In conclusion, I wish to say something of the role of sex in spiritual alchemy. But in doing this I am venturing outside the original field of inquiry of this essay and making a by no means necessary addition to my thesis; and I am anxious that what follows should be understood as such, so that no confusion as to the issues may arise. In the great alchemical collection of J. J. MANGET, there is a curious work (originally published in 1677), entitled _Mutus Liber_, which consists entirely of plates, without letterpress. Its interest for us in our present concern is that the alchemist, from the commencement of the work until its achievement, is shown working in conjunction with a woman. We are reminded of NICOLAS FLAMEL (1330-1418), who is reputed to have achieved the _magnum opus_ together with his wife PERNELLE, as well as of the many other women workers in the Art of whom we read. It would be of interest in this connection to know exactly what association of ideas was present in the mind of MICHAEL MAIER when he commanded the alchemist: "Perform a work of women on the molten white lead, that is, cook,"(1a) and illustrated his behest with a picture of a pregnant woman watching a fire over which is suspended a cauldron and on which are three jars. There is a cat in the background, and a tub containing two fish in the foreground, the whole forming a very curious collection of emblems. Mr WAITE, who has dealt with some of these matters, luminously, though briefly, says: "The evidences with which we have been dealing concern solely the physical work of alchemy and there is nothing of its mystical aspects. The _Mutus Liber_ is undoubtedly on the literal side of metallic transmutation; the memorials of Nicholas Flamel are also on that side," _etc_. He adds, however, that "It is on record that an unknown master testified to his possession of the mystery, but he added that he had not proceeded to the work because he had failed to meet with an elect woman who was necessary thereto"; and proceeds to say: "I suppose that the statement will awaken in most minds only a vague sense of wonder, and I can merely indicate in a few general words that which I see behind it. Those Hermetic texts which bear a spiritual interpretation and are as if a record of spiritual experience present, like the literature of physical alchemy, the following aspects of symbolism: (_a_) the marriage of sun and moon; (_b_) of a mystical king and queen; (_c_) an union between natures which are one at the root but diverse in manifestation; (_d_) a transmutation which follows this union and an abiding glory therein. It is ever a conjunction between male and female in a mystical sense; it is ever the bringing together by art of things separated by an imperfect order of things; it is ever the perfection of natures by means of this conjunction. But if the mystical work of alchemy is an inward work in consciousness, then the union