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Alkymiens Mysterier
Merelle


In 1990 there appeared a small book in danish, "Alkymiens Mysterier", "The Mysteries of
Alchemy". It is written by the danish female alchemist, "Merelle", which is a pseudonym,
modelled over Flamels wife, Pernelle, and the Ocean, "La Mer". The book is short,
unpretentious, and was only published in small numbers.

This work should be of interest for the Lovers of Art, as it seems that she has succeeded in
producing a "Stone", that has the power to Transmute, and there are photographs in the
book of the Stone and its Transmuted product. Apparently, she has not tested the Stone
for its Medical Virtue, nor is it clear, if the Stone is a Universal Stone, or one specified for
the Mineral Kingdom. In the following we will try to give a synopsis of the book, and the
technical data she gives, for the production of such a Stone. *)

































Merelle Alkymiens Mysterier




Contents

THE HERETIC SCIENCE




3
Prejudices and opinions on alchemy

Magic Chemistry of Nature




6
Old knowledge of the Lunar Powers

A KINGS VISION





14
The Dragon and its significance

THE RED SPRING





19
The cruel history of Iron

THE BLUE MOON METAL




25
The Woundrous Being of Silver

THE ROSE AND THE CROSS




33
Blood and tears, victory and defeat

FAIRY TALES AND ALCHEMY




39
Mythic animals and allegorical beings

THE PHILOSOPHERS STONE




48
About the production of the magic red powder

THE ELUSIVE SMILE OF THE CHESHIRE CAT


60
Isaac Newtons alchemical illusion

THE ENIGMATIC SPHINX




63
The code of a secret science

CLAY, THE ANCIENT MATTER




70
Natures obedient slave

POSTSCRIPT





74
Another world










2

Merelle Alkymiens Mysterier


Chapter 1 (foreword)

The Heretic Science

To be an alchemist or even give the slightest hint, that one is engaged in that kind of
hokus pokus, can usually get good citizens to smile overbearingly, for alchemy isn't
something that one can take serious in our age. So that usually settles the matter, but it
has not always been so.

In the medieval age it was a dubious affair to be involved in the production of gold-, which
is one of the issues in alchemy - and if an alchemist did succeed in producing gold, he or
she could count on having a stormy and uneasy life from then on.

The medieval age had both its male and female alchemists, but most preferred to remain
anonymous, and they still do so.

There are several reasons for why alchemists will not step forward and tell that they are
trying to make gold-, or even have done so-, for it is with gold as it is with guns: both can
have a highly demoralizing effect on weak souls and bring forth their worst sides. This has
been the experience of alchemists through the ages, and the wisest of them kept their
knowledge and ability for themselves.

Besides, and this might be the most essential part, gold cannot be made sceptics say in
our days, for it is an unchangeable element, and so it will remain.

Therefore one cannot sell gold, that has been made in an artificial manner, or, with other
words, "homemade". For customs and authorities need to see both name and address of
those that buy and sell precious metals, and if the papers are not in order, you are
doomed. If one sells it anyway, one is a criminal, that cannot account for the gold.

This is the case in a nutshell. Nevertheless alchemists have through all ages dared to
claim, that gold can be made, and this being even the finest and purest 24 karat gold. It
can be done by a trick, and manipulation of natural laws.

What should one believe, for here statement stands against statement? This in itself is
very exciting and challenging, and the disbelievers have never stopped a budding
alchemist from attempting the process.

But what is alchemy actually?
The best explanation given, could be the one that stems from the german chemist, doctor
and alchemist, J. R. Glauber, who lived in the 17th century. He is no more remembered as
an alchemist, but as the chemist that discovered karlsbadersalt, which in our days is called
sodiumsulphate. His era had a special name for it, namely sal mirabile Glauberi , Glaubers
wonderful salt. For it was effective against even the hardest case of constipation.

Glauber discovered it when he worked with a chemical/alchemical process, for he didn't
make a a sharp distinction between chemistry and alchemy. About the Art of Alchemy he
has said something very relevant and essential. Following quotation is from a
chemic/alchemic work of his, published in Paris 1659:


3

Merelle Alkymiens Mysterier

Alchemy is a thought, an image, a discovery, through which the species of metals go from
one natural state to another.

French:

In another work, that also was published in French, Glauber says about the purely
chemical side of alchemy:

The ancients have given this art the name alchemy, that is, saltfusion.

French:

Glaubers explanation of what alchemy is, sounds very modern, for in these years physicist
all over the world have been working with fusion of deuterium at room temperature, cold
fusion.
But the question is: what did Glauber understand by the term "fusion"?

I decided to find out, and came to an astounding conclusion.

J. R. Glauber was a respected chemist and a reasonable man. He knew the gold process,
and has described it several times in his books, but he did not produce gold in large
amounts. This would only give him problems he states in one of his scripts. Here we still
are today, for if gold can be made artificially in a lab, the world economy and gold markets
would collapse. This used to be, and still is, a dilemma.

In the 13th and 14th century, alchemy was so widespread in Europe, that the pope in 1307
issued a ban against gold, that was made by alchemists. He demanded that that all, that
made artificial gold, should be outlawed. At the same time there where heavy fines to
those who traded it.

When something is forbidden, one would assume that there is a reason for that. One
wouldn't forbid something that doesn't exist.

Henry the 4th of England issued in 1404 a so called "act", according to which it was a
crime against the state and the crown to practice goldmaking.

Later, in 1688, it was again allowed, for many competent chemists and alchemists had
moved abroad, and that was a thorn in the eye of the English king. He therefore issued a
so called "act of repeal", according to which the whole amount of silver and gold produced,
should be reported to "Their Majesties Mint" in the Tower of London. Full market price
would be paid, and no questions asked.

This is historically interesting, for there is the possibility, that there is still artificially made
gold bars i n Bank of England. But we will never know the whole truth.

The word alchemy itself, is thought to come from the Egyptian word "chem", that means
"black earth". From this we have the term alchemy. But there is also the possibility that the
term alchemy could come from the arabic word "El-kimya", which possibly has root in the
even older Sumerian word "ki", that means "earth", or that which today is termed "salts" in
chemistry. It is in this sense that Glauber defined alchemy as a "fusion of salts". But he
couldn't have known about the Sumerian culture, for it was first brought to light after the
great archaeological excavations around Ninive in the middle of the 18th century.

4

Merelle Alkymiens Mysterier

Today alchemy has wound up on the same shelf as ghosts and UFOs. Many have seen
them, almost everybody has heard about them, but nobody really believes in them. There
is something absurd and ambiguous about these things, and without personal knowledge,
one cannot have an informed opinion.

After eight years of working with alchemy, I feel that the time is ripe to transmit some of the
observations and experiences I have reaped. They range from a purely philosophic
attitude to alchemy, through fairy tales and religion, to an earthbound and practical work,
that has confirmed the old alchemists thoughts and statements from the past up to our
own age.

To begin in alchemy demands a naive soul combined with an attitude that goes against the
grain of established science, that still maintains that gold cannot be made. Yet, if one
enters the great work that alchemy is, there is a reward to be found, and it is a great one.
For an amazing and wondrous world, that one didn't know existed, opens up. One can
experience it personally.


































5

Merelle Alkymiens Mysterier


Magic Chemistry of Nature

It is a form of creative chemistry one meets in Nature. It is more than just chemical
formulas, circuits and exchange of matters.

The alchemists say that nature has soul, and that it owes it life to "Gods spirit that floats
over the waters". Spirit is the spark that ignites natures enigmatic machinery. It is also the
catalyst and the fuel, and we cannot match its results, even though we try through genetic
manipulation and DNA research.

For example where do we find the biologist, who can create something as simple as a
carrot seed? The carrot can, but in reality no one knows how it does so.

The genetic engineers think they have come closer to solving the riddle of life. But a link is
missing- and returning to the carrot- it is its latent ability to recreate itself in its own image.
This ability, or will, comes into expression when it makes seeds, that give an identical
form, when it sprouts next spring.

This ability to recreate itself in its own image is the basic idea behind alchemy. Here the
purpose is to create the mystical elixier of life, also called The Philosophers Stone, that
can transmute vulgar metals into gold. For this product is gold, that has recreated itself,
and it is done by the alchemists manipulation with the matter.

Alchemy is based on a natural process. The practising alchemists of the past observed
nature and noted certain laws of a rhythmical nature.

They realized that "time" was of decisive importance. Also processes of heat and cold,
that follow each other, not to forget the light that comes from the moon, stars, and sun.

In order to arrive at the mythical and life giving Philosophers Stone , that could be either a
liquid or a powder, one should work in unison with natural laws, and not against them.
Nature uses a kind of tricks, and they can be imitated through cunning and going along
less travelled roads. Therefore alchemy is also the wizards and the jugglers domain. Using
these paths will lead one to a dawning insight into the occult sides of natures chemistry,
and it is extremely colourful.

Natures laws slightly resemble those of chemistry, but chemistry lacks something,
especially the time dimension. This was a conclusion, that I arrived at after innumerous
failed experiments, where I thought that I could imitate the linear methods of conventional
chemistry. But it didn't work, something was lacking. Among other things, it just went to
fast. The separate links in the chain lacked "time", that is, their own built in time.

The Russian born researcher and philosopher, P. D. Ouspensky from the beginning of this
century, says something about time, which is highly relevant in alchemy. In his book A
New Model of the Universe, that has been translated from Russian, he says: "There is
more "time" in a liquid than a solid, and more "time" in gasses than a liquid." He also says
that the finer and finely divided a substance is, the more energy it contains and the less
space it occupies.


6

Merelle Alkymiens Mysterier

What Ouspensky says about time, energy and space, is something that alchemists ha ve
known about for a long time, and also express in their writings, especially the oldest ones.
The alchemists aim was to raise the energy in the matter, while at the same time
occupying less and less space. Therefore the single particles in the matter sho uld end
becoming so fine, and have so high an energy, that they could penetrate into courser
bodies and transmute them into gold. Therefore it is self evident that they worked with the
atoms of gold. This has never been said loud and clear by any modern alchemist or author
of books about the subject.

In Alchemical manuscripts, one meets, again and again, allusions to a Universal Solvent,
to be found in Nature. It was something that was in everything, and to be found
everywhere. It cost nothing and any child could aquire it.

Without this matter one would get nowhere in alchemy, for it was the basis for the Work.

But what mysterious substance was it, and how should one get hold of it?

The following images (A&B) reveal a part of the riddle.
They are from a collection of pictures without any text, which has the title "Mutus Liber",
that is, "the Mute Book", for there were no explanations to what took place on the images.
They are of french origin, and the originals are kept at the National Library in Paris. But it is
not known who originated these unusual images, that all pertain to the Alchemical
Process. The Artist, and perhaps the Alchemist himself, used the pseudonym Altus.

In one image (A) some round bowls are seen on a meadow outside a village. The bowls
are the centerpiece of the image, and the cattle- a bull and a sheep-are on their way
towards them. These bowls seem to contain water, for the moon is reflected on the
surface of the content. Its very early morning. The moon hasn't settled yet, but the sun is
about to rise behind the dark night clouds.

At closer thought the sun and moon naturally cannot be on the sky beside each other,
since the sun rises in the east, and the fullmoon settles in the west.

But the supernatural glow around the sun probably indicates that the time of the day is in
focus, and that the fullmoon is the central issue.

It has been a night with fullmoon, and one still senses the silent, fairy tale like atmosphere
over the meadow behind the small town with its church spire and medieval buildings.

Some strange rays emanate from the sky over the town. There seem to be two kinds, and
they spread like a fan over the ground. It is these rays that are important in relation to
alchemy, for they tell us, that something comes from heaven itself.

The six flat bowls on the meadows grass form a connection between the rays from
heaven, and the cattle, that seem very interested in the moonlt bowls.

Those who have dogs or cats, know, how attractive waterpuddles or birdbaths are to the
animals, especially if the sun has shined on the water after a downpouring. Then they
drink the water with great relish. Something must have happened to it, and the animals
know this. It tastes different than water that has stood in a bowl indoors. But what about
the water in the bowls on the meadow? A part of the explanation is to be found on the
smaller images below the main motive.


7

Merelle Alkymiens Mysterier

The woman in the picture at the lower left, pours water from one of the bowls on the
meadow through a funnel and down into a bottle that is held by a man. On the picture on
the lower right side, we see her hand the bottle to a mythological figure, that seems to be a
combination of Neptun with his trident and Mercury with wings on head and feet. This
figure is a central symbol in alc hemy. He is the Lord of Waters and messenger of the Gods
in one and the same person.

At the same time he is the symbol of the liquid in the bottle, and the picture shows he has
a "hand" in the process. The liquid is a part of the alchemical work.

The symbolic figure is only present as a messenger, for on the following images in the
book one sees the man and woman pour the contents of the bottle into a flask, that is
sealed and put into an oven to be heated.

But what has really happened to the water that was on the meadow in the moonlight, for of
this Mutus Liber, the silent book, reveals us nought?

By coincidence I came into possesion of an older danish book that solved the riddle, but it
had nothing to do with alchemy. The book consists of a collection of magazines from 1862
about experiments and observations concerning physics and chemistry (Tidsskrift for
Physik og Kemi
, Kobenhavn 1862)

Among them was a paper about the atmospheres action on water, when left out in the
open, and what happened to the water in a chemical sense.

A researcher by the name Schonbein had noted, that water, that was left to evaporate out
in the open air, formed saltpetersour ammonia from the airs nitrogen, hydrogen, and
oxygen.

Schonbein had moistened some linnen cloths with distilled water and afterwards exposed
them to air, so that the water could evaporate slowly. When the cloths had dried, he took
them, and soaked them in distilled water. Some substance was now drawn out of the
cloths and dissolved in the water. It showed itself to be saltpetersour ammonia, as he
called it, with the chemical formula NH4NO2.
The researcher now explains, that what happened was, a socalled "nitrification". Two
nitrogen atoms from the air had joined with four hydrogen atoms in the following way:
2 N + 4 H= N.NH4. This again becomes a saltpetersour ammonium salt: NH4NO2, in that
two oxygen atoms attach themselves to the compound.

In this way, saltpetersour salts are formed in the ground, says Schonbein. The same
takes place in plants, from whose surface a continual evaporation takes place. In this way
the plants form the nitrates needed for further growth.

At the end of the article about water evaporation Schonbein adds, that it shouldnt be
necesarry to add artificial fertilizer to the ground, for Nature is able to handle that issue all
by herself. Indeed!

In continuation of these thoughts we can add that we here have a further reason for he
preservation of the worlds forests, among these the rain forests, for in these a strong
evaporation takes place, and during this the necesarry nitrogen compounds are formed.


8

Merelle Alkymiens Mysterier

Schonbeins experiments with linnen cloths, that were exposed to the air, are a parellel to
what happens on the other image from Mutus Liber. Here, linnencloths are attached to
sticks in the grass to collect the dew from the night sky.

The scenery is the same as on the previous image. The moon is settling, and the sun is
about to rise up behind the dark night clouds. There is the same mysterious bundle of rays
from heaven, and on the coloured image, one sees how there are two different rays, a red
and a yellow one.

But the place seems to be a different one. It is not the same meadow, and the village is
also another one. In the foreground stands two people who wring the liquid from the cloths
into a large vessel.

The two images tell us that one can collect dew from the night sky in two fashions, either
by putting bowls out on the meadow, or collecting the dew on linnen cloths. The old
alchemists also knew that something happens with the water in Nature. At the same time
they knew that a night with fullmoon gave the best result and therefore they collected the
dew at that time.

I have done the experiment myself several times and discovered that it is so. There really
forms a salt in the water left outside during a fullmoon night. One must remember to use
distilled water, and it has to be reduced very slowly. In the bowl is then left a fine white
salt, that is watersoluble.

The chemist, Schonbein, did not know that the moons light gives the best result. Such an
idea would probably have seemed to be both absurd and ridiculous to him, for he was a
traditional chemist. The old alchemists had their own explanation for what happened to
water and dew that had been exposed to the rays of the moon. The water becomes active
they said, and thereby able to dissolve matters. It should be reduced to a fine salt, and this
they called "Water that does not wet the hands". Thereby they ment a dry, water soluble
salt.

The alchemical expression "water that does not wet the hands", has been mentioned again
and agin in modern literature on the subject, but none of the writers have proposed what
this matter might be.

So, purely chemically speaking, it is a nitrite, more precisely ammoniumnitrite. We use it
today for the production of pure nitrogen. This is done by the heating of concentrated
ammoniumnitrite. Nitrogen contais an enourmous amount of energy, more than oxygen
and hydrogen. This energy can be utilized by plants in Nature and they do so according to
the alchemists-especially during the night and particularly by moonlight.

Did the alchemists know something about the character of moon light, that we don't know
about today?

According to old "superstition", or perhaps knowledge, one should get rid of warts during
fullmoon, for then they wouldnt come again. It was also an ancient belief, that one
shouldn't let ones laundry hang our during the night, for the devil would do tricks wih it.
Behind this belief was udoubtably the fact, that the clothes would get some saltpetersour
ammonia, which could weaken the fabric and make it fragile.




9

Merelle Alkymiens Mysterier

On the countryside it was said, that if one wanted to get rid of weeds, it was also best to do
so during fullmoon. Maybe the knowledge of the alchemists wasn't an aquired one, but a
transmitted memory from a remote past, where humans might have had a more thorough
knowledge of the forces of Nature.

During the medieval age, existed a method for producing gold, that was quite strange. It
consisted in using the moonlit dew from Nature.

The method was simple and efficient and was perhaps used by common folks in those
days. And nature did most of the work, for one just had to collect the dew from the
meadow, just before sunrise.

The procedure is described in a modern work by Jean Maverick: L'Art Metallique Des
Anciens
(The Metallick Art of the Ancients, Phoenix, Genova)

In this work is collected a number of ancient recipes for the production of gold and silver,
and they can give small amounts of these noble metals as a result.

But the processes are quite difficult, and they require an old fashioned open fire place. I
have tried some of them, but not the following. For it utilizes mercury and I do not like that
metal.

Neither did other alchemists, for the y knew the dangers of this matter. Here follows the
recipe for producing gold from dew and mercury.

In may, during fullmoon, one spreads out linnen cloths over the dew wet grass. Early the
next morning, one wrings the cloth dew out of the cloths into a vessel. Then one needs two
pounds of mercury (yes, it really says two pounds, so apparently it was both cheep and
easily available in those days. An old french pound is 489 gram)

One then pours a little of the dew water over the the mercury and lets it cook ver a low
heat, until the dew has evaporated. Then a new portion of dew is added and further
cooked, until it also has evaporated. One continues so, until one has used all the dew.

Finally the mercury is poured through a sieve of fine gauze or linnen. When the cloth has
dried, some of the mercury has been transmuted into gold and caught in the fabric.

One can then continue working with the remaining mercury, when one has collected a new
portion of dew. This can be done for a few days, while the full moon is still present.

Its as simple as that states the recipe. This is a true transmutation of mercury into gold,
and the method has undoubtably been used in medieval europe. But we dont know what
happened to those people who worked with mercury in this manner. There was a great
risk of them getting braindamage while collecting gold.

That mercury can be turned into gold is perhaps not so unlikely. In the periodic system
gold comes just before mercury. The two metalls have the atomic numbers 79 and 80,
which means they have respectively 79 and 80 protons or positve charges in their nucleus.
So mercury only has to give of one proton to become gold, or, in other words, loose one
positive charge. But how can this be accomplished with something a simple as dew?



10

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