Zosimos from Panopolis

Zosimos from Panopolis was an ancient Greek alchemist . He probably lived in the late 3rd and maybe early 4th centuries and was an influential exponent of mystical or symbolic alchemy.

Life

Zosimos was born in Panopolis, today's Achmim in Upper Egypt . He taught in Alexandria and wrote an extensive corpus of books on alchemy (chemeutics) , which are only partially preserved and also contain later additions.

An approximate determination of his lifetime results from his mention of Sextus Iulius Africanus , whose work Cesti , written between 228 and 231, he apparently cites, and his statement that he consulted writings in the library of the Serapeum in Alexandria, which was destroyed in 390/91 . If a person to whom he makes polemical references can be identified with Mani , the founder of the religion , the time period can be narrowed further; then Zosimos wrote between the introduction of Manichaeism in Egypt in 268 and the Manichaean persecution of Emperor Diocletian at the beginning of the 4th century.

The Suda states that he comes from Alexandria, all other sources give him the addition Theban , which means the Thebais (where Panopolis is also located), or Panopolitans.

Works and teaching

The works are originally written in Greek and include lesson letters addressed to a learned woman - Theosebeia, his sister in the spirit (soror mystica) - and a script peri aretes , also known as visions , which reproduces the dream faces of the author.

In the text, alchemy is presented as a secret doctrine by selected priests. In his works Zosimos quotes statements from earlier alchemists (the so-called "wise men" or "philosophers") in order to make the alchemical work understandable through their mutual explanation, according to the alchemical motto "one book opens the other". In the Visions , in the Book of Pictures and the Book of the Keys to the Work , he complements these quotes and comments in detail with his own dreams and experiences, and explains that he gives (his pupil Theosebeia) a simple, short path to alchemical work.

Zosimos is in alchemical texts also under Rosinus, Rosinos, Rubinus u. known.

Zosimos is the oldest author of alchemy who can be assigned to a historical person. Older texts are known (such as pseudo-Democritus or legendary figures such as Hermes Trismegistus and Maria the Jewess ), which Zosimos also quotes.

Zosimos' ideas were influenced by Hermetism and Christian Gnosis . In his writings there are references to the Corpus Hermeticum and parallels to the Gnostic texts of Nag Hammadi , as well as essential motifs (for example embalming, death and resurrection) from the ancient Egyptian underworld books - some of which were still known in Zosimos' time.

Text division and transmission

The division and transmission of the text is complex and only partially clarified (Michèle Mertens). In addition to Greek texts, there are also Arabic, Latin and Syrian translations.

The most important Greek manuscripts are the Marcianus graecus 299 (10th or 11th century), the Parisinus graecus 2325 (13th century) and the Parisinus graecus 2327 (15th century). The manuscripts also contain drawings of alchemical devices. Mertens divides the Greek corpus of the main manuscripts into four parts:

• The authentic memoirs (also about apparatuses and ovens ), 13 writings including the well-known About the letter Omega , About the uniqueness , About the composition of water . There are also his visions .
• The chapters to Eusebia
• The chapters to Theodor
• The final count

Zosimos himself and commentators also refer to a corpus cheirokmeta (things made by hand) and some other writings such as The Letter Kappa , The Book of Keys, which were not directly obtained . The Suda speaks of 28 books, the assignment is difficult but after Mertens.

Another important source of Zosimos' work are Arabic translations of Greek texts, some of which later found their way into Latin. According to Hallum, these Arabic texts can be viewed as differently authentic and structured accordingly. Recent research leads to the following subdivision (according to Abbot):

• Artisanal texts, rather extroverted content. These include seven letters , 25th and 29th letter , About the Sulfur (arten) (English: The Sulphurs ). In these texts recipes are mentioned above all, there are no visions or dreams, no references to old alchemists.
• Texts in the tradition of symbolic alchemy of a more introverted nature. These include The Book of Keys to Work / Art and the Book of Pictures . In both, Zosimos reports on his own feelings, experiences and dreams or visions. They are addressed to his student Theosebeia and Zosimos quotes his teacher Democritus and other alchemical sages.
• Falsifications / texts wrongly attributed to Zosimos

Peri aretes / Visions of Zosimos

In the work Peri aretes called visions (after Mertens can be translated from the Greek with of virtue, excellence, excellence, perfection or of (alchemical) art ) Zosimos describes various dream faces and comments on them.

Chapter X of the Mèmoires Authentiques begins with the naming of various methods and processes of alchemy: “Making water; Movement and multiplication, disembodiment and embodiment, detachment of the spirit from the body and connection of the spirit with the body. ”He points out that nature is transformed by its own strength and is subject to the moon and the course of time.

In the first dream face (second section) Zosimos sees the priest Ion on a bowl altar , who is dismembered and burned in the early morning. The body is converted into smoke and spirit by fire - with excruciating pain. In conversation with Zosimos, who asked him, Ion transforms himself into a little human being ( homunculus ) who tears itself to pieces with its own teeth.

Waking up, Zosimos asks himself (third section) whether this is the production of water. Asleep again, he sees the same bowl altar with boiling (and evaporating) water, but this time with a group of innumerable people in it. In response to Zosimo's question, a gray man explains that what has been seen is the change and the place of purification. Then a little copper man appears with a lead writing tablet in his hand and gives instructions. The little gray man explains the role of this man who is identical with Ion, the priest who sacrifices and is sacrificed.

Zosimos wakes up again (fourth section), asking about the meaning of what has been seen (“Isn't that the white water that is also yellow, the boiling, the divine?”) And philosophizes about give and take in nature and that every thing with method, to a certain extent and in consideration of the four elements. The entanglement and dissolution of all things could only be done with a method. This is natural, legal, and brings increase and decrease. It is continuously associated with separation and union. Turning nature on itself, transform itself. That is the structure and connection of the cosmos.

As in a kind of intermediate summary, which Zosimos calls the preface - then asks Zosimos (in the fifth section) to go to work himself to build a temple out of a white stone that has no beginning or end. The temple contains a source of the purest water and bright sunlight. With a sword one should look for the narrow entrance of the temple, which is guarded by a dragon. This dragon should be sacrificed, dismembered, put together and then go to the temple, where one should do the thing sought, namely the priest, the copper man (Charlkanthropos), who is then transformed into the silver man (Argyranthropos) and then into the gold man (Chrysanthropos).

In the following 3 sections of the chapter, Zosimos writes about nature and natures, gives advice on the right attitude, the meaning of silence, the transformation of the four metals (copper, iron, tin, lead) into gold. Through the taming of matter ( materia prima ) one gets the one (one nature) out of the many (the many natures).

In this text Ruska sees chemical processes and apparatus such as the distillation process or device described allegorically.

According to Mertens, the alchemical operations are symbolic of the spiritual and spiritual elevation of the alchemist. Zosimos has drawn a parallel between the liberation of the divine spark in man and the transformation of substances or metals. “Pneuma”, for example, denotes the human spirit and the volatile part of the substance or a metal that is produced by distillation or sublimation. The liberation of the "Pneumas" is ritually represented in the visions in the form of dismemberment, death and resurrection. The alchemical devices become temples and altars, while the simple metals are depicted as people to be sacrificed before they are resurrected in the form of precious metals.

According to CG Jung , the visions are about real visions and dreams “that occur during the [chemical] operation”. In them, contents from the unconscious come to light, "which, the alchemists unconsciously, project themselves into the chemical processes and are then perceived in them as if they were properties of the substance." In this case, the (divine) "water" or " the waters "for the alchemist of" undreamt-of significance "and represent the soul of the substance, which is liberated by boiling, the sword, dissolution or dissection and itself has transformative power. The divine water - a gnostic motif - is said to be the "God hidden in matter [...] who leans down to the physique and is swallowed and swallowed by it", a "God made physical". The dream is like a dramatic explanation of the nature of the "divine water" sought by the alchemist, the "painful and violent process of change, which is both the cause and effect of water" and "its essence".

Psychologically Jung understands the dragon as the unconsciousness to be sacrificed. After overcoming it, consciousness can illuminate inside the temple, which symbolizes both the Philosopher's Stone (symbol for the self) and the vessel (and the head) (symbol of the shining sun). The process of change can take place there, where the homunculus, the inner human being, goes through its stages of transformation from copper to silver to gold. This spiritual side in humans is represented by metals. In the visions "the concretized (projected) symbolism of the individuation process" appears.

Letters to Theosebeia

Among other things, the letters to Theosebeia report on the right of kings to make coins. The secret is only presented orally and is inherited from ancestors. Those who know the secret never do the work themselves, but commission others. However, the workers only work for the king, the keeper of secrets. Theosebeia is now also admonished to protect herself from false prophets and to fight the passions. Since people love gold more than knowledge of art, they quickly lose their wits and wealth. Only those who follow the path of reason will find gold. The gold is right in front of the human eye, but it is also hidden in a mysterious way and not visible to everyone. A priest Nilos is mentioned by name as a fraudulent gold maker. In the following text, the production of chemical substances and dyes is described in a similarly mysterious way.

Book of pictures

The book of pictures consists of 13 chapters, each of which is introduced with its own picture. In two chapters, a longer series of pictures is presented, which Zosimos asks to view in the text, which he explains and which are intended to serve a better understanding of Zosimos' teaching.

The text consists of a very lively dialogue between Zosimos and his student Theosebeia about Zosimos 'teaching, including Theosebeia's complaints about Zosimos' unclear statements and his anger over her lack of understanding. Superficially, the dialogue revolves around the understanding of statements by alchemical philosophers such as Agathodaimon, Democritus, Isis, Moses, Maria, Ostanes, as well as technical questions of the alchemical work. However, Zosimos repeatedly emphasizes that it is not the specific substances and processes that are meant, but that they are to be understood symbolically. For Theosebeia he describes the work on the basis of the series of pictures which, together with his statements, “contains everything that she needs to know” and depicts his own psychological transformation process.

Zosimos' teaching is based on the one hand on his own dream faces, mentioned in the text, and on the love and obligation towards his pupil and his painful confrontation with this relationship, which could not simply be lived out in concrete terms. He represented this symbolically as death and resurrection of himself. In this respect, for Zosimos, the alchemical work is based on a psychic transformation and ultimately leads to the fact that the adpet can hold the fire of the attraction. The text is a testimony to Zosimos' difficult search to understand not only the relationship problem, but also the meaning of erotic attraction and the ultimate connection of inner fire and inner water or of outer masculine and outer feminine. This process is described in terms of basic chemical substances that reflect the elementary, collective character of this process.

In the text there are fragments from writings attributed to Zosimos on the sulfur species and his letters to Theosebeia , but interrupted by Theosebeia's questions and further explanations. According to Abbot, this made his teaching easier and more understandable.

There are similarities in content and style between the Book of Images and the Book of Keys (see there).

The Book of Pictures is currently only known in an Arabic version, as well as indirectly in an earlier Arabic, through detailed quotations in the fourth part of Maslama al-Qurțubīs (previously incorrectly attributed to Maslama al-Majriti ) The Book of the Rank of the Sage. Rutbat al-Ḥakīm (written 339 / 950-342 / 953) known version. Both go back to two different Greek originals. It influenced the Arab alchemist Ibn Umail , the Kitab al-Habib (with a dialogue between Rusam and Theosebeia) as well as the author of the Risalat as-Sirr (with a similar dialogue between Hermes Budasir and Amnutasiya) who calls himself "Hermes von Dendera" cited by many alchemists. This also influences the traditional division of the work into 12 parts in symbolic Latin alchemy, as well as the representations of the internal and external relationship between adept and adept, as shown in the Rosarium Philosophorum and Mutus liber . Pieces of text from the Book of Pictures can be found in the Rosarium Philosophorum and in the Artis Auriferae, for example under the title Tractatus Rosini ad Euticiam . The book of images is itself influenced by ancient Egyptian thought, because it contains references to the Pharaonic iconography and motivic parallels to the Amduat , an Egyptian underworld book known to the Greco-Roman times. Also with regard to the question of the external and internal relationship between man and woman or between the mentally masculine and feminine, it forms a cultural bridge between Pharaonic ideas and that of European alchemy.

Book of keys

Zosimos' Book of Keys to Art is apparently a 10-chapter commentary on the Book of 10 Keys , which is attributed to Democritus of Abdera . As the preamble shows, this comment was Zosimo's last book. It was intended for his student Theosebeia and formed a kind of essence of his teaching that was so understandable that Theosebeia "understood the [alchemical] work" after reading it.

Thematically and stylistically there are parallels between the Book of Keys and the Book of Images  :
Both are written in dialogue form. In both books it is said that there is only one alchemical work, both emphasize the role of Democritus, the "head of the wise" of his time. In both the description of the work revolves around the composition of the vapors, the mixture of like with like, and the need to fixate the fleeting mind. Motifs and symbols from Pharaonic Egypt can also be identified in the Book of the Keys of the Work , the inclusion of which makes the text easier to understand.

Chemical-craft fonts

His writings also describe processes and ovens, for example for wax painting, for the production of sulphurous water, distillation apparatus such as a closed vessel (kerotakis) in which metals were exposed to vapors of various tinctures, for example for metal coloring, sublimation processes, pigments such as cinnabar (and mercury extraction from them ) and magnesia, ocher, arsenic (which he called second mercury), hematite and soda. According to Mertens, in his alchemical practice he probably mainly refers to Mary the Jewess (whose work is only imperfectly known and for whose knowledge Zosimos also serves as a source).

reception

Zosimos was received extensively by Arabic authors of the Middle Ages, in particular Ibn Umail (10th century), Jabir ibn Hayyān (Latin Geber, 8th century) and ar-Razi (9th / 10th century). In the Arab world he was known under different names, such as Zusimus, Risamus, Rusim, Arsimun.

According to Mertens, the development of the Arabic tradition is only just beginning. 15 Arabic manuscripts (collections), some of which are very promising, with parts of Zosimos' work can be found in Tehran, Cairo, Istanbul, Dublin, Gotha and Rampur. Through the Arabic tradition, parts of Zosimos' work found their way into some Latin manuscripts, for example in the Turba Philosophorum and Artis Auriferae .

Text editions and translations

There were text editions in Marcellin Berthelot , CE Ruelle: Collection des anciens alchimistes grecs , Paris: Steinheil 1888, based on manuscripts in Paris and the Marciana in Venice. Michèle Mertens started an edition project on some of these Greek manuscripts.

Syriac texts (especially letters) by Zosimos can be found translated in Marcellin Berthelot et al. Rubens Duval: La Chimie au Moyen Age 1893, based on the Cambridge manuscript Mm, 6, 29 , and the Egerton 809 and Oriental 1593 of the British Museum.

Arabic manuscripts can be found in facsimile and translated in the series “Corpus Alchymicum Arabicum” (Vol. II-IV) published by T. Abt.

• Howard M. Jackson (Editor and Translator): Zosimos of Panopolis, On the Letter Omega. Scholars Press, Missoula, MT 1978.
• Michèle Mertens (editor and translator): Zosime de Panopolis, Mémoires authentiques. Les alchimistes grecs, Volume 4, Part 1, Les belles lettres, Paris 1995.
• Theodor Abt (Ed.): The Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Corpus Alchemicum Arabicum Vol. II.2. Living Human Heritage, Zurich 2011. Based on the Ms. der Arkeoloji Müzesi No. 1574 from Istanbul. (Facsimile of the same as Vol. II.1.)
• Theodor Abt (Ed.): The Book of the Keys of the Work. Kitāb mafātīḥ aṣ-ṣan'a by Zosimos of Panopolis. Arabic facsimile with English translation by Salwa Fuad and Theodor Abt, with an introduction by Theodor Abt. Corpus Alchemicum Arabicum Vol. III. Living Human Heritage, Zurich 2016. Based on the Ms. der Dār al-kutub in Cairo. Khedive V, 395. kimiyā '23.

literature

• Theodor Abt : Introduction to the Facsimile Edition and Introduction to the Translation. In: Theodor Abt (Ed.): The Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis . Translated by Salwa Fuad and Theodor Abt, Corpus Alchemicum Arabicum Vol. II.2. Living Human Heritage, Zurich 2011, ISBN 978-3-9522608-7-6 , pp. 17-138.
• Theodor Abt: Introduction . In: Theodor Abt (Ed.): The Book of the Keys of the Work. Kitāb Mafātiḥ aṣ-ṣan'a by Zosimos of Panopolis . Arabic Facsimile and English Translation. Edited with an Introduction by Theodor Abt. Translated by Salwa Fuad and Theodor Abt, Corpus Alchemicum Arabicum Vol. III. Living Human Heritage, Zurich 2016, ISBN 978-3-9523880-6-8 , pp. 11–54.
• Garth Fowden: The Egyptian Hermes: A Historical Approach to the Late Pagan Mind . Cambridge University Press, Cambridge 1986, ISBN 0-521-32583-8 .
• Bernhard Dietrich Haage: Alchemy in the Middle Ages: Ideas and Images - from Zosimos to Paracelsus. Artemis and Winkler, Düsseldorf, Zurich 1996, ISBN 3-7608-1123-X ; further edition ibid. 2000, ISBN 3-7608-1222-8 .
• Heike Hild: Zosimos from Panopolis. In: Claus Priesner , Karin Figala (Ed.): Alchemie. Lexicon of a Hermetic Science . Beck, Munich 1998, ISBN 3-406-44106-8 , pp. 380-381.
• Matteo Martelli: Zosime l'Alchimiste. In: Richard Goulet (ed.): Dictionnaire des philosophes antiques. Volume 7, CNRS Éditions, Paris 2018, ISBN 978-2-271-09024-9 , pp. 447-450
• Michèle Mertens: Alchemy, Hermetism, and Gnosticism at Panopolis c. 300 AD - The Evidence of Zosimus. In: A. Egberts, Brian P. Muhs, Jacques van der Vliet (eds.): Perspectives on Panopolis - An Egyptian Town from Alexander the Great to the Arab Conquest. Acts from an International Symposium Held in Leiden on 16, 17, and 18 December 1998. Papyrologica Lugduno-Batava 31. Brill, Leiden 2002, ISBN 90-04-11753-9 .
• Michèle Mertens: Graeco-Egyptian Alchemy in Byzantium. In: Paul Magdalino, Maria Mavroudi (Ed.): The Occult Sciences in Byzantium . La pomme d'or, Geneva 2006, ISBN 954-8446-02-2 .
• Michèle Mertens: Project for a new Edition of Zosimos of Panopolis. in ZRWM van Martels (Ed.): Alchemy revisited. Proc. of the Internat. Conference on the History of Alchemy, Groningen 1989. Leiden 1990, ISBN 90-04-09287-0 , pp. 121-126.
• Michèle Mertens: Zosimos of Panopolis. In: Noreta Koerge (Ed.): New Dictionary of Scientific Biography 8 volumes. Scribner's, a part of Gale Cengage Learning, Detroit 2007. (Supplement to Ch. Gillespie: " Dictionary of Scientific Biography " 16 volumes, 1970–1994, Charles Scribner's Sons, New York 1970–1994), ISBN 0-684-31320- 0 . Volume 7, pp. 405-407.
• Julius Ruska : Zosimos. In: Günther Bugge (ed.): The book of great chemists . Verlag Chemie, Weinheim 1974, ISBN 3-527-25021-2 , pp. 1-18.
• Manfred Ullmann : The natural and secret sciences in Islam . Handbook of Oriental Studies, Division I, Supplementary Volume VI, Section Two. Brill, Leiden 1972. ISBN 90-04-03423-4 . Pp. 160–163 (briefly on Greek and Syrian Zosimos writings, in detail on Zosimos' Arabic writings and their reception in Arabic manuscripts.)

Web links

• Mertens, DSB

Individual evidence

1. ↑ See on the dating Matteo Martelli: Zosime l'Alchimiste. In: Richard Goulet (ed.): Dictionnaire des philosophes antiques , Volume 7, Paris 2018, pp. 447–450, here: 448 with an overview of the older literature on the question of dating.
2. ↑ Johann-Joachim Becher: Chymisches Laboratorium, or underground natural denunciation, volume 2. Philipp Fieret, 1680, p. 170.
3. ^ Theodor Abt: Introduction to the Translation . In: ders. (Ed.): Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Corpus Alchemicum Arabicum (CALA) II.2, Living Human Heritage, Zurich 2011. ISBN 978-3-9522608-7-6 , pp. 137-138.
4. ↑ in: Book of the Keys of the Work , fol. 52a 10, 13-16: "Make use of this path, because in it I made things clear for you [Theosebeia] [...]. And know that I made the path easy and short for you, [...] . Take that path from me, with the blessing of God, till he leads you to the sources of gold. " In: Zosimos of Panopolis: Book of the Keys of the Work. Kitāb Mafatiḥ aṣ-ṣana'a by Zosimos of Panopolis. Arabic facsimile and English translation, with an introduction edited by Theodor Abt. Translated by Salwa Fuad and Theodor Abt, Corpus Alchemicum Arabicum (CALA) III, Living Human Heritage, Zurich 2016. ISBN 978-39523880-6-8 .
5. ↑ Under Rosinus texts were printed by him in the Artis Auriferae Collection , Basel 1571 (with Pietro Perna ), in which the first edition of the Turba Philosophorum also appeared.
6. ↑ Garth Fowden, Zosimos of Panopolis. In: ders .: The Egyptian Hermes. A Historical Approach to the Late Pagan Mind . Cambridge University Press, Cambridge, New York, Melbourne 1986, ISBN 0-521-32583-8 , pp. 120-126.
7. ↑ Michèle Mertens: Zosimos of Panopolis. In: Dictionary of Scientific Biography. 2008, p. 407; Examples from Theodor Abt (ed.): Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Living Human Heritage, Zurich 2011, ISBN 978-3-9522608-7-6 , pp. 121–123.
8. ^ Theodor Abt (Ed.): Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Living Human Heritage, Zurich 2011, ISBN 978-3-9522608-7-6 , pp. 39–40, 45, 108–110.
9. ^ Dictionary of Scientific Biography 2007.
10. ↑ Michèle Mertens (editor and translator) gives a good overview of the various traditions and manuscripts: Zosime de Panopolis, Mémoires authentiques , Les alchimistes grecs, Volume 4, Part 1, Les belles lettres, Paris 1995, pp. LXX – LXXXVI. For parallels between the Arabic book of pictures and Latin works of alchemy see Theodor Abt (ed.): Book of Pictures. Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Living Human Heritage, Zurich 2011, ISBN 978-3-9522608-7-6 , pp. 52–67.
11. ↑ Bink Hallum: Zosimos of Panopolis. In: Paul T. Keyser and Georgia L. Irby-Massie (Eds.): The biographical Encyclopedia of Ancient Natural Sciences . Routledge, London, New York 2007.
12. ^ Theodor Abt: Introduction to the Translation. In: ders. (Ed.): Book of Pictures.Muṣḥaf aṣ-ṣuwar by Zosimos of Panopolis. Translated by Salwa Fuad and Theodor Abt, Living Human Heritage, Zurich 2011. In particular, pp. 132–134 and p. 137.
13. ↑ Michèle Mertens (editor and translator): Zosime de Panopolis, Mémoires authentiques. In: Les alchimistes grecs. Volume 4, Part 1, Les belles lettres, Paris 1995, pp. 213-214.
14. ↑ CG Jung: The Visions of Zosimos . In: Studies on Alchemical Concepts. Collected Works 13 . (Written in 1937, revised and expanded in 1954). Par. 86.
15. ↑ In this and the following sections according to Michèle Mertens, Mémoires authentiques. In: Les alchimistes grecs. Volume 4, Part 1, Les belles lettres, Paris 1995, pp. 34-42 (chapitre X) summarized.
16. ↑ Julius Ruska: Zosimos . In: Günther Bugge, The Book of Great Chemists. Volume 1. Chemie Verlag, Berlin 1929, p. 10.
17. ↑ Michèle Mertens: Zosimos of Panopolis. In: Noreta Koerge (Ed.): New Dictionary of Scientific Biography . Scribner's, a part of Gale Cengage Learning, Detroit 2007. Volume 7, p. 407.
18. ↑ CG Jung: The Visions of Zosimos. The comment . In other words: Studies on Alchemical Concepts. Collected Works 13. (Written in 1937, revised and expanded in 1954). Par. 88, 137-8.
19. ↑ CG Jung: The Visions of Zosimos. The comment in the other: Studies on Alchemical Concepts. Collected Works 13. (Written in 1937, revised and expanded in 1954). Par. 115-9, 150.
20. ↑ Book of Pictures , fol. 38b, 2-10.
21. ^ Theodor Abt: Book of Pictures. Pp. 29f., 78f, 135.
22. ^ Theodor Abt: Book of Pictures. Pp. 69, 137.
23. ^ Theodor Abt: Book of Pictures. Pp. 115-116.
24. ^ Discussion of the authorship in W. Madelung's "Introduction" to Wilferd Madelung (ed.): The Book of the Rank of the Sage. Rutbat al-Ḥakīm by Maslama al-Qurṭubī . Arabic Text edited with an Introduction by Wilferd Madelung, Zurich 2016, ISBN 978-3-9523880-0-6 , p. 9-24.
25. ↑ and according to Madelung, Maslama al-Qurtubi was the first author to quote the Book of Pictures . Wilferd Madelung (ed.): The Book of the Rank of the Sage. Rutbat al-Ḥakīm by Maslama al-Qurṭubī . Arabic Text edited with an Introduction by Wilferd Madelung, Zurich 2016, ISBN 978-3-9523880-0-6 , p. 10-11.
26. ↑ See Wilferd Madelung (ed.): The Book of the Rank of the Sage. Rutbat al-Ḥakīm by Maslama al-Qurṭubī . Arabic Text edited with an Introduction by Wilferd Madelung, Zurich 2016, ISBN 978-3-9523880-0-6 , p. 11. According to P. Lory, Th. Abt 2011 argued convincingly for a Greek authorship review by Pierre Lory of Th. Abt's Zosimos of Panapolis. The Book of Pictures. Mushaf as-suwar . In: Bulletin critique des Annales Islamologiques , BCAI 28 (2012), Institut français d'archéologie orientale (IFAO), Le Caire, p. 133
27. ↑ See the list of the fragments found in Manfred Ullmann: The natural and secret sciences in Islam . Handbook of Oriental Studies, Division I, Supplementary Volume VI, Section Two. Brill, Leiden 1972. ISBN 90-04-03423-4 . P. 161f.
    For Risalat as-Sirr, see p. 162f. and Kitab al-Habib p. 179.
28. ^ Theodor Abt: Book of Pictures. Pp. 68-69, 136.
29. ↑ Manfred Ulmann: The natural and secret sciences in Islam . Handbook of Oriental Studies, Division I, Supplementary Volume VI, Section Two. Brill, Leiden 1972. ISBN 90-04-03423-4 . P. 162.
30. ^ Theodor Abt: Book of Pictures. Pp. 108-109, 136.
31. ↑ Manfred Ullmann: The natural and secret sciences in Islam . Handbook of Oriental Studies, Division I, Supplementary Volume VI, Section Two. Brill, Leiden 1972. ISBN 90-04-03423-4 . P. 163.
32. ^ Theodor Abt: The Book of the Keys of the Work. Kitāb Mafātīh aṣ-ṣan'a by Zosimos of Panopolis. Arabic Facsimile and English Translation. Edited with an Introduction by Theodor Abt. Translated by Salwa Fuad and Theodor Abt. Zurich 2016. ISBN 978-3-9523880-6-8 . Pp. 12-13.
33. ^ Theodor Abt: Book of Pictures. P. 45.
34. ^ Theodor Abt: The Book of the Keys of the Work. Kitāb Mafātīh aṣ-ṣan'a by Zosimos of Panopolis. Arabic Facsimile and English Translation. Edited with an Introduction by Theodor Abt. Translated by Salwa Fuad and Theodor Abt. Zurich 2016. ISBN 978-3-9523880-6-8 . Pp. 20-53.
35. ↑ The divine liquid or sulphurous water (Theion hydor) mentioned in the work can also be meant symbolically or for a liquid for metal coloring. Mertens, Dict. Sci. Biogr.
36. ^ Pötsch et al. Lexicon of important chemists , Harri Deutsch 1989, article Zosimos, p. 469.
37. ↑ Manfred Ullmann 1972.
38. ↑ Michèle Mertens (editor and translator): Zosime de Panopolis, Mémoires authentiques (= Les alchimistes grecs . Volume 4, Part 1). Les belles lettres, Paris 1995, ISBN 2-251-00448-3 , p. LXXVIIIff.
39. ↑ Dict. Sci. Biogr., 2007. Mertens refers to Bink Hallum. For research and edition of Arabic Ms. see also Abt 2011 and Abt 2016.
40. ↑ Fuat Sezgin: History of Arab Literature , IV. (Institute for the History of Arab-Islamic Sciences), Brill, Leyden 1971.
41. ↑ Michèle Mertens (editor and translator): Zosime de Panopolis, Mémoires authentiques. (= Les alchimistes grecs. Volume 4, Part 1). Les belles lettres, Paris 1995, ISBN 2-251-00448-3 , p. LXXXVf.