Heinrich Khunrath
Heinrich Khunrath (c. 1560 – 9 September 1605), was a notable German figure of the late 16th century. Revered as not only a physician but also as a hermetic philosopher and alchemist, his work held significance in bridging the realms of John Dee's philosophy and the emergence of Rosicrucianism. It is worth noting that the name "Henricus Künraht" was adopted as a pseudonym by the publisher of Baruch Spinoza's Tractatus Theologico-Politicus in 1670.
Khunrath, born in 1560 in Dresden, Saxony, was the son of merchant Sebastian Kunrat and Anna. He had a brother, Conrad Khunrath. Conrad was a German merchant, alchemist, mint worker, doctor, author, editor, and translator. He is particularly important as the author of Medulla destillatoria, a work of Paracelsian iatrochemistry(Using alchemy to provide chemical solutions to diseases and medical ailments. which was published in many editions for well over a century.)
Heinrich Khunrath enrollment at the University of Leipzig in 1570 under the name Henricus Conrad Lips, adds to the mystery surrounding his life due to his use of multiple aliases. However, his definitive academic milestone came in May 1588 when he enrolled at the University of Basel in Switzerland. His dedication was evident as he earned his Medicinæ Doctor degree on 3 September 1588 after defending twenty-eight doctoral theses.
Khunrath, a follower of Paracelsus, practiced medicine in Dresden, Magdeburg, and Hamburg and potentially served as a professor in Leipzig. His travels after 1588 took him to various places, including a sojourn at the Imperial court in Prague, where Rudolf II, a Holy Roman Emperor with a keen interest in mysticism, resided. Prior to Prague, Khunrath crossed paths with the renowned John Dee in Bremen on 27 May 1589, amidst Dee's homeward journey from Bohemia. Khunrath lauded Dee in his subsequent writings. At the court, he encountered the alchemist Edward Kelley, who had stayed on following his separation from Dee (Kelley faced arrest on 30 April 1591 under suspicions of impersonation). By September 1591, Khunrath secured the position of court healer for Count Rosemberk in Trebona. It is likely that he encountered Johann Thölde while in Trebona, an individual believed to be associated with the authorship of the alchemical works attributed to "Basilius Valentinus."
The Twelve Keys of Basil Valentine is a widely reproduced alchemical book attributed to Basil Valentine. It was first published in 1599 by Johann Thölde who is likely the book's true author. It is presented as a 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 1599 edition does not include illustrations. Woodcuts appear in the 1602 edition. Revised engravings for all twelve steps appear in Tripus Aureus ("Golden Tripod"). This 1618 Latin translation by Michael Maier includes three works, the first of which is Basil Valentine's.
Khunrath's encounters with John Dee and Thölde, as well as his embrace of Paracelsian beliefs, spurred the development of a Christianized natural magic. In his quest for the elusive prima materia that promised eternal wisdom, he integrated Lutheran theology into his mystical pursuits.
Azoth - the universal solvent, the universal cure and the elixir of life.
Azoth is said to embody all medicines. Paracelsus is said to have achieved the Azoth and in the 1567 Rosicrucian portrait, the pommel of his sword bears the inscription Azoth. The first part of the Archidoxes magica bears the title Liber Azoth which contains magic sigils and recipes for protection against illness and injuries. Also another term for the Philosopher’s Stone.
Azoth is also believed to be the animating energy of the body & the enthusiasm that moves the mind; the mysterious evolutionary force that drives the physical and spiritual towards perfection = Light of Nature or the Mind of God.
Symbolized by the Caduceus, it is believed to be the essential agent of transmutation in alchemy. Etymology traces Azoh to medieval Latin as a modification for “azoc” which was derived from the Arabic word meaning, ‘the mercury’.
Crowley said it represents a unity of beginning and end by connecting the first and last letters of ancient alphabets: A (Aleph, the first character in the Phoenician alphabet), Z (Zeta, the final character in the Latin alphabet), O/Ω (Omega, the final character in the Greek alphabet) and Th/ת (Tav, pronounced "Tau", the final character in the Hebrew alphabet). The permeation and totality of the beginning and end symbolize the supreme wholeness and the universal synthesis of opposites as a 'cancellation' (i.e. solvent) or 'cohesion' (i.e. medicine). Therefore, it is believed to be similar to the philosophical "absolute" of Hegel's dialectic. Crowley referenced Azoth in his works as "the fluid".
I think its interesting how Dee and Khunrsth met. John Dee and Edward Kelley had just completed their 5 year trek through Europe ending their tour in the Czech-Republic. At this point in time, Dee assumes Kelley is accompanying him back to England. But Kelley stays behind. As you mentioned, John Dee leaves Bohemia to return home. At the same time, after his graduation in 1588, Khunrath began traveling and was en route to Prague, when he runs into John Dee in Bremen, in May of 1589. Some scholars say Khunrath went to meet John Dee, others indicate it was a chance encounter between Khunrath heading to Prague to hold an audience for Rudolf II and Dee’s “homeward journey” back. Khunrath, who would then travel on and stay in the court of the Holy Roman Emperor Rudolf II von Habsburg in Prague and also ends up meeting Kelley who was also in attendance at Rudolf II’s court around the same time.
There are 2 important points to mention, the backstory if you will - (1)According to Dee’s Spiritual Diary, he writes that Kelley had achieved the Philosopher's Stone in 1587 and gave a public demonstration of it in Trebona. And while most scholars and historians can be quoted as saying Kelley was a trickster, this public demonstration would allow for eyewitness account of this rare achievement. (2)Following Dee and Kelley parting ways, Dee writes that Kelley showed him the secret of the Philosopher’s Stone.
→only mentioned as PS, but never describes it (which the case w/ others)
→after being shown the PS, Dee doesn't seem to attempt it himself
The meeting between Khuranth and Dee would prove quite influential as Khunrath would later be appointed physician to Dee’s erstwhile patron, close supporter of Rudolf II and would go on to quote Dee extensively throughout his work, pointing to the fact that he held Dee in very high regard.
His first writing, De Signatura Rerum Naturalium theses, published in Basel in 1588 Khunrath explored the concept of Signatura Rerum, which translates to the “signature of things.” According to this theory, the external appearance of natural objects reflects their internal essence or force. In other words, the visible features of things serve as signs or symbols of their hidden properties.
De Signatura Rerum Naturalium (On the Signatures of Natural Things) consists of 28 theses. These theses are considered a precious document of the academic recognition of the Paracelsian-alchemical interpretation of nature in the Basel Medical Faculty. They also support the revolutionary Paracelsian call for a reform of medicine.
Regarding the thesis of On the Signatures of Natural Things, for this specific time period, it was a rare example of a physician promoting the doctrines of the revolutionary Iatrochemist Paracelsus in the academy. In fact, Paracelsus had taught at the exact same academy that Khunrath was graduating from. If you recall in the 2nd episode we did on grimoires, we discussed Paracelsus at Basel(1527) and his subsequent banishment from Basel for being a nonconformist.
Upholding the significance of experience and observation in alchemical exploration, Khunrath approached his work as both an alchemist and a natural philosopher. His renowned piece, the Amphitheatrum Sapientiae Aeternae, delves into the esoteric realms of alchemy, encapsulating his spiritual interpretation of the craft. Featuring the iconic engraving "The First Stage of the Great Work," commonly known as the "Alchemist's Laboratory."
To place into context, Khunrath’s Ampthitheatre published in 1595 is said to be influenced by Dee’s Monas Hieroglyphica which was published in 1564. So because of this influence, Khunrath’s Ampthitheatre is also going to contain 3 sacred languages, with Pythagorean neoplatonic Kabbalah but infused physical Alchemy. A bit of discrepancy as Dee’s work was largely spiritual alchemy and yet, with Khunrath’s work, it was more physical alchemy- centric. Even moreso, as we read how influential Dee was on Khunrath and other physical alchemists, this influence seems a bit anomalous since it is said that Dee had demonstrated very little success with physical alchemy. According to Dee’s diaries, its not until the 1580’s that he is pursuing actual alchemical experiments. Up until that point (1580’s), Dee had been traveling to lecture and collecting books and for all intents and purposes showed little interest in physical alchemy. I believe he is more often regarded as a theoretical alchemist and the Monas Hieroglyphica is more effectively viewed via a theoretical/philosophical/spiritual lens. I’m drawing this assumption from Dee’s correspondences (letter to Maximillian) where he refers to its interpretation as a discussion on the creation of the universe via Biblical and Neoplatonic sources and touches upon sacred geometry (Euclidean geometry and a precursor to Enochian content).
Some similarities between the work of Dee and Khunrath is that Khunrath (1) makes the same and quotes Dee’s distinction between real and spoken Kabbalah, (2) uses the same Greek associations to the eternal “real” world of “being” or a “Kabbalah of being” associated with neoplatonic world of perfect forms to a “transmutable world of becoming” by where everything changes into something else”. Khunrath extensively quotes Dee and we read that Dee wrote an inscription in Monas Hieroglyphica to comment on those who took his work and failed to acknowledge him or give him credit. You almost wonder if during Khunrath’s time with Dee, Dee impressed upon him his grief about this that he goes on to pay Dee his due.
The Amphitheatre's illustrations are unparalleled in their detailed and complex depictions, earning recognition as some of the most significant mystical drawings globally. They serve as surreal landscapes and initiatory journeys, akin to a magical ascent reminiscent of Christian Rosencreutz’s tomb in the Fama. Jacques van Lennep compares them to visual mazes and logographs, constituting the first Paracelsian illustrative cycle, marking a milestone in the evolution of alchemical symbolism. Noteworthy for their historical importance in alchemical imagery, these illustrations predate renowned alchemical emblem books like those by Michael Maier, Johann Daniel Mylius, and Daniel Stolcius, showcasing a level of sophistication surpassing their predecessors such as Arnold of Villanova's Rosarium Philosophorum series (1550) or Petrus Bonus' Pretiosa Margarita Novella (1546).
The Amphitheatre exists in two main versions, known for their rarity and distinctive features. One version, dated back to 1595, is extremely scarce, with only four existing printed copies. On the other hand, a later and enlarged 1609 edition is more widely available, commonly housed in the rare book collections of prominent libraries globally. The 1595 edition, comprising 25 pages, showcases uniqueness through hand-colored circular 'theosophical figures,' accompanied by explanatory text, adding a rich layer of depth and intrigue.
Although no place or publisher is given on the title page, Hamburg is the most likely place of publication as all four engravings bear the inscription:
Heinrich Khunrath of Leipzig, lover of theosophy and Doctor of Medicine, inventor, by the grace of God. Paullus von der Doort Antwerp engraved [this] in Hamburg, in the year 1595 since the birth of Christ, in the month of April (May, July, September).
The fourth and most famous image of the Adept in his Oratory-Laboratory also includes the words “H.F. Vriese painted [it].
The engraver Paul, or Peter van der Doort (or Doost), served as the Superintendent of the Dutch Poor in Hamburg during that period. His portfolio features a diverse array of works, such as a vivid portrayal of the Holy Family, a detailed rendering of a sailing ship, and a picturesque view of Hamburg capturing individuals adorned in period-appropriate attire. Notably, the unique perspective of the fourth figure was meticulously crafted by Hans Vredeman de Vries, a highly regarded Netherlandish artist, draftsman, and an authority in perspectival drawing and architectural design. De Vries, renowned for his influential publication "theatrum Vitae Humanae" (1577), made a significant move from Gdansk to Hamburg in 1595 following his involvement in fortification designs and paintings within Gdansk's Court of Artus, the Red Room of the Town Hall, and several local churches. His journey to Hamburg possibly overlapped with encounters with Khunrath before he continued on to adorn chambers at the imperial palace in Prague.
Khunrath's intricate illustrations and teachings gained widespread recognition with the release of an expanded edition in Hanau in 1609. This alchemical classic seamlessly melds Christian symbolism with magical elements, showcasing Khunrath's expertise in spiritual alchemy and intricate journey towards enlightenment. Noteworthy within Lutheran circles, his work influenced prominent figures like Johann Arndt, who dissected the Amphitheatrum in his writings on devotion. Khunrath's musings, at times hinting at Kabbalistic theories, subtly foreshadowed the emergence of Rosicrucian ideals.
Renaissance historian Frances Yates considered him to be a link between the philosophy of John Dee and Rosicrucianism.
The Amphitheatre is why many associate Monas Hieroglyphica with kabbalah-based physical alchemy whose theme seems to not only influence Rosicrucianism but continues on, several 100 years on, to influence the founding members of the original Order of the Golden Dawn.
Khunrath may have encountered some opposition to his alchemical work because most of his publications on alchemy were published widely after his death. He died in either Dresden or Leipzig on 9 September 1605. The tension between spirituality and experiment in Amphitheatrum Sapientiae Aeternae brought about its condemnation by the Sorbonne in 1625.
Another famous writing is, the Universal Ter-tri-une Christian-Cabalist, Divinely-Magical, and Physico-Chemical Amphitheatre of the Only True Eternal Wisdom. A theosophical treatise that serves as a commentary on specific verses from the Solomonic texts of the Bible. Within this work, Khunrath aims to elucidate his "method of correct philosophizing" through a "mystical Ladder of Seven orthodox Grades”. It is regarded as "one of the most significant texts in the expansive realm of theosophical alchemy and occult sciences".
Heinrich Khunrath’s Confessio de chao physico-chemicorum catholico is a work written in Latin and published in 1596. In this text, Khunrath explores alchemical and mystical themes. Let’s break down the title:
Confessio de chao physico-chemicorum catholico: This translates to “Confession concerning the universal physical-chemical chaos.” It suggests an exploration of fundamental principles in alchemy.
Azoth sive Materia prima mundi, Mercurius sapientum: The term “Azoth” refers to the universal solvent or quintessence in alchemy. It symbolizes the transformative power that can purify and transmute base substances.
“Materia prima mundi” means the “prime matter of the world,” often associated with the elusive substance from which all things originate.
“Mercurius sapientum” refers to the philosophical mercury, another alchemical concept.
Ubi Magnesiae (subjecti videlicet Lapidis philosophorum catholici) conditiones fideliter recensentur: This part indicates that the work discusses the conditions related to “Magnesia” (likely referring to the philosopher’s stone) and its properties.
In summary, Khunrath’s Confessio delves into alchemical philosophy, exploring concepts like Azoth, the prima materia, and the philosopher’s stone. It’s a fascinating glimpse into the mystical and transformative aspects of early modern alchemy.
Magnesia catholica philosophorum, das ist, höheste Nothwendigkeit in Alchymia
“Universal Magnesia of the Philosophers: The Highest Necessity in Alchemy, Practical Guidance for Overcoming Obstacles, and Sufficient Proof of the Hidden Catholic Magnesia; Concerning the Secret, Miraculous Universal Stone According to the True Principles of Philosophers.”
In this writing Khunrath distinguishes between two primal matters, Magnesia: The universal primal matter, and Chaos: The primal matter of metals.
His Christianized view combines natural magic with Lutheran theology, seeking the secret prima materia that leads to eternal wisdom. Khunrath emphasizes experience and observation in alchemical research.
Wahrhafter Bericht vom philosophischen Athanor und dessen Gebrauch und Nutzen “True Account of the Philosophical Athanor and Its Use and Benefits.”
This rare text discusses the alchemical furnace known as the “athanor” and its practical applications. It was first published in 1595 and later reprinted in 1615. The book provides insights into alchemical processes and the symbolism associated with the athanor.
Khunrath’s alchemical interests span a broad spectrum, ranging from the traditional medieval transmutational art of gold-making, through investigation of the properties of plants, to the use of chemical medicines made from toxic substances like minerals and metals. His alchemical work, Quaestiones Tres (Three Questions, 1607), discusses philosophical saline solutions of gems and stones as treatment for Tartar-related ailments, which was a major concern of Paracelsian physicians. He is also interested in laboratory technology and writes of his invention of a special alchemical furnace with a transparent glass cover in the Truthful Report Concerning the Philosophical Athanor, 1599, and the same consideration of the importance of fire for alchemy also appears in De Igne Magorum Philosophorumque (1608).
With the term “Physico-Chemical” introduced in the Amphitheatre, Khunrath is emphasizing his interest in the investigation of the properties of matter and the secrets of nature, as a complement to his engagement in “Physical Medicine” (Physico-Medicina).
At the same time, in the very same work, Khunrath talks about the consideration of alchemy as a model for personal spiritual transformation.
When it comes to allegorical images, Khunrath demonstrates a clear preference for illustrating the alchemical process both through words and imagery. His renowned work, "On Primordial Chaos," is brimming with allusions to Green and Red Lions, Salamanders, Basilisks, and Phoenixes. The Circular Figure 3 within the Amphitheatre stands out as a prime example of elaborate alchemical symbolism, showcasing the hermaphrodite Rebis and the complex Hermes’ Bird intertwined with mentions of Lion’s blood, White Eagle’s water, and Virgin’s milk.
Noteworthy too is the rectangular engraving portraying the alchemical Citadel, featuring various creatures such as the grand dragon perched atop the Philosophers’ Stone, a smaller dragon nestled in the pool below, as well as iconic depictions of serpents consuming each other's tails to signify the volatile and fixed elements of the process, and the ouroboros representing both eternity and the cosmos.
Manly P hall Orders of the Great Work: Alchemy
Henry or Heinrich Khunrath
The name of Dr John Dee occasionally occurs in association with persons involved in the universal reformation. Dee resented certain comments on his book, Monas hieroglyphica, made by Andreas Libavius, and entered into a mild controversy with him. Libavius first attacked and then defended the early rosicrucian manifestos. DR Dee emerged as an astrologer, an ardent spiritist magician with a profound knowledge of hermetic mystery. Though it has been difficult to determine his correct place in the descent of the esoteric tradition. Dee is known also to have the acquaintance of henry kunrath, a mystical alchemist of distinction. Eliphas Levi refers to kunrath as "a sovereign prince of the Rosy Cross, worthy in all respects of this scientific and mystical title.
Henry kunrath doctor of divinity and of medicine, and Amateur D Sagesse, is reported to have attained the sixth degree of hermetic initiation which brought him to the threshold of adeptship. His principal contribution to the literature of mysteries was Amphitheatrum Sapientiae...
Several phantom editions of this work are referred to by early writers. Some of these probably exist, as i have examined a copy date in 1605 the amphitheatrum opens with an argument, setting forth the seven grades of the theosophical wisdom, and kunraths observations upon the matter of those grades are no doubt responsible for levi's unqualified endorsement.
As is usual of suspected initiates, few particulars are available of the life and activities of Henry Khunrath. He was born in Saxony about 1555, traveled extensively and held a doctorate of medicine from the university of Basle. In several respects his career paralleled the eccentric pattern previously established by Paracelsus, to whose writings Khunrath was profoundly indebted. Like the immortal Bombastus, the German physician was by temperament irritable and eccentric, and was given to a broad criticism of existing religious and educational institutions. Khunrath appears to have been a devout protestant and his natural choler was considerably softened by a devotional spirit. He was initiated by a German adept named Steiner, of whom nothing is known except that he was working in 1574 and left some writings, which were edited and compiled by a later alchemist.
To the point that Khunrath career paralleled that of Paracelsus - Paracelsus was an alchemical physician and had used alchemy primarily for medical purposes, however, he had not always distanced himself from transmutational alchemy; holding to the view that both alchemists and physicians possessed the ability to transform and purify elements and metals (transmutational alchemy) but human bodies as well (medical alchemy). Just as Paraclesus was a pioneer in marrying science to medicine through his methods of applying chemistry, Khunrath too seamlessly melded Christian symbolism with magical elements to ultimately marry alchemy and philosophical thought, for what he had infamously become well-known for.
Khunrath practiced medicine, first at Hamburg and later at Dresden. He was not especially successful as a practitioner, probably due to his disposition; and he died the 9th of September 1601, at the age of about 45 years. The amphitheatrum is said to have been among Khunrath's manuscripts and was presented to the world through the industry of his friend, Erasmus Wolfart, who added a preface. The book is remarkable for a magnificent series of engravings, setting forth the mysteries of christian kabbalism and alchemy. These plates were engraved in Antwerp, and several of them are dated 1602. The book presents many confusing details, and suggests that it was compiled by a group with diversified resources.
The phrase Christian Kabbalah is said to have been first used by Khunrath, and even though some have traced it back to Pico della Mirandola and Agrippa, it was Khunrath that used it to explicitly, that and the phrase ‘Divine magic’
Certain of Khunraths diagrams with modifications reoccur in later works claiming to have originated in the sanctum of the Rosy Cross. This mystic citizen of the Eternal Kingdom as he has been called was evidently familiar to Michael Maier, and hkunrath's name has also been linked with Dukes of Brunswick, who took such kindly interest in the career of Johann Valentin Andrea. The interlocking careers of most if not all of the early rosicrucian apologists stimulate reflection.
Jakob Boehme, the psychochemical mystic, received his illumination about the time of Khunrath's death, and inherited the principal concepts with which Khunrath was concerned. The hermetic doctrine, as unfolded in the amphitheatrum, is a kind of christian yoga. The path of initiation begins with purification-the cleansing of the inner life and with the realization that illumination is possible only to those who have purified their consciousness of all worldliness. The second step is a discipline for controlling the sensory perceptions and the attainment of an inner stillness, by which the human soul is rendered capable of receiving in meekness and humility the light of the eternal. The true stone of the philosopher is the transmuted and regenerated soul of man, which not only attains to its own perfection but can also bestow itself and its power upon other creatures. Thus the powers of the christened soul become the Universal Medicine by which all impure natures attain to health and eternal life in God through christ. Thus the world is made flesh by the mystery of art. The hermetic Elixir is truth itself which, revealed in the human heart, perfects Nature. The adept is the living stone which, rejected by those who build in darkness, becomes, by the glory of God, the head of the corner.
Many of the alchemists, especially those of the previous century, emphasized the physical transmutation of metals, and spent their goods in the quest of temporal wealth. Khunrath does not appear to conflict with the testimony of the great Masters who preceded him, but he really emphasized a doctrine already cautiously circulated but frequently overlooked by avaricious gold makers. By this emphasis he exposed the genuine proportions of the albigensian heresy. These persecuted mystics taught a way of divine union. The regeneration of man and his institutions could be attained only by symbolic resurrection. The soul, when lifted up to God by illumination, drew all other mundane things unto itself. Only the perfected man could rescue his mortal institutions.
Thus, in the Rosartum Philosophorum, the consummation of the Great Work is symbolized by the resurrection of Christ, crowned with glory, who is depicted stepping from a sepulcher from which a heavy lid has been rolled away. The association of cabalism, alchemy, and transcendental magic with the emblems of Christian redemption did not originate in the 16th or 17th century, but was rescued at that time from the lost Gnosis. The esoteric tradition merely emerged as the operative key to a faith which had languished for centuries in a state of general benightedness.
The Mysteries always operated through two parallel streams of descent. The philosophical Orders emphasized the wisdom aspect of the Universal Mystery. The mystical Orders stressed the devotional aspect. Thus understanding and faith, identical in content, accomplished two works in one. Through understanding, the initiate overcame the illusion of worldliness, and through faith, he attained to participation in the substance of the Divine.
Naturgemes-alchymisch symbolum
Manly P. Hall mentioned in his Lectures on Ancient Philosophy 1929, which was a companion to his more famous book The Secret Teachings of All Ages, that there was a small group of adepts that had withdrawn from the “the order” - I believe here he was referring to the Order of the Golden and Rose Cross, which was made up of alchemists, Roscrucians, Cabalists and Magicians - and had remained “inactive”, retiring to what they termed the “House of the Holy Spirit”. This was where these adepts were said to be enveloped by certain “mists” impenetrable to the eyes of the profane. Among these reclusive adepts, as Hall would refer to them, were Henrich Khunrath, as well as Michael Maier and Robert Fludd (whom I believe we will cover in the future) and said that although they lacked the solidarity of a defined fraternity would occasionally initiate a candidate and still meet annually at a specified place.
In addition, one of Khunrath’s plate from Amphitheatrum appears in ‘The Mystery of the Three Worlds” chapter of Hall’s Man-The Grand Symbol of Mysteries to illustrate the philosophical androgyne that Hall discusses and also in Hall’s The All-Seeing Eye monthly magazine. A more in depth description of Hall’s thoughts on these we’ll go into on the next episode.
Side Note - I’ve always found it odd that the CIA.gov website contained a full text copy of the Secret Teachings of All Ages book
In his Vom Chaos (1597), Khunrath tells the reader that he learned the secrets of the Art by experience and the grace of God. Khunrath was a prolific reader and says that he received instruction from a certain learned master of the Kabbalah - who was the 1st to show him the procedure he discusses in Lux Lucens in Tenebris (“A Shining Light in the Darkness”) - and details his work in the laboratory and describes the production of a Philosopher's Stone that is capable of transmuting both metals and the human body. Lux is considered unique in that allows the reader a peek into Khunrath’s laboratory praxis and exposes the crucial source material for the alchemical process – what would today be called tetrachloroauric acid – which in all other of Khunrath’s printed works remains veiled in accordance with alchemical custom.
Lux Lucens in Tenebris opens with two paraphrased and fused passages from the book of Daniel and Psalms as a grateful prayer to God for allowing him insight into the workings of Nature. In his Vom Chaos, Khunrath identifies the light mentioned in Psalms 36.9 (369 = vortex mathematics) as the Light of Nature, which all true practitioners of Christian Kabbalah, divine magic and alchemy have sought both in the liber mundi and within themselves, lending them great power. This dual aspect of the Light of Nature is also found in Khunrath’s thought, as the Light of Nature is the source of the alchemist’s knowledge and power and found throughout Creation, from the angels, sunlight and empyrean waters to the creatures and metals of the earth – the everlasting spirit of God itself. The fountain of life mentioned in his prayer denotes the life-imparting distillation processes within the alchemist’s vessel, which itself is a microcosm of God’s Creation.
Khunrath continues in Lux Lucens in Tenebris with a customary condemnation of being in godless times, in which the true science of Nature granted by God to humankind has been lost and the wrath of God has been brought down upon society by those who care only for their own selfish goals. The same sentiments concerning the loss of the Prisca Sapientia are found also in the opening words of the Fama Fraternitatis (1614), although there the restoration of the “spotted and imperfect arts” is said to be well underway.
However, in Khunrath’s eyes, the ‘old philosophers and magi’ amongst the pre-Christian pagans held the wonders of God’s Creation in higher esteem than certain so-called Christians. Indeed, through their researches into the destruction and rebirth of metals they not only came to recognise the manner in which the human body may similarly be reborn, but also became aware of the existence of the Holy Trinity, the birth of the Saviour from a virgin, the transfiguration of the body of Christ, and his resurrection and return to his Father. In the late 5th century Theosophia, for example, followed certain of the Church fathers in claiming that the Sybilline oracular prophecies and the wisdom of ancient ‘theologians’ such as Orpheus demonstrated pagan foreknowledge of the coming of Christ, whilst Pierre Abélard controversially attributed knowledge of the Trinity to Plato. Although the passion of Christ had been employed since the Middle Ages to figuratively portray the alchemical work, Khunrath’s innovation here is his suggestion that such mysteries were actually revealed to the ancients through the art of alchemy.