Pal.lat.1339

No one should doubt the excellence of the cut stone original: "sýcisse," likely from the Greek 'schistos' for split or cut, the son of Semez Rabaidro A cryptic alchemical name, possibly of Arabic or Syriac origin, referring to a specific mineral or master, where it is called the "Amethyst," which is then called in Latin the Stone of Love original: "lapis amoris"; nor is it ever found in its first form, but rather it follows the path of silver.

Just as if one were to work truly through the secure golden way: it is prepared through the earth, not through the whole, until it takes on a white color. For this is the quality of the earth for the sake of the coming work, where it is changed so that the color is dissolved; now it is said that it is only made for the regeneration of the thing, at the same time as the moisture.

Epilogue

And so, by this process, the spirit is bound in the body, and the light is drawn from the shadows, so that the hidden may be made manifest through the art of the ancients. The work is great and requires a long time, but the dignity of the result is even greater.

Epilogue

7

First, the gold is added to the alum original: "alūbo," likely alumen, which leads to the true sweetness of the faith A metaphorical term for a successful chemical reaction. The work must be done with care, so that the body is opened and the spirit is fixed. When the mixture is firm, let it be dissolved for a long time, until it becomes like a thick ointment. Then, let it be poured out and extracted, so that the joy of the work may be seen. If it is poured out three times, it is said to be purified. This is the great mystery of the work, which is given to those who seek the truth of gold. If the first part is blessed, the whole will be perfected.

The Amethyst

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This is the path through the thread of the many-colored stone, which is prepared by fire.

Here the form is made complete. Another addition of silver is made, and the faith is led to a higher state. The mixture must be watched closely, so that the recognition of the colors is not lost. The spirit is mixed with the body, and the figure is fixed. Let the silver be added to the gold, and let them be joined together until they are pure and shining like a star. This is the recognition of the work, which is supported by the sulfur and the fire.

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Which is indeed the rule for the tin original: "stagnum" of its Amethyst, which must be melted five times.

The gold is purified through the fire, as is the custom of the art. Let the sulfur be added to the gold, and let it be burned until it is consumed. This is the way to make the gold soft and obedient to the hand of the artist. The recognition of the work is certain if the gold remains firm and does not flee from the fire. Let the mixture be macerated and then placed in the vessel. The work is then finished with the addition of the gold, and the form is made warm and bright. You shall place it in a secret location, where it may be kept safe until the solution is complete. This is a very worthy secret of the salt, which must be guarded with great care, so that the truth of the work may stand firm.