As far as I know, the Philosophers egg is supposed to synthesize the wet and dry paths.

There is talk of a crusty material to handcraft a sort of double crucible. Others speak of two real crucibles, one superimposed on the other.

A whole series of colors should follow each other, starting from black.

As said, this species of peacock’s tail should start from blackness. As any other alchemical color rotation used to be. And will come out of the last red.

In many treatises in which the peacock’s tail is mentioned, they are reticent, whether they refer to the end of the second work or the beginning of the third.

As far as I know, the external stimulus of the addition of gold could be done to cause this particular blackness before the Cauda Pavonis show occurs.

When in the Baroque treatises “Regimes of Fire” are mentioned, a passage of colors is meant. Because of their reticence, of course, it is uncertain whether they refer to the end of the second work or the beginning of the third. Anyway, yes, it could be applied to the passage of colors in the philosophical egg of both paths, given that it is a matter of regulating the fire for the colors to appear.

The ancient authors are also very reticent—some speak of sealing, others of making a tiny window. However, the egg is described as closed or, at most, with a tiny hole.

The last sacrificed child ( in the philosophical sense, of course) is now turning into an embryo. Spirit and Soul, Mercurius, and Sulfur are now indissoluble.

They say the Philosophical Egg forms naturally when the matter goes no further. If we have wisely operated and left some impurities during the salts’ volatilization, the matter will now form a slight crust.

Alchemists have indulged in multiple definitions: the egg is a container and oven sufficient for moderate heat, and the egg must be placed inside a real oven.

It is very hard to grasp whether the noli me tangere phase or “nothing can be added anymore”, refers to the end of the second work or is part of the third one.
Logic would have it that an increase in weight takes place only with the addition of further mass.

Evidently, it refers to the previous faq. If we have wisely operated and left some impurities during the salts volatilization, for the matter to form now a slight crust, and if we know how to provide the newly crusted matter with a particular device and a special oven for the last cooking, we can be able to see the Egg.

The Philosophers Stone is the output of the Philosophical Egg at the end of the third work only. Please note that I wrote the output and not the released material, as the output tends to affect the air around.

Under the dramatic weight increase, the Philosophical Egg would cyclically emit sounds according to a particular musical scale. The number of different sounds must exceed seven. The lack of the eighth sound defines abortion and may cause dangerous but spectacular phenomena.

The sound could be produced by the increase in egg weight due to the abnormal mass contraction and, consequently, of the molecules forming it. Sound is motion, and motion is a force acting on everything and the spirit. Indeed, Spiritus can be defined as a movement.
Much more difficult, in the light of current physical and alchemical knowledge, to define where the higher octave of return comes from. I mean what alchemists call the answer of the divine. Or Cosmos.

It would be interesting to know what becomes of the Philosophical Egg after the output of the eighth note.

No western alchemical treatise has provided an answer yet. We can only infer the purpose from hidden evidence in other disciplines, arts, and literature. Religions and myths. For instance, Jean François Xavier Fabre du Bosquet, in his manuscript Concordance Mytho Physico Cabalo Hermétique (1789?), says: ” Intellects and Spirit of virtuous beings never communicate with mortals without a special grace of Divinity, i.e., to have the Philosophers Stone”.
It is a question of whether the egg is the philosophers’ stone. If so, the concentration of the matter and the consequent hisses emitted would lead us to consider the thought of the Orphics and Neoplatonists regarding the egg as a symbol of the unification of principles, placing the time-before-time as the first principle. Lab alchemists should ask themselves what relationships exist between the concentration of matter and time.

For mythologists of sound, the philosopher’s stone can only be a resonator.

I cannot see any other use. But Western Alchemy’s written descriptions stop here: the risk of clashing with religious institutions was too high.
Anyway, what do alchemists mean by immortality?

The alchemists’ legendary longevity is yet to be proven. Until the Middle Ages, the exact date of birth and death were only deduced from other facts. Al-Jabair and Artephius’ lives were shrouded in mystery. Just as little is known about Flamel’s bio. Surely, Trevisanus passed his eighties – when some Venetian doges of the same era died even at a later age – but Paracelsus was just over forty. Of the legendary figures of the Baroque period, such as Philaletes, all news is uncertain (obviously, being legendary). The others, the identified ones, almost had uncomfortable lives and barely passed their sixty. Canseliet was long-lived, but in his seventies, he suffered a terrible stroke that prevented him from working further. Fulcanelli – and who, if not J.J. Champagne? – died well before his sixties, destroyed by liver cirrhosis. Pierre Dujols passed away at the same age, consumed by arthritis. As for Archarion, it is more what he gave to Alchemy than what he received. But maybe it’s just a matter of understanding when it’s time to stop. Not being a science, Alchemy does not like the stubborn.

Very few alchemists today can afford to face the cooking of the philosophical egg. But I could also say very few alchemists can face the final cooking today. It is enough to read Canseliet for an entire list of chemical-physical catastrophes, which is abnormal for the operation’s technical entity. At this stage, we no longer speak of explosions due to poor chemical knowledge or the fragility of tools. No, the third work borders on physics; it ends in physics. Therefore, physical phenomena can be expected nearby. However, Canseliet came to old age, and his physical troubles seem to have rather been caused by stress, anxiety, fatigue, and sleepless nights.

Projection Powder is the first degree of ripeness before the perfect red achievement. Lapis Medicinalis is the second degree of ripeness. Projection Powder tests whether the amount of Secret Fire/Spiritus Mundi/Seed of Metals is enough for the alchemical child to evolve in Embryo. And, yes, the test consists of trying to transmute a melted metal into gold.

Carbuncle and Lapis Medicinalis are two names for the same thing.

Do not take for granted that Lapis Medicinalis, just because of the name, is good for medical use. Real alchemists do give a philosophical sense to “medical”. They probably mean the creation of a new body instead of the healing of the old one.

Lapis Medicinalis Microcosmi is produced from raw animal matter, such as human blood, urine, and bones, following a series of processes analogous to more generic raw matters. Lapis Medicinalis Macrocosmi is produced from more generic raw matter.
However, be aware that the reason for being of laboratory alchemy is hidden in this.

In laboratory alchemy, the “know yourself” concept uses raw animal matter, which naturally and manually eventually evolves into the Lapis Medicinalis Microcosmi. Lapis Medicinalis Microcosmi should be joined with the Lapis Medicinalis Macrocosmi. The reason is uncertain because few alchemists know what they are doing. But they easily conjecture if we think about creating a new alchemical body.

Too many consider the Lapis Medicinalis as the end of their works and the Philosophers Stone. But, as said above, the Philosophers Stone can only be the last emission of the Philosophical Egg. So even Basilius Valentinus, when claiming to hold the Philosopher’s Stone in his hand, perhaps galloped with his imagination.

The Arab alchemists (since it is an Arabic word) said that the Elixir was extracted and not produced. It already existed in nature; everything that exists has a natural Elixir comparable to a lucid vapor and possesses a vital spirit.