und (as Hoehler relates) in a
book that appeared in Frankfort in 1618, called "Joannes Danielis Mylii
Tractatus III, seu Basilica Philosophica," though it is to be seen also in
other books on alchemy. The hermaphrodite stands on a dragon that lies on
a globe. In the right hand he holds a _pair of compasses_, in the left a
_square_. On the globe we see a _square_ and a _triangle_. Around the
figure are the signs of the seven planets, with [Symbol: Mercury] at the
top. In a cut in the Discursus Nobilis of John of Munster we see _sun_ and
_moon_, at the middle of the top the _star_ [Symbol: Hexagram], also
denoted by Y = {~GREEK SMALL LETTER GAMMA~}{~GREEK SMALL LETTER LAMDA~}{~GREEK SMALL LETTER ZETA~} (= matter) surrounded by _rays_. (Hoehler, Herm. Phil.,
p. 105.)

In the cabala, which has found admission into the idea of the alchemists
and rosicrucians, no small part is played by _three pillars_ and _two
pillars_.

Tubal Cain was renowned as a great alchemist. He was the patriarch of
wisdom, a master of all kinds of brass and iron work. (Genesis IV, 22.) He
had the knowledge not only of ordinary chemistry and of the fire required
for it, but also of the higher chemistry and of the hidden elemental fire.
After the flood there was no other man who knew the art but the righteous
Noah, whom some call Hermogenes or Hermes, who possessed the knowledge of
celestial and terrestrial things.

One devoted to art must be a _free man_ (Hoehler, l. c., p. 66). The
_ordinale_ of Norton establishes it more or less as follows: "The kings in
the olden time have ordained that no one should learn the liberal sciences
except the free and those of noble spirit, and any one who is devoted to
them should devote his life most freely. Accordingly the ancients have
called them the seven liberal arts, for whoever desires to learn
thoroughly and well must enjoy a certain freedom."

[Occult image.]

Figure 3.

Very frequently one finds in the alchemists images of _death_: grave,
coffin, skeleton, etc. Thus in Michael Maier's, Atalanta Fugiens, the
Emblema XLIV shows how the _king_ lies with his crown in the _coffin_
which is just _opened_. On the right stands a man with a turban, on the
left two who open the coffin and let his joyful countenance be seen. In
the Practica of Basilius Valentinus the illustration of the fourth key
shows a coffin, on which stands a skeleton, the illustr