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Cramer’s Emblemata Sacra, an Alchemical Heart Liber Mutus 1.
In the guise of apparent Christian moral teachings 17th c. German theologian Daniel Cramer presents the yearnings of a heart more suited to secret alchemical doctrines than the theology of piety.

In the Germany of the turn of the seventeenth century, in times of tremendous religious struggles, the outstanding Lutheran theologian Daniel Cramer (1568-1637) writes a book with very unorthodox and controversial images even for the world of the Reform, but which evidently passed as a theatrical and erudite form of meditation of the heart by a savant who had tried, as a young man, to make his way in the drama world. But Cramer wasn’t Shakespeare.

https://www.labyrinthdesigners.org/alchemic-pictures/cramer-emblemata-an-alchemical-heart-liber-mutus/
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Albrecht Dürer and the Backwards Apollo.

The puzzling Albrecht Dürer’s pen drawing portraying Apollo holding his inverted name is often found straightened out in the net. But the german painter thought it just like that, backwards.

https://www.labyrinthdesigners.org/alchemy-art/albrecht-durer-and-the-backwards-apollo/

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Andrea Pisano and the Weird Birth of Eve Rib. Part 3.
If Adam was created the sixth day, as a matter-light coming out of the dark-wild chaos, the rib symbology unravels his need to look at himself in a mirror: Eve
https://www.labyrinthdesigners.org/alchemy-art/andrea-pisano-and-the-weird-birth-of-eve-rib-part-3/
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Andrea Pisano and the Weird Birth of Eve Rib. Part 2.
If we keep to analyze the role of Adam as uprooted from the Genesis story, isolating him from the narrative contest, as a fish caught in dim waters, we will find us in a cul de sac when trying to give a role to Eve
.......https://www.labyrinthdesigners.org/alchemy-religious-art/andrea-pisano-and-the-weird-birth-of-eve-rib-part-2/
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Andrea Pisano and the Weird Birth of Eve Rib. Part 1.
In a panel by Andrea Pisano, in Giotto’s bell tower, we can see Eve as the rib’s birth by Adam. A religious nonsense, an intriguing puzzle for an alchemist.
The biblical verses in Genesis 2:21-22: “ And made Yahweh Elohim to fall on the Adam a deep sleep, and he slept, and He took a rib from him and closed the flesh underneath. And formed Yahweh Elohim to the beginning and the end of the rib, which was taken from the Adam into a woman and brought her unto the Adam “, these verses were summarized by the Middle Ages artists with iconographic simplicity and deep hermetic knowledge. In fact, only in the artistic masterpieces of this much undervalued epoch there could have been showed a giving birth of a rib by a man. And not two mates already formed, as the later standard Renaissance iconography had........https://www.labyrinthdesigners.org/alchemy-religious-art/andrea-pisanos-and-weird-birth-of-eve-rib-part-1/
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Orientation in Ancient Egypt: Pepi I with Horus Falcon.
Unusual orientation parameters in a statuette representing pharaoh Pepi I with a falcon may show a breaking of the inflexible Egyptian ritual rules relating to sacred geography.

Pepi I with Horus falcon seen from backAt a certain point of our civilization history, there was a swivel of the orientation axes for sacred buildings from solstitial to equinoctial, and this was almost apparent in ancient Egypt. To the reader unfamiliar with the ancient architectural lexicon, it is enough, for the moment, to know that the solstitial orientation – north/south – is almost Polar and Stellar (the Roman "Cardus"), while the equinoctial – east/west – follows the Sun ( the Roman "Decumanus"), although the Moon cannot be excluded, as it has rising and setting points similar to the Sun.............https://www.labyrinthdesigners.org/alchemy-sacred-geography/orientation-in-ancient-egypt-pepi-i-with-horus-falcon/

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Hans Memling’s Altarpiece with Boar and January 17. Is the presence of St Anthony the Abbot enough to hint at the date of January 17 in the scene? And why Hans Memling turns the saint’s pet pig into a bristly boar?

We know that among the Celts the boar embodied the lowest point of the winter solstice. While the representation of Saint Anthony the Abbot, in the Christian era, symbolically indicated a particular day in January, a detail that could have gone almost unnoticed if we do not find it often involved with dates that could seem more ritualistic than routine. For instance Nicolas Flamel’s legend and Rennes le Chateau affair do share “January 17” as a meticulously stressed important detail of death and resurrection, in Alchemy called Magisterium Magnum.........https://www.labyrinthdesigners.org/alchemy-religious-art/hans-memlings-altarpiece-with-boar-and-january-17/


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No metaphoric at all, this Hieronymus Bosch painting is as realistic as it could be: there is a real concert inside the philosophical Egg.

The third part of our alchemical works is known as “Ars Musicae”, or art of the music, because we can clearly detect it with our ears. The “light which can be seen with the ears” is an astonishing natural phenomenon which represents a sort of “door” for the very few lucky ones who witness the spectacle. Hieronymus Bosch is the renaissance painter who, per antonomasia, has better described every possible overtone of this weird aspect of Alchemy...........https://www.labyrinthdesigners.org/alchemy-decorative-arts/hieronymus-bosch-and-the-concert-in-the-egg/

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The Puzzling Child in the San Marco Treasure Ecclesiola.
Why had a child rear emerging from a bucket been embossed in the San Marco treasure reliquary-incense burner in the shape of a little church?

Historians have either paid no attention to it or come up with paradoxical explanations. But, if they had regarded it with alchemical eyes, they may have found some very interesting operative hints in that perplexing composition............https://www.labyrinthdesigners.org/alchemy-religious-art/the-puzzling-child-in-the-san-marco-treasure-ecclesiola/

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Holbein Dead Christ Builds his Grave. Is Hans Holbein’s Dead Christ in the Grave hopelessly without Life, or the real symbol of resurrection? An alchemical point of view on this enigmatic work.

Hans Holbein the Younger (1497-1543) was the son of a painter, Hans Holbein the Elder. When his family moved to Basel, he knew Erasmus of Rotterdam, who became one of his patrons, to these Thomas More was added when Holbein the Younger became a portrait painter to the court of England........https://www.labyrinthdesigners.org/alchemy-religious-art/holbein-dead-christ-builds-his-grave/


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