On closer consideration, students of the Confessio will realize that this old document is not a confession of faith in the ordinary sense, not a dogmatic exposition of what does and does not agree with the convictions of the Rosicrucians, but a tremendous piece of prophecy.

After seven days of ceremonies and tests, Christian Rosycross is dubbed a Knight of the Golden Stone. But not selfishness, deception and pride allowed him to win, but his great humility and self-knowledge. In the end, his credo is: The highest knowledge is that we know nothing. In the afterword, Jan van Rijckenborgh gives a scenario of the future.

Adam McLean here attempts to provide such an extensive commentary, hoping to elucidate and throw some light upon the tranformative process outlined in this most important of Alchemical allegories.

The Secret Stream collects all of Steiner's discussions of Rosicrucianism.

Eighteen chapters are heavily illustrated with plates from rare and early works on Rosicrucianism, the Hermetic sciences, the cabala, and more traditional texts on anatomy and physiology. Comprehensive index included.

First published in Latin in 1678, "The Hermetic Museum" is an anthology of alchemical writings, some so ancient as to be anonymous. Writers included have become part of historical legend: Helvetius, Delphinus, Michael Maier. Readers will find here an alchemical initiation, a sign to the seeker that there is a mystery and that you must begin here to unravel it.

His voluminous writings were devoted to defending the philosophy of the alchemists and Rosicrucians and applying their doctrines to a vast description of man and the universe. All of Fludd's important plates are collected here for the first time, annotated and explained together with an introduction to his life and thought.

De Jong shows how Maier borrowed mottos from old alchemical sources and that the emblems have a number of meanings and express ideas from alchemy, medicine, and the Rosicrucian system. The inter-relationships that can be shown to exist between the emblems give an added depth to the meaning of each.

Dee's work is a compendium, a 'fasciculus' of quintations from the major alchemical writers. He arranged the quotations in chapters according to the order of the opus as a way of illuminating the alchemical process. The authors cited include Lull, Ripley, Dastin, Dunstan, Trevisanus, Arnold of Villa Nova, and Tauladanus.

The Magic Flute is a journey of discovery, an initiation into Initiation. With complete original libretto and over 100 pictures.

An important addition to the alchemical study series. Highly recommend.

The 22 plates are reproduced from a late 16th century German version, and Adam McLean provides a commentary on the symbolism of the process outlined in this series.

Extensive biographical and bibliographical descriptions of 164 books and 245 manuscripts from the PRS Library, assembled over a period of sixty-five years and the repository for many rare and scarce esoteric items.

This second edition of the first book exclusively dedicated to the mandala tradition in the West is a valuable sourcework for its illustrations and commentaries.

This unique selection of illustrations with commentaries and source texts guides us on a fascinating journey through the representations of the secret arts.

This book traces the development of alchemical discourse in the work of W. B. Yeats. His early essays and Golden Dawn transcripts demonstrate that for the poet, the alchemist was both artist and initiate. Gorski considers the themes of transformation, apocalypse, and futurity in relation to Yeats' alchemical representations of the 1890s.

This study examines the literary representation of alchemical theory and the metaphor of alchemical regeneration in the works of Edward Taylor, Edgar Allan Poe, Nathaniel Hawthorne and Margaret Fuller.

This volume is a critical edition of the full text, initially transcribed from a microfilm copy of an original held at the Huntington Library. The book is also an analysis of the original 1591 text in its cultural context, with an examination of Ripley's aims and objectives and how they are worked into the verse's format.

The real concern of alchemy is not to transmute lead into gold, but rather, through the investigation of the self, to evolve from the state of ignorance(symbolized by lead) to that of awareness (symbolized by gold).