Projection, according to experts of the Renaissance, is the final act of alchemical work once the Philosophers' Stone has been made. The alchemist casts a piece of the stone into molten metal, and the metal or stone turns to purest ...
During the Renaissance (c. 1350 - 1650 depending on region) certain things happen in alchemy. Naturally, European alchemy is not the same practice as Greco-Roman Alexandrian alchemy over a thousand years before, when Maria speaks of projection:
"... If copper is modified and brought to the state of a [metallic] body, project on it the color of gold, and you will have gold ... "
While earlier alchemists talk of coloring metals, Renaissance alchemy obsesses about turning metals to real gold or silver. This is a huge draw for both patrons and scammers who want wealth, as well as alchemists who truly believe in the making of the mystical stone.
Laws against falsification begin in earnest with the Pope's decree of 1317. While alchemy is never banned, and very few alchemists are hauled up before the ongoing Inquisition, the atmosphere changes to reliance on a patron or other type of protection, such as religion.
Much healing and herbal alchemy is done in convents at this time. Practitioners such as Paracelsus and his followers including Robert Fludd also shun the false allure of gold, and put energy into alchemy for medicine.
In gold-making circles, European alchemy develops based on the needs of the practitioner and desires of the patron. Frauds or not, alchemists must convince people they truly can make gold, or find the elixir of life. Patrons and many alchemists want desperately to believe.
Renaissance alchemy patrons include the Medici in Italy and Rudolf II in Prague. Even England's Elizabeth I is up for gold-making, and tries to entice Edward Kelley to her court. Kelley however is thrown in prison (twice) by Rudolf II for failing to make gold as promised.
Yet Kelley allegedly achieves the transmutation of base metals into gold and silver, according to a letter by John Dee, who attests to the projection. At this point Kelley also has Dee talking to angels who, according to Kelley, want them to wife-swap.
Michael Sendivogius is working at the same time as those two characters. In fact, he befriends them and gets them patronage, so it may be no surprise he also claims to achieve projection at the court of the Polish King. Several witnesses attest to this accomplishment.
Another attributed projector is Nicolas Flamel, a real person, scribe, property owner and intellectual who lives with his wife Perenelle in 14th-century France. After he dies, rumors circulate about occult practices and eternal life, as the couple are childless.
A couple of centuries later, mysterious writings appear attributed to Flamel. Among these writings is a claim of making a projection of the red stone onto mercury, creating gold. However the only two people present are Perenelle and himself.
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