BY ARTHUR EDWARD WAITE THE Hermetic Mystery- upon the higher interpretation of which I have spoken at considerable length in the previous paper and have created an analogy between its hidden meaning and that which I should term the centre of the Religions Mystery in Christendom- is the only branch of mystic and occult literature which lent itself to the decorative sense. I suppose that there are few people comparatively who at this day have any notion of the extent to which that sense was developed in the books of the adepts. It will be understood that in speaking now upon this subject I am leaving my proper path, but though the fact does not seem to have been registered, it is so utterly curious to note how a literature which is most dark and inscrutable of all has at the same time its lighter side- a side, indeed, of pleasant inventions, of apologue, of parable, of explicit enigma, above all of poetry. The fact is that alchemy presented itself as an art, its books were the work of artists; and for the sym-pathetic reader, even when he may understand them least, they will read sometimes like enchanting fables or legends. When in this manner some of the writers had exhausted their resources in language, they had recourse to illustrations, and I wonder almost that no one has thought to collect the amazing copper-plates which literally did adorn the Latin and other tracts of the seventeenth century. As I propose to print some selected specimens of the pictorial art in alchemy because they are exceedingly curious, and not for a deeper reason, the reader will not expect, and for once in a way will perhaps be rather relieved, that I am not going in quest especially of their inner meanings. So far as may be possible, the pictures shall speak for themselves, seeing that I write for the moment rather as a lover of books- a bibliophile- than a lover of learning. I will begin, however, with a definition. The alchemists whom I have in my mind may be classified as artists on the decorative side and in their illustrations- but I know not whether they were their own draughtsmen- they approached the Rabelaisian method. The school on both sides is rather of Germanic origin; and it is such entirely, so far as the pictures are concerned. The French alchemists had recourse occasionally to designs, but they are negligible for the present purpose. This is a clearance of the ground, but it must be added that the great and authoritative text-books have not been illustrated- as, for example, The Open Entrance to the Closed Palace o/ the King, which is the work of Eirenaeus Philalethes, and the New Light 0/ Alchemy, which is. believed to be that of. Alexander Seton. If I may attempt such a comparison, Philalethes- in the work mentioned- reads rather like a Pauline epistle and Seton like an Epistle to the Hebrews but the. analogy in both cases is intended to be allusive only, and strict in no sense. So also they read here and there as if they were almost inspired; but they could not be termed decorative. The really practical works- as, for example, the Latin treatises ascribed to Geber- are never illustrated, except by crude sketches of material vessels used in the material art for the aid of the neophyte on his way to the transmutation of metals. I do not think that they really helped him, and they are of no account for our purpose. The pictures of the adepts were the allegorical properties of the adepts, and though the criticism has a side of harshness they were almost obviously provided for the further confusion of the inquirer, under the pretence of his enlightenment. At the same time, authors or artists were sages after their own manner, their allegories had a set purpose and represent throughout a prevailing school of symbolism. It is quite easy to work out the elementary part of the symbolism; it is not difficult to speculate reasonably about some of the more obscure materials. But the true canons of alchemical criticism yet remain to be expounded; and I believe that I have intimated otherwise the difficulty and urgency attaching to this work, so that there may be one unerring criterion to distinguish between the texts representing the spiritual and those of the physical work. On the latter phase of the subject it would be useless- and more than useless- to discourse in any periodical, even if I. could claim to care anything and to know sufficiently thereof. I know neither enough to hold my tongue nor enough to speak, so that I differ in this respect- but for once only- from my . excellent precursor Elias Ashmole. Like him and like Thomas Vaughan, I do know the narrowness of the name Chemia, with the antiquity and infinity of the proper object of research; thereon we have all borne true witness in our several days and generations. It is a matter of common report that the old Hermetic adepts were the chemists of their time and that, as such, they made numerous and valuable discoveries. This is true in a general sense, but under what is also a general and an exceedingly grave reserve. There is little need to say in the first place, that the spiritual alchemists made no researches and could have had no findings in the world of metals and minerals. Secondly, there was a great concourse of witnesses in secret literature, who were adepts of neither branch; but they expressed their dreams and speculations in terms of spurious certitude, and were often sincere in the sense that they deceived themselves. They prosrcced sophistications in the physical work and believed that their tinctures and colorations were the work of philosophy; these discovered nothing, and misled nearly every one. They also- in the alternative school- pursued erroneous ways or translated their aspirations at a distance into root-matter of spiritual Hermetic tradition; they reached the term of their folly and drew others who were foolish after them, who had also no law of differentiation between things of Caesar and God. Finally- but of these I say nothing- there were arrant impostors, representing the colportage of their time, who trafficked in the interest of the curious, assuming alchemy for their province, as others of the secret sciences were exploited by others of their kindred. Now, between all these the official historians of chemistry in the near past had no ground of distinction, and there is little certainty that they were right over many or most of their judgments. Once more, the canon was wanting; as I have shown that in another region it is either wanting for ourselves, or- to be correct- is in course only of development. This work, therefore, was largely one of divination, with a peculiar uncertainty in the results. I have now finished with this introsrcctory part, and I offer in the first place a simple illustration of the alchemist’s laboratory, as it was conceived by Michael Maier at the beginning of the seventeenth century. He had a hand in the Rosicrucianism of his period and published some laws of the brotherhood, or alternatively those of an incorporated sodality based on similar lines. He was a man of great and exceptional learning, but withal of a fantastic spirit; he is proportionately difficult to judge, but his palmary concern was the material side of the magnum opus. He may have veered, and did probably, into other directions. The illustration is chosen from The Golden Tripod, being three ancient tracts attributed respectively to Basil Valentine, Thomas Norton, and John Cremer- a so-called abbot of Westminster. It is these personages who are apparently represented in the picture, together with the zelator, servant or pupil, attached to the master of the place, whose traditional srcty was the maintenance with untiring zeal of the grasrcated fire of the art. Basil Valentine, in the course of his tract, makes it clear that he is concerned therein only with the physical work, and in the decorative manner which I have mentioned he affirms that if the three alchemical principles- namely, philosophical Mercury, Sulphur and Salt- can be rectified
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摘要：《THE PICTORIAL SYMBOLS OF ALCHEMY》是一本探索炼金术象征符号的着作。本文将从四个方面对该书进行详细阐述，包括炼金术的起源与发展、符号的含义与解读、象征符号在炼金术实践中的应用以及炼金术与现代科学的关系。通过对该书的解读，我们可以更好地理解炼金术的文化意义和科学内涵。
《THE PICTORIAL SYMBOLS OF ALCHEMY》通过对炼金术象征符号的解读，帮助我们更好地理解炼金术的文化意义和科学内涵。炼金术的起源与发展、符号的含义与解读、象征符号在炼金术实践中的应用以及炼金术与现代科学的关系，都是炼金术研究的重要方面。通过对炼金术的深入研究和探索，我们可以更好地理解人类思维方式和科学发展的历程。
