His arms of the alchemical philosophers show a shield fess, that is divided with a band. The shield has a golden ground on which is depicted a lion rampant. The band of blue cuts across the body of the lion, so this is shown in four colours. The upper part, head, arm and tip of the tail, are in red; the middle body and middle part of the tail are in white; the lower part of the body and tail are in black; while the legs are in a silvery grey. These are the main colours found in the alchemical process, the blackening, the whitening and the reddening. The shield is placed within the circular insignia of the Golden Fleece, we see the links of its golden chain and the familiar image of the ram suspended by a band around its middle. The classical myth of Jason and the Golden Fleece was often used by alchemists.
Above this is a golden crown, and set above the helmet is a rainbow coloured peacock with the three plumes on its head. It is not realistically drawn, and as it appears to be seated on fiery flames, it has something of the quality of a phoenix. An important stage in alchemy preceding the formation of the tincture is called the Peacock's Tail as the substance in the flask then undergoes a series of rapid colour changes. Perhaps here Thynne is hybridising the two bird symbols, but we would probably have to have access to his allegorical poem to understand exactly what he intended.
The central shield has two supporters. On the left we see the winged figure of the God Mercury with caduceus and winged helmet and sandals. On the right is Vulcan the god of fire, dressed as a blacksmith, but with a shirt set with flames. His hair and beard are also aflame. He holds his forging hammer and we see flames at his ankles, mirroring the wings on Mercury's feet.
Above this is a golden crown, and set above the helmet is a rainbow coloured peacock with the three plumes on its head. It is not realistically drawn, and as it appears to be seated on fiery flames, it has something of the quality of a phoenix. An important stage in alchemy preceding the formation of the tincture is called the Peacock's Tail as the substance in the flask then undergoes a series of rapid colour changes. Perhaps here Thynne is hybridising the two bird symbols, but we would probably have to have access to his allegorical poem to understand exactly what he intended.
The central shield has two supporters. On the left we see the winged figure of the God Mercury with caduceus and winged helmet and sandals. On the right is Vulcan the god of fire, dressed as a blacksmith, but with a shirt set with flames. His hair and beard are also aflame. He holds his forging hammer and we see flames at his ankles, mirroring the wings on Mercury's feet.
π3
Many alchemical emblems are allegorical and involve humans, divinities and animal forms, but a few are abstract. An example of a more abstract emblem was a drawing from the Vatican manuscript Ottoboni Latini 3032.Here is another abstract emblem. It is the concluding image in a series of eight drawings in a 17th century manuscript in Leiden, Codex Vossiani Chemici Q.61.
A geometric form is set within a circle named as 'Mesocosmus'. This is the middle cosmos between the Macrocosm and the Microcosm. Around the circle are the words "omnibus sed paucis luceo" - which could be rendered, 'all things are, but I illuminate only a few'.
We note the four small circles associated with each of the elements placed at the corners of a square. Fire and Air have the interconnecting bar of the square stating "active" while Earth and Water are linked as "passive". Fire and Earth are linked by the vertical side of the square which identifies them as "sulphureal" while Air and Water are "mercurial". This square is set within an octagon which enables the creator of the image to label Fire as dry and hot, Air as hot and humid, Water as humid and cold, and Earth as cold and dry. Within the square is a triangle centred on a large circle labelled "lapis philosophorum" and it is this stone of the philosophers which is emitting light and illuminating the material around it. On the vertices of the triangle are three small circles. That at the top is labelled with the mysterious substance "azoth", while on the bottom left we have Sol and on the right Luna. That these are three independent substances is indicated by the lines connecting them which state "is not". Thus Azoth is not Sol, and so on. However, there are three lines connecting them to the central circle stating "est" is. Thus these three things Azoth, Sol and Luna are the philosophers' stone, or the components of it. The sentiment here is very simple but delightfully and clearly expressed using these geometric forms.
At the bottom is a quote from the Rosarium philosophorum stating:-
Make a round circle from the male and female, and from this you should draw a square, and from this square a triangle, and from this triangle make a round circle and you will have the stone of the philosophers'. The geometry of this drawing mirrors this.
We saw this same allegorical statement in the discussion about the Vatican manuscript illustration.
We note the four small circles associated with each of the elements placed at the corners of a square. Fire and Air have the interconnecting bar of the square stating "active" while Earth and Water are linked as "passive". Fire and Earth are linked by the vertical side of the square which identifies them as "sulphureal" while Air and Water are "mercurial". This square is set within an octagon which enables the creator of the image to label Fire as dry and hot, Air as hot and humid, Water as humid and cold, and Earth as cold and dry. Within the square is a triangle centred on a large circle labelled "lapis philosophorum" and it is this stone of the philosophers which is emitting light and illuminating the material around it. On the vertices of the triangle are three small circles. That at the top is labelled with the mysterious substance "azoth", while on the bottom left we have Sol and on the right Luna. That these are three independent substances is indicated by the lines connecting them which state "is not". Thus Azoth is not Sol, and so on. However, there are three lines connecting them to the central circle stating "est" is. Thus these three things Azoth, Sol and Luna are the philosophers' stone, or the components of it. The sentiment here is very simple but delightfully and clearly expressed using these geometric forms.
At the bottom is a quote from the Rosarium philosophorum stating:-
Make a round circle from the male and female, and from this you should draw a square, and from this square a triangle, and from this triangle make a round circle and you will have the stone of the philosophers'. The geometry of this drawing mirrors this.
We saw this same allegorical statement in the discussion about the Vatican manuscript illustration.
Forwarded from Vinnie Sullivan
Ocean at Night with Burning Ship by Marcus Larson
Sveta Dorosheva
Sveta Dorosheva is a freelance illustrator, originally from Ukraine She is particularly interested in hermetic engravings such as we find illustrating Robert Fludd's books. She has obviously undertaken a great deal of research into medieval illuminated manuscripts, and is very familiar with the emblematic tradition.
Sveta Dorosheva is a freelance illustrator, originally from Ukraine She is particularly interested in hermetic engravings such as we find illustrating Robert Fludd's books. She has obviously undertaken a great deal of research into medieval illuminated manuscripts, and is very familiar with the emblematic tradition.