Alchemy : Etymology
“Omnia In Unum”
The word Alchemy is relatively recent, its etymological origin, as we know it, goes back approximately to the VIIth Century in the Western World.
The first etymological explanation of the word “Alchemy” is composed of the Arabic article “El” and the word “Kemia” that signifies “muck soil” or “the original first matter”. The Arabic article “El” would have its origin in the Egyptian Civilisation where “El” means “Superior Being”. Therefore the meaning of “El Kemia” would refer to a “Superior Being of the Muck Soil” and of the Original First Matter (clay).
The second etymological explanation of the word “Alchemy” is composed of “Al” (meaning God in the Arabic Alphabet) and of the word “Chemy or Kemia” to indicate the “Chemistry of God”.
The third etymological explanation of the word “Alchemy” is composed of the word “Al” (God,The Father, The Principle) –(“Foat” or “electricity principle” in the Indo-Aryan language), and of the word “Ki” phonetically pronounced “Kaï” in Sumerian, which represents the third dimension (prana: the principle of “breath”) in the Indo-Aryan language) and of the word “Mä”, the Mother, the principle of the memory (Akash in the Indo-Aryan language). These three syllables give us “Al-Ki-Mä”: the meaning of these words find their origin in the Sumerian, Indo-Aryan and Babylonian languages.
The above three etymological explanations of the word “Alchemy” all have the same meaning and are all synonymous: the original matter, the original clay (in reference to the biblical texts), all carrying the word “Adam” ( animal in the Sumerian language) by divine chemistry, the life principle and of the memory that gets liberated from the imprisonment in the matter, to create the “Adam Kadmon” in the Egyptian language.
The origin of alchemy or the “The Great Art”, is generally attributed to Hermes Trismégiste, but we also believe that Hermes was wearing the name of Thot (the Ibis) genetic brother of the Anubis God (where the jackal does not represent a negative image in that context) – it symbolizes the guardian of Atys Mementhis that carries the passage towards the rebirth in the Egyptian mythology. These two masters themselves being the genetic sons of Horus, the Falcon, the husband of Isis (the Egyptian Goddess) who will become Osiris nonetheless himself son of Isis (the final stage of the Great Art) who is Enki “ex Horus” (who is the same character and also a Sumerian god). It is interesting to note in this Egyptian mythology, the interpretation of the steps described in the “Great Art”, of the alchemy of the resurrection of the soul.
Thus, Alchemy would have its origin in the mists of time.
We think that both the art of purifying gold along with the knowledge attached to transmutation, by the projection powder, following the third multiplication as well as the medicine to carry a long life, all go back approximately to a million years ago. It has been transmitted to different civilizations and races by the “adeptus”. The knowledge of yoga is an alchemist sacerdotal route and a science that carries liberation by the purification of the body, the soul and the spirit.
India brought us this yoga knowledge more than five thousand years old, but it was in Egypt that we will find the origin of the Alchemy Art and this knowledge. It is also troubling to recognize that at the same period in the Chinese texts of “Tsai-y-Chi and the Tao” they were already talking of transmutation by the use of a white and/or red powder.
The school of Zarathustra (in Persian زرتش ); first in Persia then in Greece, where the hermetic art finds its teachings in Alexandria with the Master Zozime, the Panapolitan. At the beginning of the IVth Century and thereafter in Byzantion in the Vth Century. Alchemy was thereafter transmitted to the Arabs from the VIIth to the XIth Centuries with the most recognized master Jabir ibn Hayyan (allias “Geber”) who lived during the VIIth century and who was the student of Imam Ja’far al-Sâdiq. Alchemy then arrived in Spain that created a famous Great Hermetic School. It is also obvious that this science was also taught by “adeptus” in Italy, in Germany, while being conserved in India and China. It was taught by the Founders – the Knights of the St-Graal – the Elder Brothers of the Rose-Croix of Montsalvage, “the White Coats” (descendant of the Order of Melchizedek), that became later the founders of the Masonic Order.
Presentation of the Great Art
A member of the Fulmina foundation and its Academy, invites you to reading and reflexion, the following explanations: he does not consider himself as a Master, but as an ordinary person wishing to communicate his humble knowledge on this science.
When the Master of the Order of Ajunta, Roger Caro, realized the Great Art by the “wet method” in 1968, our Fulmina member was only eleven years old and it was only four years later that he met him physically. Followed multiple sessions of generous teaching transmitted by the Master Pierre of Kalahamsa and a number of “adeptus”, our member understood the meaning of this first encounter. It is with great emotion that he moves the proposition to present to you, the images describing the steps of the Great Art, as commented on by the Great Master Roger Caro.
Photographs of Kamala-Jnana (FAR + C – Superior of the Temple of Ajunta). Comments on the photographs by the Master Roger Caro.
Preface : Letter addressed by « adeptus » A. J. D’Ossa to Great Master Roger Caro.
It is a great joy for me to bring my testimony to the magnificent realization of our great friend, Roger Caro.
Never in the past, such a arduous task has been completed with such patience, tenacity, surety and competence.
A puzzle made of 40 color disorderly photographs, without any legends (footnotes), has been resolved and commented with mastery. It was a titanic enterprise just to restore the proper order of these pictures, which required first to learn and understand the secrets of the Magister, at least in theory. Who would not be astonished at the superb result of having in front of your own eyes the display of the “Alchemy Pleiades”, accompanied with 508 citations contained in the “Alchemic Concordances” that establish the parallel order, phase by phase, of all the valid authors, ancient and modern, bringing into favorable light the edifice of the Great Art.
All of the above represents a rare knowledge of the hermetic science. Consequently, how could our Order remain silent in front of such a disinterested work? By a common and unanimous agreement, our Supreme Council grants you the permission to publish the photographs of the Complete Great Art Work.
These photographs, taken long time ago by our beloved deceased son, Kamala-Jnana, in the course of an Alchemy experiment in Ajunta, could only be published by you, dear Grand Master. Though, don’t be discouraged by any difficulties be they financial or others. Go ahead, have faith, you possess the knowledge, you have everything needed to succeed. Move on, and continue to sow the good seed. Don’t allow anything to stop you, and always remember that God only allows success to those predestined, others, the complicated ones, will have eyes that do not know what to see and ears that do not know how to hear.
My most fraternal wish is that these photographs be seen and their commentaries touch the greatest possible number of people. Researchers should not be delayed any longer; you already have told everything, written everything, and demonstrated everything.
May God Bless you dear Great Master. Our Order if proud of you. Peace be with you, on you and around you.
No one will be surprised if we reveal that a great number of researchers asked us to publish photographs that would illustrate the « Siphra Di Tzeniutha ». These 40 photographs, that were announced in the last pages of the “Dictionnaire de la Philosophie Alchimique” by Kamala-Jnana, have fascinated the “adeptus” of the Great Art. Today, displayed in chronological order, they are a true joy for the eyes of any alchemist; a symphony of colours stamping the wet method of the Great Art (28), what a work to have regrouped and methodically preordained this bunch of dispersed photographs and, give back to each and every one of them a legend equally precious and resounding for the Children of the Light.
Well, all this is now already in the past, dark moments without glory nor fame; many sleepless nights, troubled nights charged with ongoing perpetual movements of thoughts. This past lasted from 1961 to 1967 – six years of research and readings – but in nine months (made possible by our cards and notes) we had completed the bulk of the work. However, light was only able to clarify the details in a progressive manner, many months after.
Today, everything is in order. A college composed of 20 “adeptus” under the presidency of the Venerable Imperator of the FAR + C, voluntarily gave their unanimous consent to the publication of this present work – certainly very modest considering its mass and number of pages, but, heavy and consequent as far as its information is concerned.
May, the Alchemy Temple of Ajunta, recognize here our fraternal gratitude, so the sincere researchers find with this approbature (“approbātūrus”in latin) , a new source of information, since it is the time to reveal that which was hidden.
This R + C sovereign missionary of 83 years old (younger and more active than many younger ones) told us: “Go ahead, don’t let anything stop you”. His wish is an ancient order. The large accomplished work of the photographs has been brought out of the presses. May the Heaven grant their graces to the future holders of these photographs. It is also our most sincere wish.
N.B. — The present work is the last public alchemic contact linking our Actual Imperator with the Sons of Science.
Number 1 ~ This is the location of the oratory-laboratory of the Temple of Vrehappada (* 1). On the stone table we can see all the indispensable material of the alchemist and we can observe immediately the absence of vulgar (“Common”) fire for two reasons:
Because the preparation (reconstruction) of the ore and the fabrication of the salt already have been done.
Because no transmutation is actively going on.
Except in these two cases, “Common” fire is proscribed.
Number 2 ~ The author is executing the Separation of the three bodies strictly using the Salted Fire and the Energetic Fire (2). It is in this manner that the three bodies obtained are similar but not identical to those sold in the general commerce. The first ones are living bodies whereas the others are dead bodies, killed by the common fire of their ovens.
Number 3 ~ It is the picture of an oak. No one can deny that either “sound solid” or in “rotten state”, it remains in beautiful green colour, as indicated by Fulcanelli: “The first magnetic agent before being used to produce the “Alkahest” (* 3) is called the Green Lion, not so because it possesses a green colour”….Indeed, is it not the ash (the one created by rotten oak, covered with moss, lichen, and salpeter) that is the richer in Philosophical Salt [Potassium Carbonnate]?
Numbers 4 & 5 ~ Intentionally displayed here in order to clearly show the difference existing between two products issued from two different methods of separation: number 4 comes from a separation produced by a vulgar “Common” fire (gaz); number 5 comes from a separation produced by the natural fire of the salt and the energetic fire [shredding]. The number 4 is whitish without life, whereas the number 5 is bright red, it is alive, we feel that the fire penetrated it and extracted the marrow (pith).
Numbers 6 & 7 ~ are the enlarged extremities of each retort that shows you perfectly the superposition (by density) of the two recuperated liquids. Salt on top and Mercury in the bottom; sulphur having remained with the impurities (feces) in the bottom of the retort for reasons explained by Kamala-Jnana in its « Dictionnaire d’Alchimie Philosophique », p. 37. It is not necessary to repeat here.
Number 8 ~ This is a sample of the “First Matter”, a sample of the ore that contains in its belly the Sun and the Moon of our Philosophers, as well as the Salt in infinitesimal quantity. Hermes, Paracelse, Albert le Grand, J.-B. Porta, etc., called it cinnabar, either by openly calling it by its name, or by describing a method of artificial fabrication. Certain readers believed the Master Kamala-Jnana categorically refuted this ore. This is not true at all; Kamala–Jnana simply said it should not be treated like the industrial ore. In this manner it becomes analogous but not equal, similar but not identical. We can observe these differences in the photographs 4, 5, 6 & 7.
Number 9 ~ This is the beginning of the « Solve » phase. This photograph that appears in the Dictionnary of K.-J. in black and white (page 67) is presented here in colour. This is the very beginning of the alchemical reaction.
Number 10 ~ If, instead of the citrine colour (sometimes very close to the dark chestnut) we obtain “suddenly” the apparition of number 10 (orange liquid) everything must be redone. The flowers (of Sulphur) might have been burnt, as observed by Synesius. However, to avoid any confusion between us, we must bring the precision that the citrine colour (number 9) is the starting colour; a few instants later, the colour gets darker very rapidly, which is a very good sign.
Number 11 ~ After the cooling period, the “newly married” subject will have a tendency to get installed. It gets darker principally by the end of the 1st Philosophical Month (which for practical reason will be referred to as “P.M.” (* 4)
Number 12 ~ In the course of the 2nd “P.M.”, it resembles to a “leopard skin” (not the one of a tiger or a panther). Put it back into the action of the fire in the 3rd “P.M.”, the body will continue to darken and it will present a dazzling appearance. Similar to a shower of stars or a fireworks.
Number 13 ~ In the course of the 4th day, the body will continue to darken et will present a dazzling appearance. Similar to a shower of stars or a fireworks.
Number 14 ~ In the course of the 4th afternoon, after cooling, the matter becomes browner, more compact, soft as very fine sand; its surface is flat.
Number 15 ~ No picture. From time to time, the Energetic Fire will animate once again, the matter will fill the vial and we can start observing golden oily traces dripping on the sides.
Number 16 ~ Finally, at the end of the 5th “P.M.”, the Saturn Oil is clearly visible. Here, the liquid is brought on the left side of the vial.
Number 17 ~ At the beginning of the 6th “P.M.” the Saturn Oil augments in quantity and the matter becomes clearly black. A golden coloration encircles in the meniscus the summit of the liquid. St-John calls it “honey”, others call it “Golden Crown” and still others call it “Halo” or “Nimbus” or “King’s Tiara”. Notice that the liquid is a very clear Red colour.
Number 18 ~ Towards the middle of the 6th “P.M.”, the matter is black and the liquid is blood red colour.
Number 19 ~ At the end of the same month, the least boiling of the liquids will provoke a grand spectacle of colours. Similar to the peal fowl. The matter is black and the blood is blood red.
Numbers 20 & 21 ~ These two photographs must be considered as a pair. The artist cut the “head of the raven”; in other words, he took off the top part that covers the black part. Starting from that moment, the flask remains open permanently (except during the time of the imbibitions). Moreover, the artist will let the collected liquid decant. When the blood is clarified, it will carefully place it in a vial hermetically sealed (the liquid is very volatile), and will keep it away from light and heat. One will notice that the red liquid is within a compact mass that will become golden when it is spread. This is the true tincture of the Potable Gold, the Quintessence or the Universal Medicine.
Number 22 ~ The 7th and 8th “P.M.” illustrates the vegetative phase. At the contact with the humidity of the air, matter (containing one or more granulations) will pass to green, some kind of mould being the cause. Notice by the way, that very often (when there is little superfluous matter) no granulation will appear, it stays within the body, but their composition remains the same, the “Stone” conserves all its value.
Number 23 ~ Here starts the first “Washing”, as labeled by the good Nicolas Flamel. It is the 9th “P.M.” and the dejections are naturally green. The matter will brighten itself more and more, month after month.
Number 24 ~ This one illustrates the 4th “Washing” we are on the 12th “P.M.”.
Number 25 ~ As we can see with the 7th bath the 15th “P.M.”, we can reach the white colour – a beautiful lunar white.
Number 26 ~ This one illustrates a part of the white stone non multiplied but fixed; in other words, dried, therefore without any trans-mutational value. We are at the end of the 15th “P.M.”.
Numbers 27 & 28 ~ With these photographs, we are beginning to tackle the first imbibitions with the “Seal of Hermes”. The “Stone” has become adult, and its milky food is stopped to provide a regimen of “Sanguine meat”. (* 5)
Numbers 29, 30 & 31 ~ We thought that it was a good idea to publish these three photographs (taken by Master Kamala-Jnana) in order to illustrate properly the sometimes obtained phenomenon in the course of the citrine phase. A few little salted crystals seem to pop out of the neck of the flask. We use the expression “Spring” because, they raise, grow and become longer day after day. A broken flask used
for demonstration will show crystalline formation in the superior part of the flask, whereas the yellow granulations appear very clearly at the bottom of the recipient (Number 30). We are now at the 16th & 17th “P.M.”. [Dragons’ teeth]
Numbers 32 & 33 ~ From yellow we pass to orange. We will go from the 18th to the 21st “P.M.”, since this level of fire demands four months of coction.
Number 34 ~ Finally from orange to red we will reach the 22nd to the 24th “P.M.”. Here, we will notice that the “Stone”, at the end of the « Coagula », will still carry a few traces of impurities. Thus, it cannot be used in this form and in this state. St-John calls it “the Stone” “ False Prophet”, since it has all the appearances of the “Finished Stone”, but none of its virtues. In order to perfect it, the last cycle is known under the name of “ Multiplication ”, and must be conducted to its term.
Numbers 35 & 36 ~ These photographs are showing us two phases of this operation that will last approximately two “P.M.”. Along with the « Multiplication », we are in the 25th & 26th “P.M.”. The “Stone” is fixed and finished (it is possible to go until the 28th “P.M.”).
Numbers 37, 38 & 39
At this 26th “P.M.” (that represents only « Solve », « Coagula » and the « Multiplication »), we should add two “P.M.” required for the preparation. This gives us a total of 28 “P.M.”. But we must immediately add however, that these 28 “P.M.” do represent an order of magnitude. In practice, the operations of the Great Art may vary between 26 and 31 “P.M.”. Here are the causes of this variation on the months needed for the coction as indicated by the Philosophers: “Be aware that the blackness will last at least 40 or 42 “P.M.” (the peat). But the problem is sometimes solved in either more time or less time. (Synesius)
We are told that there are from seven to nine “P.M.” from the green to the white, from the orange to the red there are four “P.M.”, from the yellow to the orange there are three to four “P.M.”. (“La vie zodiacale de Moïse” in « Pléiades Alchimiques », p. 129)
Why are these alterations possible? Many factors are responsible: first, the quality of the available ore – one lot can be more pure that the other. If it contains too many impurities, the purification time will be longer.
The quality of the ash (more or less rich in potassium carbonate); those of the lime (calcium oxide – more or less hydrated), (* 7), the humidity of the salt that can render it more or less active; finally, and most importantly, our own risk of stumbling (“faux pas”). These are the principal causes of the time variation of the coctions. They can be the causes of our failures. In these helping hands given at opportune moments that alchemy reveals itself definitely as an art.
This subtlety of manipulation is generally not taught, it cannot be taught since the artist always work on different quality of ore and in a constantly changing environment; it is also evident that as far is the ore is concerned, the material, the degree of temperature of the room equally plays an important role; the “Stone” will be fixed more rapidly in the summer or in a warmer place than in winter or in a cold and humid room. This is where the practice breaks with the theory. And because of these multiple reasons that escape most researchers, we can state that only those predestined succeed.
Above all, you should not believe that we write to discourage the newcomers – on the contrary, our aim is to inform them and as the proverb says: “Forewarned is forearmed”. How many good and sincere researchers (on the right track) fail exactly because they did not think about one of these causes. To remind the thinking of Clemenceau cited by Ermeion and Nr. Palinga-Dhara in their “Explication de la Table d’Émeraude” (p.214 of “Concordances Alchimiques”) (* 8), we will end by saying that some people know everything but do not understand anything.
In Alchemy, this thought could not be more true; for this reason, we sometimes say to the disciples of Vrehappada who are introduced to us: “The Temple (if you are worthy of it) will teach you all the theory, in its finest details, but it will be left to God to give you the practical and chemical success of the Great Art”.
In light of the following principle: “Numerous are those who are called, but few are chosen”, we did not hesitate to publish the present document and the photographs that represent the Magister. (* 9). We know that all our writings, all our publications will only be understood by those who have learned how to stay simple, and alas, experience has taught us that there are not that many who do. Just the same, let us wish with fervour, that if we succeed in warning our friends against the tendency to complicate and confuse everything, maybe this time the chosen ones will be more numerous.
Number 40 ~ That being said, we pursue our photographs series, by showing an ingot of silver obtained by Kamala-Jnana by means of his white powder multiplied by three. (*10)
Number 41 ~ This one shows a hammered golden mass, polished and cut to demonstrate that the whole mass has been trans mutated and not only its surface. The red stain (a bit fuzzy) indicates the quantity of “Solar powder” (* 11) that was needed to realize this transmutation of the gold mass (Transmutation done by Kamala-Jnana in 1959 in front of 12 disciples from the Alchemic Temple from Ajunta).
Number 42 ~ It is the gold tincture, the real “Red Quintessence” in a compact mass, it becomes golden colour when spread in fine layers. The deposit in the bottom of the flask needs to be observed. This indicates that the artist decanted the quintessence. Only the clarified part will be conserved. This quintessence has the power to freeze mercury and its odour is nauseating. It is corrosive. As a medicine, ancient philosophers tell us to use not more than two drops mixed in two spoons of water, broth or milk.
Number 43 ~ Finally, we are showing the two elixirs: the red and the white. They are fabricated from de silver or gold leaves which have been rolled in very fine layers and that came from the transmutations. They offer the apparition of the liquor called « Eau-de-vie de Dantzig “ ( Dantzig Brandy), with its gold nuggets in suspension; only the elixir of alchemists contains a live metal as opposed to a dead metal for all others. We are personally convinced that this liquor of Dantzig called “Eau de Vie – Brandy” (that presents the same appearance as the one of the “Elixir of Sages”) was certainly the same Solar Elixir presented by a certain “adeptus” that was passing through the Court of the King of Poland or of Prussia. He was incapable, of using the true medicinal gold used by the “Adeptus” and Dantzig continued the tradition to manufacture a Brandy but with gold from the mines. Even if the liquor is not the “Elixir of Sages” it is nonetheless very tasty.
We will finish this work by once again wishing that we find many chosen souls among the many that have been called, so that they can reach the chemical success of this Great Art, if not, at least to understand its theory. This could be a great success since this theory is nothing other than the synthesis of wisdom. Please do not forget that the alchemic transmutations have only one aim or objective: to be utilized for the verification of the alchemic truths, and not for the purpose of financial enrichment.
1) Directed by a group of french alchemists
2) Two of the “secret fires” used by alchemists
3) Name given by Paracelse to “secret fire“.
4) « P.M.» are symbolic time units used to indicate the duration of the different phases of the Great Art.
5) The “Seal of Hermes” is the name given to the “Raven Head” and the “Saturn Oil” (Number 17). As it is red in colour it is often called “Blood”. The “Milky Food“ referred here is the salt, which is white.
6) “La Vie Zodiacale de Moise” in “Pléiades Alchimiques”, R. Caro, éd.
7) The quick lime (calcium oxide) is hygroscopic.
8) “Explication de la Table d’Emeraude” in « Concordances Alchimiques », R. Caro, éd.
9) The « Grand Travail » (“Great Work”).
10) Powder extracted during “Coagula” that has the power to transmute base metals in Silver.
11) The “Philosophers Stone” in powder.
By Théophoreonai (Hierophant from the Temple of Vrehappada)
It is a distinguished honour for us to be closing with our final remarks to this publication which constitutes a unique historical document in the story of humanity. For the first time, and thanks to the authorisation received from the Supreme Council of the Temple of Ajunta, our Grand Master, Roger Caro, presented to the researcher in the Art of Alchemy a succession of forty (40) coloured photographs, representing the different phases in the accomplishment of the Magister, that had been taken by our dear beloved Kamala-Jnana. The combined science of our author and of all those who worked to put this document together, in ordering these pictures and providing the concise descriptions created an ensemble and a roadmap on the route of the Son of the Light, from the Preparation Phase to the Multiplication Phase.
« Pléiades Alchimiques » and « Concordances Alchimiques » provided the theory in a clear language; the present document provides a guide for the researcher in his practice and will assist the artist in preventing the “risk of stumbling” if he strictly follows the teachings.
The one who is Amen, the true and faithful witness, the beginning of “Gods Will” advises the Angle of the Church of Laodicea to buy a collyrium in order to anoint his eyes for him to see clearly (Apocalypse 3: 4, 18). You are now in possession of the collyrium, and be conscious that the road that is indicated to you is the only one that must be followed, the one that remained unchanged since Hermes.
In your work, do not try to avoid the planned resting periods or they will irrevocably be condemned to failure. The “Sacerdotal Route” is reserved for a very small number of chosen souls. But when you will have completely understood the theory and all the operational phases, you will then have acquired the whole knowledge in all its details, and at that point, you need to be conscious of two other precepts: do not think that with all this knowledge that you have acquired, you will have gained automatically the assurance of success in your work. Indeed we already talked about that in the beginning of the Art of Alchemy. Alchemy is an art, and a difficult one that demands dexterity, careful attention, and a lot of patience, The realisation of the Magister is the synthesis of multiple parameters that cannot be described in a book. Our Grand Master, Roger Caro did explain to you the reasons why for example, the total duration of the operations of 28 “P.M.” may vary from time to time. And here, we must add that one other fundamental condition of success is the respect of the seasons, especially in the method or augmentation or reduction of the fires for the different coctions and also the adaptation of the theoretical proportions of the three constituents of the mixture considering the degree of purity of each component.
Finally, since the present work is strictly oriented towards the practice of the Art, you will have acquired the capacity that will allow you to hope of holding in your own hands The “Stone” of a perfect “Red Colour”, and do not forget that only Our Father has the power to distribute this privilege to his chosen ones, to those who practice the virtues described by St-John in his chapters 2 & 3 of the « Revelations of the Apocalypse » : bashing in your work, perseverance, above all purity of mind, charitable actions, assistance to the poor. As a consequence, “the one who will be victorious will possess these things and I will be his God and he will be my Son” (Apoc. 21: 5-7). From the bottom of our heart, we say to you: Be dignified, Son of our father, by your faith, your purity and your charity”.
Be blessed, those who wash their clothes in the Blood of the Lamb, since they will inherit the Right to the Tree of Life” (Apocalypse 22: 14).