The Alchemy Key.pdf - Veritas File System

• heads taken in battle and carried to the King for reward then scalped
and made into cloaks of human hair;
• sculls sliced, gilded and used as magical drinking cups; cauldrons of
heavenly splendor that never run dry and appear at feasts before the
bravest of the heroes;
• Scythian griffins and Sarmatians dragons as magical beasts. The very
name Sarmatian means lizard people;
• the Sarmatians dragon used as a as military standard. The Sarmatians
used a very particular battle standard, consisting of a silken windsock
sewn into the shape of a serpentine dragon, which hissed when it
filled with air as its bearer charged into battle;
• women as warriors. Greek and Chinese described the Amazon women
who were Scythian female warriors that fought alongside their men.
Adam of Bremen wrote that these women lived along the Baltic
Coast. 206 Saxo Grammaticus described the same women in
Denmark. 207 He said: their eagerness for military glory was so strong
that you would have thought they were no longer women; and
• women's chivalric role. An Iranian gold plaque from the Peter the
Great’s Siberian collection dated around 300 BC shows a woman
seated under a tree, holding a sleeping man’s head in her lap. Nearby
a groom holds a pair of horses. His weapons hang in the branches of
the tree. It is not difficult to recognize the scene of Arthur’s death.
Tubal-Cain is another Bronze Age forerunner of Freemasonry’s
Hiram Abiff, the archetypal architect of King Solomon’s Temple. 208 In
fact, the name Hiram Abiff may simply be a refinement of Tubal-cain in
the early Anatolian Iron Age because it derives from Abiff ‘Aram where
‘Aram means a metal ore from ayir or ayiram in Sanskrit and Dravidian
(iron is ayil). Abiff is the metalworker or artificer. The blow Hiram Abiff
receives imparts nobility. It is symbolically equivalent to achieving
perfection by the Colaphum, or Box of the Ear. 209 The Romans and later
the Germans and French conferred knighthood by the Colaphum as a sign
of sustaining future hardships.
Charles Gounod’s La Reine de Saba (The Queen of Sheba) a
creation in the Opera, on 28 February 1862 builds on an alternative
history that directly connects Tubal-Cain with the legend of Hiram Abiff.
It is based on a Rosicrucian legend reported by Gerard de Nerval. 210
Three jealous workers disrupt Hiram casting his masterpiece, the
monumental bowl called the Molten or Brazen Sea. Tubal-Cain visits
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