Alchemical Emblems

[FraterUFA]

I am starting this topic for the intelligent discussion of classic alchemical imagery. In order to keep the conversation focused and constructive, I am setting out the following rules for the thread:

• Please limit discussion to western alchemical emblems dating between 1100 and 1750
• No references to eastern religious or mystical concepts (eg: No Hinduism, Yoga, Taoism, Buddhism).
• References to modern alchemical thought or sources aren't prohibited but should be limited. I thought hard about this one and in the end decided that modern books and authors tend to rely too heavily on the 19th century occult revival for their sources (Atwood, Hitchcock, Levi, etc). However, there are some reputable modern sources, such as Waite and Becker, so this won't be a hard and fast rule.
• Speculation is fine but all the finer if it is accompanied by historical context. Contrary to popular belief, there is no "grand unified theory" of alchemy and different authors understood their art in unique ways. A good understanding of historical context can help us assess when we may be dealing with contradictory symbolism.

I'll start with this image that noonespecial recently posted, taken from Thomas Vaughn's, Lumen de Lumine, London, 1651 (coloring courtesy of Adam McLean). I feel that this is one of the more important emblems in the western alchemical canon.

 

 

Our first theme depicts a winged dragon devouring his own tail. Within, an alchemist (presumably) sits upon a golden treasure and above him reads a Latin caption which translates to "Not unless an infant/child".

 

The dragon is clearly a reference a poisonous force which has been turned upon itself. Through his work, the alchemist attains a child-like attitude of curiosity, wonder and clear vision (note: this doesn't imply innocence). The treasure can be interpreted allegorically, though I suggest that a literal meaning is more likely. However, the alchemist is not working for material wealth (even if it is one of the things which may result from his work). Another hint as to its meaning is the phrase, "Thesaurus Incantatus" which could be translated as "Enchanted Treasure".

 

The dragon represents a wild force which divides through the power of illusion. This dragon is responsible for thwarting the ambitions of virtually every would-be alchemist and is vastly more powerful than can be imagined. The dragon is the reason why science (and most men, for that matter) cannot - and likely never will - understand alchemy or its aims.

 

In the center of the diagram we find an angel bearing a fiery sword (and something in the left hand which I cannot recognize), an altar with a candle surrounded by the phrase, "The light of nature", and a man walking blindly away from the alter towards a dark circle marked, "Regio Phantastico" (A non-literal but accurate translation would be "region of illusion" or "region of fantasy").

 

The man on the right is our seeker after alchemy. He is blind, though he does not know it, and walks away from the tiny light of nature. The angel guards Nature's altar with a fiery sword, should the man get too close... but he will never do so because he is blinded with a cloth that looks suspiciously like a serpent. 

 

The region of illusion is populated by 12 baby dragons. These don't seem quite so powerful as our main dragon shown in the lower circle, but they are adept in achieving their purpose: to keep all men blinded from the truth.

 

In the top of the diagram we find a mountain marked by the phrase, "Mountain of the Invisible Masters" (consider this in connection with the slightly more recent phrase, "The Invisible College"). On the top of the mountain are depicted several bunches of grapes, a subtle sign of the hidden school of Adepts.

 

There are many theories and legends about these so-called Adepts. Chief among these is that idea that these men and women do not exist and may not have ever existed. This idea is bolstered by the fact that there were few (no?) references to them until the early 17th century, when the publication of the Fama Fraternitatis allegedly announced their presence. This mythos was kept alive by the formation of speculative Freemasonry, which in turn lead to the creation of many different occult groups. The groups went quiet at the end of the 18th century (the last surviving one of the period being the Gold und Rosenkreuz), until the idea was reignited in the popular mind by Blavatsky, Levi and the Golden Dawn.

 

Another theory - closer to the truth - is that the members of this invisible college went on to form the Royal Society. There were in fact many interesting connections between the founders of the Royal Society and a number of them were alchemists (the same individuals were responsible for the shift from Operative to Speculative Freemasonry). Yet it would not be correct to say that the Royal Society and the Invisible College were one and the same.

 

Curiously, this mountain is not found in the center of the emblem, but in the Regio Phantastico... an allusion that these alleged Adepts are hiding in plain sight, though hidden from the eyes of ordinary men by the very same dragons they have tamed.

 

Finally, the diagram portrays the Sun and Moon, our two great lights, which the Adept learns to unite in his work. Like the mountain, the means of their reconciliation is hidden from the profane and protected by the great servant and friend of mankind, the dragon.

Edited May 23, 2016 by FraterUFA

[Aeran]

Very interesting piece, thank you. I'm curious about a few things though:

 

 

The dragon is clearly a reference a poisonous force which has been turned upon itself.

 

Why is this "clear"? I'm not trying to be sarcastic or facetious, just curious about what's behind this particular interpretation of the dragon ouroboros, as it isn't one I've heard before, and you assign different properties to the dragon symbolism later in the writing.

 

 

The man on the right is our seeker after alchemy. He is blind, though he does not know it, and walks away from the tiny light of nature. The angel guards Nature's altar with a fiery sword, should the man get too close... but he will never do so because he is blinded with a cloth that looks suspiciously like a serpent. 

 

Would you say it's only guarded against him approaching it by chance (that is, stumbling across it while still blindfolded), or would you interpret the angel as also standing guard against a seeker who approached with his eyes clear and open?

 

 

In the top of the diagram we find a mountain marked by the phrase, "Mountain of the Invisible Masters" (consider this in connection with the slightly more recent phrase, "The Invisible College"). On the top of the mountain are depicted several bunches of grapes, a subtle sign of the hidden school of Adepts.

 

The same group referred to in more recent times as the Great White Brotherhood?

[FraterUFA]

Why is this "clear"? I'm not trying to be sarcastic or facetious, just curious about what's behind this particular interpretation of the dragon ouroboros, as it isn't one I've heard before, and you assign different properties to the dragon symbolism later in the writing.

 

It may not be completely evident from this one emblem that the dragon is poisonous - though this is a common theme in alchemy - but it is self-evident that the dragon is devouring its own tail (turned upon itself).

 

The dragon (and closely related serpent) symbolism is some of the most misunderstood symbolism in Hermeticism, so it may be more productive to offer your thoughts on what it may mean.

 

 

Would you say it's only guarded against him approaching it by chance (that is, stumbling across it while still blindfolded), or would you interpret the angel as also standing guard against a seeker who approached with his eyes clear and open?

 

It is accurate to say that what is depicted here is so unlikely to be found by chance that I doubt it has ever been done (there have been some claims otherwise but it's unlikely those can be taken at face value). However, sometime even those who are guided to the light of nature fail to see it.

 

 

The same group referred to in more recent times as the Great White Brotherhood?

 

That seems doubtful to me. 

 

UFA

[Eques Peregrinus]

I found an other engraving of the same scene.

 

 

We can observe that the guy within the dragon biting its tail is sitting on a pile of round things (likely gold coins), and presents a necklace. Also note his feet are naked, while the man at the right has shoes. The angel seems to be holding a rope in its left hand.

 

Also the dragon is forming a circle, at the same time the region of fantasies is also forming a circle around the region illuminated by the light of nature.

 

In both engravings there are 5 grapes at the top of the mountain and 32 stars in the sky, among them, 3 are shining more than the others. There are also 12 demons in the region of fantasies and the dragon biting its tail looks wicked.

 

 

Now an interpretation:

 

The image is composed of 3 layers. The first with the man on the pile of gold and the dragon biting its tail. The second with the blinded man, an angel and a region of fantasies. And the third, containing the heavens, the sun and the moon, with the mount of invisible magicians.

 

 

Concerning the first layer:

 

I disagree that the guy within the circle formed by the dragon biting its own tail is an alchemist, more likely it is someone who contents himself with common gold (because he is sitting on a pile of gold, and hold a necklace), and is not a true alchemist (because his feet are naked he can not walk on the path of alchemy, as does the adept at the right side).

 

That guy is also encircled (imprisoned) by the wicked dragon, I agree with the interpretation that the dragon represent the adversary of the alchemist, literally satan. This is also why when a dragon appears in an epic quest, it is generally slain in a manner or an other.

 

I would place there people unconcerned by wisdom.

 

 

On the second layer:

 

We have a dark region formed by fantasies, and a region lightened by the light of nature. An angel with a flamberg and a rope look upon a blinded man wandering. That man wears different cloth than the one encircled by the serpent, it is not the same person.

 

That person seeks within the darkness, while remaining within the reach of the light of nature, therefore he is not completely lost, and he is neither really in danger, because an angel watch upon him.

 

I would place there people following the wisdom of nature*.

 

 

On the third layer:

 

We have a mountain with 5 grapes at its top, which is an evident Christian symbol.

 

Something very surprising about this layer is that there is only 32 stars, I recounted them many times, because I was expecting to count 33 of them for the 33 years of the Christ.

 

I would place there people following the wisdom of Christ*.

 

 

* According to Paracelsus (who influenced Vaughn), there are the wisdom of nature which can be studied by observing nature, and the wisdom of Christ. Among the followers of the wisdom of nature are the alchemist and astrologers, but also pagans, while prophets are following the wisdom of Christ. The wisdom of nature shows a partial view of the world, while the wisdom of Christ shows the whole Truth.

[FraterUFA]

Thank you for the higher resolution image. That is very helpful.

 

 

I disagree that the guy within the circle formed by the dragon biting its own tail is an alchemist, more likely it is someone who contents himself with common gold (because he is sitting on a pile of gold, and hold a necklace), and is not a true alchemist (because his feet are naked he can not walk on the path of alchemy, as does the adept at the right side).

 

Note the angel and the child both have bare feet.

 

Best,

UFA

[Michael Sternbach]

This is partially an elaboration on what EP has said.

 

The three levels are a progression: The man on the bottom has no higher vision, he is entirely bound by materialism. Only his innate child-like curiosity and openness could lead him beyond this.

 

The blindfolded seeker is on the threshold to the treasure of knowledge - the Light of Nature to be followed is a typical Paracelsian term. The angel that is guarding the access to the mountain with his sword is at once a guide offering a rope.

 

So the seeker may eventually climb the mountain of the Invisible Magicians. The five grapes stand for the four elements plus spirit as the fifth - the quintessence which transcends the four terrestral elements. It is only to be found in the realm of the celestial bodies above the sublunar sphere. The astral magician is able to access that region.

 

The 32 stars are hinting at the 32 Kabbalistic paths which already the Sepher Yetzirah talks about. They provide the model for the initiatory grades in various Rosicrucian, Hermetic and Masonic orders.

 

This is more about magic than alchemy, although they are close relatives. Thomas Vaughn was a spiritual alchemist.

[FraterUFA]

The three levels are a progression:

 

Thanks to both of you for bringing this up. The concept of progression is an important one in alchemical imagery. Many of these emblems display a series of individual icons or themes typically running upward or to the right along the page, indicating a logical or chronological sequence. 

 

The man on the bottom has no higher vision, he is entirely bound by materialism. Only his innate child-like curiosity and openness could lead him beyond this.

 

Alchemical imagery lends itself to personal interpretation though there are some icons which have an almost universal application within the scope of western alchemy. The primary reason why I have asked that there be no reference to Eastern concepts in this thread is because these emblems depict archetypal realities found in the western mind (and this is why Eastern leaning interpretations of western imagery are often far off from the mark). Not to say that all such archetypes are found only in western culture, but I'm having trouble thinking of any universal examples other than gender, age and mother/father.

 

The dragon (or serpent) - and in particular, the dragon eating or grasping his own tail - is one of these. Dragons are frequently considered to be dangerous and poisonous creatures. They do not naturally devour their own tail, thus the symbol implies skill, art and secrets. It refers to the core initiatory secret of western occultism, one hinted at by the fact that both the man on the pile of gold and the angel are bare footed. As mentioned, the dragon in a sense can be considered akin to the Christian concept of Satan, or "man inverted" and bound by his senses. The initiate ceases his life as such a man and with the binding of the serpent, begins his work in reconciling duality. This event brings with it the realization of the relationship between the dragon and the angel, as well as the utter fallibility of the common intellect.

 

So the dragon and the phrase, "Non nisi Parvulis" ("Not unless a child"), suggest that the man sitting on the treasure is no common man, but a newly minted initiate. For him, the dragon is no longer to be feared for his poison has been turned against itself. I have no doubt that Thomas Vaughn was such an initiate, for his work has all of the hallmarks of one who has had this experience.

 

 

The blindfolded seeker is on the threshold to the treasure of knowledge - the Light of Nature to be followed is a typical Paracelsian term. The angel that is guarding the access to the mountain with his sword is at once a guide offering a rope.

 

I agree.

 

So the seeker may eventually climb the mountain of the Invisible Magicians. The five grapes stand for the four elements plus spirit as the fifth - the quintessence which transcends the four terrestral elements. It is only to be found in the realm of the celestial bodies above the sublunar sphere. The astral magician is able to access that region.

 

I suggest that there may be another, much simpler, interpretation.

 

This is more about magic than alchemy, although they are close relatives. Thomas Vaughn was a spiritual alchemist.

 

To expand upon that, he certainly spent much time engaged in magical practices and this diagram largely reflects that. But like virtually every notable alchemist of the period he was engaged in physical (laboratory) work as well. He was associated with Edward Bolnest, a well-known working alchemist and Vaughan claimed the he searched for, but never found the Philosopher's Stone.

 

From Lumen de Lumine (emphasis mine):

 

"Eugenius, this is the place which many have desired to see, but saw it not. The preparatives to their admission here were wanting. They did not love me but mine. They coveted indeed the riches of Nature, but Nature herself they did both neglect and corrupt. Some advantages they had in point of assault, had they but studied their opportunities. I was exposed to their hands but they knew me not. I was subject in some measure to their violence, but He that made me would not suffer me to be rifled. In a word, the ruin of these man was built on their disposition. In their addresses to me they resembled those pitiful things which some call courtiers. These have their antics and raunts, as if they had been trained amongst apes. They scrape - as one hath well expressed it - proportions mathematical, make strange legs and faces, and in that phrase of the same poet 

 

'Vary their mouths as 'twere by magic spell

To figures oval, square and triangle.'

 

So these impudent sophisters assaulted me with vainglorious humours. When I looked into their hearts there was no room for me. They were full of proud thoughts and dreamed of a certain riotous happiness which must be maintained by my expenses and treasures.

 

In this quote Thomas' angel, Thalia, tells us that most others have been barred from exploring her mysteries because they sought vain riches but did not love Nature herself. Their intellectual prowess and skill gave them some advantage and could have opened the door had she not turned them away. They subjected her to violence (various lab processes which are still in common use today) and though they held her in plain sight, they knew it not, because hers is a water that does not wet the hands. They resorted to signs, sigils and incantations to no avail. It was the same then as it is now.

 

Thalia was Thomas' inner personification of Nature. She continues:

 

My love I freely give thee, and with it these tokens - my key and seal. The one shuts, the other opens: be sure to use both with discretion. As for the mysteries of this my school, thou hast the liberty to peruse them all; there is not anything here but I will gladly reveal it to thee. I have one precept that I shall command to thee, and this is it: you must be silent. You shall not in your writings exceed my allowances. Remember that I am your love, and you will not make me a prostitute. But because I wish you serviceable to those of your own disposition, I here give you an emblematical type of my Sanctuary, with a full privilege to publish it. This is all, and I am now going to that invisible region where is the abode of the immortals. Let not that proverb take place with you: Out of sight, out of mind. Remember me and be happy."

 

These were her instructions, which were no sooner delivered but she brought me to a clear, large light; and here I saw those things which I must not speak of. 

 

With these words, Thalia bound Thomas with her rope, as all initiates are bound to never divulge her secrets openly, but to sow confusion and to discuss these matters only within certain bounds. She gave Vaughan permission to pursue her mysteries, though that should be distinguished from a guarantee that one might do so successfully.

 

UFA

[blue eyed snake]

thank you,

 

I wondered about the meaning of this picture when I saw it in that other thread,

 

Bes

[Nungali]

Maybe it belongs in the Rosicrucian thread ?

 

 

 

To steal another's Latin translation;

 

Scholae = school
Magicae = magician/ wise man
Typvs = type
Mons = mountain
Magorum = master
Invifibilis = not seen / invisible
Regio = region
Phantastica = a world of fantasy / appearance
Lumen = understand
Naturae = nature
Thefaurus = treasure
Incantatus = song / story
Non = not
Nifi = unless
Parvulis = infant

 

 

~  This  (life) is the school of magic .  In three stages;  the natural man, the initiate , the magician.  (The basic 3 levels of initiation) .

 

 

The 'child' has the natural wealth of all his potentials. But this is still in the world of 'raw nature' ,  It exists within the larger dark circle of 'the world' of phantasies and  outward appearances . It is all around him but he is somewhat protected from it .

 

Ignorance is bliss.

 

In the centre of this dark world is the illumined section, any true system should be based on processes in nature and knowledge is gained by examining nature, including one's own.  Basic initiation symbolism here ; the blindfolded candidate, the angel (initiator or assistant with binding cords and sword ).  The second stage of initiation is that the natural man  learns how to become a cultural man - in whatever tradition - here I postulate Rosicrucian.

 

 " Thefaurus Incantatus = Treasure song: A story about the search for the treasure of knowledge. "  A very common feature, a story, song , or pagent is enacted depicting the life or an event of the 'hero'  or people concerned, Often it is about finding lost treasure  script or information ( see Masonic Royal Arch degree )  .... of course, down here, traditionally, all of that is in song and all connected by 'song-lines' . 

 

This is further hinted at by the mountain, rising up above the world of illusion.  The third plane, where the man travels through the third stage and becomes a magician or adept in the tradition. This is the 'sanctuary' ,   holy mountain, destination, different state of consciousness of the initiate.

 

 

The process clearly indicates IMO a Rosicrucian initiation. or overall  R+C  initiatory ' schemata  ' .

 

 

 

[Nungali]

or one coud just go the source

 

Lumen de lumine

 

http://www.levity.com/alchemy/lumen.html

[noonespecial]

 

I found an other engraving of the same scene.

 

 

We can observe that the guy within the dragon biting its tail is sitting on a pile of round things (likely gold coins), and presents a necklace. Also note his feet are naked, while the man at the right has shoes. The angel seems to be holding a rope in its left hand.

 

Also the dragon is forming a circle, at the same time the region of fantasies is also forming a circle around the region illuminated by the light of nature.

 

In both engravings there are 5 grapes at the top of the mountain and 32 stars in the sky, among them, 3 are shining more than the others. There are also 12 demons in the region of fantasies and the dragon biting its tail looks wicked.

 

 

Now an interpretation:

 

The image is composed of 3 layers. The first with the man on the pile of gold and the dragon biting its tail. The second with the blinded man, an angel and a region of fantasies. And the third, containing the heavens, the sun and the moon, with the mount of invisible magicians.

 

 

Concerning the first layer:

 

I disagree that the guy within the circle formed by the dragon biting its own tail is an alchemist, more likely it is someone who contents himself with common gold (because he is sitting on a pile of gold, and hold a necklace), and is not a true alchemist (because his feet are naked he can not walk on the path of alchemy, as does the adept at the right side).

 

That guy is also encircled (imprisoned) by the wicked dragon, I agree with the interpretation that the dragon represent the adversary of the alchemist, literally satan. This is also why when a dragon appears in an epic quest, it is generally slain in a manner or an other.

 

I would place there people unconcerned by wisdom.

 

 

On the second layer:

 

We have a dark region formed by fantasies, and a region lightened by the light of nature. An angel with a flamberg and a rope look upon a blinded man wandering. That man wears different cloth than the one encircled by the serpent, it is not the same person.

 

That person seeks within the darkness, while remaining within the reach of the light of nature, therefore he is not completely lost, and he is neither really in danger, because an angel watch upon him.

 

I would place there people following the wisdom of nature*.

 

 

On the third layer:

 

We have a mountain with 5 grapes at its top, which is an evident Christian symbol.

 

Something very surprising about this layer is that there is only 32 stars, I recounted them many times, because I was expecting to count 33 of them for the 33 years of the Christ.

 

I would place there people following the wisdom of Christ*.

 

 

* According to Paracelsus (who influenced Vaughn), there are the wisdom of nature which can be studied by observing nature, and the wisdom of Christ. Among the followers of the wisdom of nature are the alchemist and astrologers, but also pagans, while prophets are following the wisdom of Christ. The wisdom of nature shows a partial view of the world, while the wisdom of Christ shows the whole Truth.

 

Excellent additions, briefly...imo the tow rope is important, good catch, this is to tow the initiate back if, or more likely 'when', he falls into his own fantasies - making the angel either an inner guide or symbolic of the outer initiator him or herself. Also, of note...the light of nature is right in front of the initiate, yet he does not 'see' it and is fact walking the opposite direction into his fantasies, similar to the Sufic idea of Allah being next to the believer (closer than the jugular) and far off at once, keeping in mind of course, in general the Sufic Allah is more or less the HG.

 

And thanks UFA for the wonderful thread.

 

Edit: Great as well connecting the 32 stars (perhaps the -1 suggests a sort of incompleteness to be fulfilled by the initiate?), with the Wisdom of Christ juxtaposed with the Wisdom of Nature, and the link between Vaughan and Paracelsus, Gareth Knight writes something very similar in his introduction to Qabalistic Symbolism akin to prophetic wisdom being superior to natural wisdom.

Edited May 25, 2016 by noonespecial

[FraterUFA]

Very good conversation! This is lots of input and several different viewpoints, though they are all leaning in the same general direction. The images and literature of this period contain great value in that they tend to convey pure aspects of the artist's experience (both spiritual and laboratory), unadulterated by outside influences and "popular occultism". I have found this to be the case up to around 1700, a period when speculative masonry exploded and brought with it an influx of French esoteric intellectualism and a profusion of theory, degrees, and ceremonial trappings that (for me at least) contain little value. 

 

Some of these diagrams are simpler than others. Some are very elaborate or specific to certain methods or processes and most are difficult, if not impossible, to interpret without some requisite degree of alchemical experience. I have found that relatively few diagrams deal solely with "spiritual alchemy", but this is one of them (and a favorite of mine). It is accompanied by Vaughan's text, which gives us a rare glimpse into the inner side of alchemy.

 

One of the things one takes away from this study is that the west has an incredibly rich spiritual current that has been preserved in its texts and images. An extended period of study may put one in contact with the hidden tradition which operates intact to this very day.

 

Pray, Read, Work.

UFA

[Nungali]

Shall we do these next ?

 

[Eques Peregrinus]

After a bit of searching, I found that these illustrations come from the Splendor Solis. (You can find a scan of this manuscript there: http://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=7881).

 

It is possible to discuss about them, but because these images represent each a stage of an alchemical process, it will be more difficult to analyse them than the first, especially whithout practical experience in alchemy (which is expensive).

 

Alchemists modelised the alchemical reaction in different manner. For exemple some might have used the scale of 4 and separated the reaction in 4 stages: nigredo, albedo, citrinas and rubedo, while others are working on the scale of 7 or 12.

 

In the case of the Splendor Solis, the scale of 7 is used. But the nigredo, albedo and rubedo are still used and are represented by the 3 birds (black, white and red) in the flask of the first picture. In this case, we are also are speaking of gases because birds are related to air. In the last picture (or the next one in the book), they united to form a 3-headed crowned bird.

[Nungali]

Yes, Spendor Solis has been touched on here before, but in no great depth. There are 22 images all up.

 

Some may immediatly jump at that      (not me ).

 

The flask ones are interesting ,  they remind me of my own 'flask work'   all sorts of little critters starting growing in there !

 

 

 

 

 

here is another;

 

 

 

[noonespecial]

Thinking a bit more about the original image, I went ahead and overlaid a TOL on top of it, it adds a new dimension - I prefer the classic triune approach to the tree, wherein the lowest most section is the Body, the topmost is Spirit, the middle, the Soul. 

 

Also, I agree with Michael and Eques, I think the shoeless (sole-less) man represents the materialist, the everyday man, barely aware there is another world beyond the senses.

 

Edited May 27, 2016 by noonespecial

[FraterUFA]

The Splendor Solis is one of the more enigmatic alchemical sequences. It depicts what is likely a mineral process and the series may be out of order (very common). The first four plates (http://www.levity.com/alchemy/splensol.html) set the context and indicate a physical (laboratory) process. The next seven describe the preparation of the materials. The following seven (and 11th) appear to depict the evolution of the matter through its final stages. There are three more plates which I believe are out of sequence, but I can't state that with any authority as these images often reflect subtleties which can be discovered only through experience with that particular process.

 

I suspect that these were used to illustrate an oral teaching. It is possible that the process they depict may have been lost to the ages. However, if they are intelligible on a standalone basis, it would likely require an alchemist with advanced skill and experience. This sequence is far beyond my abilities.

 

UFA

[FraterUFA]

Thinking a bit more about the original image, I went ahead and overlaid a TOL on top of it, it adds a new dimension - I prefer the classic triune approach to the tree, wherein the lowest most section is the Body, the topmost is Spirit, the middle, the Soul. 

 

Also, I agree with Michael and Eques, I think the shoeless (sole-less) man represents the materialist, the everyday man, barely aware there is another world beyond the senses.

 

Nice work! The earliest rendition of the Tree of life that I'm aware of was from about a century earlier and it is conceivable that Vaughan was familiar with this.

 

Superimposing the feet of the person on the bottom in Malkuth and his head in Yesod would affirm that he is a newly minted initiate, one who has completed the Conjunctio (another meaning for the serpent grasping his tail) and passed the second gate.

 

The ratios aren't exactly correct and the tree is reversed, but the correspondences of the Tree of Life are fluid and likely to have been different for Vaughan than what would be more common today. Sun, Moon and mountain would comprise the supernal triad (the dragons cannot exist here so we know that these sephiroth must be located above them), while the head of the angel and initiate would be superimposed on Chesed and Geburah and their feet would be in Hod and Netzach. This places the light of nature in Tiphareth, which is a correspondence we would recognize today. 

 

The correspondences are compelling. Excellent insight.

 

UFA

[noonespecial]

Thank you UFA, and agreed. 

 

Whats funny is I do want to move on to other works (especially the Masonic tracing boards), but this work of Vaughan has so many layers of meaning I cannot leave it alone, lol.

 

So, I agree, the shoeless man, can be a newly minted initiate, but any guide worth his weight (in gold ) will tell us, many a man or woman approaches, and is initiated...but very few learn to be like children, that is, putting down the arrogance of a jaded adult and actually trusting in the organic process of illumination, trusting in their guide, that is..becoming like a child and learning absolute humility, not as a virtue but as a tool, this is my interpretation of the text on the serpent. 

 

And, if he does progress to the world of the Soul, what does it mean that he is blindfolded there, it means he is still trying to see, but what is the use of seeing in a world where vision is something that has nothing to do with eyes.

 

edit: typos.

Edited May 28, 2016 by noonespecial

[FraterUFA]

And, if he does progress to the world of the Soul, what does it mean that he is blindfolded there, it means he is still trying to see, but what is the use of seeing in a world where vision is something that has nothing to do with eyes.

 

An alternative QBL explanation would be that the angel and man represent Neschamah and Ruach (the intellect, which blindly gropes and never finds truth on its own).

 

UFA

[Taomeow]

I would like to hear the take of our venerable Western alchemists on this one:

 

[Nungali]

My take is that the square on the upper right should actually be ;

 

 

 

[Taomeow]

Nope, it is what it is.  http://mathworld.wolfram.com/DuerersMagicSquare.html

[Zhongyongdaoist]

My take is that the square on the upper right should actually be ;

 

 

 

 

It's only my guess, but I think Nungali is objecting to the planetary associations of the two squares, the square of four in Durer's work is usually associated with Jupiter and the warm, moist sanguine humor, while the square of three is associated with Saturn and the cold, dry melancholic humor.  He could be pointing out part of the antidote to melancholic humor, but since there is only one, there are no others to compare and see if he continued the theme of looking to the curing or balancing humor.  Maybe the symbol of the balance has something to do with that idea, or it  could simply be Saturn's exaltation in Libra.  The humors do appear in a few other Durer works, but not the magic squares.

[Nungali]

Nope, it is what it is.  http://mathworld.wolfram.com/DuerersMagicSquare.html

 

Nope ? 

 

I said my take on it .

 

I do know about Durer and magic squares.

 

Just my opinion , is all. Automatic ignorance should not be assumed .