ALCHEMIC SYMBOLISM AT THE END OF THE MIDDLE AGES ALCHEMISTISCHE SYMBOLIK AM ENDE DES MITTELALTERS LE SYMBOLISME ALCHIMIQUE DE LA FIN DU MOYEN-AGE G. F. H a r t a u b Never wilt thou have the power to create unity out of others things if thou have not first achieved oneness thy self." AGRIPPA VON NETTESHEIM (31(d)emi) ié to be praifeb) "bp reafon of the gloriouë anb beauteoué (ifeneéé it bearetb to the refuttection of tbe beab on tbe bap of jubgement. Sot eoert aë fire brametb tbe beft out of alt matter anb funberetb it from tbe broéé, anb alfo guibetb tbe fpirit out of life into tbe beigbté, tbat it afjume tbe upper place, but tbe matter remainetb Iping belom on tbe eartb aé if mere a beab bobp, eoen fo mill @ob bioibe tbe juft anb tbe beoout from tbe unjuft anb tbe gobleéé, aé if bo fire, on tbe bap of jubgement." MARTIN LUTHER "7/ must be something material, but the first general form of matter, a virgin earth. How this is to be found, how to be treated, is the perpetual theme of alchemical writings, which with their insupportable monotony, like an incessant bell-ringing, are more conducive to madness than to devotion." GOETHE in MATERIALIEN ZUR GESCHICHTE DER FARBF.NLEHRE W lion reb of bue, an arbent loner, 28aë in a warm batb to tbe lilp marrieb, Qlnb botb mere tben to open fiameë vnabe ooer ?lnb fbrougb fuccefftoe bribal cfiamberé barrieb. nf in tbe glaéë, in bright tinté bneb, £be poutbful gueen rcaë tben reoealeb, Jbië roaë onr mebicine! - @o tbe patienfé bieb, Qlnb no one aéfeb, mere anp bealebf GOETHE, FAUST, Part I Right: Allegory of the Great Work. The chaos of snakes and birds is the prima materia in fertile decomposition. The twin hermaphrodite with bat (night, air) and hare (day, earth) signifies sepa ration into the polarity of sulphur and mercury. The eagle is volatilisation, sublimation and finally ctherealisation into a higher union. (From the Codex Rhenovacensis, Zurich, early 15th century.) Rechts: Allegorie des Grossen Werks. Das Chaos aus Schlangcn und Vögeln ist die prima materia in fruchtbarer Faulnis. Der zweigcschlechtige Zwiemensch mit Flcdermaus (Nacht, Luft) und Hasc (Tag, Erde) bedeutet das Auseinandcrtreten in die Polaritat von „Schwefel" und ,,Mer- kurius". Der Adler ist Verflüchtigung, Sublimation, schlicsslich Vergcistigung zu höherer Bin- dung. (Aus dem Codex Rhenovacensis, Zürich, Zentralbibliothek, Anfang 15. Jahrhundert.) Ci-contrc: Allégorie du grand oeuvre. Le chaos d'oiseaux et de serpents est la prima materia en féconde putréfaction. L'androgyne jumelé portant la chauve-souris (nuit, air) et le lièvre (jour, terre) signifie la separation en la double polarité du «soufre» et du «mercure». L'aigle est volatilité, sublimation et, finalement, éthérisation en une union supérieure. Codex Rhenovacensis, Zurich, début du i5èmc siècle.) 450 [Texte francais page 456] "7 had just published rosa alchemica, a little work on the Alchemists, and had received many letters from believers in the arcane sciences, upbraiding what they called my timidityfor they could not believe so evident sympathy but the sympathy of the artist, which is half pity, for everything which has moved merfs hearts in any age. I had discovered, early in my researches, that their doctrine was no merely [Dcutscher Text Seite 452] A secret sign for the philosophers' stone. Ein Geheimzeichen für den Stein der Weisen. Emblème éso- térique de la pierre philosophale.

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