Alchemy Illuminated - Wet Path 1

Volpierre
(Nikolaus Burtschell)
1892-1952

Volpierre was a relatively recent alchemist who figured out how to make the stone through
intuition. His process is so simple, it seems ridiculous. Chemically it makes no sense and
nothing special should be able to come from it. Just by dissolving metal in an 'artful'
manner, a red juice, the Red Lion, can be obtained from any metal (but antimony is
the
preffered metal because it contains the most power).

"Because the very elixir

that pours a more
glorious life into the
frame, so sharpens the
senses that those larvae
of the air become to thee
audible and apparent"
Edward Bulwer (Lord
Lytton) a high grade
initiate of the Hermetic
Lodge at Alexandria

And then once this Red Lion is redistilled 7 times, a white Philosophical Mercury appears
which contains silver particles. In the distillation flask 2 salts are found, one yellow (sulfur)
and one white (iron). The white one forms itself into a north-south dirrection because
it's
magnetic like iron should be. But these 3 salts will all dissapear
and evaporate even in a
sealed flask, so they must be kept in their own
water.
When these 3 salts are combined, a beautiful red stone is formed, but only after going
through a series of color changes, just like what happened when the metal was first
dissolved with acid.
All of this I have seen before because one person had a website with photos of every step
of this process, but that was several years ago, and he has since removed it. Most likely
because it all too plainly reveals how to make a powerful stone which can be easily
multiplied.

*WARNING: When antimony trisulfide (stibnite)is dissolved in hydrochloric acid, deadly

hydrogen sulfide gas is created. It's therefor
essential to leave the flask outside while doing
this procees in case the stopper blows off.
Frater Albertus was a modern alchemist you should be familiar with (see the link in the
'Study' section of this website) and you should also by now have a copy of all his Golden
Manuscripts series of books. And you would therefor be familiar with Volpierre's book.If
not, you can download the book by clicking here.
Frater Ablertus was teaching a class in Germany and met a man by the name of Heinz
Fischer-Lichtenthal. He gave the frater a copy of Volpierre's book as well as a copy of his
personal notes on exactly how to perform the work. He never intended either to be
published, and never
dreamed of the internet and how easily information would be shared
across the globe in the future. But luckily we now have a copy of his notes, since Volpierre's
book is so vague. Those notes are attached to the book you can download at the above
link.
Many foolish and ignorant modern alchemists have convinced themselves a special solvent
needs to be made which dissolves gold, and it is the required key for making the
Philosopher's Stone. And even though I do show the acetate path on this website, and it
produces a special solvent
for metals, it is not the one and only way of making the Stone.
Even acids can be used, and they were wonderfully disguised by many names in alchemy
books. And if you never tried making the Stone with acid, then you would never know that it
works and that is indeed what many alchemist were refferring to when they used terms like
"Philosophical Vinegar" or "Philosophical Wine".

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"...and I behold the glory

of our future life with my
eyes and rejoice over it."
The Cosmopolite,
Alexander Setonious
Scotus

Alchemy Illuminated - Wet Path 1

These two photos show a set of twin stibnite crystals that grew together. They are about 3
inches long and weigh approx. 13 grams. I like the idea of natural antimony crystals for this
process, not just any stibnite ore. The crystals are extremely beautiful, but also may contain
poisons like aresenic. Some people believe this impurities are what lead to success in this
work, but I disagree. Even commerically bought anitmony sulfide powder can be used.

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Alchemy Illuminated - Wet Path 1

Even though the crystals seem very hard like steel, they actually crush down to a powder
quite easily. I simply placed them in the mortar and pounded them with the pestle until the
crystals broke like shattered glass into small silvery splinters. I then
rubbed the broken
pieces against the mortar by stirring them hard, and a
fine powder formed.

Even though it says in the notes of Heinz Fischer-Lichtenthal that you must use sulfuric acid
prepared by the lead
chamber process because normal sulfuric acid is useless, I now know
this is a lie. It was only put in the book to make the whole process seem impossible to
perform using today's sulfuric acid. It is gate to block the information from ever being used
by anyone who isn't smart of enough to realize it's a lie. It's sort of a test.
All that is important for this work to succeed is that iron filings be placed in the flask with
the antimony. Not only does the iron remove the
sulfur from the antimony but in doing so, it
transfers energy to the antimony, much like the dry Star Regulus process does. And that
iron will do it's job even better if it be strongly magnetized first.
Also, there will Antimony Trichloride formed when the stibnite reacts with the hydrochloric
acid. The side product is deadly hydrogen sulfide which is why Volpierre used an oversized
bottle he could immediately close.
And by doing it that way, he made the process extremely long, lasting months on end,
because he only added acid is small amounts. It produces wonderful color changes, but is
completely uneccessary for success. The process can indeed be sped up by simply dissolving
all of the stibite and iron at once into the Red Lion, then moving on to the distillation steps.
But if you still wish to see the color changes, then add only small amounts of acid each time,
but leave the bottle or flask open outside. You can then photograph the color changes, then
add the next bit of acid
and it will change colors again.
However, even in Volpierre's long digestion method, after the first juice of the Red Lion is
poured off, he then instructs us to add more acid to the remaining metals in much larger
quantities until everything dissolves into a red solution. So you can see the irony of waiting
for months and adding only small amounts of acid each day, when in the end you are going
to dissolve everything with as much acid as it takes.
Many old alchemy books will try and convince you there is a dry way, and
a wet way to the
Stone. The wet way takes almost a year or more, and the dry way is the fast proess that
takes only a few hours. And for the dry way the most commonly used chemical was
orpiment (aresinc sulfide), because aresenic can dissolve gold. But there is no need to work
with such deadly poisons in alchemy, and some dry paths are longer than wet paths. For
example, the dry path with cinnbar, lime, and potash takes over year. And yet this wet path
of using acids can take less than
a month.
With the recent ORMUS and ORME David Hudson montaomic elements craze, many people
find themselves using acids to dissolve gold in the way I show in the section on the pH
swing process for calxes. They sell this to people as monatomic gold, despite the fact it's
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Alchemy Illuminated - Wet Path 1

merely white gold hydroxide, and with books like Laurence Gardner's, people are lead to
believe this calx of gold is the Philosopher's Stone. And because of how
ridiculous of an
assumption that is, people who conisder themselves 'real' alchemists laugh at the idea of
using acids in alchemy. They think their speical solvents and philosophical mercuries are so
superior
to the acids because the ORMUS fans have given acids such a bad name.
But here in the Volpierre path we see how to properly use the acids to obtain a red juice
from metals, which after special distillations, the Philosopher's Stone can be made, and
indeed multiplied until it literraly glows like an ember of coal.

...more to be added...
.

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