THE PHILOSOPHER'S STONE

©2013 Dorian Taddei

The term Philosopher's Stone (lapis philosophorum) was the culmination of millennia of accumulated alchemic science. It was nothing less than the "elixir of life' — containing all five of the fundamental di-atoms we have come to call D.H.A.R.M.E.s (an acronym we coined, meaning Di-Atomic, Homonuclear, Aetherically-Resonant Metal Elementals). The stone functions no differently than the elixirs, but is contains all 5 of the QE in slightly soluble stone or crystal. The stone can survive centuries of use, and supplants the need for manufacturing elixirs on an on-going basis.

The image below is of the Lee Penny, one of the only real examples of the lapis philosophorum known to exist. It is described as being heart-shaped, but a more accurate description might be triangular.

Its dark red color comes from the suspension of gold mono-atoms — forming nano-clusters — that were never converted to di-atoms during the long Cohobation process of making the stone. We can deduce the size of the colloidal gold atoms by the color. This is a major clue to both the nature of the quinta essential in the 'stone,' as well as the processes that were used to make it.

The "stained glass" of the Gothic cathedrals (like the rose window of the north facade of Chartres Cathedral) were created using glass impregnated with colloidal gold and silver nano-particles. Until very recently the knowledge of the chemistry involved remained an enigma, the techniques used being wholly alchemical in nature. The fundamental principles of alchemy having being lost to the world, the secret remained mysterious to the uninitiated. Gold and silver in nano-cluster configurations absorb and re-transmit an effulgent light — a radiant, other-earthly light — that made these medieval, alchemical cathedral windows famous. This was literally alchemically treated glass. Just prior to 1926 a collaborative effort between the polymath and esotericist known as R. A. Schwaller de Lubicz, and a man known only by his nom de plume as Fulcanelli — working closely together at Schwaller de Lubicz's retreat in Grasse, France — duplicated this unique alchemical glass pigmentation. This work has never been repeated.

At various sizes nano-clusters of silver and gold, produce varying hues of emerald and blue, to gold and ruby red hues, respectively. In 1926 Fulcanelli would publish a famous esoteric book that unveiled many of the symbols hidden in the unique, other-worldly architecture, architectural embellishments (like gargoyles), and the alchemically treated windows of these Gothic masterpieces. Encoded in this art was another art, the Great Work or Art of Alchemy.

In our seminar THE PHILOSOPHER'S STONE we reference many of the clues left to us from all extant, as well as ancient occulted sources. From clues in the cathedrals, to the emblematic art of the renaissance, the odd architectural embellishments of the Rosslyn Chapel in northern Scotland, and the cryptic ideogrammatic symbology of alchemy, all will play into this story. Most importantly, we offer our unique decipherment of the most ubiquitous esoteric writings on the planet, the esoteric ideogrammatic language of Rock Art. The rock art of the ancient initiator schools of North and South America have encoded these truths — unknown and unsuspected by scholars and occultists alike — for millennia.

We also explain the importance of beginning and ending various phases of the Great Work of the lapis philosophorum, on the astrological cusps, We examine the aetheric dynamics that planetary alignments create, and how this knowledge was employed anciently in the various stages of the Great Work of making this super-cooled water stone. Again, we turn to the sock art of the world as evidence of this information's ubiquitous nature, and its seminal importance to the realization of the Great Work.

To our knowledge, this information has never seen the light of day, and was a forbidden science to those who lacked authorized initiation. Our purposes for revealing this now will be discussed during our lectures, but suffice it to say that the time has come that the entire earth know the majesty of the ancient arts, and their intimate connection to the harmonized active of human efforts involved in the evolution of mankind.

LEE PENNY

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