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Twelve Keys of Basilius Valentinus is one of the most important alchemical works available to modern students. His writings contain much of interest to the student of alchemy. Whether Basil Valentine is the correct name of the author or an alias does not matter since it detracts nothing from his work or the value of his experiments. https: //ramsalchemy.jimdo.com
Dive into the mysterious world of alchemy with Twelve Keys by Basil Valentine. This seminal work is a must-read for anyone interested in the historical and philosophical aspects of alchemy, offering a rare glimpse into this ancient practice. Valentine's treatise stands out for its depth and insights, providing readers with a comprehensive understanding of alchemy and its profound connection to the natural world. Unlock the secrets of alchemy with Twelve Keys by Basil Valentine. Get your copy today and step into a world of mystery and knowledge.
Twelve Keys of Basil Valentine is one of the most important alchemical works available to modern students of Alchemy and early Chemistry. First published in Ein kurtz summarischer Tractat, von dem grossen Stein der Uralten... (Eisleben, 1599) without illustrations, it achieved wider distribution as part of the Tripus Aureus (Golden Tripod) compendium edited by Michael Maier and published at Frankfurt in 1618 by Lucas Jennis. Maier's illustrated edition of the work is by far the most influential. The emblematic engravings drew upon the allegorical descriptive imagery of the text and added coherence to the symbolism.
Fully illustrated. The Basil Valentine writings provide twelve "keys", a widely reproduced sequence of alchemical operations encoded allegorically, in words to which images have been added. The first part of the book is a discussion of general alchemical principles and advice about the philosopher's stone. The second half contains twelve short chapters. Each chapter, or "key", is an allegorical description of one step in the process by which the philosopher's stone may be created. With each step, the symbolic names (Deckname, or code name) used to indicate the critical ingredients are changed, just as the ingredients themselves are transformed. The keys are written in such a fashion as to conceal as well as to illuminate: only a knowledgeable reader or alchemical adept was expected to correctly interpret the veiled language of the allegorical text and its related images.
Basil Valentine's Twelve Keys of alchemy is among the most notorious alchemical works ever crafted. Originally written at the very end of the 16th century, it was almost immediately rendered into English and widely regarded. Containing a series of parables and metaphors regarding the process of creating the Philosopher's Stone, the Twelve Keys claim that alchemy is both real and potent, able to perfect matter and create a medicinal elixir beyond comprehension. Valentine swears that the process is not as others have described, with often vague references to "special" salt and sulfur, but is far easier and much less expensive than claimed in prior works.
Twelve Keys of Basil Valentine is one of the most important alchemical works available to modern students. First published in 1599 without illustrations, it achieved wider distribution as part of the Tripus Aureus (Golden Tripod) compendium edited by Michael Maier and published at Frankfurt in 1618 by Lucas Jennis. Lucas Jennis provided twelve engraved plates, one for each of the keys. These plates drew upon the allegorical descriptive imagery of the text and added coherence to the symbolism.
When I had emptied to the dregs the cup of human suffering, I was led to consider the wretchedness of this world, and the fearful consequences of our first parents' disobedience. Then I saw that there was no hope of repentance for mankind, that they were getting worse day by day, and that for their impenitence God's everlasting punishment was hanging over them; and I made haste to withdraw myself from the evil world, to bid farewell to it, and to devote myself to the service of God. When I had spent some years at the monastery, I found that after I had performed my work and my daily devotions I still had some time on my hands. This I did not wish to pass in idleness, lest my evil thoughts should lead me into new sins; and so I determined to use it for the study and investigation of those natural secrets by which God has shadowed out eternal things. So I read a great many books in our monastery written in olden times by philosophers who had pursued the same study, and was thereby stimulated to a more ardent desire of knowing that which they also knew. Though I did not make much progress at first, yet at last God granted my earnest prayer, and opened my eyes that I might see what others had seen before me. In the convent there was a brother, who was afflicted with a severe disease of the kidneys, and to whom none of the many physicians he had consulted had been able to give even momentary relief. So he had committed himself to the hand of God, and despaired of all human aid. As I loved him, I gathered all manner of herbs, extracted their salts, and distilled various medicines. But none of them seemed to do him the slightest good, and after six years I found that I had tried every possible vegetable substance, without any beneficial effect. At last I determined to devote myself to the study of the powers and virtues which God has laid into metals and minerals and the more I searched the more I found. One discovery led to another, and, after God had permitted unto me many experiments, I understood clearly the nature and properties, and the secret potency, imparted by God to minerals and metals. Among the mineral substances I found one which exhibited many colours, and proved to be of the greatest efficacy in art. The spiritual essence of this substance I extracted, and therewith restored our sick brother, in a few days, to perfect health. For the strength of this spirit was so great as to quicken the prostrate spirit of my diseased brother, who, from that day to the day of his death, remembered me in his hourly prayers. And his prayers, together with my own diligence, so prevailed with God, that there was revealed to me that great secret which God ever conceals from those who are wise in their own conceits. Thus have I been wishing to reveal to you in this treatise, as far as may be lawful to me, the Stone of the Ancients, that you, too, might possess the knowledge of this highest of earthly treasures for your health and comfort in this valley of sorrow. I write about it, not for my own good, but for that of posterity, and though my words be few and simple, that which they import is of immeasurable magnitude. Ponder them well, that you also may find the Rock which is the foundation Stone of truth, the temporal blessing, and the eternal reward.
The Basil Valentine writings provide twelve "keys", a widely reproduced sequence of alchemical operations encoded allegorically, in words to which images have been added. The first Basil Valentine book to discuss the keys is Ein kurtz summarischer Tractat, von dem grossen Stein der Uralten ("A Short Summary Tract: Of the great stone of the ancients"), 1599. The first part of the book is a discussion of general alchemical principles and advice about the philosopher's stone. The second half of Ein kurtz summarischer Tractat, under the subtitle "The Twelve Keys", contains twelve short chapters. Each chapter, or "key", is an allegorical description of one step in the process by which the philosopher's stone may be created. With each step, the symbolic names (Deckname, or code name) used to indicate the critical ingredients are changed, just as the ingredients themselves are transformed. The keys are written in such a fashion as to conceal as well as to illuminate: only a knowledgeable reader or alchemical adept was expected to correctly interpret the veiled language of the allegorical text and its related images.