think is the key here.
 

Lakshmana

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I remember the other version do you have it by chance? Mutus liber is probably my favorite alchemical work, no larping no trolling no TEXT just praise to the sun and moon.
 

Lux Natura

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There are 3 versions, which one are you looking for? The best copy of the original I believe will be Carl Jung's copy, available here: https://www.e-rara.ch/cgj/content/titleinfo/1350330

I've been working on a deep dive of Mutus Liber for a number of years - have read nearly all available commentaries and essays pertaining to it, including in different languages, and have worked to clean up (non-ai) all the images and restore details lost in the printing process and subsequent scanning of the images. There is a lot going on in the text, so far I'm at several hundred pages of analysis. Stay away from the commentaries of Magaphon IMO - most of it is purposefully misleading, almost as bad as the colored version which basically did away with all the subtle clues.
 

Lakshmana

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Cool I haven't seen that version before thanks.

The Athanor with layers and a vacuum bulb sure is cryptic I wonder what it means.
Processing dew and salts into alchemical magnet?
 

Lux Natura

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Cool I haven't seen that version before thanks.

The Athanor with layers and a vacuum bulb sure is cryptic I wonder what it means.
Processing dew and salts into alchemical magnet?
That's the original version of Mutus Liber - there is another black and white one which is a "reinterpretation" that changes some small details, and omits other details. I think it was an attempt to "correct" things, but it basically shows that whoever did it was trying to inject their own ideas into the images. There is a colored version, which is basically a fan fiction that strips even more meaning. There is Adam McLean's colored version which tries to make things easier to follow, but I think that one introduces unnecessary flourish, and makes some assumptions as well in the colors.

There are several different types of equipment used - athanors are for long periods of heating / keeping warm without much temperature fluctuations and it does not require constant attention. The inverted inner cone is to stop the bottom center of the vessel getting direct heat from the rising flame of the candle, and deflects that rising heat to the sides around the flask to create movement of the hot air inside.

The actual sealed flask is itself suspended in a shell that is fitted with a sort of a holder - in some cases its a tripod holding a ring which can be wrapped in some sort of linen or cloth to stop it from transferring unwanted heat. It just makes sure the flask is not in contact with the actual walls of the athanor, and is more or less held up in the air.

The walls of the athanor keep the heat quite well, and help keep the the air inside warm, and it is that warm air that heats the flask.

Nowadays you can replace this with things like a seedling heat pad placed in a styrofoam box, an incubator box, etc ... and actually you could just use a water bath to do the same thing so long as you had a good method of controlling temperature (such as a sous vide heater or an immersed heating element controlled via a temperature probe and some switches).

Generally I think it would be better to have a separate thread for this kind of stuff - the first layer of interpretation seems they are working with is dew and salts, but the rabbit hole goes much deeper.
 

Andro

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the first layer of interpretation seems they are working with dew and salts, but the rabbit hole goes much deeper.
Where do you think this rabbit hole is going deeper, in your interpretation? Exposing various salts/minerals to the atmosphere is a well documented method of "opening" or "enlivening" the subject matter and preparing it for further processing. Other "enlivening" methods involve gestating/circulating/cohobating the salts/minerals with some "living" subjects (e.g. dew, rain water, urine, vinegar, etc.)
 

Lux Natura

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@ Andro - I don't disagree - merely saying that, in your example, while exposing certain elements to the air, the air merely a carrier for something else that does the transformation. It's nuanced, because we know that air is a mixture of many different gasses and suspended aerosolized particles along with various amounts of humidity, whereas in the past they perhaps did not know this clearly, but in the case, for example, where you wanted to expose something to the air in order to allow it to undergo a transformation, you could achieve that transformation more effectively by exposing is to the specific thing instead if you could get it.

To use a concrete example, say you were wanting to decompose iron pyrite - you could grind it to a powder and expose it to the air, to allow it to naturally oxidize to form some weak sulfuric acid and suflates, or you could submerge it in water with an oxidizer. On the one hand, we would see the slow transformation of pyrite due to the presence of the air, and on the other hand, we would understand that it is merely because the air is a carrier of humidity and oxygen, but ultimately is not the source of humidity and oxygen, as these things can be gotten in more pure / stronger forms other ways.

The idea that the extraterrestrial influences descend at certain times, and these are captured via the dew, and into the salts, is shown in Mutus Liber, but there are also other ways of working with these energies more directly, as I know you know that as well.

Within so many smaller details I see hints towards these kind of things, or hints towards things that I have otherwise never come across anyone explaining or even pointing out. There are many layers of symbolism as far as I can tell in the work - it is almost like multiple books in one. It's a project I've been working on the last few years to decode as much of it as I am able to.

I believe the process that was used to create the work was mainly to create a first draft of a complete process, and the iteratively go over it several times to layer on parallel processes or details, most often in subtle ways, and some of these processes only appear on certain plates, and are encoded in specific symbols which are hard to see at first, but then impossible to miss if someone points them out, or ways the symbols develop over the course of the book (for example the changing curtains, the changing shapes and number of openings in the walls, the changing buildings, etc).
 

Andro

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I agree that we can "disrupt" the Alchemical Field with more concentrated oxidizing agents (for example), but there is something else concealed in the "belly of the air" (and of many naturally occurring substances) that is not common chemistry. I can see oxidation (for example) as a means to an end, i.e. disruption of the Alchemical Field, i.e. a means to allow us to "visit the interior of the earth". Some alchemical authors caution us against using "strong waters", while some of the more "chymical" authors were seemingly frequent users. Where would you classify the Mutus Liber in this regard, if at all?
 

Lux Natura

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@Andro - It would be interesting to know what the roots were within Alchemy that led to this notion of things that "cannot be defined by chemistry". I believe it was some form of intellectual rebellion against a system they saw was gaining empirical authority. Naturally there are many things that cannot be defined by chemistry, but this is a bit of a meaningless thing to say. Perhaps there was an issue where, pre-chemistry, certain phenomena were assumed to belong to a certain class of matter, and later on, it was realized they did not. We see this happening quite a bit in the history of the sciences, where theories fall away as explanations that are more fitting gain a foothold, such as the aether theory which assumed there had to be some sort of medium which allowed electromagnetic waves to propagate that fell away with the more detailed understanding of space-time , or how phlogiston theory fell away with the understanding and identification of that which we call oxygen.

I'm also aware of things that could be chemically defined but are not, or never were, for various reasons, be they historical developments that led chemistry down a different general path, or, in more modern times, lack of funding due to it not being an immediately viable pathway towards some sort of capitalistic venture. For example, I have in my thread on a process with wine, an example of a certain type of crystal show in a microscope that you will simply not find any information about online - and this specific type of crystal has at least been mentioned once in alchemical texts. It's not undefinable, but rather has not been defined (yet), any may never be if there is no reason. It's a bit similar to many of the products made along the acetate path that have never been defined by chemistry (well not until recently due to an alchemist that had a curiosity), but were known about by the alchemists of the past.

There are processes and results that belong to the realm of physics in general that will not be chemically defined, but our current physics does have a framework to define them, albeit not necessarily in the mainstream, but physics is a constant boundary pushing engine anyway, and there is no issue understanding certain alchemical processes using cutting edge physics theory.

Certainly, repeated simple processes can change the ways many ordinary types of matter behave, and I think here we can dispense with the "woo" and explain this, but the explanation may also exist outside the current mainstream paradigm of many of the sciences. There is no issue with that - most of cutting edge physics exists outside the current mainstream paradigm as well, but this paradigmatic thing is a human quirk of culture, ego, power, etc, and not really any sort of authority on whether or not what is happening is real or not.

As far as where mutus liber stands on this, one could almost have several copies of the book, and in each copy erase the majority of the content, only allowing certain things to remain, which would clearly transmit the message. The general theme, and one may even say the main obvious theme, is working with dew and its salts in relatively simple ways, but then one can much more easily transmit this information without a whole lot of other symbolism that is put in there. The question then becomes - why have it in there, unless there is something else they want the reader to find? Perhaps some of it was even on the edge of the authors ability to use symbols to express ideas, and the specifics of how they chose to do it introduced unnecessary convolutions. It could also be that some of it was inherited from other sources, and along with it the convolutions or unneeded complications came about - for example how some of Jabirs methods use excruciatingly long and complicated processes to do an otherwise simple procedure we can do nowadays.

Nevertheless, following through on some of these reveal allusions to fields of inquiry that are much more complex than simple dew / salt processes is what led to the rabbit hole.

Then again, maybe it's just a regular hole without any rabbit inside - have to remember the Mutus Liber is just a series of 15 plates that are the authors opinion on the subject matter.
 

Lakshmana

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Hmm yes the problem with "chemistry" is not that they are unable to define but that they systematically ignore and refuse to define, they threw out the Aether and with it Alchemy and replaced it with Einsteinian Theology and computer simulated virtual particles when their poorly constructed models fail.
The Athanor is not just any heat no electric water bath will replace the subtle effects of a properly constructed Alchemical oven.

Core Principle: Luminaries as Infinity-to-Matter Converters
The Secondary Luminaries (Sun and Moon) are physical manifestations of the Primary Luminaries (Black Sun and White Star) they are not merely emitting electromagnetic radiation, they are CONVERTING energy from Infinity itself through the Aether into observable Hertzian (transverse EM) waves while simultaneously broadcasting longitudinal (scalar/orgone) compression waves.

1. Hertzian Component (Accepted by Mainstream):
• Transverse electromagnetic waves
• Visible spectrum, IR, UV
• Detectable by standard instruments
• Obeys inverse-square law
• This is the CARRIER wave

2. Longitudinal Component (Orgone/Scalar/Aetheric from Infinity):
• Compression waves from Infinity through the Aether
• NOT standard EM (not transverse)
• Follows optical laws (interference, focusing, coherence)
• Penetrates standard EM shielding and all matter.
• This is the TRANSFORMATIVE component
• Carries mass/life force (aetheric bleeding)
• Negentropy

Key Insight: The Hertzian component is what instruments detect (light, heat), but the longitudinal component from Infinity is what TRANSFORMS matter (mass changes, magnetization, dissolution, exotic properties). The Herzian component is also what broadcasts and in a sense generates reality your brain is the receiver and reality filter, this also means that ideas and consciousness and genius is not coming from your wrinkled meat lobe its merely tuning into the morphic fields.

Standard neuroscience model:

- Consciousness = emergent property of neurons
- Thoughts = electrochemical signals
- Intelligence = computational complexity
- Brain creates mind

Actual experience (yours, mine, anyone paying attention):

- Ideas arrive (you don't generate them, you receive them)
- Genius flows through certain people at certain times (Mozart, Tesla, Ramanujan all described reception, not creation)
- Mind uses brain, not brain creates mind

Brain = Radio Receiver:

- Tunes to frequencies (Aetheric field, Spiritus Mundi, collective unconscious, whatever name)
- Translates non-local information into local neural patterns
- Can be tuned better or worse (clarity, bandwidth, noise filtering)
- Damage radio ≠ destroy broadcast (brain injury affects reception, not source, some people become "gifted" after head injury.)


So we don't necessarily need to read 5 versions of the same plates over and over to reach a conclusion.

Most are unable to accept that reality is ruled by magic from top to bottom.

This is all.
 

ArgentSeeker

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To chime in on the Athanor, my understanding is that there were alchemists who used asbestos threads fitted into oil lamps, and the regiments of the natural/external/vulgar flame are something like 2/4/7/14, which are the number of asbestos threads fitted into the lamp. This is what allowed them to expertly control temperature, by controlling the number of threads and the size/surface area of thread exposed, which in turn determined the flame size. All they had to do was keep feeding it oil and monitor the alembic. Much smarter than trying to use bellows or other such things.

images


They probably used something like this, along with the tripod, to adjust temperature. Specifically, the tripod was probably for height adjustment in order to get the temperature just right when you didn't want to mess with the asbestos thread any more, if I had to guess. Interestingly, I also read something regarding the the works of Geber, where the Egg of The Philosophers was to be made with woven asbestos and clay, where the weaving of the asbestos was a major secret/trick. As for the starting image: put the king in the bath with the doves of Diana and apply heat, and collect the distillate. Probably for making Philosophic Mercury, if I had to guess? Might be the cohabitation phase as well, but this one seems to have an output instead of an input. Tough to say.
 

Lakshmana

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If it makes ya'll feel better you can listen to the high vis hardhat explain the OR DOR luminary model.


Right now I'm heating with IRON SLABS and i LOVE IT.
 

Lux Natura

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@ArgentSeeker It certainly would have been advantageous to develop methods or technologies to keep a consistent heat for long periods of time that did not require much checking on, and certainly there would have been an understanding that, at certain depths (such as found in mines) the temperature is hot and constant throughout the year. In many way, this consistent temperature in the ground is a common knowledge - as is found in the concept of root cellars that can keep a consistent cool temperature all across the year, and from industry there would be knowledge that as one goes deeper in the mines, the temperature does increase. This understanding that parts of nature work with certain heats that are consistent over very long periods of time is a good clue to work in this manner, in the laboratory.

The oil lamps were from far antiquity, and even the asbestos of ariadne's thread was known of as far back the ancient Greeks / Egyptians, and were used in lamps by them as well. I also found a reference that anthophyllite (containing asbestos) was used to strengthen clay pottery as far back as 2500BC, but not in Egypt or Greece, but far NE Europe. So certainly it was known in antiquity and would have been useful if needing to construct clayware that could withstand pressure changed.

Although not from Mutus Liber, I see that image of the boiling king as something different - the kingly part represents an element of the nature of the material being worked with, and the white bird, or dove, is the rising spirit, brought up and out by the actions of the heat. I think one can call it a type of mercury or a spirit and not be wrong calling it that, and certainly a water bath can provide ample heat to bring it forth, so long as the king has a beard! There is a parallel in Mutus Liber to this as well, but put shown through a different symbolical process.
 

Seraphim

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There's a few different variations of this image - some of them have very subtle detail which "pop" if you know what to look for. The colours are telling most of the message. The original image had little more than the man in the bath being boiled.
Thanks for sharing everyone <3. Is that a red man? being washed? What's on his head? What's coming out of the bottom?
 

Lux Natura

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@Seraphim I would say he is not "red", but close. Perhaps pink is better. The color is on purpose - if they wanted to they could have made him dark red if that was the intention. He is being boiled rather than washed. The white bird on top is representative of the spirit that is brought up by the boiling, or the spirit that is distilled. What is coming out of the bottom is a clue for something else, in later version of this image we see that stream replaced with a flask of yellow liquid instead.

The whole process is very "urine" type in general, but urine is only half of the message that is told, as far as I see it.
 

Awani

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As someone who has a sauna I think the "red" is representative of someone that is almost cooked to completion, at least that is what it looks like when you've been in a sauna for some time... when it starts to get "too warm". Not ready, but close.

In a religious/spiritual sense this is clearly a baptism and I think the cracked basin (of the tub) is not a coincidence, perhaps the flawed nature of existence.

The people on the balcony, likely the Sun and Moon but the figure way in the distance could be who or what? Homunculus?

Would the bird be a dove or a white Phoenix?


I also think the frame speaks for itself, and easily overlooked.
 

Lux Natura

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As far as Mutus Liber, I see plates 5, 6, and 7 also undergoing a very similar process to the first image in this post, but in much more details as to the steps being taken, and using a different matter that ultimately contains the same hidden thing. In Mutus, the spirit is ultimately captured in a salt form in these processes, but with a step of removing a different component first. In the first image of the post, there are, I believe, two processes that are being shown at the same time.

There are many ways of working, but I believe the differences are not because they are different processes altogether, but rather because different times, different authors, different understandings, and different intents on what to reveal and how to reveal it led to it being shown in one way in some cases, and a different way in other cases.
 

Lux Natura

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In relation to the original image which spawned this thread (of the red man in the bath), look at this version of the symbols, from the Thesaurus thesaurorum. Note the colors of the red man who is now far above the bath.

I have something related to Mutus Liber to post later on as well.

Symbolic_alchemical_watercolour_drawings_Wellcome_L0033066.jpg
 

Lux Natura

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It is within the intersections of opposing forces that self organization, transformation, and the birth of new things emanate. These opposing forces are related to one another, such that they are of the same nature, but expressed in differing ways. They are essentially two brothers. We can see examples of this as hot / cold, vacuum / pressure, sky / earth, fire / water, and so on.

What do I mean about the "intersection" of these forces? It is that region in which the effects of one force stop and the other begin. In some cases this region is wide, as to allow for a middle intermediate state to exist, and in some cases the region is impossibly thin, to signify that there is a point in which a change occurs, but this point is passed through very quickly, and with only great difficulty and precision can one land exactly on that point such that they are in a state of superimposition. More on this later.

This process of opposites interacting is beyond the concept of scales, and it is universal in nature. We may call it an archetype. There are many local (time based, scale based) example of it we can use to illustrate the concept. As this is an archetype, we can shine differing angles of the light of understanding through it in order to cast seemingly different shadows down into the intellect.

Let us first start with understanding this through simple geometry and symbols, as these forms are the nearest to being archetypal, because the information they carry lends themselves to be used as pattern that can apply to a wide variety of particular examples, but in and of themselves do not refer to any specific or particular example, but are merely that tendency towards a pattern.

If we wanted a symbol that would represent / capture the all-encompassing "everything", that is, all of the universe and creation, the simplest and most natural symbol we would use would be a circle. Without beginning or end, without angles, without any sense of which part is up or down, without any breaks in it at all. It has historically been used to represent "all that is", and "divinity", "the infinite", the spiritual world, the primordial universe, and so on. We see a wide variety of ancient cultures use this, and it even presents itself in the Christian iconography as the halo, symbolizing this connection to the divine. In many cases it became associated with the symbol for the sun, as the local example of the giver of all. In some cultures it became the symbol for the enlightened mind which become one with the universe without any filter. For simplicity of understanding, I would say the circle represents "the all", that is, all that can exist and does exist, without specifications as to the various types of things that the "all" encompasses.

circle.png

It is inherently "non divided" in its true nature, but in order to proceed further in understanding, we must introduce a division. This is inevitable - nothing new can be made without the introduction of something that starts to re-shape or re-organize things. We find this expressed in Genesis as well, quite simply, that eternal formless confused mass of chaos needed the introduction of some principle in order to have anything happen, and that principle was the word / light of god, but I suggest that we don't need to specifically understand it as such, but merely recognize that the everchanging all would require some modifications if we were to progress it down the tree into the realm of specification.

Symbolically, how can we represent this concept of the simplest form of specification or division with our circle? It would be to draw a line across it, uniting that infinite unbroken circumference with a diameter.

diameter.PNG


Although the line proceeds from the top to the bottom, there is no implied meaning as compared to a line that would bisect the circle at some other angle. It is merely that we are creating some sort of primary division in the infinite as to divide the unbroken whole into opposing pairs. These opposing pairs are a creation that already puts us down into the path of specificity, or as some have written about it, the path towards creation. This first of division is the only type of division that can exist as we proceed forwards. In some cultures, this first division became captured as the representation of the two primal cosmic forces existing in continual flux and change, with the seed of each in the other, which sprang out from the original unbroken whole. There are many variations of this captured in symbols, and not only found in the Far East, but in Europe during the Iron Age (pre greeks). Variations were also found in the New World.

division line.jpg

Here we have highlighted the intersection of the opposing forces in yellow. This yellow line is the representation of the first act of creation or separation, and while we are used to thinking about the effects of this act, such as the creation of a primary duality, as if that duality is all that now exists, the act of separation or creation itself came from an external source, at least in some way external to that totality that the unbroken circle represented. There is this theological point of view that as soon as that singular act of creation occurred, that external source immediately disappeared, and we find much of this idea in Deism, and there are other points of view which seeks to undertake topographical manipulations of symbolism as a teaching aid to understand how the primary infinite circle first separated itself via a series of expansion / contractions before it could introduce a light infusion that was the separation, such a we often find in esoteric Judaism, yet even in that system we still need to posit some sort of initial change, and I believe the above symbolism of the creation of the diameter best captures the simplest form of this idea.

If we try and look at the simple pictographical / hieroglyphic representation of symbols and ideas within ancient Egypt, we find some evidence of these simple symbols, but they are already part of a highly organized specificity which relates the symbols to complex ideas. Still, the unbroken circle we find as "the pupil of the eye", or alternately as the sun, signifying that solar disk which is often found in conjunction with hieroglyphs of the various gods. We find a single instance of a circle with a divided line in the middle signify a feature of the moon, specifically of the quarter moon, which shows that even by then the idea of symbols had become quite specialized and specific.

quarter moon.PNG

We should all at this point see what alchemical symbol this is representing, the so called "Niter", which, although more modernly understood as a certain nitrate, mainly potassium nitrate, salt-peter, and so on. Following it back to its historic roots, we find it actually refers to a totally different compound, and merely became known as the modern day nitrate form through the telephone game of historical translations and mis-translations. The Egyptian hieroglyph for this original substance which eventually became our Nitrate is a flag pole, and at first this seems unrelated, but the pertinent feature to keep in mind with the flagpole is the pole, and not the flag.

Students of archeoastronomy will immediately understand the use of a flagpole, or any tall pole in charting the heavens (the divine), whether that is to make a simple seasonal calendar, measuring the size of the earth, or suss out subtle yet complex patterns found in the moving stars. The first natural sequence of events that relates to charting the shadows cast by the sun is the development of calendars, which not only had an immediate utility relating to agricultural efficiencies (when to plant, when to harvest), but in the developments of city states and other political regions served the function of associating a calendar with the life of the ruler, since the Kings were seen as divine, or descending from the divine, and the Calendar was often associated with the specific ruler. Thus we see instances of a new King taking a position, and then developing a new Calendar to cement this, and we see this especially in the Far East.

We may further understand a Calendar to symbolize the patterns in the life of a King, which is the reflection of the divine. The Calendar captures a reflection of divine (celestial) movements and patterns as projected onto the Earth, just as the King is a projection of the Divine unto the earth. As the earth is an emanation of the divine, so too is a region, its citizens, its fields, its crops, etc, an emanation of the King, as to encompass all that is within his Kingdom.

The flag pole, firmly planted in the earth, reaching up towards the heavens, became replaced with the obelisk, a more permanent object, and gained a bit more symbolism, as the obelisk now represented a solidified crystallization from the sun, the rays from the sun disk reaching the earth, or variations on what was the accepted sun god. We also have the same concept represented by Jacobs Ladder - that ladder which reaches from the Heavens to the Earth, and is a pathway of communication between the two, with angels both ascending and descending, as angels were understood to be the messengers of the divine. In that regard, there is no difference in ideas between ladder with rungs that reaches from one extreme to the other, and messengers - these are one and the same thing. The ladder, with its rungs, has the inherent capacity to be climbed / descended. The flagpole captures part of this capacity, in that a flag can be both raised or lowered.

flag pole obelisk ladder.jpg

In order to orient our understanding a bit better, the following diagram shows how the concept of the ladder / messenger as a function of that dividing line / intersection of forces works.

detail.jpg

This is all to say, that intersection of opposing forces is itself the same thing as creation, as creation was simply the division of a unified totality into a duality that could interact, and the interaction of that duality with itself is also creation. Furthermore, the pathway or communicative connection between these opposites is that very same creation. The same thing is being represented in various forms, or understood at different scales.

Another way this has been symbolically expressed is the 0=2 concept of dialectical monism. A clearer representation would be to say 0= (+1) + (-1), and here the concept of 0 is taken to be the undivided totality of all things, which, prior to specification via division, is equivalent to being an "undefined nothing" or chaos, or other such concepts which seek a description that is outside descriptivity.

Note that even in the above concept, we necessarily have the connective operation of the + symbol between the +1 and -1, and this is that same dividing or unifying area of intersectionality between the two forces that is also represented by the flagpole, obelisk, ladder, ascending /descending angels, thin edge between yin and yang, etc.

It may serve us now to look at some practical applications of this, which still encode the symbolism but starts to bring it down to specific examples. In this example, we are going to deal with the duality of energy and matter, two seemingly different things, which has been shown to be one thing, transformed back and forth by the mass-energy equivalence formula. We being by imaging some undifferentiated whole, which has then been divided or differentiated into matter and energy. The act of this creation or differentiation is the unified field in which these two things can interact, which in our case is the matrix of space/time. The concepts of increasing energy (heat) are expressed via the X axis, and the concept of increasing matter (humidity) are expressed along the Y axis, and both of these have some origin point at 0K, which is also known as the zero-point, the point where there is zero energy input into matter, and only that energy which is inherent in matter is present.

elemental matrix.jpg

One may start to see this as a phase diagram, where increasing humidity / increasing matter is equivalent to increasing pressure, as pressure is merely a force which in essence puts "more matter" into the same space, or alternately packs it tighter together. We may also understand it as increased density. Regardless of pressures or density of matter, at a high enough temperature (energy) levels, we hit supercriticality (fire), which is to say states wherein the divide between water and air break down, as the energy level is so high for the given density that it cannot resolve into either of these two forms, and given the right conditions, this supercritical matter can radiate out this fire. This capacity for supercritical matters to radiate this fire is actively used in many modern industries.

phase diagram.jpg

Keeping with the tread of the intersections, we look at those dividing lines which delineate the elements. These are the phase-change lines. Passing from air to water and back to air, we see evaporation and condensation - in essence distillation. From water to earth and back to water we see freezing and melting, or solidification and dissolution, solve et coagula, and from earth to air and back to earth, we see sublimation and deposition or dry distillations. From air to fire we see ionization and deionization (recombination), and from water to fire there is a 5th state (not here included), which deals with the research of "plasma crystals" also known a "colloidal plasmas" or liquid plasmas, the research on which is now over 30 years old.

The phase change transitions are not smooth gradients - there is an energetic hump that needs to be surpassed to pass through one way, and when passing through the other way, a relative large amount of energy is also released. Those energies which are needed as inputs, or received as outputs are a form of fire. This fire is released whenever we move from fire to air, air to water, water to earth, or air to earth.

gradients.jpg
One may here note the similarity between the classical formation of the elements or their levels of subtlety or level of spiritual substance / aether / spirit / etc : Fire -> Air -> Water -> Earth.

What is interesting is this capacity to release fire. Alternately we may call it light, and even the "light of creation" if we wish. This release of energy is measurable and well known to science, but we usually don't experience in our day to day, even though we often deal with these phase transitions. For example, as water freezes to form ice, in that process of crystallization wherein the water molecules lock together in their lattices, the excess energy from the movements of the water molecules are release. The same process is also used to make "cold packs" - liquid salt pouches than crystallize, and in doing so they release a large amount of heat. The same process occurs when we move from air to water as well, or even air to earth.

There is this question then, "where does that energy go"? We know in the cold packs it heats up the crystal, that is, it thermally radiates. Generally the answer is thermal radiation because that energy is immediately interacting with its environment in such a way that is is being expressed through a speed of vibration in the surrounding matter from which it was released. On large scales, such as in the atmosphere, this excess heat released via condensation warms the surrounding air, which rises, and is the energy that fuels weather patterns. A similar pattern occurs as the ground freezes (or more specifically the water in the ground freezes) - it releases that excess energy into the air, and that hot air rises up.

If we think of this process, of materials that absorb heat and emit heat during phase changes, we can liken this to a type of a simple battery or a capacitor. There is a field that investigates specialty materials that are good at these kind of phase changes, called PCM (Phase change materials). Two of the largest categories of these materials are inorganic salts (i.e. salts that do not contain any carbon bonds, and generally made from an acid/base reaction), and organic waxes and oils. Specialty materials are made for various applications, and much of what these specialty materials are designed for is operation within a specific temperature range. This brings us to the idea of alchemists creating certain salts that can undergo phase change (turning solid to liquid) easily at low temperatures (such as that of holding the salt in your hand).

Something interesting starts to happen when we deal with these specialty phase change materials if they are kept exactly at their phase change point, that is, the exact spot where they are undergoing change from one form of matter (say solid) to another form (say liquid). In this state, where the molecular bonds are continually undergoing a reorganization / crystallization, and disorganization / melting, that latent heat energy flowing in and out, that is that fire or light, is continually being absorbed and emitted.

This is that concept that I started the post with, that: "It is within the intersections of opposing forces that self organization, transformation, and the birth of new things emanate."

I have many more parts to write, and as this has taken some amount of time to get into something resembling legible text, further parts may take some time. I myself believe that the whole of the process of mutus liber is contained in the first plate - the rest of it is just going into various details. This post I think is like the "introduction" to the concept - there is much more that can follow.

If we return again to that symbol of niter, we see it laid out very plainly in plate 1:

plate 1.PNG
 
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Lux Natura

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Continuing on in the Title Page of Mutus Liber, we have the text, which briefly introduces the book, along with 3 biblical references that are written in reverse. This reversal is not meant to trick anyone, but is using a literary tool to show that some things within the book are not to be taken at face value - that they are reflections of the work or of a processes.

The 3 biblical texts, Gen 28 11-12, Gen 27 28 & 39, and Deut 33 13 & 28 are as follows (KJV):

Gen 28 11-12
11 When he reached a certain place, he stopped for the night because the sun had set. Taking one of the stones there, he put it under his head and lay down to sleep.
12 He had a dream in which he saw a stairway resting on the earth, with its top reaching to heaven, and the angels of God were ascending and descending on it."


Gen 27 28 & 39
28 Therefore God give thee of the dew of heaven, and the fatness of the earth, and plenty of corn and wine:
39 And Isaac his father answered and said unto him, Behold, thy dwelling shall be the fatness of the earth, and of the dew of heaven from above;


Deut 33 13 & 28
13 And of Joseph he said, Blessed of the Lord be his land, for the precious things of heaven, for the dew, and for the deep that coucheth beneath,

28 Israel then shall dwell in safety alone: the fountain of Jacob shall be upon a land of corn and wine; also his heavens shall drop down dew.

Gen 28 11-12 seems fairly evident - we are describing the title page of the book, and we do see a man sleeping with a stone underneath his head. Now the story of using a stone as a pillow is a funny thing - on the one hand it shows this necessity of using something as a pillow, as a man who is used to sleeping with a pillow may have difficulty sleeping without one, and Jacob, prior to fleeing, lived a life wherein he spent much of his time around his mother, close to home, "dwelling inside of tents", so one would think he has access to some of the finer things in life, in comparison to his brother Esau who spent more time living in the open country and the wilds. Yet still, the idea of a hard rock as a pillow is comical. That hard rock is in fact a "soft rock", if it is used as a pillow, otherwise one would be better off simply not using a hard rock at all. The explanation is that Jacob was in such a wasteland that nothing existed except for dirt and hard rocks is a bit comical - if that was the case, did he lie down on flat softer dirt and use a hard rock as a pillow, and if so, why did he not just use the dirt to make a softer pile as a pillow? The use of a rock as a pillow implies a hidden thing: that the rock is soft, and further points out another thing: in what kind of environment these "soft rocks" exist.

Gen 27 28 & 28 and Deut 33 13 & 28 sets up the symbolism that shows there is a Dew of Heaven, and a Fatness of the Earth, and that there is a correlation between these. The Fatness of the Earth is the "deep that coucheth beneath", reflecting the Dew that exists above. These two are mirror of one another - one celestial, and one terrestrial. The terrestrial version, fatness of the earth, is that which allows for the production of corn and grape (wine), which very neatly ties in to Jacob's skills - an agriculturalist (in comparison to Esau the hunter). Note: "corn" did not exist in the old world prior to it being brought back from Mexico, but "corn" was a word used in the old world referring to various grains (wheat, barley, oats). There is also here the setup for later symbolism used deeply in the bible, especially the new testament, wherein the corn and grape produce the bread and wine, the body and blood, but also the white of milled grains making flour and the red of wine, and the alchemical white and red.

Later one, when Jacob wakes up, he consecrates the stone he slept on with oil, and names it "Bethel" (Beth = House, El = God) - the house of god, or that which houses god, take your pick.

For those who have pursued the "soft stone" concepts in other texts, these few references to biblical lines above shows that the author is working with these ideas.

There is a small discrepancy though - if the soft rocks are found in a wasteland, how is it also that the soft rocks, or "fatness of the earth" is that which ultimately allows for the existence of corn and wine? It is the fountains of Jacob that support the corn and wine, for these fountains are ultimately what brings up that which is needed to support the white and red. These fountains can be understood as wells, in the sense of them being that which brings up the fat to the surface and transforms it, and feeds it to the corn and grape, which are the parent materials of the white and red.

As we look though Mutus Liber, we are introduced to the workings with the Dew of Heaven - yet is is the fat of the earth that is the more immediate source of the red and the white. Yes, the dew of heaven is the origin of the fatness. The text reflects the work we are to do with the fatness by showing it in theory with the dew, but it is not to be taken literally. It is a reflection. This little thing is hidden, but not so deeply. Following the simple ideas, it is inevitable to stumble on it.

This series of ideas about the working is found within many alchemical texts, especially in reference to the generation of metals. It is the celestial vapour, that Dew of Heaven, which impregnates the earth, or is cast into the center of the earth, from where it rises, and transforms into a fatness, which contains that living seed, and goes on to generate the metals, accordingly pure or less pure depending on how refined it became. The two parts, the male seed and female seed, the sun and moon, the apollo and diana, etc, are to be taken, purified, and re-united under more conducive environment, i.e. a gentle heat. To work with that fatness directly gives one access to work with the living seed, and then continue where nature left off, in order to being the seed to perfection.

Jacobs fountain is a metaphor, just as "oak" is a metaphor, yet it is that thing which allows the access to the fatness.


That is a mystery for each to understand and solve, I don't think it has ever been written about clearly, at least not in the alchemical texts I have read and looked at. It is hinted at though, over and over again, in Mutus Liber, under a variety of different guises, which I think are easy to misunderstand, if one is not following this line of thinking.


 

Lux Natura

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Roses.

The title page of Mutus Liber is encircled by 2 thorny rose stems that form a circle, and we clearly see the thorns, the leaves typical to rosaceae, and two flowers. There is the angle to follow that aligns with the meaning of "Rosicrucians", the brothers of the Rose Cross, but also the brothers of the dew, if we take the Latin ros to be dew. The two roses we see one hang downwards and one towards the reader (or viewer) of this plate, and alludes to the idea of subrosa - "under the rose", which means to keep silent, to keep a secret. That one faces downwards (the plates to follow), and one faces the viewer, seems to say to keep the process secret, or that they are shrouded in some secret, but also for the reader to keep silent.

One may wish to investigate what the origins are of the rose symbolism. Certainly we still use the rose as a symbol today, mostly in floral settings where a single red rose signifies deep love, for example, or a single white rose is take to mean purity or new beginnings or remembrance.

Homer, in the Iliad, book 23 line 185, associates the Rose with Aphrodite (Venus), wherein she anoints Hector with "rose sweet ambrosia" as to protect him from injury while Achilles dragged him away. Likely trade in Attar of Roses, rose oil, would have been quite common place, so the understanding that a small amount could be used to scent a much larger quantity of oil (such as olive oil). Aphrodite's specific type of ambrosia oil, that which was scented with Attar of Roses, was a bridal oil, and she herself was anointed by this specific oil by the Charities (Graces), as a form of redemption so she could continue on her divine duties after he tryst with Ares.

There is something here that wraps together with the last plate in Mutus Liber, in which it is two olive branches that surround the scene, as it was common to scent a large quantity of olive oil with only a few drops of pure rose oil, or alternately by preparing the mixture by macerating fresh rose flowers in olive oil. The history of this rose oil is quite a bit older than Homer though - even in egyptian tombs there has been found reside of Attar of Roses, and Solomon mentions it, as if it were already a common thing known to all. It is mentioned in older Persian texts as well. Certainly it was not lost on anyone that the essence of the rose had such a powerful ability to tinge, where even a small amount could turn an otherwise common olive oil into something that smelled sublime.

Modern varieties of roses tend to have strong scents, and produce high amounts of fragrant oils regardless of their colour, but historically this was not the case - it was only the reddish roses that produced these oils in any quantity. Furthermore, only from fresh (still living) rose petals could the oil be made - as the rose dies, and the petals dry out, the oils volatilize. NB: it is only from the living rose that one can extract the essence.

What of the thorns then? Various myths explain the thorns in reference to the dualities - the potential for pain inherent in love, or even the two sides of Ishtar / Inanna - presiding over not just beauty, but war. By the time we reach the Greek and Roman myths, these two functions, beauty and war, are removed and expressed in two deities, Ares and Aphrodite, or Mars and Venus. It is interesting here to note that Aphrodite only regained her divine place after being anointed by the rose oil, as she temporarily lost that stature by her dealing with Ares.

It is noteworthy though to understand that the essence itself comes from the flower, but the flower does not exist without thorns, and these thorns need to be removed (or alternately, the flowers need to remove carefully from their thorny parts). The suggestion here also seems to be saying that this separation and redivinification can eventually also be done through the introduction of a previously purified portion.

One last bit on the roses seen in the first plate - the two branches are tied together at the bottom of the image by something that looks like a ribbon, or alternately some sort of "wavy" thing, and the branches almost meet at the top, but leave an opening between them. The leaves very much reach up into that night sky, filled with the stars and the clouded moon, and their roots we cannot see, as the canes have been cut showing a sharp edge, but even that cut edge is at the bottom of the image, below the level of the ground on which Jacob sleeps. As he sleep, Jacobs left hand rests on his thigh, with a finger pointing towards this wavy ribbon like thing that ties the two stems together.