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    <lastmod>2020-04-18</lastmod>
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      <image:title>Ephemera</image:title>
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    <loc>http://www.aaroncheak.com/news/2019/12/26/serpents-skin</loc>
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    <lastmod>2020-06-12</lastmod>
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      <image:title>Ephemera - Serpent’s Skin</image:title>
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    <loc>http://www.aaroncheak.com/news/2018/7/15/gravity-and-light</loc>
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    <lastmod>2018-07-15</lastmod>
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    <loc>http://www.aaroncheak.com/news/2017/4/17/christs-descent-into-hell</loc>
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    <lastmod>2017-04-17</lastmod>
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      <image:title>Ephemera - Christ's Descent into Hell</image:title>
      <image:caption>El Greco, The Resurrection, c. 1600.</image:caption>
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  <url>
    <loc>http://www.aaroncheak.com/news/2017/4/10/announcing-the-leaf-of-immortality</loc>
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    <lastmod>2017-04-10</lastmod>
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      <image:title>Ephemera - Announcing: The Leaf of Immortality</image:title>
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    <image:image>
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      <image:title>Ephemera - Announcing: The Leaf of Immortality</image:title>
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      <image:title>Ephemera - Announcing: The Leaf of Immortality</image:title>
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  <url>
    <loc>http://www.aaroncheak.com/news/2016/7/17/our-gold</loc>
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    <lastmod>2016-07-17</lastmod>
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      <image:title>Ephemera - Our Gold Is Not Ordinary Gold</image:title>
      <image:caption>Yogi practicing tummo (cultivation of inner fire).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1468746096347-89MW3KYT3E7YHCIG7WXX/image-asset.jpeg</image:loc>
      <image:title>Ephemera - Our Gold Is Not Ordinary Gold</image:title>
      <image:caption>M. C. Escher, Self Portrait in Spherical Mirror, 1935.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1468753136049-JYXI0WCC45172MIGYHHF/image-asset.jpeg</image:loc>
      <image:title>Ephemera - Our Gold Is Not Ordinary Gold</image:title>
      <image:caption>Rosarium Philosophorum, Frankfurt am Main, 1550.  "Aurum nostrum non est aurum vulgi".</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - Our Gold Is Not Ordinary Gold</image:title>
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  <url>
    <loc>http://www.aaroncheak.com/news/2016/3/6/coming-forth-by-day</loc>
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    <priority>0.5</priority>
    <lastmod>2021-03-07</lastmod>
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      <image:title>Ephemera - Coming forth by Day</image:title>
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    <loc>http://www.aaroncheak.com/news/2016/2/10/rhea</loc>
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    <priority>0.5</priority>
    <lastmod>2019-07-27</lastmod>
    <image:image>
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      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1455072609409-UQULV3KO5HYU2JLRW9OW/image-asset.jpeg</image:loc>
      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
      <image:caption>THIS IS PLANET EARTH — In Hellenistic cosmology, Kronus (Saturnus) represents the outer limit of the planetary spheres that encloses all earthly beings in the cycles of generation and corruption (the sublunary world, samsara).</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
      <image:caption>SIMON LE BON as AGATHOS DAIMON—The great Gnostic Simon le Bon, i.e. Simon ‘the good’, signifies the Platonic principle of the agathos daimon, the ‘good spirit’, hearkening back to the Egyptian nefer neter, ‘good god’, and thus to the divinities who transcend the slavery of samsaric existence imposed by Kronos and his false avatars. Le Bon clearly identifies with the good spirit (bon, agathos) versus the kakodaimon (evil demon). The name Simon itself should be seen as referencing the late antique Gnostic, Simon Magus.</image:caption>
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      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1455073415097-0CJOA67AEWJQ3MD7LBKU/842961_f520.jpg</image:loc>
      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
      <image:caption>WILD BOYS—An explicit reference to the William S. Burroughs novel of the same name, the film clip for Wild Boys features Simon le Bon—the Gnostic agathos daimon—strapped to a revolving mill symbolising the Wheel of Fortune, i.e. the vicissitudes of samsaric existence that we are fated to suffer until we free ourselves from the bonds of Archonic enslavement.</image:caption>
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    <image:image>
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      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
      <image:caption>Rhea riding a lion (Athenian red-figure vase, Museum of Fine Arts, Boston), prefiguring the eighth Major Arcana.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - Her Name is Rhea and She Dances on the Sand</image:title>
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  <url>
    <loc>http://www.aaroncheak.com/news/2016/1/19/gary-lachman</loc>
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    <priority>0.5</priority>
    <lastmod>2016-01-19</lastmod>
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      <image:title>Ephemera - Between Philosophy and Esotericism with Gary Lachman</image:title>
      <image:caption>Blondie. Left–to-right: Clem Burke, Jimmy Destri, Chris Stein, Debbie Harry, and Gary Lachman (a.k.a. Gary Valentine).</image:caption>
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  <url>
    <loc>http://www.aaroncheak.com/news/2015/12/31/the-alchemy-of-miami-vice</loc>
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    <priority>0.5</priority>
    <lastmod>2016-01-01</lastmod>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
      <image:caption>If Sonny Crockett represents the Sun or solar principle in the cosmos, the meaning of Ricardo Tubbs is more oblique. The name refers to the royal principle. Middle English Rycharde, from Old French Richard, from Old High German Ricohard “strong in rule”, is derived from Proto-Germanic *rik- “ruler”. This, in turn, is ultimately connected to the Proto-Indo-European root, *reg-, ‘king’. We do not have to look far in Hermetic symbolism before we find images of the Sun and the King. They are ubiquitous. In the chain of being, Sun and King are one. Crocket and Tubbs therefore represent two aspects of a single, royal-solar principle. Like the juncture of spiritual authority and temporal power, they form the double aspect of a single reality.</image:caption>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
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    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
    </image:image>
    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
      <image:caption>Crockett’s Armani summer suits are a covert reference to Pythagoreanism.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
      <image:caption>The use of colour in Miami Vice is a distinct alchemical code.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
    </image:image>
    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1451530432116-J4XWRR82YXUIY69QSSEY/miami.jpg</image:loc>
      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
    </image:image>
    <image:image>
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      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
      <image:caption>Pale pink suits hint delicately at the solar iōsis (the perfection in red).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1451607281070-KIOKQNVEK1J52047VC4X/image-asset.jpeg</image:loc>
      <image:title>Ephemera - The Alchemy of Miami Vice</image:title>
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  </url>
  <url>
    <loc>http://www.aaroncheak.com/news/2015/7/13/diaphany-a-journal-and-nocturne</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2016-01-28</lastmod>
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      <image:title>Ephemera - Diaphany: A Journal and Nocturne</image:title>
    </image:image>
  </url>
  <url>
    <loc>http://www.aaroncheak.com/news/2015/5/10/announcing-rubedo-press</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2016-01-28</lastmod>
    <image:image>
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      <image:title>Ephemera - Announcing Rubedo Press</image:title>
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  </url>
  <url>
    <loc>http://www.aaroncheak.com/news/2015/2/8/curiouser-and-mer-curioser-ruminations-on-a-hermetic-retrograde</loc>
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    <priority>0.5</priority>
    <lastmod>2017-12-03</lastmod>
    <image:image>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>The Greek god Hermes with serpent entwined caduceus. Roman relief depicting an archaistic form of the god, integrating characteristics from Archaic Greek iconography (6th century BCE) mixed with contemporary Roman forms (1st century CE). Metropolitan Museum of Art, New York City.</image:caption>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Grand Central Terminal, New York City. Flanked by Minerva and Hercules, Mercury is the central figure of the colossal Transportation, or The Glory of Commerce, by Jules-Felix Coutan (1914).</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Pazuzu, king of wind demons. Bronze statuette, Mesopotamia (8th–7th century BCE). Musée du Louvre, Paris, on loan to the Metropolitan Museum of Art, New York City.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423415861455-83C72DP1FJ1SJ5NPP5A1/MainConcourse</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Main Concourse, Grand Central Terminal.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423415226742-MM6QHK7MN1XWD2XFSOSU/Hiremy-Hirschl</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Adolf Hirémy-Hirschl, The Souls on the Banks of Acheron (1898). Österreichische Galerie Belvedere.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423410999771-WO5Y9NN0OZ8DSWH9YU3Z/Lamberti.jpg</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Virgin and child, attributed to Pietro Lamberti, Venice (c. 1430). Late Gothic with early Renaissance traits. Royal Ontario Museum, Toronto.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423411754533-YNDBQJG8NZRWU91DZKWP/Antimony</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Playing with fire. Making the Star Regulus of Antimony at Robert Allen Bartlett's Spagyricus Institute. (Tulalip, Washington, November 2014).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423412062852-JDQOVXSYCIYBRMTGOKUD/Grueneslicht</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423446499727-CCJNHQLWVN7MG90R84CV/buddhanature</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>The golden embryo as Buddha Nature (Tathāgatagarbha).</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1423401049784-75PJPNCO66AVTT1028DJ/TarkovskyStalker</image:loc>
      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>Tarkovsky, Stalker, 1979.</image:caption>
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    <image:image>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
      <image:caption>The Pharaoh Horemhab as scribe, bearing the Hymn to Thoth on his knees. New Kingdom, 18th Dynasty (c. 1323–1295 BCE). Metropolitan Museum of Art, New York City.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
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    <image:image>
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      <image:title>Ephemera - Curiouser and Mercurioser: Ruminations on a Hermetic Retrograde</image:title>
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  <url>
    <loc>http://www.aaroncheak.com/news/2014/12/22/the-sun-stands-still</loc>
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    <priority>0.5</priority>
    <lastmod>2016-06-20</lastmod>
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      <image:title>Ephemera - The Sun Stands Still</image:title>
    </image:image>
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      <image:caption>Still from Tarkovsky's Nostalghia, 1983. "Separation of light from darkness, of the dry land from the waters".</image:caption>
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      <image:caption>Michangelo, Awakening Slave, c. 1525-30.  Galleria dell'Accademia, Florence.</image:caption>
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      <image:caption>Alchemical Traditions: From Antiquity to the Avant-Garde, edited by Aaron Cheak. 684 pp., 40 illustrations. 2013; Revised edition, Rubedo Press, 2018 (forthcoming).</image:caption>
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      <image:caption>Diaphany: A Journal and Nocturne, edited by Aaron Cheak and Sabrina Dalla Valle, 270 pp., fully illustrated. Rubedo Press, 2015.</image:caption>
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      <image:caption>Grand trine formed between Saturn inLibra, Moon in Gemini, and the Stellium in Aquarius.</image:caption>
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      <image:caption>The goddess Nut swallowing the Sun (Re).</image:caption>
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      <image:caption>The Union of Wisdom and Method—Kalacakra and his Consort.</image:caption>
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      <image:caption>Nicholas Roerich, Forging the Sword (Nibelung), 1941.</image:caption>
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      <image:caption>From Tarkovsky's polaroids.</image:caption>
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      <image:caption>Man Ray, Le Baiser (The Kiss), 1930.</image:caption>
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      <image:caption>Still from Ingmar Bergman’s "Det sjunde inseglet" (The Seventh Seal), 1957.</image:caption>
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      <image:caption>Lucas van Valckenborch, Tour de Babel (Tower of Babel), 1535–1597</image:caption>
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      <image:caption>Still from Tarkovsky’s Solaris, 1972.</image:caption>
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      <image:caption>Column of Antoninus Pius, 161 CE.</image:caption>
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      <image:title>Waters Animating and Annihilating</image:title>
      <image:caption>The goddess Nut (night) swallowing the Sun. Book of Night, Tomb of Rameses VI.</image:caption>
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      <image:title>Notes on Hermeticism by R. A. Schwaller de Lubicz</image:title>
      <image:caption>René "Aor" Schwaller de Lubicz, 1936</image:caption>
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      <image:title>Notes on Hermeticism by R. A. Schwaller de Lubicz</image:title>
      <image:caption>Vladimir Kush, Sunrise by the Ocean.</image:caption>
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      <image:title>Notes on Hermeticism by R. A. Schwaller de Lubicz</image:title>
      <image:caption>Schwaller's laboratory in the South of France contained all the accoutrements of a practicing alchemist. Still from footage taken by Christian Dumolard.</image:caption>
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      <image:title>Notes on Hermeticism by R. A. Schwaller de Lubicz</image:title>
      <image:caption>Jean-Julien Champagne, Le Vaisseau du Grande Œuvre  (Vessel of the Great Work), 1910. Champagne was Schwaller's closest alchemical collaborator and a disciple of the mysterious Fulcanelli.</image:caption>
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      <image:title>Notes on Hermeticism by R. A. Schwaller de Lubicz</image:title>
      <image:caption>The alchemist facilitates the growth of the metallic seed towards its two fruits or perfections—silver and gold. Emblem twelve from Michael Maier's Symbola Aureae Mensae, Frankfurt, 1617.</image:caption>
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      <image:caption>‘One is the serpent whose poison is doubly composed’ — Cleopatra.</image:caption>
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      <image:title>Circumambulating the Alchemical Mysterium</image:title>
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      <image:title>Circumambulating the Alchemical Mysterium</image:title>
      <image:caption>Detail: Stylised ouroboros from Cleopatra’s Chrysopoeia. The outer coil reads: ‘One [is] the all, the source of all, and the culmination of all; if the all did not contain the all, it would be nothing’. The inner coil reads: ‘One is the serpent, which has its poison according to two compositions’. Left-to-right, the symbols at the centre are the Hellenistic signs for moon, mercury and sun</image:caption>
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      <image:title>Circumambulating the Alchemical Mysterium</image:title>
      <image:caption>Jade ouroboric dragon coloured with cinnabar, Shang-Zhou Dynasty, circa 1150–950 BCE. Victoria and Albert Museum, London.</image:caption>
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      <image:title>René Schwaller</image:title>
      <image:caption>Alsatian Egyptologist and Hermetic philosopher, René Schwaller de Lubicz. Plan-de-Grasse, c. 1960.</image:caption>
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      <image:caption>Botticelli, Nascita di Venere (The Birth of Venus) 1486</image:caption>
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      <image:caption>Ouroboros, Paris MS. 2327 fol. 196. One serpent (ophis), two natures or poisons (iōn: fixed and volatile); three ears (the three volatile spirits); four legs (tetrasōma: the four bodies or elements).</image:caption>
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      <image:title>The Hermetic Problem of Salt</image:title>
      <image:caption>Signs for Salt, Column Two, Lines 15-20. Marcellin Berthelot, Introduction à l’étude de la chimie des anciens et du moyen âge I, 108.</image:caption>
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      <image:caption>Relationship between Tria Prima and Tetrastoicheia. Trinity (Sulphur-Mercury-Salt) begets quaternary (Fire-Air-Water-Earth). The juncture of Fire and Earth (abstract and concrete) is the means by which the end of the series is linked to its beginning. Diagram after Schwaller and VandenBroeck.</image:caption>
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      <image:title>The Alchemical Chiasmus</image:title>
      <image:caption>  Hieronymus Bosch (c. 1450–1516), ‘Creation’ (exterior shutters of ‘The Garden of Earthly Delights’.  Circa 1480–1490, Museo del Prado.</image:caption>
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      <image:caption>René ‘Aor’ Schwaller de Lubicz (1887-1961). Artist, alchemist, Egyptologist, Neopythagorean, and Hermetic philosopher. Pictured here during the epoch of Suhalia (1922-1929), St. Moritz, Switzerland. Image reproduced from frontispiece to R. A. Schwaller de Lubicz, La Doctrine: Trois conférences faites à Suhalia, 1926 (Par Aor). St. Moritz: Officina Montalia, 1927.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458026487815-WWO0Q14E65UBLDRE1ODZ/image-asset.jpeg</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Jean-Julien Champagne (1887-1932). Artist, alchemist, inventor, and the foremost name behind the mystery of Fulcanelli. Champagne was Schwaller’s closest Hermetic collaborator on the operative alchemical opus for almost twenty years. Image source: Christian Dumoulard (www.hermetism.free.fr).</image:caption>
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      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Title page of Le Mystère des cathédrales et l’interprétation ésotérique des symboles hermétiques du grand-œuvre. Paris: Jean Schmidt, 1926.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458078843201-VOZ2SFH37X6QRXEFFQNA/image-asset.jpeg</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>O. W. de Lubicz Milozs (1877-1939). Poet, noble, and diplomat, in 1919 Milosz bequeathed the chivalric title « de Lubicz » to René Schwaller, officially adopting him into his clan. Image source: www.archerjulienchampagne.com.</image:caption>
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      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Station Scientifique de Suhalia, St. Moritz, Switzerland. Complete with laboratory, forge, looms, printing press, and observatory, Suhalia provided the ‘philosophical mansions’ of Schwaller and his entourage throughout the 1920s. Photograph, A. Cheak, St. Moritz, 2005.</image:caption>
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      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>View from Suhalia. ‘What is Aor? Aor is that which, one night at sunset, from high atop a frozen, flame red peak, said to me—listen!’ (Schwaller de Lubicz, L’Appel du feu, 1926). Photograph, A. Cheak, St. Moritz, 2005.</image:caption>
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      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Title page of Schwaller’s 1926 work, Adam l’homme rouge (Adam the Red Man).</image:caption>
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      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>North Rose Window of Cathédrale Notre-Dame de Paris. The stained glass of the oldest gothic cathedrals was believed by the alchemists of the Parisian alchemical revival to have been coloured using esoteric methods lost to the modern world. Between 1913 and 1932, Schwaller and Champagne worked exclusively on achieving these mysterious blues and reds. Their efforts pivoted firstly on the animation and isolation of the volatile spirit of metals, and secondly on marrying this sulphuric lustre to a body of molten glass. Panoramic photograph, Julie Anne Workman, 2010.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458085589775-JBJN8QZLX8REKP4QVTN3/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>The alchemical colour theory of René Schwaller de Lubicz. In the Hermetic tetraktys, unity divides itself into the primordial polarity of warmth (red-orange-yellow) and coldness (blue-violet-indigo), which merge to form the temperate colours (yellow-green-blue). The interaction of the two poles creates the primordial triads of the alchemical tria prima—sulphur, mercury, salt—(orange, green, violet). The interaction of the triads forms the four elements—fire, air, water, earth—(red, yellow, blue, indigo). Diagram by A. Cheak.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458099732695-E0DSBJKNGP2VZ8T4JOJD/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>The alchemical triads: sulphur, mercury, salt. Each triad is headed by a principle (composed colour) that is the synthesis of two non-composed, elemental colours: sulphur (red-orange-yellow); mercury (yellow-green-blue); and salt (blue-violet-indigo). The first two triads are in a sense ‘perfect’: the principial colour is in fact the proper mean term between the elemental colours: red + yellow = orange; yellow + blue = green. But the third triad presents an anomaly: it ‘should’ be blue + red = violet. The red that ‘should’ be there—the impulse that is equivalent to the culminating note of the octave, is not there. Indigo is. Diagram by A. Cheak, 2014.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458100206055-JH5OOPG6E5DRGM95C8J6/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Indigo’s secret fire. The fire that must be joined to water in the alchemical opus is to be found not in ordinary fire (under sulphur), but in the fire of the earth, under the ægis of salt. This mysterious lustre, this ‘call of fire’, is the arcanum that links the end of the spectrum to its beginning. Diagram by A. Cheak.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458100639449-KPMZCYEO330BYGYH6RMZ/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Kamuef (‘the bull of his mother’), Tomb of Ramses IX. In this image, Schwaller saw the Pythagorean principle of tri-unity. In Egyptian theology, ka (‘bull’, ‘spirit’) indicates the active masculine force in the triad; mut, the ‘mother’, represents the feminine receptive force; while the child or son represents the product. The paradox that binds the three aspects of this lineage into a triangular unity lies in the fact that the son, by recapitulating (indeed reincarnating) his father, becomes thereby the bull (spirit and inseminator) of his mother. In short, he is the father of himself. Rather than being a simple ‘product’, he exists both in a primary state, ‘before’ the separation or differentiation into gendered polarity (male-female) and in an ultimate state, ‘after’ the two poles have been differentiated and then recombined (the alchemical conjunctio or cohabation). Reproduced from R. A. Schwaller de Lubicz, The Temple of Man: Apet of the South at Luxor. Rochester, Vermont: Inner Traditions International, 1999.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458101022740-GMPI81Y7DPCI7O4AKLIH/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Moriendo renascor (‘In dying I am reborn’). Bone, vine, and phoenix represent the palingeneses of the vegetable and animal kingdoms from their mineral foundation. For Schwaller, the human femur—the largest bone in the body—was the repository of the fixed alchemical salt, the immortal mineral remains that neither fire nor putrefaction can destroy, ‘the last in corruption and the first in generation’ (Steeb). The incorruptible ashes or salts were regarded by Schwaller as the passive register that preserved an entity’s acquired consciousness, and the agent of all mutations between kingdoms and species. Photograph, A. Cheak, Èze-sure-mer, 2005.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/53ae7cf8e4b09f75e9efdc6a/1458101290330-MXQTUZSNQ9ID6A11LIU3/image-asset.png</image:loc>
      <image:title>The Call of Fire—The Hermetic Quest of René Schwaller de Lubicz</image:title>
      <image:caption>Aor at Plan-de-Grass, 1960. In 1955, Raoul Jahan described Schwaller as ‘bearing an astonishing resemblance to Einstein’. He recalls how ‘for three hours he spoke, answered our questions and smoked three packets of Gold Flake without interrupting himself’. Reproduced from André VandenBroeck, Al-Kemi: Hermetic, Occult, Political, and Private Aspects of R. A. Schwaller de Lubicz. Inner Traditions/Lindisfarne Press Uroboros Series v. 1. Rochester, Vermont: Lindisfarne Press, 1987.</image:caption>
    </image:image>
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      <image:title>The Alchemy of Desire</image:title>
      <image:caption>René ‘Aor’ Schwaller de Lubicz (1887-1961). Artist, alchemist, Egyptologist, Neopythagorean, and Hermetic philosopher. Pictured here during the epoch of Suhalia (1922-1929), St. Moritz, Switzerland. Image reproduced from frontispiece to R. A. Schwaller de Lubicz, La Doctrine: Trois conférences faites à Suhalia, 1926 (Par Aor). St. Moritz: Officina Montalia, 1927.</image:caption>
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