Saturday, February 22, 2014
Wednesday, February 19, 2014
Thursday, February 13, 2014
Wednesday, February 12, 2014
Tuesday, February 11, 2014
Lapis Lazuli Star of David Pendant
Lapis Lazuli Star of David Pendant - These
Lapis Lazuli Star of David Pendants have a silver-plated bail and look
great on a silver chain or cotton or leather cord.Metaphysically, Lapis Lazuli is good for balancing the Throat Chakra. Lapis reminds us of the power of the spoken word, fosters full verbal expression, and clears problems caused by "swallowing your tongue”. Lapis encourages clear expression when sharing information with others, including easier communication of anger. Lapis Lazuli helps you to find your voice in any situation and to help you to speak up for yourself. This makes these Lapis Lazuli pieces perfect to use as pendants worn around your neck!
A powerful Third Eye Chakra opener, Lapis Lazuli connects the physical and celestial kingdoms. Deeply peaceful, Lapis provides wisdom into mystical realms and connection with spiritual guardians. Lapis is a good stone to expand intuitive skills while remaining objective and open to reasoned analysis. Lapis also protects against psychic attack, shielding negative energy and returning any negative vibrations to their source.
Made from a combination of minerals, including Lazurite, Calcite, and Pyrite, Lapis Lazuli is said to have been in existence since the birth of time, and was used by ancient Hebrews on ceremonial robes.
Remember to "clear" your crystal pendants before putting them on as they do tend to absorb energies from previous wear.
Monday, February 10, 2014
Alchemy Blood and Gold - Crystalinks
Alchemy Blood and Gold - Crystalinks
By Michelle Emerson
When one looks at a drop of blood under a microscope, its color is gold ...
sparkling, shiny beautiful GOLD. Now translate that beauty into the way we have
valued gold over the millennia.
Why is this planet so in awe of the beautiful metal? One of the least
recognized reasons is that liquid gold holds cellular/genetic and geophysical
memory. Ancient archetypal symbols are being
activated through the golden conductive properties within us.
For the alchemist, gold represented the perfection of all matter on any
level, including that of the mind, spirit, and soul. If we take time to look
into the science and spirit of gold we will find many interesting similarities
and understand that the purest aura around the body is golden-white light.
In the beginning ... golden threads combined with blood, to create a
bloodline that carries the DNA code for the movement of consciousness in the
alchemy of time.
Blood and Gold
By Michelle Emerson
When one looks at a drop of blood under a microscope, its color is gold ...
sparkling, shiny beautiful GOLD. Now translate that beauty into the way we have
valued gold over the millennia.
Why is this planet so in awe of the beautiful metal? One of the least
recognized reasons is that liquid gold holds cellular/genetic and geophysical
memory. Ancient archetypal symbols are being
activated through the golden conductive properties within us.
For the alchemist, gold represented the perfection of all matter on any
level, including that of the mind, spirit, and soul. If we take time to look
into the science and spirit of gold we will find many interesting similarities
and understand that the purest aura around the body is golden-white light.
In the beginning ... golden threads combined with blood, to create a
bloodline that carries the DNA code for the movement of consciousness in the
alchemy of time.
Celestial Spheres - Harmony of the Spheres - Crystalinks
Celestial Spheres - Harmony of the Spheres - Crystalinks
Atlas
The Celestial
Sphere
entities of the cosmological celestial mechanics first invented by Eudoxus,
adopted by Aristotle and developed by Ptolemy, Copernicus and others. In this
celestial model the stars and planets are carried around by being embedded in
rotating spheres made of an aetherial transparent fifth element (quintessence),
like jewels set in orbs.
In geocentric models the spheres were most commonly arranged outwards from
the center in this order: the sphere of the Moon, the sphere of Mercury, the
sphere of Venus, the sphere of the Sun, the sphere of Mars, the sphere of
Jupiter, the sphere of Saturn, the starry firmament, and sometimes one or two
additional spheres. The order of the lower planets was not universally agreed:
Plato and his followers ordered them Moon, Sun, Mercury, Venus, and then
followed the standard model for the upper spheres; there were other
disagreements about the relative place of the spheres of Mercury and Venus.
Antiquity
In his Metaphysics, Aristotle adopted a celestial physics of geo-concentric
rotating nested spheres first devised and developed by the astronomers Eudoxus
and Callippus. In the fully developed Aristotelian celestial physics, the
spherical Earth is at the center of the universe and the planets are attached to
anywhere from 47 to 55 concentric spheres that rotate around the Earth.
Aristotle considers that these spheres are made of an unchanging fifth element,
the aether, and each of these concentric spheres is moved by a god - an
unchanging divine mover. Aristotle says that to determine the exact number of
spheres and the number of divine movers, one should consult the astronomers.
The astronomer Ptolemy (fl. ca. 150 AD) defined a geometrical model of the
universe in his Almagest and extended it to a physical model of the cosmos in
his Planetary hypotheses. In doing so, he added mathematical detail and
predictive accuracy that had been lacking in earlier spherical models of the
cosmos. In Ptolemy's model, each planet is moved by two or more spheres (or
strictly speaking, by thick equatorial slices of spheres): one sphere is the
deferent, with a center offset somewhat from the Earth; the other sphere is an
epicycle embedded in the deferent, with the planet embedded in the spherical
epicycle. Through the use of the epicycle, eccentric, and equant, this model of
compound circular motions could account for all the irregularities of a planet's
apparent movements in the sky.
Middle Ages
Christian and Muslim philosophers modified Ptolemy's system to include an
unmoved outermost region, which was the dwelling place of God and all the elect.
The outermost moving sphere, which moved with the daily motion affecting all
subordinate spheres, was moved by a fixed unmoved mover, the Prime Mover, who
was identified with God. Each of the lower spheres was moved by a subordinate
spiritual mover (a replacement for Aristotle's multiple divine movers), called
an intelligence.
Around the turn of the millennium, the Arabian astronomer and polymath Ibn
al-Haytham (Alhacen) presented a development of Ptolemy's geocentric epicyclic
models in terms of nested spheres. Despite the similarity of this concept to
that of Ptolemy's Planetary Hypotheses, al-Haytham's presentation differs in
sufficient detail that it has been argued that it reflects an independent
development of the concept. In chapters 15-16 of his Book of Optics, Ibn
al-Haytham also discovered that the celestial spheres do not consist of solid
matter.
Near the end of the twelfth century, the Spanish-Arabian Muslim astronomer
al-Bitruji (Alpetragius) sought to explain the complex motions of the planets
using purely concentric spheres, which moved with differing speeds from east to
west. This model was an attempt to restore the concentric spheres of Aristotle
without Ptolemy's epicycles and eccentrics, but it was much less accurate as a
predictive astronomical model.
In the thirteenth century, scholars in European universities dealt with the
implications of the rediscovered philosophy of Aristotle and astronomy of
Ptolemy. One issue that arose concerned the nature of the celestial spheres.
Through an extensive examination of a wide range of scholastic texts, Edward
Grant has demonstrated that scholastic philosophers generally considered the
celestial spheres to be solid in the sense of three-dimensional or continuous,
but most did not consider them solid in the sense of hard. The consensus was
that the celestial spheres were made of some kind of continuous fluid.
Renaissance
Early in the sixteenth century Nicolaus Copernicus drastically reformed the
model of astronomy by displacing the Earth from its central place in favour of
the sun, yet he called his great work De revolutionibus orbium coelestium (On
the Revolutions of the Celestial Spheres). Although Copernicus does not treat
the physical nature of the spheres in detail, his few allusions make it clear
that, like many of his predecessors, he accepted non-solid celestial spheres.
However, it seems a crucial physical reason for his heliocentrism in order to
save the celestial spheres may have been that he rejected the possibility of
interpenetrating spheres, but for some reason thought Martian parallax at
opposition is greater than solar parallax, whereby Mars must then be nearer the
Earth than the sun is, but also whereby the Martian and solar spheres must
intersect on all geocentric and geoheliocentric planetary models. They can only
be non-intersecting with Mars less than 1 AU away at opposition in the pure
heliocentric model. As Copernicus's pupil and herald Rheticus expressed this in
his 1540 Copernican Narratio Prima published 3 years before Copernicus's De
Revolutionibus, "Mars unquestionably shows a parallax sometimes greater than the
sun's, and therefore it seems impossible that the earth should occupy the centre
of the universe.". But this is only an impossibility for a spherist cosmology in
which different planetary spheres cannot intersect, but not for non-spherist
astronomy, as illustrated by the non-spherist Tychonic geocentric model, for
example, in which the Martian and solar orbits intersect (as also do the orbits
of Mercury and Venus with those of Mars and of Jupiter as drawn).
Tycho Brahe's observations that the comet of 1577 displayed less daily
parallax than the Moon implied it was superlunary and so, impossibly, must pass
through some planetary orbs in its transit. This led him to conclude that "the
structure of the heavens was very fluid and simple." Tycho opposed his view to
that of "very many modern philosophers" who divided the heavens into "various
orbs made of hard and impervious matter." Since Grant has been unable to
identify such a large number of believers in hard celestial spheres before
Copernicus, he concludes that the idea first became dominant sometime after the
publication of Copernicus's De revolutionibus in 1542 and either before, or
possibly somewhat after, Tycho Brahe's publication of his cometary observations
in 1588.
In Johannes Kepler's celestial physics the spheres were regarded as the
purely geometrical spatial regions containing each planetary orbit rather than
physical bodies as rotating orbs as in preceding Aristotelian celestial physics.
The eccentricity of each planet's elliptical orbit and its major and minor axes
thereby defined the lengths of the radii of the inner and outer limits of its
celestial sphere and thus its thickness. The intermediate causal role of these
annular geometrical spheres in Kepler's Platonist geometrical cosmology is to
determine the sizes and orderings of the five Platonic polyhedra within which
the spheres were supposedly spatially embedded.
Thus in Kepler's celestial mechanics the previous ultimate causal role of the
spheres became a non-ultimate intermediate role as the ultimate causal focus
shifted on the one hand to the Platonic regular polyhedra within which Kepler
held they were embedded and which thus ultimately defined the dimensions and
eccentricities of planetary orbits, and on the other hand to the rotating sun as
the central inner driver of planetary motion, itself rotated by its own motor
soul. However, an immobile stellar sphere was a lasting remnant of physical
celestial spheres in Kepler's cosmology.
But solid physical spheres still featured in both Galileo's and Newton's
early celestial mechanics, with Galileo initially considering the planets to be
rolling around the upper surfaces of fixed perfectly smooth spheres driven by
their own impetus and gravity, and with Newton calculating the centrifugal
pressure that would be exerted by the Moon on the lower concave surface of the
lunar orb in his 1660s analysis of lunar gravity. Thus for a long time Galileo
fiercely resisted the Tychonic theory that comets are superlunary because it
destroyed his initial spherist celestial mechanics by knocking away the
counter-gravitational supporting surfaces of the rolling planets, and he was
unable to explain circular orbits as closed curve projectiles driven by a
centrifugal impetus and centripetal gravity.
Literary and Symbolic Expressions
n Cicero's Dream of Scipio, the elder Scipio Africanus describes an ascent
through the celestial spheres, compared to which the Earth and the Roman Empire
dwindle into insignificance. A commentary on the Dream of Scipio by the late
Roman writer Macrobius, which included a discussion of the various schools of
thought on the order of the spheres, did much to spread the idea of the
celestial spheres through the Early Middle Ages.
Some late medieval figures inverted the model of the celestial spheres to
place God at the center and the Earth at the periphery. Near the beginning of
the fourteenth century Dante, in the Paradiso of his Divine Comedy, described
God as a light at the center of the cosmos. Here the poet ascends beyond
physical existence to the Empyrean Heaven, where he comes face to face with God
himself and is granted understanding of both divine and human nature.
Nicholas Oresme and his Spheres
Reality is created by sound, tones, harmonics.
The spheres are the
harmonics on the Tree of Life.
They are the wheels of synchronicity that
create the illusion of linear time.
Universalis or Music of the Spheres is an ancient philosophical
concept that regards proportions in the movements of celestial bodies - the sun,
moon, and planets - as a form of musica - the medieval Latin name for
music. This music is not audible, but simply a mathematical concept.
The Greek philosopher Pythagoras is frequently credited with originating
the concept, which stemmed from his semi-mystical, semi-mathematical philosophy
and its associated system of numerology of Pythagoreanism. At the time, the sun,
moon, and planets were thought to revolve around Earth in their proper spheres.
The spheres were thought to be related by the whole-number ratios of pure
musical intervals, creating musical harmony.
There is a legend that Pythagoras could hear the 'music of the spheres'
enabling him to discover that consonant musical intervals can be expressed in
simple ratios of small integers. Pythagoras told the Egyptian priests that Thoth had spoken to him and given him the ability to hear
the harmony of the spheres. The tones correlated with the great celestial
movements of the day. Pythagoras knew that only Egyptians of the 'right'
bloodline, passing successful initiations, could enter the temples and learn the
mysteries set in place by the gods at the beginning of time. To learn more he
had to win their confidence and needed to appear as a royal soul, begat of the
gods and above the sins of man. Pythagoras' concepts were transferred by Plato and others - into models about the structure of the
universe.
Johannes Kepler used the
concept of the music of the spheres in his Harmonice Mundi Harmony of
the Worlds in 1619.
According to Max Heindel's Rosicrucian writings, the heavenly "music of the
spheres" is heard in the Region of Concrete Thought, the lower region of
the World of Thought,
which is an ocean of harmony. It is also referred in Esoteric Christianity
that this is the place where it occurs the state of consciousness called the
"Second heaven."
There are three branches of the Medieval concept of musica:
Harmony of the
Spheres
Sacred
Geometry
Atlas
The Celestial
Sphere
entities of the cosmological celestial mechanics first invented by Eudoxus,
adopted by Aristotle and developed by Ptolemy, Copernicus and others. In this
celestial model the stars and planets are carried around by being embedded in
rotating spheres made of an aetherial transparent fifth element (quintessence),
like jewels set in orbs.
In geocentric models the spheres were most commonly arranged outwards from
the center in this order: the sphere of the Moon, the sphere of Mercury, the
sphere of Venus, the sphere of the Sun, the sphere of Mars, the sphere of
Jupiter, the sphere of Saturn, the starry firmament, and sometimes one or two
additional spheres. The order of the lower planets was not universally agreed:
Plato and his followers ordered them Moon, Sun, Mercury, Venus, and then
followed the standard model for the upper spheres; there were other
disagreements about the relative place of the spheres of Mercury and Venus.
In his Metaphysics, Aristotle adopted a celestial physics of geo-concentric
rotating nested spheres first devised and developed by the astronomers Eudoxus
and Callippus. In the fully developed Aristotelian celestial physics, the
spherical Earth is at the center of the universe and the planets are attached to
anywhere from 47 to 55 concentric spheres that rotate around the Earth.
Aristotle considers that these spheres are made of an unchanging fifth element,
the aether, and each of these concentric spheres is moved by a god - an
unchanging divine mover. Aristotle says that to determine the exact number of
spheres and the number of divine movers, one should consult the astronomers.
The astronomer Ptolemy (fl. ca. 150 AD) defined a geometrical model of the
universe in his Almagest and extended it to a physical model of the cosmos in
his Planetary hypotheses. In doing so, he added mathematical detail and
predictive accuracy that had been lacking in earlier spherical models of the
cosmos. In Ptolemy's model, each planet is moved by two or more spheres (or
strictly speaking, by thick equatorial slices of spheres): one sphere is the
deferent, with a center offset somewhat from the Earth; the other sphere is an
epicycle embedded in the deferent, with the planet embedded in the spherical
epicycle. Through the use of the epicycle, eccentric, and equant, this model of
compound circular motions could account for all the irregularities of a planet's
apparent movements in the sky.
Christian and Muslim philosophers modified Ptolemy's system to include an
unmoved outermost region, which was the dwelling place of God and all the elect.
The outermost moving sphere, which moved with the daily motion affecting all
subordinate spheres, was moved by a fixed unmoved mover, the Prime Mover, who
was identified with God. Each of the lower spheres was moved by a subordinate
spiritual mover (a replacement for Aristotle's multiple divine movers), called
an intelligence.
Around the turn of the millennium, the Arabian astronomer and polymath Ibn
al-Haytham (Alhacen) presented a development of Ptolemy's geocentric epicyclic
models in terms of nested spheres. Despite the similarity of this concept to
that of Ptolemy's Planetary Hypotheses, al-Haytham's presentation differs in
sufficient detail that it has been argued that it reflects an independent
development of the concept. In chapters 15-16 of his Book of Optics, Ibn
al-Haytham also discovered that the celestial spheres do not consist of solid
matter.
Near the end of the twelfth century, the Spanish-Arabian Muslim astronomer
al-Bitruji (Alpetragius) sought to explain the complex motions of the planets
using purely concentric spheres, which moved with differing speeds from east to
west. This model was an attempt to restore the concentric spheres of Aristotle
without Ptolemy's epicycles and eccentrics, but it was much less accurate as a
predictive astronomical model.
In the thirteenth century, scholars in European universities dealt with the
implications of the rediscovered philosophy of Aristotle and astronomy of
Ptolemy. One issue that arose concerned the nature of the celestial spheres.
Through an extensive examination of a wide range of scholastic texts, Edward
Grant has demonstrated that scholastic philosophers generally considered the
celestial spheres to be solid in the sense of three-dimensional or continuous,
but most did not consider them solid in the sense of hard. The consensus was
that the celestial spheres were made of some kind of continuous fluid.
Early in the sixteenth century Nicolaus Copernicus drastically reformed the
model of astronomy by displacing the Earth from its central place in favour of
the sun, yet he called his great work De revolutionibus orbium coelestium (On
the Revolutions of the Celestial Spheres). Although Copernicus does not treat
the physical nature of the spheres in detail, his few allusions make it clear
that, like many of his predecessors, he accepted non-solid celestial spheres.
However, it seems a crucial physical reason for his heliocentrism in order to
save the celestial spheres may have been that he rejected the possibility of
interpenetrating spheres, but for some reason thought Martian parallax at
opposition is greater than solar parallax, whereby Mars must then be nearer the
Earth than the sun is, but also whereby the Martian and solar spheres must
intersect on all geocentric and geoheliocentric planetary models. They can only
be non-intersecting with Mars less than 1 AU away at opposition in the pure
heliocentric model. As Copernicus's pupil and herald Rheticus expressed this in
his 1540 Copernican Narratio Prima published 3 years before Copernicus's De
Revolutionibus, "Mars unquestionably shows a parallax sometimes greater than the
sun's, and therefore it seems impossible that the earth should occupy the centre
of the universe.". But this is only an impossibility for a spherist cosmology in
which different planetary spheres cannot intersect, but not for non-spherist
astronomy, as illustrated by the non-spherist Tychonic geocentric model, for
example, in which the Martian and solar orbits intersect (as also do the orbits
of Mercury and Venus with those of Mars and of Jupiter as drawn).
Tycho Brahe's observations that the comet of 1577 displayed less daily
parallax than the Moon implied it was superlunary and so, impossibly, must pass
through some planetary orbs in its transit. This led him to conclude that "the
structure of the heavens was very fluid and simple." Tycho opposed his view to
that of "very many modern philosophers" who divided the heavens into "various
orbs made of hard and impervious matter." Since Grant has been unable to
identify such a large number of believers in hard celestial spheres before
Copernicus, he concludes that the idea first became dominant sometime after the
publication of Copernicus's De revolutionibus in 1542 and either before, or
possibly somewhat after, Tycho Brahe's publication of his cometary observations
in 1588.
In Johannes Kepler's celestial physics the spheres were regarded as the
purely geometrical spatial regions containing each planetary orbit rather than
physical bodies as rotating orbs as in preceding Aristotelian celestial physics.
The eccentricity of each planet's elliptical orbit and its major and minor axes
thereby defined the lengths of the radii of the inner and outer limits of its
celestial sphere and thus its thickness. The intermediate causal role of these
annular geometrical spheres in Kepler's Platonist geometrical cosmology is to
determine the sizes and orderings of the five Platonic polyhedra within which
the spheres were supposedly spatially embedded.
Thus in Kepler's celestial mechanics the previous ultimate causal role of the
spheres became a non-ultimate intermediate role as the ultimate causal focus
shifted on the one hand to the Platonic regular polyhedra within which Kepler
held they were embedded and which thus ultimately defined the dimensions and
eccentricities of planetary orbits, and on the other hand to the rotating sun as
the central inner driver of planetary motion, itself rotated by its own motor
soul. However, an immobile stellar sphere was a lasting remnant of physical
celestial spheres in Kepler's cosmology.
But solid physical spheres still featured in both Galileo's and Newton's
early celestial mechanics, with Galileo initially considering the planets to be
rolling around the upper surfaces of fixed perfectly smooth spheres driven by
their own impetus and gravity, and with Newton calculating the centrifugal
pressure that would be exerted by the Moon on the lower concave surface of the
lunar orb in his 1660s analysis of lunar gravity. Thus for a long time Galileo
fiercely resisted the Tychonic theory that comets are superlunary because it
destroyed his initial spherist celestial mechanics by knocking away the
counter-gravitational supporting surfaces of the rolling planets, and he was
unable to explain circular orbits as closed curve projectiles driven by a
centrifugal impetus and centripetal gravity.
n Cicero's Dream of Scipio, the elder Scipio Africanus describes an ascent
through the celestial spheres, compared to which the Earth and the Roman Empire
dwindle into insignificance. A commentary on the Dream of Scipio by the late
Roman writer Macrobius, which included a discussion of the various schools of
thought on the order of the spheres, did much to spread the idea of the
celestial spheres through the Early Middle Ages.
Some late medieval figures inverted the model of the celestial spheres to
place God at the center and the Earth at the periphery. Near the beginning of
the fourteenth century Dante, in the Paradiso of his Divine Comedy, described
God as a light at the center of the cosmos. Here the poet ascends beyond
physical existence to the Empyrean Heaven, where he comes face to face with God
himself and is granted understanding of both divine and human nature.
Nicholas Oresme and his Spheres
Reality is created by sound, tones, harmonics.
The spheres are the
harmonics on the Tree of Life.
They are the wheels of synchronicity that
create the illusion of linear time.
Universalis or Music of the Spheres is an ancient philosophical
concept that regards proportions in the movements of celestial bodies - the sun,
moon, and planets - as a form of musica - the medieval Latin name for
music. This music is not audible, but simply a mathematical concept.
The Greek philosopher Pythagoras is frequently credited with originating
the concept, which stemmed from his semi-mystical, semi-mathematical philosophy
and its associated system of numerology of Pythagoreanism. At the time, the sun,
moon, and planets were thought to revolve around Earth in their proper spheres.
The spheres were thought to be related by the whole-number ratios of pure
musical intervals, creating musical harmony.
There is a legend that Pythagoras could hear the 'music of the spheres'
enabling him to discover that consonant musical intervals can be expressed in
simple ratios of small integers. Pythagoras told the Egyptian priests that Thoth had spoken to him and given him the ability to hear
the harmony of the spheres. The tones correlated with the great celestial
movements of the day. Pythagoras knew that only Egyptians of the 'right'
bloodline, passing successful initiations, could enter the temples and learn the
mysteries set in place by the gods at the beginning of time. To learn more he
had to win their confidence and needed to appear as a royal soul, begat of the
gods and above the sins of man. Pythagoras' concepts were transferred by Plato and others - into models about the structure of the
universe.
Johannes Kepler used the
concept of the music of the spheres in his Harmonice Mundi Harmony of
the Worlds in 1619.
According to Max Heindel's Rosicrucian writings, the heavenly "music of the
spheres" is heard in the Region of Concrete Thought, the lower region of
the World of Thought,
which is an ocean of harmony. It is also referred in Esoteric Christianity
that this is the place where it occurs the state of consciousness called the
"Second heaven."
There are three branches of the Medieval concept of musica:
- musica universalis (sometimes referred to as musica mundana)
- musica humana (the internal music of the human body)
- musica instrumentalis (sounds made by singers and instrumentalists)
Harmony of the
Spheres
Sacred
Geometry
Philosophers Stone, Alchemy - Crystalinks
Philosophers Stone, Alchemy - Crystalinks
The philosopher's stone is a legendary substance, allegedly capable of
turning inexpensive metals into gold. It was sometimes believed to be an elixir
of life, useful for rejuvenation and possibly for achieving immortality. For a
long time, it was the most sought-after goal in Western alchemy. In the view of
spiritual alchemy, making the philosopher's stone
would bring enlightenment upon the maker and conclude the Great Work. It is also
known by several other names, such as 'materia prima.'
The Philosopher's Stone, the White Stone by the River, The Sword in the
Stone, all the same, meaning that which contains the knowledge of creation, a
symbol that represents the final outcome of man's inner transformation, of the
conversion of the base metal of his outer character to the golden properties of
his higher self. It is all about the evolution of consciousness in the alchemy
of time.
Islamic alchemist Geber. He analyzed each Aristotelian
element in terms of four basic qualities of hotness, coldness, dryness, and
moistness. Thus, fire was both hot and dry, earth cold and dry, water cold and
moist, and air hot and moist. He further theorized that every metal was a
combination of these four principles, two of them interior and two exterior.
From this premise, it was reasoned that the transmutation of one metal into
another could be effected by the rearrangement of its basic qualities. This
change would presumably be mediated by a substance, which came to be called
al-iksir in Arabic (from which comes the Western term "elixir"). It was often
imagined as a dry powder, made from a mythical stone - the "philosopher's
stone". The stone was believed to have been composed of a substance called
carmot.
Geber's theory and the concept of the philosopher's stone may have been
inspired by the knowledge that metals like gold and silver could be hidden in
alloys and ores, from which they could be recovered by the appropriate chemical
treatment. Geber himself is believed to be the inventor of aqua regia, a mixture
of muriatic and nitric acids, which is one of the few substances that can
dissolve gold (and is still often used for gold recovery and purification).
Alchemy has always made extensive use of analogy, symbolism, and so forth to
relate chemical and physical concepts to esoteric and mystic ones. In some
epochs and contexts, these metaphysical aspects came to predominate, and the
chemical processes were then viewed as mere symbols of spiritual processes.
In this hermetic side of alchemy, the "philosopher's stone", supposed to to
be the most tangible and dense crystalization or condensation of a subtle
substance, became a metaphor for an inner potential of the spirit and reason to
evolve from a lower state of imperfection and vice (symbolized by the base
metals) to a higher state of enlightenment and perfection (symbolized by gold).
In this view, spiritual elevation, the transmutation of metals, and the
purification and rejuvenation of the body were seen to be manifestations of the
same concept.
The mystical revival in the late 20th century renovated the public interest
on alchemy, and particularly on this metaphysical and philosophical conception
of the philosopher's stone - which is now subscribed by many people, especially
within several New Age movements.
Though the notion of a simple philosopher's stone of the alchemic sense fell
out of scientific conception by at least the 19th century, its metaphors and
imagery persisted: man's attempt to discover the essential secret of the
universe, redemptively transforming not just lead into gold, but death into
life.
In 1901, Ernest Rutherford and Frederick Soddy discovered that radioactivity
was a sign of fundamental changes within elements, and it was Soddy who quickly
made the connection between this and the ancient search for the philosopher's
stone (Soddy had studied alchemy extensively as a hobby). At the moment of
realization that their radioactive thorium was converting itself into radium,
bit by bit, Soddy later recalled that he shouted out: "Rutherford, this is
transmutation!" Rutherford snapped back, "For Christ's sake, Soddy, don't call
it transmutation. They'll have our heads off as alchemists." However the term
stuck, in part because it drew the new discoveries in nuclear physics into a
longer cultural and mystical web.
When it was discovered that radioactivity was also tapping into a latent
source of energy bound inside atoms, this furthered the thought that radioactive
decay might be the ultimate philosopher's stone. Later, the discovery of nuclear
fission would become consciously connected into the same narrative, especially
with optimistic hopes of energy "too cheap to meter" and great utopian cities of
the future run on nuclear energy.
The philosopher's stone has been subject, inspiration, or plot feature of
innumerable artistic works Ñ novels, comics stories, movies, animations, and
even musical compositions. It is also a popular item in many video games.
Azoth was considered to be a 'universal medicine' or 'universal solvent'
sought in alchemy, its symbol was the Caduceus and so the term, which being
originally a term for an occult formula sought by alchemists much like the
philosopher's stone, became a poetic word for the element Mercury.
The term was considered by occultist Aleister Crowley to represent a unity of
beginning & ending by tying together the first and last letters of the
alphabets of antiquity; A/Alpha/Alef (first character of Roman, Greek &
Hebrew), Z (final character in latin), O as Omega (final character in Greek) and
Th as Tau (final character in Hebrew).
In this way permeation & totality of beginning and end was considered the
supreme wholeness and thus the universal synthesis of opposites as a
'cancellation' (i.e. solvent) or cohesion (i.e. medicine), and in such a way is
similar to the philosophical "absolute" of Hegel's dialectic. Crowley further
made reference in his works refering to Azoth as "the fluid."
Azoth is also used in the video game Haunting Ground. The game has components
of alchemy, horror, and strategy. The main character (Fiona Belli) is the
wielder of the Azoth, and is chased by various characters who want to extract
the Azoth within her, all for serveral different but none the less selfish
reasons. It is refered to as the "essence of life" and also has some things to
do with the God Stone and the staff of Caduceus -
which is the rod of Hermes, the Magician. Alchemy is a
big part in this game.
The panacea (pan-ah-SEE-ah), named after the Greek goddess of healing
Panacea, was supposed to be a remedy that would cure all diseases and prolong
life indefinitely. It was sought by the alchemists as a connection to the elixir
of life and the philosopher's stone, a mythical substance which would enable the
transmutation of common metals into gold.
The Net was a term in alchemy for a copper-antimony alloy, named for its
crystaline "net" like surface separated by interstices & thought to be one
step in the creation of the philosopher's stone. It was discovered by the
American alchemist George Starkey aka Eirenaeus Philalethes, who believed the
ancient Greek & Roman myths were really encoded recipes for substances
needed in the creation of the philosophers stone.
It was in the particular myth of the god Vulcan (the medieval alchemical term
for fire) finding his wife Venus (alchemical symbol for copper) in bed with the
god Mars (whose symbol meant iron in alchemy), that inspired Starkey for the
experiment which led to the discovery and creation of the substance he called
"The Net".
In the myth, the god Vulcan (fire) hung Venus & Mars from a high ceiling
with an especially crafted metal net, being the craftsman of the gods, as
punishment. The creation process included antimony regulus being reduced from
antimony sulfide aka stibnite by the addition of iron from whence the influence
of Mars in the alloy comes. Isaac Newton, in his private notes, wrote how he
himself followed the steps to the creation of 'the net' and took to Starkeys
theory that the Classical mythology was indeed a collection of secret formulas
in the creation of a metaphysical substance, which Newton pursued covertly for
fear of being ostracized in his time.
The concept of a substance that could turn inexpensive metals into valuable
gold naturally attracted the attention of many entrepreneurs of all sorts -
learned and amateurish, skeptical and gullible, honest and dishonest. An example
that illustrates the spirit of the times is that of Rudolf II (1552-1612). This
king of Bohemia, having found himself in financial difficulties, decided to
invest heavily in the search for the philosopher's stone. He thus attracted to
Prague a large number of alchemists, who were given ample material and financial
support, and promised rewards if they could solve the problem. This "virtual
gold rush" may have involved even the Danish astronomer Tycho Brahe, then at
Rudolf's court, who had an alchemical lab built on the grounds of his
observatory.
Rudolf never saw his dream realized, and he eventually became insane and had
to be deposed by his relatives. It is not known whether his insanity was due to
natural causes, or to misuse of alchemical "remedies" which often included toxic
materials like sulphur, lead, mercury, arsenic, and antimony.
Edward Kelley
Among those who took Rudolf's offer were the English scholar John Dee, and
his assistant Edward Kelley, one of the many alchemists who have claimed
possession of the philosopher's stone.
Specifically, Kelley claimed that he had acquired in England small amounts of
two powders, one white and one red, which had allegedly been found in Wales, in
the raided tomb of a Bishop. From these two powders, Kelley would prepare a red
"tincture", one drop of which could turn a larger quantity of heated mercury
into gold. There are reports that he performed this feat several times, once
even in the presence of Rudolf's court officials, and the gold was later tested
and found to be genuine. He is also reported as sending to queen Elizabeth I of
England a copper bed warmer which had been partly transmuted into gold.
Kelley also carried with him a cryptic manuscript, which he claimed had been
found with the powders, and which presumably held the secret of their
manufacture. On the basis of these claims, Kelley obtained much support from
Rudolf - so much so that, when Dee broke with him and returned to England,
Kelley chose to remain in Prague. However, Kelley eventually ran out of his
magic powders, was jailed by Rudolf in a tower of his castle, and died of
injuries sustained in an extravagant escape attempt.
The nature of Kelley's powders is open to conjecture. Gold can be dissolved
by aqua regia to give a red-colored chloride, from which the metal can be easily
recovered by heat or simple chemical means. Although that salt has a tendency to
decompose on its own, it seems at least possible that Kelley simply plated a
layer of gold on some other metal (possibly dissolved in the mercury to form an
amalgam) and then used sleight-of-hand or bribery to pass the goldsmith's test.
The Philosopher's Stone
The philosopher's stone is a legendary substance, allegedly capable of
turning inexpensive metals into gold. It was sometimes believed to be an elixir
of life, useful for rejuvenation and possibly for achieving immortality. For a
long time, it was the most sought-after goal in Western alchemy. In the view of
spiritual alchemy, making the philosopher's stone
would bring enlightenment upon the maker and conclude the Great Work. It is also
known by several other names, such as 'materia prima.'
The Philosopher's Stone, the White Stone by the River, The Sword in the
Stone, all the same, meaning that which contains the knowledge of creation, a
symbol that represents the final outcome of man's inner transformation, of the
conversion of the base metal of his outer character to the golden properties of
his higher self. It is all about the evolution of consciousness in the alchemy
of time.
The Stone in Alchemy
Transmutation of MetalsIslamic alchemist Geber. He analyzed each Aristotelian
element in terms of four basic qualities of hotness, coldness, dryness, and
moistness. Thus, fire was both hot and dry, earth cold and dry, water cold and
moist, and air hot and moist. He further theorized that every metal was a
combination of these four principles, two of them interior and two exterior.
From this premise, it was reasoned that the transmutation of one metal into
another could be effected by the rearrangement of its basic qualities. This
change would presumably be mediated by a substance, which came to be called
al-iksir in Arabic (from which comes the Western term "elixir"). It was often
imagined as a dry powder, made from a mythical stone - the "philosopher's
stone". The stone was believed to have been composed of a substance called
carmot.
Geber's theory and the concept of the philosopher's stone may have been
inspired by the knowledge that metals like gold and silver could be hidden in
alloys and ores, from which they could be recovered by the appropriate chemical
treatment. Geber himself is believed to be the inventor of aqua regia, a mixture
of muriatic and nitric acids, which is one of the few substances that can
dissolve gold (and is still often used for gold recovery and purification).
The Stone as a Spiritual Metaphor
Alchemy has always made extensive use of analogy, symbolism, and so forth to
relate chemical and physical concepts to esoteric and mystic ones. In some
epochs and contexts, these metaphysical aspects came to predominate, and the
chemical processes were then viewed as mere symbols of spiritual processes.
In this hermetic side of alchemy, the "philosopher's stone", supposed to to
be the most tangible and dense crystalization or condensation of a subtle
substance, became a metaphor for an inner potential of the spirit and reason to
evolve from a lower state of imperfection and vice (symbolized by the base
metals) to a higher state of enlightenment and perfection (symbolized by gold).
In this view, spiritual elevation, the transmutation of metals, and the
purification and rejuvenation of the body were seen to be manifestations of the
same concept.
The mystical revival in the late 20th century renovated the public interest
on alchemy, and particularly on this metaphysical and philosophical conception
of the philosopher's stone - which is now subscribed by many people, especially
within several New Age movements.
The Stone and Modern Science
Though the notion of a simple philosopher's stone of the alchemic sense fell
out of scientific conception by at least the 19th century, its metaphors and
imagery persisted: man's attempt to discover the essential secret of the
universe, redemptively transforming not just lead into gold, but death into
life.
In 1901, Ernest Rutherford and Frederick Soddy discovered that radioactivity
was a sign of fundamental changes within elements, and it was Soddy who quickly
made the connection between this and the ancient search for the philosopher's
stone (Soddy had studied alchemy extensively as a hobby). At the moment of
realization that their radioactive thorium was converting itself into radium,
bit by bit, Soddy later recalled that he shouted out: "Rutherford, this is
transmutation!" Rutherford snapped back, "For Christ's sake, Soddy, don't call
it transmutation. They'll have our heads off as alchemists." However the term
stuck, in part because it drew the new discoveries in nuclear physics into a
longer cultural and mystical web.
When it was discovered that radioactivity was also tapping into a latent
source of energy bound inside atoms, this furthered the thought that radioactive
decay might be the ultimate philosopher's stone. Later, the discovery of nuclear
fission would become consciously connected into the same narrative, especially
with optimistic hopes of energy "too cheap to meter" and great utopian cities of
the future run on nuclear energy.
The Stone in Art and Entertainment
The philosopher's stone has been subject, inspiration, or plot feature of
innumerable artistic works Ñ novels, comics stories, movies, animations, and
even musical compositions. It is also a popular item in many video games.
Azoth
Azoth was considered to be a 'universal medicine' or 'universal solvent'
sought in alchemy, its symbol was the Caduceus and so the term, which being
originally a term for an occult formula sought by alchemists much like the
philosopher's stone, became a poetic word for the element Mercury.
The term was considered by occultist Aleister Crowley to represent a unity of
beginning & ending by tying together the first and last letters of the
alphabets of antiquity; A/Alpha/Alef (first character of Roman, Greek &
Hebrew), Z (final character in latin), O as Omega (final character in Greek) and
Th as Tau (final character in Hebrew).
In this way permeation & totality of beginning and end was considered the
supreme wholeness and thus the universal synthesis of opposites as a
'cancellation' (i.e. solvent) or cohesion (i.e. medicine), and in such a way is
similar to the philosophical "absolute" of Hegel's dialectic. Crowley further
made reference in his works refering to Azoth as "the fluid."
Azoth is also used in the video game Haunting Ground. The game has components
of alchemy, horror, and strategy. The main character (Fiona Belli) is the
wielder of the Azoth, and is chased by various characters who want to extract
the Azoth within her, all for serveral different but none the less selfish
reasons. It is refered to as the "essence of life" and also has some things to
do with the God Stone and the staff of Caduceus -
which is the rod of Hermes, the Magician. Alchemy is a
big part in this game.
Panacea (Medicine)
The panacea (pan-ah-SEE-ah), named after the Greek goddess of healing
Panacea, was supposed to be a remedy that would cure all diseases and prolong
life indefinitely. It was sought by the alchemists as a connection to the elixir
of life and the philosopher's stone, a mythical substance which would enable the
transmutation of common metals into gold.
The Net (Substance)
The Net was a term in alchemy for a copper-antimony alloy, named for its
crystaline "net" like surface separated by interstices & thought to be one
step in the creation of the philosopher's stone. It was discovered by the
American alchemist George Starkey aka Eirenaeus Philalethes, who believed the
ancient Greek & Roman myths were really encoded recipes for substances
needed in the creation of the philosophers stone.
It was in the particular myth of the god Vulcan (the medieval alchemical term
for fire) finding his wife Venus (alchemical symbol for copper) in bed with the
god Mars (whose symbol meant iron in alchemy), that inspired Starkey for the
experiment which led to the discovery and creation of the substance he called
"The Net".
In the myth, the god Vulcan (fire) hung Venus & Mars from a high ceiling
with an especially crafted metal net, being the craftsman of the gods, as
punishment. The creation process included antimony regulus being reduced from
antimony sulfide aka stibnite by the addition of iron from whence the influence
of Mars in the alloy comes. Isaac Newton, in his private notes, wrote how he
himself followed the steps to the creation of 'the net' and took to Starkeys
theory that the Classical mythology was indeed a collection of secret formulas
in the creation of a metaphysical substance, which Newton pursued covertly for
fear of being ostracized in his time.
Claims and Frauds
The concept of a substance that could turn inexpensive metals into valuable
gold naturally attracted the attention of many entrepreneurs of all sorts -
learned and amateurish, skeptical and gullible, honest and dishonest. An example
that illustrates the spirit of the times is that of Rudolf II (1552-1612). This
king of Bohemia, having found himself in financial difficulties, decided to
invest heavily in the search for the philosopher's stone. He thus attracted to
Prague a large number of alchemists, who were given ample material and financial
support, and promised rewards if they could solve the problem. This "virtual
gold rush" may have involved even the Danish astronomer Tycho Brahe, then at
Rudolf's court, who had an alchemical lab built on the grounds of his
observatory.
Rudolf never saw his dream realized, and he eventually became insane and had
to be deposed by his relatives. It is not known whether his insanity was due to
natural causes, or to misuse of alchemical "remedies" which often included toxic
materials like sulphur, lead, mercury, arsenic, and antimony.
Among those who took Rudolf's offer were the English scholar John Dee, and
his assistant Edward Kelley, one of the many alchemists who have claimed
possession of the philosopher's stone.
Specifically, Kelley claimed that he had acquired in England small amounts of
two powders, one white and one red, which had allegedly been found in Wales, in
the raided tomb of a Bishop. From these two powders, Kelley would prepare a red
"tincture", one drop of which could turn a larger quantity of heated mercury
into gold. There are reports that he performed this feat several times, once
even in the presence of Rudolf's court officials, and the gold was later tested
and found to be genuine. He is also reported as sending to queen Elizabeth I of
England a copper bed warmer which had been partly transmuted into gold.
Kelley also carried with him a cryptic manuscript, which he claimed had been
found with the powders, and which presumably held the secret of their
manufacture. On the basis of these claims, Kelley obtained much support from
Rudolf - so much so that, when Dee broke with him and returned to England,
Kelley chose to remain in Prague. However, Kelley eventually ran out of his
magic powders, was jailed by Rudolf in a tower of his castle, and died of
injuries sustained in an extravagant escape attempt.
The nature of Kelley's powders is open to conjecture. Gold can be dissolved
by aqua regia to give a red-colored chloride, from which the metal can be easily
recovered by heat or simple chemical means. Although that salt has a tendency to
decompose on its own, it seems at least possible that Kelley simply plated a
layer of gold on some other metal (possibly dissolved in the mercury to form an
amalgam) and then used sleight-of-hand or bribery to pass the goldsmith's test.
Saturday, February 8, 2014
Friday, February 7, 2014
The Sacredness of Sage
The Sacredness of Sage
Herbs can be powerful medicine. Some herbal remedies, whether used in tincture, tea or capsule form, holds an incredible and potent medicinal quality. In addition, there are other plants that, when burnt, the smoldering smoke offers various remedies for many physical, emotional, spiritual, or mental imbalances - one such herb is SAGE.
Sage is held sacred by many Native American Indians, because of it’s effective purifying energies. It heals by bringing the patient back into balance and cleanses the body and mind of negative spirits and impurities. It played an intricate part in ancient, as well as current ceremonies and was often included as an ingredient in a mixture called Kinnikinic, and then smoked in a pipe or used was used externally for smudging.
When smoked, it can be mixed with other plants such as white clover, bear berry leaves and mullein. This creates the Kinnikinic smoking mixture to be used in the sacred pipe. The smoke is then given as an offering to the Sprits. The pipe itself acts as the line to the Spirits and the smoke, as it rises, carries the messages. Those who share the pipe, and the smoke, share the same breath.
Sage is a traditional choice for burning and smudging for the Native Americans because of all of the herbs, it is one of the best for cleansing. Medicine People used this herb on people who were ill, to bring them back from the negative place where their body and soul laid. Today, sage is often used in smudging ceremonies for those who are seeking balance and pure thought, spirit and body. An updated smudging ceremony can be performed by nearly anyone who wishes to relieve their worries, open their mind, clear negative thoughts and feelings, harmonize the body and de-stress the spirit. It is often used when a person faces a personal difficulty, when negative luck has seemed to follow, prior to a major transition, within a new house, over a new baby or following a major emotional difficulty. In a sense, whenever a person feels "out of balance" or unlucky. The following is a Smudging Technique that you can try. But remember - this is POWERFUL MEDICINE and you should be open and understanding of the entire experience.
What: Smudging is a ceremony that uses cleansing smoke to clear away negative energy and to attract positive ones.
Need: * A "bowl" - examples would be, a shell, a stone that has an indented round surface, a piece of pottery or a stone bowl or mortar
* The dried-leaf herbal mixture. If desired, you can also add in cedar (healing) , sweet grass (brings positive energy) and , juniper (for healing).
* A feather, if possible. If not, you can make a feather-like object from paper or material, or simply use your hand.
* Matches
* Drumming or Native music, if desired.
The Ceremony
1. Use your hands to roll the dried herbal leaves, crumbling them into your bowl.
2. Placed the rolled and mixed plants into the bowl.
3. Burn the leaves until they begin to smolder, giving off clouds of smoke.4. Fan the smoke with a feather or with your hand to circulate it into the air. Starting with your heart and working your way up to the head, you will visualize the smoke entering your body and spirit, pulling out the impurities. Continue this procedure all the way down the body, and back up again.
5. All the while, pray for your spiritual deity to assist you on your life path and ask for good, positive energy and spirits to guide you.
6. Offer the smoke to the 7 directions - North, South, East, West, Father Sky, Mother Earth and the Great Spirit. Request their assistance on your journey and ask they will help to lead the negativity that is attached to your life - out of your life.
7. Continue cleansing anything that you may feel needs the purification. Your home, your family and friends, or even something that is causing you great pain such as a person (smudge their photo or a letter), finances (smudge the bills) or even an illness (smudge the medication).
8. Following the smudging, you should pray to your spiritual advisor and relax your body with soft stretching and then relax your mind with meditation or sleep.
Note: Some people like to incorporate their smudging ceremony into fasting plans, visions quests and mediation.
Other Medicinal Properties of Sage
As mentioned before, Sage is powerful medicine. Not only its smoke help to purify the mind and body, but the plant has some other equally amazing healing properties. For example, it is an antiseptic, a sore throat tonic and it works well for darkening gray hair. Below is a list of beneficial uses for this wonder herb that you should never be without!
Oil: It is said that sage oil and tonics may be helpful in the fight against alzhelmizers, improves brain functions and memory and aids in the circulation through the coronary arteries.
Leaf Tea: regulates menstrual cycle, reduces breast flow, natural deodorant, sore throat tonic (when gargled). antiseptic and astringent, healing of the scalp and hair, calms the nerves, great for the skin when bathing, aids in healing burns, nausea, flatulence, liver ailments, kidney stones, gallstones, mouth and gum lesions, antidepressant, and tonsillitis. When mixed with rosemary - it can darken graying hair.
Raw Sage Juice: warts, skin cancer, tumors.From the past to the present, Sage has been a natural way to heal every aspect of man. Whether in the form of oil, teas, smoke or juiced, this medicinal marvel should be part of every herbal garden, sitting on the shelf of every pantry and located in every first aid kit. From flavoring to functional medicine, Sage is the king of all plants!
by
Terri J. Andrews
http://www.angelfire.com/biz2/turquoisebutterfly/sage.html
Thursday, February 6, 2014
BINDRUNE CHARMS AND TAILSMANS
To buy your very own Bindrune Charm go to : http://www.amazon.com/gp/product/B00I8RWXHK
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Bindrune Magic
Bindrunes combine the individual magical meanings of each rune sign to create an immensely powerful talisman, drawing on each of the runic individual meanings to create a vortex of magical energy. Each bindrune charm has an entire set of runes on its reverse side.
Runes were used by the ancient Nordic people as a magical language. Their uses ranged from writing messages and making charms or talismans to predicting the future. In Anglo-Saxon English and Old Norse, the word rune meant secret law, mystery and magical signs. Rune Masters, who could be male or female, were considered to be the most important people in the community next to the village chief. Identified by their deep blue cloaks and the leather charm pouches which they wore at their belts, the Rune Masters would normally carry a bronze-tipped wooden staff carved with runic inscriptions to show their power and status.
Made from allergen free zinc alloy in silver, copper, or bronze color with a copper and brass disc front and back. The front contains the bindrune, the back contains a spiral of all the runes so the pieces are all reversible. They come with an 18inch chain, a blue satin pouch and a comprehensive leaflet containing the history of runes, how to empower them and a full description of what each individual rune means, with an explanation of how the bindrune has been created from the base runes.
Charging Your Bindrune
Before charging your Bindrune Charm sprinkle it with a little salt and leave it overnight in a safe place. This is to physically cleanse it of any influences it may have picked up in transit to you. Once the rune is cleansed it is ready to connect and to start working for you.
You will need the following:
A quiet room, small table, white cloth, incense or joss stick, a white candle and a compass to find where north is in your room. To charge your Rune Charm you need to draw from the energy of the North Star, known by the Vikings as Odins Eye . Make sure you are not disturbed, turn off your phone, close the curtains. Lay your white cloth on the table, place the candle and incense in the center. Light the candle and incense, place your rune charm next to them. Turn off the lights, close your eyes and spend a few minutes thinking about what your rune stands for and how you would like its essence to enrich your life. Position yourself to face North with the table in front of you. Close your eyes, hold your hands over your Bindrune charm. Send your mind upwards, through the earths atmosphere towards the Northern hemispheres stars, thinking deep through layers of cloud into the darkness of the night sky towards the bright North Star. When you can clearly see an image of the bright, shining light draw it down towards you. Feel it flowing through your arms and down into your hands, which become warm and energized. Now, pick up your Bindrune Charm and hold it northwards, concentrating on what your bindrunes represent. As your hands warm the charm, visualize the stars energy transferring into it.
Your Bindrune charm is now charged and ready to work for you. Relax for a while, allow yourself to unwind and then have a drink or a bite to eat to bring yourself back to earth. Your Rune Charm is now working for you, so be prepared for its positive influences on your life!
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