Ruland (Lex., p. 26) defines alchemy very finely: [In reference to Tab. Smar., 9] “Alchemy is the separation of the impure from a purer substance.” This is quite as true of the chemical as of the spiritual alchemy. Why the hermetic philosophers write not literally but in figures may be accounted for in several ways. We should first of all remember that because of their free doctrine, which was indeed not at variance with true Christianity but with the narrow-minded church, they had to fear the persecution of the latter, and that for this reason they veiled their teachings. Hitchcock notices also a further point. The alchemists often declare that the knowledge of their secret is dangerous (for the generality of people). It appears that they did not deem that the time was ripe for a religion that was based more on ideal requirements, on moral freedom, than on fear of hell fire, expectation of rewards and on externally visible marks and pledges. Besides we shall see later that a really clear language is in the nature of things neither possible nor from an educational point of view to be recommended. Still the mystical purpose of the authors of those times when the precautionary measures were not necessary appears clearer under the alchemistic clothing, although no general rule applying to it can be set forth. Other reasons, e.g., intellectual and conventional ones, influenced them to retain the symbolism. Very clearly mystical are the writings of a number of hermetic artists, who are permeated by the spiritual doctrine of Jacob Boehme. This theosophist makes such full use of the alchemistic symbolism, that we find it wherever we open his writings. I will not even begin to quote him, but will only call the reader’s attention to his brief and beautifully thoughtful description of the mystical process of moral perfection, which stands as “Processus” at the end of the 5th chapter of his book, “De Signatura Rerum.” (Ausg., Gichtel Col., 2218 f.) An anonymous author who has absorbed much of the “Philosophicus Teutonicus,” wrote the book, “Amor Proximi,” much valued by the amateurs of the high art. It does not require great penetration to recognize this pious manual, clothed throughout in alchemistic garments, as a mystical work. The same is true of the formerly famous “Wasserstein der Weisen” (1st ed. appeared 1619), and similar books. Here are some illustrative pages from “Amor Proximi”: “This [Symbol: water] [[Symbol: water] of life] is now the creature not foreign or external but most intimate in every one, although hidden.... See Christ is not outside of us, but intimately within us, although hidden.” (P. 32.) “Whoever is to work out a thing practically must first have a fundamental knowledge of a thing; in order that man shall macrocosmically and magically work out the image of God, all God’s kingdom, in himself; he must have its right knowledge in himself....” (P. 29.)