Lawrence Principe - Secrets of Alchemy - Valentine's first three keys

[...] Valentine's "Of the Great Stone" [...] It will suffice to examine only the first three keys in detail. [...] "all impure and contaminated things are unworthy for our work". The theme of purity continues with a comment about how physicians purge illness from sick bodies. The section relating directly to the image advises that

"the king's crown should be pure gold, and a chaste bride should be married to him. Take the ravenous grey wolf that on account of his name is subjected to bellicose Mars, but by birth is a child of Saturn, and that lives in the valleys and mountains of the world and is possessed of great hunger. Throw the kings's body before him that he may have his nourishment from it. And when he has devoured the king, then make a great fire and throw the wolf into it so that he burns up entirely; thus will the king be redeemed. If this is done thrice, then the lion has conquered the wolf, and nothing more to eat will be found in him; thus is our body completed at the start of our work."

The woodcut shows the king, his chaste bride, and the wolf (wearing a collar and looking rather more like a whippet) jumping over the fire. Paternal Saturn (identified by his crutch and scythe) stands nearby. What does it all mean? This riddle is relatively easy. The text clearly describes a purification process. In the context of metallic transmutation, the king is likely "the king of metals", that is gold. This gold (the king's body) is fed to a ravenous wolf who is a child of Saturn. In the standard planetary nomenclature, Saturn is lead; his child would then be something closely related, and useful for purifying gold. The answer is Valentine's favorite substance, antimony ore or stibnite. Stibnite was widely thought to be related to lead, and was used to purify gold. Calling stibnite a ravenous wolf would make sense to anyone who has seen it react with metals. When melted, shtibnite dissolves - "devours" - the metals with breahtaking speed. Corroboration comes from the hint "on account of his name [he] is subjected to bellicose Mars". In German, the name for the mineral stibnite is Spiessglanz, literally "Spear-shine", in reference to its shiny needlelike crystals. A spear, like all weapons, is subject to Mars, the god of war.

This process works very well today. When a piece of impure gold (for example, a 14-karat gold ring or necklace, which contains 58-percent gold and 48-percent copper) is thrown into melted stibnite, it dissolves almost instantly. Metals other than gold are turned into sulfides that float to the surface. A brilliant white alloy of antimony and gold sinks to the bottom of the melt, where it is easily retrieved after the crucible has cooled. When this alloy (that is, the wolf with the king in his stomach) is roasted ("make a great fire and throw the wolf into it"), the antimony evaporates, leaving the purified gold behind. Now that the gold is pure, "nothing more to eat will be found in him"; thus the "lion [king of beasts = king of metals] has conquered the wolf".

The second key discusses the beverages available in the "courts of the powerful", and notes how the "bridgegroom Apollo", before his marriage to the "bride Diana", must be carefully bathed with water "which you must learn to prepare by various manners of distillation". Apollo is god of the Sun, and the Sun is linked to gold, so it is probable that this key starts with the gold purified in the first key. Gold, called king previously, is now called Apollo. Decknamen are not constant, even within a single book - the tricky (and perhaps playful) chrysopoetic writers multiply them unceasingly, sometimes within a single sentence.

The author continues,

"The precious water in which the bridgegroom needs to have his bath must be made most cleverly and carefully from two fighters (understand two contrary things)... It is not useful for the eagle to make his nest alone at the top of the Alps, for his young would freeze from the snow high up the mountain. But when you introduce to the eagle the old dragon who has dwelt long among the rocks, and who creeps in and out of the caves of the earth, and set the two upon a hellish seat, then Pluto will blow strongly and drive out from the cold dragon a flying, fiery spirit whose great heat will burn up the feathers of the eagle and prepare a steam-bath so that the snow on the highest mountains must melt entirely and turn into water, whereby the mineral bath is rightly prepared and can give the king good fortune and health."

[...] The bridgegroom's bath is a liquid prepared by the combat of two fighters, also called eagle and dragon; these animals are shown on the combatant's swords. Fortunately, Valentine mentions an eagle once again elsewhere in the book (probably an example of the dispersion of knowledge). There he equates that eagle with "salmiac", or sal amoniac, a salt today called ammonium chloride. One of ammonium chloride's characteristic properties is that it sublimes easily - that is, upon mild heating the salt vaporizes and then recondenses into a white salt in cooler part of the flask. Given ammonium chloride's ability to sublime, eagle is an appropriate Deckname for it - both the salt and the bird fly through the air. (The modern term "volatilize" derives from the Latin "volare", "to fly"). Accordingly, the "snow on the highest mountains" must refer to the deposit of pure white sal ammoniac that collects at the top of the vessel when the salt sublimes.

Identifying the dragon requires some knowledge of mineralogy. The fact that it lives in caves and around stones suggests saltpeter (potassium nitrate), a salt found naturally as a crystalline deposit on cave walls and in the stone foundations of stables. The remark that the dragon is "cold" further hints at saltpeter, for it tastes cool on the tongue, and it perceptibly lowers the temperature of water as it dissolves. Finally, "a flying fiery spirit" can be driven out of saltpeter by heat - we call it nitric acid - which clinches the identification.

Replication proves the correctness of this interpretation. When ammonium chloride and potassium nitrate are mixed ("introduce to the eagle the old dragon"), placed in a retort in a furnace ("a hellish seat"), and heated strongly (Pluto, god of hell, starts to blow), a vigorous reaction (a fight) does ensue, and a highly corrosive acid distills over. This "mineral bath" is a type of aqua regia, an acid mixture capable of dissolving gold.[...]

The text of the third key describes how water conquers fire, and in the same way

"our fiery Sulfur must be prepared for this art and conquered with water ... so that the king ... is utterly shattered and made invisible. But his visible form must this time appear again."

These allusive directions seem to describe the action of the prepared acid ("water") on the purified gold ("Sulfur"). Namely, the gold is dissolved ("utterly shattered") by the acid into a transparent solution ("made invisible"). Making "his visible form ... appear again" implies that the gold reappears, suggesting that the solution should be evaporated to leave behind a residue, in this case gold chloride. Gold chloride is unstable in the presence of heat, so when its solution is evpaporated, the residue decomposes quickly to produce gold once again - thus, the king's "visible form" reappears.

Valentine continues, "He who would prepare our unburnable Sulfur of all the Sages must take care to seek out our Sulfur in something where it is unburnable, which cannot be done unless the salty sea has swallowed the corpse, and then entirely spat it out once again". The Sulfur of the Sages is a title for the Philosophers' Stone, goal of the twelve keys. To attain it, Valentine implies, one must use more acid (salty sea) to redissolve the gold (the corpse, that is, the residue from evaporating the first solution), and then distill it off again to restore ("spit out") the gold. This direction seems to make no sense chemically; it does not get us anywhere. Nevertheless, it describes a common chymical operation called cohobation, a technique not used by chemists today. In this process, a liquid is distilled off of some substance, and then the same liquid is poured over the residue and distilled off again - often for dozens of times in succession. [...] What could this repetition possibly achieve ?

Valentine then reaches a new crescendo of the bizarre:

"Then raise him up in degree so that he far surpasses all the other stars of heaven in brightness ... this is the rose of our masters, scarlet in color, and the red dragon's blood ... Endow him with the flying power of a bird as much as he needs, thus the rooster will eat the fox, be drowned in water, be made living by fire, and be eaten in return by the fox, so that like and unlike are made alike."

(Gold dissolves in acid, forming gold chloride; when the acid is distilled off, the gold chloride is decomposed by heat into gold and chlorine gas; the resultant gold is redissolved in acid, and so on).

[...] The third key shows the red dragon in the foreground, and that strangely carnivorous rooster both eating a fox and being eaten by him in the background. [...] Roosters had long been linked to the Sun (they crow at sunrise), and the Sun in turn to gold. Rooster would then be the fourth Deckname for "gold", previously encoded as king, Apollo, and Sulfur. The fox is a particular consumer of barnyard fowl (as in "a fox in the henhouse"), and consequently must be a new cover name for the acid that "eats" the gold. So, Valentine's allegory can be deciphered as follows: the gold drinks in the acid (rooster eats fox), is dissolved by it (drowns in water), reappears when heat evaporates the acid (rooster brought back to life by fire), and is then redissolved by fresh acid (fox eats rooster) during cohobation. This interpretation seems plausible - it both fits the text and is chemically possible - but the process still seems like running in place.

[...] To "make the fixed volatile and the volatile fixed" was a guiding axiom for making the Philosophers' Stone, and few substances are more "fixed" (that is, nonvolatile) than gold. [...] Despite being "the most difficult difficulty of the difficulty", in 1895, long after both the alchemical claim to volatilize gold and its ridicule had faded from memory, this very process - allegorically described three hundred years earlier by Basil Valentine - was actually rediscovered independently and chemically explained. Valentine apparently had succeeded in volatilizing gold. Seventy years after him, so had Robert Boyle, who successfully deciphered and followed experimentally at least the first three of Valentine's Twelve Keys during his own quest to prepare the Philosophers' Stone. [...]

Valentine's astonishing success depended on that seemingly useless cohobation. The repeated formation and decomposition of the gold chloride fills the distillation apparatus with chlorine gas. This toxic gas prevents the decomposition of the otherwise highly unstable gold chloride, allowing it to sublime as beautiful ruby-red crystals, or in Valentine's more vivid language, "the rose of our masters ... and the red dragon's blood".

Lawrence Principe - Secrets of Alchemy - Valentine's oil of antimony

Stibnite--roast (-sulphureous fumes)-->Ash--fuse--> Glass of Antimony --extract with vinegar (-inert dregs)-->Red Extract--extract with alcohol (-poisons)-->Sulphur of Antimony

A schematic of Valentine's chemical transformation of poisonous antimony into medicine. At each step, toxic or inactive materials are suposedly separated - an ilustration of the Paracelsian principle of Scheidung.

The most famous book in the Valentine corpus appeared in 1604 under the grand title of "The Triumphal Chariot of Antimony (Der Triumph-Wagen Antimonii)". [..] Valentine first describes a way to isolate the Sulfur of antimony. He begins by making "glass of antimony" (vitrum antimonii) - a vitreous substance used commonly (and perilously) to induce vomiting. He extracts the glass with vinegar to provide a red liquid, evaporates the liquid to a gummy residue, the extracts the residue with spirit of wine (alcohol) to give a sweet red oil. This oil is suposedly the Sulfur of antimony, and is no longer emetic or purgative because all poisonous qualities have been separated.

[...]Making the glass of antimony seemed a trivial preparation: this material appears commonly in early modern pharmacopoeia. Valentine even apologizes for starting with something so easy, but the initial results of replicating his procedure showed that the apology was unnecessary. Valentine instructs the reader to grind antimony ore (stibnite, native antimony sulfide), roast it slowly until it turns light gray, melt this "ash" in a crucible, and the pour out the molten material to provide "a beautiful, yellow, transparent glass". Accordingly, I took antimony sulfide and roasted it (laboriously, since it takes two or three hours of gentle heating and constant stirring, a process known as calcination) to a light gray "ash". This ash - predominantly antimony oxides - melted only with great difficulty, and when poured out solidified to a dirty gray lump. Many repeated attempts, with modifications to the temperature and duration of roasting and the length of time the ash was kept molten, always gave the same miserable result. After having exhausted other ideas, I obtained a sample of ore from Eastern Europe (Valentine specifies the use of "Hungarian antimony"), ground it, roasted it, fused the ash, all exactly as before - and this time obtained the beautiful, yellow, transparent glass.

What finally went right ? Analysis of the ore showed that it contained a small amount of quartz, one of the most common minerals on earth. This minute quantity, about 1 or 2 percent of the ore's total weight, proved to be the key; without its presence, the glass does not form. In fact, when i took the ugly gray lumps from the failed trials, remelted them, and added a pinch of powdered quartz (or silica, silicon dioxide), they also turned into beautiful golden glasses.

[...] Valentine next tells readers to powder the glass and extract it with vinegar to produce a red solution. Once again, theprocess failed. The yellow glass made with the addition of quartz gave no color to vinegar, even after weeks of stirring. The glass made from the ore gave only a pale reddish color after several days. Chemical analysis provided a surprise: this redness was due not to any antimony compound but rather to iron acetate, undoubtedly from trace amounts of iron in the ore. This red material was formed in such a small quantity that it seemed impossible for Valentine to have made as much of it as he claimed. This time the key lay in a disregarded detail in his recipe: Valentine writes that he stirred the roasting ore with an iron hook, and the stirred the molten glass with an iron rod. Antimony  compounds corrode iron very quickly. Thus, Valentine's iron tools enriched his glass with iron compounds. They provided the very substance he was isolating as the "Sulfur of antimony". Valentine's Sulfur of antimony actually contains nno antimony whatsoever; it was extracted not from the antimony but rather from his laboratory ustensils!

This amusing conclusion explains Valentine's claims and observations perfectly. Vinegar dissolves the iron out of the glass, but also dissolves some antimony compounds - hence, the vinegar extract still has the purgative properties Valentine noted. But after the vinegar solution is evaporated, and the gummy residue is extracted with spirit of wine, only the iron acetate disolves, leaving all the antimony behind in insoluble residues. As Valentine writes (correctly), "the residue that remains behind contains the poison, the extraction takes up only the medicine". The alcohol extract is completely nontoxic, and is, just as Valentine says, "sweet", for iron acetate has a slightly saccharine taste.

ORMEs - Methods

## Excellent Methods to Obtain ORMES, by VLAD, JEREL, ADAM (Wizard) and NDC from PDF files found on ORMUS Forum.


This form of gold is known as "potable gold" because it is liquid. Actually "potable gold" is a mistranslation. It comes from "Aurum Potabile", which comes from the hebrew word Aor (light) and the latin word potabile (drinkable), and therefor actually means drinkable light.

Aurum should have been Aorum, but it was translated wrong, and so we end up with Aurum potabile - drinkable gold.

But perhaps this wasn't a mistake at all. When you make colloidal gold, it is drinkable gold. But there is also drinkable light present as monatomic superconducting gold. This can easily be proven:

- 1. Add hydrochloric acid to a colloidal gold solution until the pH is 1.

- 2. Add a sodium hydroxide/water solution to raise the pH to 14, and the gold will precipitate.

- 3. Let the gold settle on the bottom, then pour off the top water and evaporate the remaining water.

- 4. Heat the precipitate in open air until it glows red hot - this will anneal off the hydroxyl group.

- 5. When it cools, run a magnet over it, and a large amount of the gold will stick to the magnet. This is your easy way of proving you have superconducting gold, and also an easy way to separate it (put paper over the magnet). Gold isn't magnetic, so the only way it could have become magnetic is if the atoms have deformed into monatomic superconducting gold.


- 1. In a 600ml beaker, place 2 gold wires 3/4 inch from each other. Fill the beaker with 500ml distilled water.

- 2. Connect the wires to a 36v DC source at 50ma (remember the polarity you used on each wire), and stir the solution sprinkling a pinch of potassium nitrate (KNO3) into the solution.

- 3. Leave the solution going for the next few hours, and check on it every hour. When you see that the positive wire (anode) is coated with a burgundy color, turn off the power and remove the electrodes and dry them with a paper towel.

- 4. Fill another 600ml beaker with 500ml of distilled water. Place the electrodes in the beaker, and make sure the anode is under the water enough so the burgundy color is submerged. Turn on the power (this time use 150ma), and add a pinch of salt (NaCl). Bubbles will form on the electrodes, indicating a reaction is taking place.

- 5. After several hours, the colored coating will be gone from the anode electrode. Now go back to step 1, and do it all over again one more time.

- 6. Heat the salt water beaker until it begins to boil. Keep stirring it constantly with a glass stir rod so the gold atoms don't recluster into a large size.

- 7. When the solution begins to boil, stir it so strongly that a vortex forms in the center. Squirt 2ml off hydrogen peroxide (3%) into the solution. Remove the stir rod and let the solution continue to spin for another minute.

- 8. Gently agitate the solution to keep it from stopping. It will turn a light pink. Because colloidal gold is photo sensitive, the color will change to a deep ruby red the longer it's out in the light (especially sunlight). This is because the gold clusters recombine and larger cluster sizes form. So put it in a dark place unless you want large colloidal gold for some reason.

The above process is known as the "Jerel" method. Named after the man who invented it.

# Superconducting Monatomic Iridum and Rhodium

Black sand is mostly iron oxides. But a small amount of this sand contains m-iridium and m-rhodium. By dragging a magnet around a beach, you can collect this sand. But the best place to get your sand is from volcanic ash. You can order this sand on the net for less than $10 a pound. Here is how to extract the m-rhodium and m-iridium from the sand and leave the iron behind.

- 1. In one liter of water, slowly mix in 1 cup of sodium hydroxide. Add a very small amount each time, and make sure it doesn't get too hot. Don't breathe the fumes because they are hydrogen.

- 2. Add 1/2 cup powdered magnetite and boil for 3 days. Refill with more water as needed.

- 3. After the solution has cooled, filter the water through a stack of three coffee filters.

- 4. Now slowly add vinegar a few milliliters at a time while stirring. When the pH is 5 or 6 stop and let the precipitate settle on the bottom. Pour off the top water and discard.

- 5. Now dissolve the precipitate by lowering the pH to 1 with a few milliliters of hydrochloric acid.

- 6. Dilute with 1 liter of water, then add sodium hydroxide slowly until the pH is 14.

- 7. A white precipitate will form. Let it settle on the bottom, then pour off the top water. Add fresh water, and repeat until the pH is neutral 7.0

This white powder will have a wonderful effect with enhancing your creativity, and making your dreams have all 5 senses. You will also have R.E.M. sleep constantly all night. Lucid dreams and Astral Projection will also become more frequent. Psychic abilities increase, especially when used in combination with White Powder Gold. It's best to keep it in solution instead of drying. Consume 1 tablespoon per day, 4 hours after eating food. Mixing it with white vinaigre is also a good idea to help absorption, as well as being a menstrum that changes the precipitate in some strange way. You will notice changes in about 3 months that will be permanent even if you discontinue the use of this elixir. Process developed by Vlad

# Superconducting Elements from Grape Juice

Little does the modern technological world know, room temperature superconductors can be purchased at your local grocery store; and for a very low price.

Grape Juice for some reason contains a high concentration of superconducting monatomic elements. There is enough present in one can of frozen juice to be easily separated with a magnet. We know this isn't iron because it would indicate that level of iron on the label. So the only thing left is monatomic elements. This fits well with David Hudson's information about grapes containing large amounts of m-iridium and m-rhodium. But our bodies don't gain access to these elements because of the high levels of sugar in grapes.

This process below breaks down the sugar using sodium hydroxide, releasing the m-state elements which can then be separated using a magnet. The magnet charges up the monatomic elements and makes them become superconductive which is why they are attracted to the magnet. In their natural form, they are locked inside the sugars in the grapes and can't be charged with a magnet, and this is why it does no good to place a magnet next to grape juice then drink it. But when dried and extracted, they can be fully charged, then ingested, and the effect is quite powerful in large doses.

- 1. In a 250ml pyrex beaker, put 100ml of frozen Concord grape juice in it, then fill to 200ml with water.

- 2. Add some lye to adjust the pH to 14, and slowly bring the juice to a boil. Turn down the heat when the boiling starts to cause the juice to overflow.

- 3. Let it boil lightly for 6 hours or a little longer, until the water has evaporated and your left with a hard black crust.

- 4. Now crush and pulverize this black crust in a plastic bowl until it's a fine powder. Run a magnet over it, and you will see the magnetic material jump around. Put a piece of paper over the magnetic so you can collect anything that sticks to it. If this doesn't happen it's because you didn't heat the powder up hot enough when you dried it. You need to heat the powder up to a higher temperature to anneal it, then let it cool off. A candle flame provides a sufficient temperature. Discovered by Adam aka "Wizard"


- 1. Dry the plant or wood material, then burn it on low heat until it is ash. By low heat I mean just keep it lit and don’t let the fire get too intense or you will drive away the ORME m-state material. When the material is done burning, the ashes will be black. You want them to be very light gray, so heat them in a metal pan for a few hours, and they will gradually become lighter.

- 2. Add hydrochloric acid to this ash (just enough to put the ash into solution - check the PH and make sure it’s 1.0 because the ashes of trees will have a lot of potassium hydroxide), and let it dissolve for a day, even when it *appears* to been done dissolving.

- 3. Now evaporate the acid, and add a whole lot of water.

- 4. Add pure sodium hydroxide crystals to the mixture while stirring. Only add about ¼ a teaspoon at a time. The misture will become very hot from the reaction of acid and base. Wait for it to cool off, then continue until the PH is 14. Don’t breathe the hydrogen fumes.

- 5. When the precipitate forms, wait for it to settle overnight so that it’s nice and compact on the bottom.

- 6. Pour off the water, then add more and repeat this over and over until the PH is neutral 7.0

The resulting precipitate will react to a magnet. If it doesn’t then you may need to strongly fire the powder to calcine it end remove the hydroxyl group.

This M-state is far better than sea water precipitate. .*.NDC.*.

# Monatomic Gold from Quartz

The best quartz to use for this process is the kind that contains gold particles. But even with normal quartz you can extract monatomic gold. To make this easier, you can use silicon dioxide powder, which is much cheaper than quartz crystals. The only conclusion I came to as to why quartz contains only gold would be that perhaps it's crystal matrix produces an energy that either attract monatomic gold from the air, or more likely - it creates it.

- 1. Dissolve 125 grams of sodium hydroxide in 1 liter of water. Do this slowly, adding only a tablespoon while stirring and waiting for it to dissolve before adding the next tablespoon. Now place your quartz in the beaker.

- 2. Heat for 7 days at just below boiling, refilling water as needed. There is no need to add more sodium hydroxide to the new water because the sodium hydroxide remains in the vessel and doesn't evaporate with the water. This process will leach out the monatomic elements from the quartz.

- 3. Filter the solution through 3 coffee filters.

- 4. Now lower the pH to 1 using hydrochloric acid a little at a time. If you adjusted the pH too fast, then not all of the silicon will precipitate.

- 5. The silicon dioxide will precipitate out of solution and settle on the bottom. Pour off the top water and filter it through 3 coffee filters. Discard the silicon precipitate.

- 6. Adjust the pH of the solution to 8.5, and you will get a white precipitate of monatomic gold. Wait for it to settle completely, then pour of the water and add more. Repeat until the pH is neutral (7.0)

- 7. You can now dry this precipitate and heat it to red hot, then let it cool. This will anneal off the hydroxy group. Run a strong magnet over it, and most of the material should stick to the magnet.
This is the superconductive m-gold.

Raoul Tollmann articles excerpts

The above mentioned incalescent mercury is such a rare creature. Here is how it is made: Antimony as the giver of surplus energy gets alloyed with silver, and this compound can then be amalgamated with mercury. The mercury gets distilled off, is cleansed of its toxic components with ammonium chloride, gets re-amalgamated with the alloy and distilled again. This repeated distillation and amalgamation is called cohobation in alchemy. After nine cohobations, my incalescent mercury was ready for transmutation – it transforms itself into pure gold when poured into a red-hot crucible.

[...]My further investigation of the matter has revealed that today, as a secondary spin-off, there is a company in Canada that attempts to market a process to deactivate radioactive waste. They transfer the surplus energy of the radioactive material and ‘pump’ it into mercury, which takes it up, but does not become radioactive itself. Rather, this mercury can then transmute metals into gold, but it could also transform humans into super-humans, a feat that the contemporary gold-makers do either not understand or dare to consider.

 [...]Monoatomic gold, to give an example of old and new production techniques, was manufactured in the Middle Ages by amalgamating molten gold with heated mercury, then amalgamating further with sulfur and distilling the mercury sulfide off. Our method is to dissolve gold powder in molten sodium metal and then to detonate the mass with water. Precipitating monoatomic gold out of the resultant solution with nitric acid will yield purple monoatomic gold, the ‘purple coat of the king’ as it was called in the Renaissance.

[...]The manufacturing process is initiated by what is called a ‘Lunar Extraction’ for the reason that the masters of our art have developed a sleek process utilizing the polarized light of the moon to perform the feat of creating the secret solvent.[...] In traditional alchemical literature, this solvent is usually called spiritus mundi or ‘the spirit of the world’.

[...]Monoatomic Gold is the non-metallic, non-toxic zero-valence form of Gold. [...] It can be manufactured alchemically out of 24carat metallic gold. It also occurs naturally in volcanic soils, seawater and in minute amounts in the purple or violet skins of fruits and vegetables and some medicinal plants such as red grapes, eggplant and violets.

In recent years, some researchers have erroneously equated monoatomic gold with the Philosopher’s stone, which it definitely is not: Monoatomic gold was known and used in the Pharmacopoeia of Western Medieval Alchemy as ‘the retrograded calx of Gold that cannot be revivified’ [meaning it cannot be returned to the metallic state by conventional metallurgical processes]. Monoatomic Gold is known and used in Ayurveda as a bhasma of Gold that passes the test of apunarbhavatva or ‘test of non-revivability’.

[...]Alchemical literature suggests at least two possible paths towards the great Arcanum. One is long and tedious, working either on the decomposition and reassembling of the three alchemical principles of a particular sulfide ore, in Western Alchemy or, in Ayurveda, taking mercury metal as the starting material: Ayurveda recognizes eighteen stages of mercury, which gets solidified after passing through several of the prescribed processes, is made to take up gold without an increase in weight ‘swallowing it’, is then made to take up further metals, sometimes with and sometimes without an increase in weight, until the finished product, the Philosopher’s stone, Vedic style, is achieved. It should become clear from reading authentic ayurvedic texts that the final product is actually an ultra-heavy, stable and newly created element. Interestingly enough, Russian metallurgists have discussed such ultra-heavy stable elements for some time, and have named one of them preliminarily ‘eka-lead’. Some of the literature regarding this subject was available on the Internet for some time and has now completely disappeared. You tell me why!

Western alchemy has a quite similar path to offer, starting with the manufacture of the so-called incalescent mercury, which Robert Boyle and Sir Isaac Newton are reported to have accomplished. Thanks to a group of contemporary alchemists in France, the details of the process became fully understood. Later, Lawrence Principe published the process in his book: “The Aspiring Adept – Robert Boyle and his Alchemical Quest”. [...] The production method is to first make a so-called stellar Regulus of antimony, an alloy of antimony with some iron. This alloy gets further alloyed with silver or copper in order to allow it to amalgamate with mercury. The mercury gets distilled off, re-amalgamated with more of the Regulus and distilled off again. This process is called cohobation in alchemy. After seven to nine cohobations, the resulting mercury amalgamates readily with gold dust in an exothermal reaction, which means it gives off heat – hence the name ‘incalescent’. Another test for this mercury at that stage, which you will not find mentioned in the literature, is to weigh out a few grams and drop them into a crucible that has been heated to red heat or orange heat. The incalescent mercury does not evaporate, but solidifies by being transmuted in the fire into pure gold.

Mature incalescent mercury solidifies at a conversion rate of 100% while an immature one loses some metal through evaporation and needs to be further cohobated. Modern treatises on the incalescent mercury do not indicate its uses, but my cross-referencing with Ayurvedic literature makes it quite apparent to me that the incalescent mercury is not a finished product per se, but only the highly reactive solvent that needs to be further processed by making it ‘swallow’ or devour other metals, to use the old term.

[...]Besides the tedious mercurial path, sometimes referred to as the ‘wet way’, there seems to be a fast and even more dangerous approach, called the ‘dry path’. In Western as well as Taoist Chinese alchemy we find the discussion of so-called fixed arsenic, fixed cinnabar and fixed antimony. The named volatile and toxic starting materials are transformed into substances that do not evaporate in the fire, hence the term ‘fixed’. Ko Hung lists the uses of the various cinnabars he discusses, and tells us: “The eighth is called Fixed. On the very day you take it you become a genie.” How this fixed cinnabar is manufactured he tells us not.

Preciously little can be found in the alchemical literature in general on how to ‘fix’ these metals, and if you find advice such as in the Tan Ching Yao Chueh to use tin for a fixation of orpiment or realgar, two ores of arsenic, you may be disappointed by the resulting material. I have found a reference to pyrotechnics in Philalaetes, though, and Rudolph Glauber tells us that the term alchemy is derived from hal-khemeia, which stands for ‘salt-fusion’ or ‘cooking with salt’, in contrast to khemeia or chemistry, which stands for cooking only. It is my opinion that this ‘cooking with salt’ refers to a pyrotechnical process of mixing a metal sulfide with a variation of black powder and igniting the substance in a metal container, thus launching an inverse space shuttle in the back yard. The oxidizers used in pyrotechnics, salts such as saltpeter as part of the traditional black powder formula, are many and the permutations that result as possible blends are endless. Fireworks pyrotechnicians and rocket scientists alike tend to keep the exact composition of their fuel powders secret, so we cannot readily expect that an alchemist will step forward and reveal the composition of his formula. But it seems to me that a pyrotechnical reaction is the key to fixing volatile metal salts by the use of the ‘secret salt fire’ or ignis gehennae. [...]

ORMEs - Sodium Burn Method


The sodium burn method is so dangerous that the Essene does not even like doing it for base metals (Gold, Iridium, etc.) because of the danger. The black sand they use for the M3 burns (using sodium) is a hundred times less reactive than using gold metal. During our 2 years of perfecting the Essene's gold sodium burn method, we have had many near misses (accidents) and one major explosion where one of our party got boiling NaOH blown into his face during the wet down process. His skin began melting from his face and he looked like a monster. Fortunately he was wearing protective goggles and his eyes were spared. immediately upon the explosion occurring, we drowned his head and face in gallons of distilled water and got him in the shower immediately. He remained there for an hour and then we applied many, many pieces of fresh cut aloe to his face and performed Reiki as well. His mouth had internal burns and his tongue was melting.
This person was into his 3rd bottle of M3 and that along with the other things, allowed him to heal within one month. Now there is not a single sign that the accident occurred.

This procedure makes m-state gold starting with pure gold and sodium. One ounce of gold produces approximately a one-year supply for one person.
OVERVIEW: There are eight main stages in this process:
STAGE 1 - PREPARING THE GOLD: Flatten the gold (about the thickness of aluminum foil) and cut it into small pieces  (about 1 hour).
STAGE 2 - PREPARING THE SODIUM:  Cut a one pound block of sodium metal into 8 strips (each strip is an eighth of a pound) (about 20 to 30 minutes).
STAGE 3 - THE BURN: Apply a high flame to a sealed pan (use clamps to secure the lid to the pan) containing the gold and sodium (15-20 minutes).
STAGE 4 - WETTING THE UN-REACTED SODIUM: Mist the pan's contents with distilled water to react all the sodium. Use extreme caution during this process (1 to 2 hours).
STAGE 5 - BOILING THE SLUDGE IN LYE WATER AND FILTERING THE SOLUTION: Boil the pan's contents in lye water 2 cups of lye to 2 gallons of water. When it cools--either by itself or by adding one gallon of cooling water (always use bottled distilled water)--allow the sediment (fine black looking sand) to settle.
STAGE 6 - REMOVING SULFUR WITH ZINC: Remove any sulfur with zinc (about 5 minutes plus a few days reaction time).
STAGE 7 - FILTER THE SOLUTION: Filter the solution through a grade 111 filter (we use a vacuum flask).
STAGE 8 - TITRATE WITH HCl TO PRECIPITATE M-STATE GOLD: Add HCl to the STAGE 7 filtered solution to bring the pH down to 8.5, resulting in m-state gold precipitate (1 to 2 hours).

Much of this process will be done outdoors. Do the process on a fair-weather day when rain is not predicted. You do not want any rain water getting into the pan with sodium in it because sodium reacts violently with water.
  • A 1-quart stainless steel sauce pan or a 1-quart size titanium crucible with clampable lid.
  • Six 1-1/2" C-clamps from a hardware store.
  • Rubber gloves, safety glasses, respirator or dust mask and a rubber or plastic chemical apron.
  • Buchner funnel (a funnel that holds a filter).
  • Vacuum flask and pump (to speed the filtering). The pump can be a hand pump.
  • Trap (flask with a 2-hole stopper).
  • Filter paper. One source: 9 cm grade 111 Ahlstrom glass fiber filter paper.
  • Two ladles.
  • Digital pH meter with temperature correction.
  • Holder for probes.
  • Magnetic stirrer.
  • Teflon cutting board from a grocery store.
  • Two-handled blade or cleaver.
  • Outdoor cooker (propane burner). Should be at least 135,000 BTU.
  • A 12-quart stainless-steel pot for the lye solution.
  • A wash-water bottle.
  • A 1-quart spray bottle filled with distilled water.
  • Hobbyist Economy Rolling mill.
  • Four one-gallon jugs preferably glass.
  • Several jars and 250 ml beakers.
  • A jar or plastic container with a screw lid (to hold sodium pieces).
  • A ruler.
  • Metal tongs.
  • Plastic chopstick or plastic stir rod.

  • Hydrochloric acid (HCl) or muriatic acid from a hardware store. (Muriatic acid may have impurities which will make it unsuitable. If it has a yellow tint it is unusable. It must be completel colorless and clear.)
  • Sodium hydroxide (NaOH) or Red Devil Lye from a grocery store.
  • Sodium metal, 1-pound block. Cost: About $100. It comes in a bag inside a can, which is inside a box.
  • 1 ounce of 24 carat gold (.9999 pure), or a gold ingot from a jeweler.
  • Zinc Metal. 10 mesh, Granular Reagent A.C.S.
  • At least 5 gallons of distilled water from a grocery store.

  • One ounce of gold
  • A block of wood scorched with the blowtorch to form a shallow bowl
  • Blowtorch
  • Metal tongs
  • Gold rolling mill
  • Scissors
  • Small jar with a lid
  • Safety glasses
1. Take the 1-ounce gold coin or gold ingot. Place it on a block of wood and apply heat to the gold with a blowtorch until the gold starts to soften.  
2. Grab the gold piece with tongs and run the gold several times through the roller until it is thin enough to cut with scissors. We have measured the gold to be 1 thousandth of an inch thick. A normal sheet of paper is 5 thousandths.
3. Cut the gold foil into confetti-size pieces about 3/8" square. Store them in a labeled jar.
  • 1 lb. sodium
  • Rubber gloves
  • Rubber apron
  • Safety glasses
  • Respirator or dust mask
  • Teflon or plastic cutting board  (don't need any water soaking up in it)
  • Ruler
  • Two-handled blade or cleaver
  • 1-quart stainless-steel sauce pan with lid
  • Gold "confetti" you made before
  • Six 1-1/2" C-clamps
  • Garden hose outdoors
1. CAUTION: Sodium is dangerous; it reacts violently with water. Breath vapor will cause an exothermic reaction and the sodium will get hot. When working with sodium, wear rubber gloves, safety glasses, and a respirator or dust mask and a rubber apron. You might turn the room temperature down to 60 degrees F to reduce humidity. If the sodium gets too hot to handle, you can use long tweezers to handle it. Be aware of your surroundings, stay away from sources of water, sinks, sprinklers, etc.
2. Open the sodium container. The sodium is a white, soapy block about 3" X 3" X 4". Place the sodium block on a Teflon cutting board.

3. Using a ruler and a blade, mark the block of sodium with shallow slices every 1/2" or so to mark the block in eight divisions. Later, using those marks, you will cut the block into eight equal pieces.
4. Coat the blade with extra virgin olive oil so it will slide through the sodium easier.

5. Cut through the sodium block at each slice mark by pressing down on the ends of the blade with both gloved hands, . This divides the block into eight equal pieces (each piece is about 2 ounces).

6. Put seven of the pieces into a glass quart jar. Place a doubled up piece of saran wrap over the jar and place a rubber band around the jar rim to hold the wrap. This allows the sodium to react with the air and moisture in the jar (may out gas a little bit) yet prevents more moisture from getting back in. Remember, sodium metal was once used as a desiccant in electrical telephone switch cabinets and so taking moisture out of a sealed environment is what it does best. After a day or so, the sodium will once again be a nice white color and stable as long as you keep it far away from water. Use common sense here folks.

7.  The rubber gloves will get damp because the sodium on the gloves will draw moisture out of the air. Work quickly, but safely. The more moisture on the gloves, the faster the sodium will react.
8. Cut the sodium (2 ounce piece) into smaller squares about 1/8 inch thick and lay the sodium slices in the bottom of the 1-quart sauce pan. They will look like slices of chiclets gum, but don't try chewing them! Cover the bottom of the pan with the sodium slices as best you can. There may be gaps in the mosaic, but that's okay. Try to get as much of the bottom covered as you can . Remember, the thinner you slice the sodium, the more area you can cover. Trial and error is the best teacher here.
9. Put the gold "confetti" uniformly on top of the sodium slices.

10. Put on the sauce pan lid and clamp it with six C-clamps spaced evenly around the perimeter. The gaps between the clamps will be sufficient to allow pressure relief during the burn. Be careful to keep the pot level as you transfer it to the burner in order  to keep the gold on top of the sodium.

11. Outdoors, hose down the cutting board, gloves and knife to remove sodium from them.
  • Outdoor cooker (propane burner) placed outdoors. Ours is a 135,000 BTU model turkey cooker.
  • Clamped gold/sodium pan
  • Matches or device to light the cooker
  • 12-quart stainless steel pot
  • 2 cups NaOH crystals or 1 can (18 ounces) Red Devil brand lye
  • Three gallons distilled water
  • Safety glasses
  • Rubber gloves
  • Rubber apron
1. Put the clamped gold/sodium pan on the outdoor cooker and fire it up full speed ahead. Note the time because you will turn off the heat 20 minutes later. Stand at least 15 feet away from the cooker (preferably out of shrapnel range) during the burn. Some researchers claim that radiation is given off during this step (although we haven't been able to find it with Geiger counters) so stay behind a radiation shield to be safe.
The sodium will react with the gold according to this equation:
3 Na + Au = AuNA3
2. NOTE: Some stainless-steel pans contain an aluminum layer on the bottom, or an aluminum/steel sandwich. The aluminum will melt and drip down. This is not a problem, but don't have any flammable material, like dry grass, under the pan or anything you don't want to get burned by the melting aluminum. A concrete block or patio would be ideal.
3. During the burn, you may see some slight smoke initially as the sodium burns. If you see more smoke later, that's the m-state gold burning off. Stop immediately if that happens.
4. Otherwise, stop the burn 15-20 minutes after you started. (This time will vary depending on the temperature of your heat source.) The flame should engulf the entire bottom of the pan causing it to become a very hot cherry red color. The properly distributed heat allows the sodium to uniformly melt and then does the same for the gold, leaving no "cold" spots.
5. While still wearing safety protection create a lye solution in a well-ventilated area. You can do this as the pan cools on the cooker.l
CAUTION: Lye is very caustic. Do not spill it or splash it. Do not inhale the fumes.
Put 4 cups of sodium hydroxide (lye) into 2 gallons of distilled water in a 12-quart stainless steel pot. Stir well. The solution will get hot.

6. Carefully bring the open pot of lye solution outside. Do not spill or splash it. Of course you should have the stainless steel lid on it. You should drill the aluminum rivets out of the handles and the lid and replace them with stainless steel bolts. The boiling lye solution will corrode the aluminum rivets right off the pot. Replace the rivets before boiling to avoid the handles breaking off and spilling the caustic solution.
  • Safety clothing
  • Spray bottle with distilled water (like a plant mister)
  • Gold/sodium pan on outdoor cooker

1. Wearing safety glasses and other protective clothing, undo the C-clamps on the sauce pan. Remove the lid. Some smoke will come out.
2. In the pan you will see "the skin of the rhino." It's a gray material with many fissures or wrinkles, and perhaps some gray-green areas. This material is the gold reacted with the sodium, plus some un-reacted sodium. You will react the un-reacted sodium by misting it with distilled water.

3. Spray one puff of water into the pan from about 18 to 24 inches away. As the sodium reacts with the water, there will be bubbles, a little smoke, sputtering sounds, and perhaps some small flames.
CAUTION: Don't inhale the smoke. Step away if there's a big flare-up.

This is the reaction taking place: Na + H2O = NaOH + H

4. Spray the material in the pan periodically, letting the reaction die down each time.

CAUTION: Do not spray a lot of water at once onto the sodium in the pan. The sodium and water could react violently, blowing m-state out of the pan. GO SLOWLY.

CAUTION: Don't stir the sludge or bang on the pan, you might open a big pocket of sodium and get a dangerous reaction (read explosion). As the cool down progresses, you will see crusty bubbles form, like those on a pizza. There is unreacted sodium underneath it. When the surface cracks, excess water will seep through and a flare up will occur. The flare up can be minor or like a fireworks display. What controls the flare up is the amount of excess water that has puddled during the cool down. COOL DOWN SLOWLY (at least 2 hours)
Be aware of sodium on the lid of the pan. This is reactive as well. After the pan has been completely cooled down, carefully and slowly spray down the lid into the pan to collect any gold that may have condensed on the lid.
5. Eventually you will see a gray material with black wet bubbles. Any red or orange spots might be due to bismuth in the Canadian maple leaf gold coin, if you started with one.
6. Keep adding water a spray at a time. Let each spray react and die down. Over time the material in the pan will be mostly black with gray areas of un-reacted sodium. Spray those Grey spots. GO SLOWLY.
7. Gradually all the material turns black and bubbly like hot tar. The bubbles are hydrogen from the sodium/water reaction. There may be hidden layers of sodium underneath, accessed by water through a crack in the sludge, causing a flare-up. When most of the sodium/water reaction is done, spray a water stream (instead of a mist) on the material. The stream breaks through the crust and gets at the sodium beneath.
8. When the sludge is completely covered by water, and you can swirl the sludge around and get no further reaction, it's done. It takes us about 2 hours to complete the reaction.
  • 12-quart pot of lye water
  • Outdoor cooker
  • Gold/sodium pan
  • Plastic spatula or stir rod
  • Spray bottle of distilled water
  • Safety equipment
1. Wearing safety glasses and clothing, bring the 12-quart pot of lye water near the cooker and pan. 2. Pour the gold-sodium black sludge from the pan into the lye water. Spray the sludge with water, and scrape the sludge out of the pan into the lye water to remove as much sludge as possible from the pan. Use the plastic spatula or stir rod to scrape the sludge. Wash the sides of the pan as well. Any yellow coloration on the pan bottom is gold you lost. It's plated on the pan bottom.
3. When you have removed as much sludge as possible from the pan, set the pan aside. You now have a 12-quart pot with some black sludge covered by lye water.
4. Put the pot of sludge and lye water on the cooker with the fire turned off.
5. Spray the inside surface of the lye pot with water to get all the material in solution. You should stir the solution well with the spatula.
6. Cover the pot with a lid. You do not need to clamp it.
7. CAUTION: Wear safety glasses and clothing. Light the cooker and set it to full blast. Let the water come to a steady boil for 15 minutes while stirring. Of course you can bring the flame down a bit if the boiling is too rapid, a good rapid boil is nice.
8. Place the lye pot on the burner of a char-broil grille, or use the cooker on low heat. Let the pot simmer for 2-3/4 hours. While this is happening, you can set up the equipment described in Stage 7.
9. At the end of 3 hours, add 1 gallon of distilled water to the pot to cool it.
10. Bring the pot indoors. CAUTION: Do not spill the caustic lye solution.
  • Pot with lye water and sludge
  • Three 1-gallon jugs with lids
  • Zinc filings
  • Stir rod
1. The sludge water might have some sulfur in it. This sulfur might come from the original gold or from poorly distilled water. You need to remove the sulfur because it prevents the m-state gold from precipitating. Zinc reacts with sulfur to remove it. 2. After the STAGE 5 boil, pour the filtered solution into one gallon plastic jugs (milk jugs). Fill them up about 3/4 full.
3. Add 1/4 teaspoon of zinc shavings (10 mesh) into each jug, cap it and shake well. Lift the cap slightly then to allow for gas escape and place somewhere safe.
4. Each day, shake the jug once or twice to mix up the solution (with the cap tightly in place) and then uncap slightly and set back in place for the day. We do our burn and boil on Saturday morning and let the solution zinc until the next Saturday when we filter out the zinc and then titrate. You only have to add the 1/4 teaspoon of zinc once, not everyday. The zinc will turn into a dark black powder which settles on the bottom of the jugs. The zinc pulls out the sulfur as zinc sulfate (This process takes about 5 minutes plus a few days reaction time).
  • Stainless steel pot with gold/sodium/zinc sulfate/lye solution
  • Ladle
  • Rubber gloves
  • Safety glasses and clothing
  • Fan
  • Buchner funnel
  • Vacuum flask
  • Trap flask and stopper
  • Filter paper
  • Hand pump
  • Wash bottle of distilled water
  • Several jars
1. The solution should be mostly settled, with relatively clear liquid on top and dark sludge on the bottom.  

2. Wearing gloves, safety apron and safety glasses, ladle out the liquid part of the solution into quart jars. CAUTION: Lye makes your fingers slippery - you lose grip on jars. Hold jars underneath.
3. Turn on a fan and vent.
4. Put the Buchner funnel into a stopper in a vacuum flask. Connect the vacuum flask to another flask acting as a trap. Connect the output of the trap to a hand pump. Put a filter paper in the Buchner funnel and wet the filter with distilled water so the filter won't float. An alternative vacuum pump is to connect the vacuum flask to the top inlet of a 5-gallon container of water with a bottom spout that can be opened to create suction.
5. Pour the lye solution from the jar into the filter and pump out the vacuum flask. Black particulate will appear in the filter. Filtered solution will collect in the vacuum flask. When the filter appears to be full, throw it out, put in another, and wet it down. Change the filter every gallon or so.
6. Continue this process, filling jars with filtered solution. Once the water in the lye pot is mostly gone, you can add more distilled water and lye to the remaining sludge, re-boil it and filter it to get more usable m-state material.
  • Three gallon jars
  • Several 500 ml jars or beakers
  • Hydrochloric acid
  • Pipette
  • pH meter and probes
  • Buffer solutions
  • Magnetic stirrer
  • Spring-loaded arm to hold the pH and temperature probes
1. Calibrate the pH meter by putting the probes into buffer solutions. For example, use pH 7.01 yellow Exaxol buffer solution and pH 10.01 blue buffer solution.  

2. Put one 500 ml jar or beaker on the magnetic stirrer and turn it on. Pour in some filtered solution.

3. Put the probes in the solution on the stirrer.

4. The starting pH will be approximately 12 due to the lye. Start titrating the acid into the solution in the beaker, checking the pH as you go. CAUTION: Do not breathe the acid fumes.

5. The pH will drop very slowly. Precipitate should begin appearing around 11.5 pH. When the pH reaches 8.5, the precipitate will be a thick white color. That's the m-state gold. Stop adding HCl when you reach pH 8.5.

6. Pour the solution and precipitate into a gallon jug.

7. Repeat steps 2-6 until all the filtered solution has been processed.

8. Wash the precipitate three times with distilled water. If you want to ship the material, do not wash it. Leave it in a salty solution to protect it from X-rays and magnetic fields. It will still need to be washed three times before consumption.

9. Store the m-state gold in a wet precipitate form in well-sealed jugs or jars. Keep the material out of light and away from magnetic fields.

10. The remaining sludge can be re-boiled in lye water, filtered, and titrated to yield more m-state gold precipitate.

11. Do not ingest more than 1 teaspoon per day of the m-state gold precipitate, maybe eventually dropping to 1 teaspoon per week after a year or so.
# # #


Q. Would it be possible for someone to lesson most of the dangers involved by using PPE (personal protective equipment) rubber gear with full face, head and hand protection?

A. When you are trying to use Au metal, protective gear is essential during the wet down phase. I recommend a face shield, wrap around glasses minimum. When doing the M3 with fine sand, there is very little sodium reaction to contend with. I still recommend glasses at all times. There will probably be little droplets coming from the pan which will get on your clothing, so wear something that you can stand losing to tiny holes... As for hand protection, good idea too. make sure it's thick rubber like for dish washing and not surgical gloves which may melt to your hand...

Q. Would cutting the amount of sodium down to 1/10 lb. with 1 cup of sand lesson danger? What would be an appropriate size pan to use with this amount of sand (12 quart?)? Also, is it important to keep a generous amount of sand surrounding the sodium?

A. We are considering exactly that, cutting down to about 1/10 pound of sodium. We are going to cut what we feel is a good thickness and line the pan. We will weigh the pan before and after and give you the weight of sodium metal we use on the next burn. We use a 1 quart saucepan (stainless steel). When you get the bottom covered with the sodium (sliced about 1/8 inch thick), just cover it with the 1 cup of sand. BE SURE TO PLACE THE SAND ON THE RANGE FOR A FEW MINUTES TO MAKE SURE IT'S DRY - PUTTING MOIST SAND ON THE SODIUM WILL MAKE YOUR FACE UNBEARABLE. It's not too important if the sand fills in the cracks, as the sodium will be very molten before the sand does anything. The sodium will digest the sand. I thought I posted a photo of the pan on the cooker... I will try again in a minute...

Q. Can acceptable results be obtained by using less heat than 600-800 degrees C for cooking?

A. We don't know, we never tested the temperature inside the pan, or around it. I guess as long as the stainless steel pan gets RED HOT in just a few seconds, you have enough heat... Remember, there is only sodium and sand in the pan, to it's temperature is limited to the boiling temperature of the materials...

Q. Are there extra steps or tricks of the trade in making M-3 that you would care to give us some information on?

A. Sure. When you have finished wetting down the sand, it will be caked hard like peanut brittle on the bottom of the pan. Don't use too much water in wetting down, because what you should do (our experience) is to use a screwdriver or similar instrument to break up the hardened sand into little chunks about 1/2 square if you can... If you use too much water, you will get splashed with lots of lye (result of mixing Na and H2O). The reason we do this is because you are now going to add the hard sand, lye, and water (in a 12 quart pan) and if you have chunks, you will have more surface area to leach the M-State off of. The Essene pours the water and lye into the same vessel he does the burn in and therefore, I believe is only getting the top surface area leaching M-3... We have had very good yields with our modifications... granted, it adds an extra hazard (splashing lye) to the process, but we really have very little sand to waste... We were using 2 cups of sand, but we always had about 1 cup of powdered sand on top of the hard stuff which demonstrated it was not engulfed by molten sodium and therefore wasted... This is why we now will use 1 cup in our next burn... Another thing is, you can boil the sand 3 times with water and lye and get more material. We got one gallon of M-3 from the initial burn/boil, and another gallon total from the subsequent 2 boils... I suppose you could go through all the trouble of grinding down the dried material into fine sand and then reburning it, but we are grateful for the yields we are getting...

Q. Tell us more about why you add the zinc.

A. When we first began the Au/sodium burn method, we were only getting a caramel colored (sometimes real dirty looking gray) precipitate and only 50 ml or so at that. I remember the first time we even got that, we were in seventh heaven. Someone we consulted about the color said it was a normal thing and that the color could be improved by adding more water to the solution before titrating it. We tried that, but only got less yucky stuff...
After thinking that this process may not be worth the trouble for the yield achieved, I gave a call to the Essene and explained the entire process from start to finish. He pointed out a few (many) foolish things we were doing... As it turns out, there was sulfur getting into our process somehow. We suspected it was the water, and went to Sears and bought a distiller. We were double distilling. We would buy distilled water and run it in the distiller. Still, on the next burn, we got the same results.
We noticed that as we began the titrating, our solution was turning a very deep yellow and was not yielding any precipitate... A call to the Essene again resulted in some corrections which included adding zinc (10 mesh) to the solution at 1/4 teaspoon per gallon.
Oh yeah, the first batch of caramel colored stuff was dissolved with HCl then based back up to 14 and re-titrated after letting it zinc for a week... It yielded 1 gallon of pure white precipitate.
So here is the plan, place the solution into gallon plastic jugs (milk jugs). Fill them up about 3/4 full. Add 1/4 teaspoon of zinc shavings (10 mesh) into each jug, cap it and shake well. Lift the cap slightly then to allow for gas escape and place somewhere safe... Each day, shake the jug once or twice to mix up the solution (with the cap in place) and then uncap slightly and set back in place for the day... We do our burn and boil/filter on Saturday morning and let the solution zinc until the next Saturday when we filter out the zinc and then titrate. You only have to add the 1/4 teaspoon of zinc once, not everyday... the zinc will turn into a dark black powder which settles on the bottom of the jugs. The zinc pulls out the sulfur as zinc sulfate.
One ounce of gold should yield about 2 gallons of M1 and still return 80 percent of your metal. At least that's what we get.
So now you know... If there is ANY sulfur in the solution, you will not get M1...
BTW, the sulfur gets into the solution from the gold, The Asian gold we use (Canadian ML too) is precipitated gold, they use Sulfur Dioxide I think to precipitate it out from solution... So unless you dig up the gold from the earth or use pure natural nuggets, get some zinc (10 mesh).
Q. Is the burn time for the M-1 and M-3 about the same (15-20 min.) and is there any negative effect from adding a little time to the burn?
A. The burn times can be the same. We did 20 minutes for gold and 10-15 minutes for black sand.
Q. After the burn and cool down, do you think there is anything that could be added to the unreacted sodium, other than a little water mist (and run like hell) to neutralize it? (maybe a little black sand or something) Probably a dumb question!
A. Not a dumb question. Not that I know of, the sodium must be totally reacted during the burn in order for there not to be any left to react with the water spray... using an ounce of gold, we would need to cut down the sodium amount by quite a bit... There is plenty of black sand at 1 to 2 cups to totally use up the sodium atoms... Use water and be careful.
7-11-99 UPDATE

We use 2 ounces of sliced sodium covered by ½ cup of M3 black sand per burn. You can use a stainless steel burn pan twice only. After that it's too warped to be useful. After the ½ cup burn, you can shake off about ¼ cup of unreacted sand to be burned later. We no longer wet down the M3 after the burn, as we never got any sodium reaction and we wanted to avoid the NaOH splashing during the chisel-out. This works very well and then we just grind it in a mortar and pestle then put ½ cup into the 12 quart for the boil. After the boil, you can add more water and lye to the sludge and reboil. We add another ½ cup of burned M3 sand to the sludge in the pan. In this way, we get a second boil on the first boil while boiling the second burn the first time (huh?)
The Tampa Team:
Alison A..
Avi Z.
Don M.
Doris D
Jim R.
Joseph G.

ORME's - Barry Carter HCl-H2O2 M-State

Converting gold to m-state using the HCl/H2O2 method


Making the purple/red precipitate
  1. Place a quarter ounce of 99.99 (or better) pure gold (beads or smaller) in a laboratory grade glass container.
  2. Place your glass container in a larger plastic or glass catch basin to catch any overflow in case the peroxide causes too rapid bubbling and the acid overflows. It is easiest to see color in the liquid in the inner glass container if the catch basin is white. A liter size plastic tub works well.
  3. Add 50 milliliters of distilled water.
  4. Add 50 milliliters of 30-40% HCl. (Always add acid to water, never water to acid.)
  5. Add 3 milliliters of pure sodium chloride.
  6. Add 3 milliliters of 35% hydrogen peroxide. Weaker peroxide solutions can be used but you must use correspondingly more of them.
  7. Set an inverted plastic cup loosely over the neck of the inside glass container. This will direct any overflow downward if you accidentally get too much peroxide in the mix, it will also keep anything from falling into the neck of the inner bottle.
  8. Place this entire system in a large cardboard box and fold the lid closed. This will help keep the system warm and dark and will help prevent it from being disturbed.
  9. This process will produce chlorine gas which is very toxic. It should be performed in a warm, well ventilated area.
  10. Periodically check the mixture. There should be a continuous stream of bubbles rising from most of the gold beads. The glass container will become warm to the touch. After about an hour, the liquid in the glass container should have a distinctly yellow tint.
  11. When the bubbles significantly slow down, add a few more drops of peroxide. Don't add too much since it takes a few minutes for the bubbles to increase.
  12. Continue to check and add for four to eight hours.
  13. Leave the solution to work over night.
  14. The next day, examine the liquid in the inner glass container. It should be a yellow/green color.
  15. Pour this liquid into a Pyrex glass container suitable for boiling the liquid. This container should be capable of holding a liter of water. It is best if this container is clear. Keep the liquid from contact with any metal other than the gold.
  16. Heat the liquid, preferably over a gas flame.
  17. When the liquid is at about 70-80 degrees Celsius, you can start to add the liquid lye solution which is described in the ORMUS document.
  18. Slowly drip this lye solution into the acid solution while stirring it with a glass stirring rod. This process is quite boring and will take a couple of hours. If you drip too fast, you will get a different outcome.
  19. Periodically check the pH of the liquid by dripping some of it on pH paper on a white plate to the side of the liquid container. Do not use an electronic pH meter since they have metal electrodes which might introduce contaminants into the mix.
  20. When the pH of the liquid is nearly neutral, the yellow tint will be gone and the liquid will be clear.
  21. As the pH nears 8.5 the liquid will get a pink to purple tint. This color will deepen as you bring the pH over 8.5.
  22. It is quite common to add just a few drops of lye water and cause the pH to shoot up above 12. If this happens be ready to add a few drops of 15% HCl to bring it back down.
  23. When you get the purple/red color, you are done with your chemical changes.
  24. Pour the liquid into a tall, thin, clear glass container, like a graduated cylinder.
  25. Cover this container with an inverted plastic cup and place it in a magnetically shielded box to let the precipitate settle for a day or two.
  26. Suck the liquid from above the precipitate off with a syringe or siphon. Save this liquid and adjust its pH down to neutral. This liquid is mostly salt water but should contain significant m-state gold. If you have used pure chemicals in your process it will have no contaminants, it could be ingested in small amounts (5 ml or so) mixed into drinking water.
  27. Take the purple precipitate and wash it with distilled water as described in the ORMUS document. Save all of the wash water for ingestion.
I have been taking a purple gold preparation which is prepared as follows:
  1. Do the first wash on the purple precipitate in the normal way.
  2. With the second wash , save the wash water for consumption.
  3. I have the precipitate in a tall thin vial (2 X 15 centimeters).
  4. There is about 2 millimeters of precipitate in the bottom of the vial.
  5. Fill the remainder of the vial with distilled water and shake it well.
  6. Let it settle for a day or two and take the clear liquid off the top, leaving the purple precipitate to energize the next batch.
  7. Put the liquid off the top into an eyedropper bottle.
  8. I use two eyedropper squirts in the morning and evening.

Here are my original notes from the first couple of times that I tried this process. Note that the procedure has changed significantly.
Place a quarter ounce of gold (beads or smaller) in a test tube. Cover the beads with about ten milliliters of 31% HCl. Add a few drops of 35% hydrogen peroxide. (Be careful to have a catch container under the test tube in case the mixture bubbles over. Also be careful not to breathe the fumes produced by this process. Work outside or under a fume hood.) Soon after the peroxide is added, you will notice bubbles rising, mostly from the gold beads. Leave this process to "cook" for an hour or two. If you notice that the bubbles have stopped, add a few more drops of peroxide. Be careful not to add too much as this will cause the mixture to bubble over. Allow this process to continue for at least eight hours. M-state materials seem to need time to "settle in" to their new role.
While you are "cooking" the gold, mix some tri-sodium phosphate with water. Put enough TSP into about 100 ml of distilled water that some will not go into solution. When as much TSP as possible is dissolved in the water, heat the TSP solution in a boiling water bath. This dissociates the tri-sodium portion from the rest of the molecule. Set this solution aside for several hours and let it "get comfortable".
You can do both of these processes before going to bed and let them "steep" over night. When you are ready to mix the two solutions, pour the contents of the gold test tube into a glass container. Heat it to almost boiling point, either directly or in a water bath. Slowly drip the TSP solution into the gold chloride solution. As you approach pH 7 you can change to lye water. Bring the solution slowly up to pH 8.5. After this point you should notice a small amount of white or off white precipitate forming in your solution. Settle or filter this material out and wash it. It can be quite slow to settle and you may need to let it settle for several hours or over night.
The washed white precipitate will dissolve in HCl resulting in a green solution. The first time I brought this low pH solution back up to above 8.5 with lye it resulted in some purple-red precipitation on the top.
If you use the powdered TSP instead of a liquid solution you may notice that a small red-brown cloud will form around each particle of the TSP and quickly dissipate. As the pH approaches neutral, you will notice that the red-brown cloud persists for a longer and longer period of time. Above pH neutral you will notice that the cloud formed by each drop of TSP solution is almost black for a moment before turning red-brown and precipitating.
As the pH gets above 8.5 you will notice that the drops of TSP no longer have the dark color at first. If you exceed pH 10.8 you will notice that the solution will start to bubble rapidly. If this happens be prepared with some HCl to take the solution back down to a safer range.
The red-brown cloud forms into a brick red precipitate. If the TSP is added too quickly, you may get a black precipitate. Some of both of these precipitates will remain partially suspended in the liquid for several days. A centrifuge will help in concentrating and washing the red precipitate but it is not necessary.
The washed red precipitate turns brown in HCl but does not dissolve.
It is possible to make the white precipitate and then take the remaining liquid and get the red precipitate. To do this take the liquid which was separated from the white precipitate and take it back down to pH 4 or 5. Add powdered TSP and you should get the red precipitate. I have also gotten the red precipitate and a brick red sponge like material when quickly adding a squirt of 35% hydrogen peroxide. The red spongy material contained metallic gold flakes when I dried it and broke it open.
This process uses tri-sodium phosphate. Phosphorus and some phosphorus compounds are quite poisonous. I do not know whether the various precipitates contain phosphorus or phosphorus compounds. One time I tasted some of the red precipitate after only one washing and it tasted awful and I felt like I had been poisoned (or perhaps as if I had a kundalini experience, it's hard to tell the difference sometimes).
I also put a teaspoon of TSP in half a cup of water with some gold beads in a 125 ml Nalgene container. I put the lid on tightly and floated this container in a crock pot for about 18 hours at a temperature of approximately 75 degrees Celsius. Jim said that he got a white precipitate from this process. I did not notice a white precipitate except in the water in the crock pot which I assume was the result of the liquid from the Nalgene container leaking out under pressure. I am not sure whether or not I injected some hydrogen peroxide into the mixture.
I forgot about this mixture for a couple of days. When I opened it up again, I noticed some foam floating on the top. Then I noticed that the foam was solid. I also noticed that there seemed to be a clear rigid layer of something around these floaters.
I poured the contents of the Nalgene container (except for the gold) into a small glass beaker so that I could get a better look at the floating stuff. I took a small plastic measuring spoon and dipped as much of the floating stuff as I could into a small test tube. I then took a metal tipped syringe and sucked the remaining liquid out of the test tube and injected some distilled water into the test tube.
The material did not significantly dissolve in the distilled water. I repeated this process three times to "wash" the floating precipitate. When this was done I took the metal tipped syringe and snagged one of the floating bits. I tasted this material and it had a very pleasant sweet taste. It seemed to make me feel slightly good all over but without any drug distortion. When I first started handling this stuff, my lips started to feel slippery. When I tasted it they got very slippery.
I just tasted it again. God that stuff tastes good.
Today I spoke with a person who is quite experienced in working with m-state materials. This person told me that it is unlikely that I am producing a poison and suggested that I try converting lead to gold using the red material that I have produced. This person said that this is the guaranteed proof that the red material is the right stuff. I have not done this test yet. I am not sure when I will get around to it.
Last night (7/20/97) I finally got around to cooking up some green gold chloride that I made using a variant of the method described above. Everything is the same except that I started with a dilute HCl solution. Basically I mixed 100 ml HCl and 100 ml water in the flask with the gold beads. I added several drops of hydrogen peroxide and let this mixture sit for about 24 hours. At the end of that time the solution had a light green tint. No hint of yellow.
I took this solution and added about two teaspoons of sodium phosphate tribasic (Na3PO4 12H2O) dissolved in a cup of distilled water. (Be clear that the sodium phosphate was dissolved in water before it was added to the gold chloride solution.) I basically poured the STP solution into the gold chloride solution since the gold chloride was so acidic that I was nowhere near bringing it up to neutral with the amount of TSP that I was adding.
I continued adding TSP and started adding lye water (one half tablespoon of lye in a cup of water). I was adding these with an eye dropper about a dropper full at a time. As the solution got closer to pH 7 it started to loose the green color.
While I was stirring in the TSP and lye solutions I noticed that I was feeling quite high. It was a bit like a pot high, but without the distortion and memory loss that pot gives. I also noticed my lips were getting quite sweet and slippery. I asked the experienced person about this. The reply was that this is quite common when working with these materials. To avoid it you should put some pure, lab grade, sodium chloride in with your working solution. Without the salt, the m-state material will evaporate with the water and much of it will be lost.
When I reached pH 7 I slowed down to a drop by drop addition with the eyedropper. Despite my precautions, I overshot and took the solution up to pH 12 or higher. (Since there is not likely to be anything precipitating out of this solution but gold, I did not worry about producing a Gilcrest precipitate.) When the pH went up to 12 the solution quickly turned from a colorless transparent liquid to a candy apple red color which soon showed some red precipitate. I added some HCl to bring the pH back down to neutral but the color stayed. I gradually added lye water to bring the pH up to about 10 and then took the solution off the burner to cool.
During this process I was noticing that the "high" feeling was becoming more and more pronounced. It never caused any dysfunction but I decided that I should be very meticulous and careful to avoid doing anything clumsy.
As the solution cooled, the precipitate darkened to a rich purple red color. The precipitate that collected at the bottom was a dark purple, about the color of grape juice. I left this stuff to settle out over night and this morning I centrifuged out most of the precipitate that had collected on the bottom of the graduated cylinder. There was about 3 ml of the wet precipitate. I centrifuged and washed the precipitate three times and tasted a very small amount of the material. It had the same neutral taste that I expect from this stuff. It also gave me a buzz like breathing it had last night.
I dried the cleaned precipitate on a Corelle plate on my kitchen range. It dried to a purple-black material. There was no noticeable magnetic response.
This precipitate feels like the best m-state stuff that I have made yet. Previously I have wondered if I was really feeling anything with any of the other stuff I made. The feeling was subtle, so to speak. There was nothing subtle about this material. It made me feel fine and there was none of the electric jangle that I felt when I first tasted some poorly washed brick red precipitate from an earlier experiment. This material did not feel like it could be poison like the earlier material did.
I am going to start another batch of gold chloride tomorrow to see if I can duplicate this stuff. Soon I hope to try the applying some of this material in bees wax to some molten lead. The person I spoke to about this has done this and gotten the lead to turn to gold. They also know of others who have partially changed silver coins that they use to demonstrate that they have done this process. This person knows several others that have made the material which changes lead or silver to gold.
On 7/24/97 I duplicated the process above. I soaked about an eighth ounce of gold beads in 100 ml of 31% muriatic acid (HCl) diluted by 100 ml of distilled water. To this I added several drops of hydrogen peroxide over a period of a day and a half. On the second day I dissolved half a tablespoon of TSP in 125 ml of distilled water and put this in a sealed Nalgene container in boiling water for about 20 minutes. I then slowly poured this TSP solution into the green gold chloride solution, which was heated to near boiling. Then I slowly poured half a cup of lye solution (made by adding 2 teaspoons of lye to half a cup of water), while stirring, into the mix. I then slowly stirred another half tablespoon of TSP dissolved in 125 ml of distilled water into the mix.
At this point the solution was considerable lighter but this might just be due to dilution. From this point I added lye water (of the same concentration mentioned above) on an eyedropper by eyedropper basis until the liquid got up to pH neutral. Throughout the entire process I added a total of 3 teaspoons of TSP dissolved in 250 ml of distilled water and almost 6 teaspoons of lye dissolved in 1.5 cups (350 ml) of water.
As I brought the pH above 8.5 the solution started turning purple till it was quite purple around pH 10.5. I again overshot the pH and went up to around 12. I was using pH paper and not a meter since the meter does not work reliably in the strong acid. I brought the pH back down to around 8.5 with a few drops of a 15% dilution of muriatic acid and waited for the precipitate to drop.
Since there was a certain amount of variation in my procedure between each experiment, I am fairly confident that this is a robust process and does not depend on subtle variables like the phases of the moon or the shape of the container.
This process yielded approximately 3 ml of precipitate. This purple precipitate is fairly slow to drop. Some of it will stay suspended for days. It seems that the larger particles drop more quickly. There was one flake of metallic gold floating on the top of the solution today. I am not sure what this means.
I concentrated the precipitate which dropped the quickest and put the remainder in a quart glass canister with a plastic sealing lid. I then set this canister on a magnetic stirrer which has a u shaped magnetic element. When I turned it on I noticed that there were two or three particles which seemed to move in response to the magnet. These particles, or aggregations of particles, were somewhat elongated and had two motions. They would spin around their internal axis at approximately the same speed as the magnetic stirrer. They would also orbit around the center of the container in an orbit which did not exceed an inch in diameter. This motion was much slower, probably since the viscosity of the water prevented faster movement. I could get these little structures to spin on their own axis quite rapidly simply by increasing the speed of the stirrer. They seemed to maintain a distance of about a quarter inch above the bottom of the glass canister.
I also looked for any similar response in the containers with the concentrated precipitate but saw no movement in them. The two or three particles could be an anomaly caused by some iron or other contaminant though I have been quite careful to use only clean glassware and materials.
I washed the purple precipitate and saved the first wash in the glass canister. I consumed the material after the second wash.
I noticed some slight spaceyness last night but not to the extent that it happened the first time. This morning I noticed somewhat more spaceyness while I was working with the samples. This effect became quite profound while I was working with the magnetic stirrer. If anything it is more intense than it was the last time. Even working with a sealed container, I still noticed a significant effect from something. I am not sure whether it was an effect of the spinning magnetic fields of the motor and the magnet on me directly or if it was a resonance effect between me and the liquid in the canister or if it was simply a result of me breathing m-state gold gas (or some other gas, for that matter).
It is difficult to characterize this feeling. I will try to surround it so you might have an opportunity to pounce on it. It is a bit like a low blood sugar feeling. It is difficult to focus on one thing yet when I do get focused I can stay focused without getting diverted. While I have this feeling I feel inclined to be slow and deliberate. This may be intellect directing me to mitigate for clumsiness. There is very much of an in-the-moment feel to this.
Sometimes I notice a slight stomach ache when I am working with these materials. Perhaps I even get a touch of diarrhea. I sometimes get a slightly acid stomach when I eat these things or when I am around them. Eating something else seems to somewhat moderate the feelings related to this stuff. My snot is slipperier and my lips get slicker and sweeter. Orgasms last longer and are more intense.
I am storing these samples in metal canisters since Jim says that this helps to stabilize them.

Here is another variation on the red precipitate process worked out by someone else:
I begin with 50 mls of distilled water in a 250 ml beaker. I pour in 50 ml's of 36.5% HCl. I drop two 1/16th ounce pieces of gold into the bottom. I then add 70 mls of 6% H2O2. (Or until i see bubbles start to really come off. I qualify this by an even stream of bubbles coming off the gold. Not a few bubbles here and there, a nice even stream.) I then add 50 drops of concentrated KNO3. I add 30 drops of NaCl.
I let this "cook" overnight. It goes for around 36 hours before the bubbles stop. I let it go until there are no more bubbles. The solution has a greenish-yellowish tint to it. The solution need not be covered but i put something over it to avoid getting dust in it.
I heat the solution (when there are no more bubbles of course) until 75º C and then I begin to add dropwise 50% NaOH. This is an exothermic reaction and can cause the solution to get to near boiling very quickly. I like to keep it below 80oC. I feel most comfortable at this temperature. Any hotter and the solution is going to start spattering nasty acid at you.
The pH will remain between 1 and 2 for a long time. But continue to drop slowly. The solution will get darker yellow as you proceed. At some point (around 30 mls of 50% NaOH) the pH will start to shift and the solution will turn a faint pink-purple colour. This is the sign that you are close to getting the huge pH shift and your ppt. The colour will return to yellow. Then after a few more drops, you will be able to witness the pH rise quickly to around 12. (With a pH meter. This is not essential) At this point the whole solution will be purple or red colour and you will see a ppt. begin to settle.
I have seen purple and cherry red ppts. at this point.
I ran your process using silver. As i brought the pH up, i began to get a ppt.
The colour of the ppt. is a beautiful CITRINE!!!! The exact colour that i believe J was trying to explain is essential for the silver process.
I have running gold and silver at the same time and then bringing up the pH. I have yielded a very nice ppt. but haven't eaten any yet. What i have eaten has been a mixture of ppt's from the gold run and the silver run mixed together and then cooked for 5 days on low heat (40º C). The stuff is the most powerful m-state i have ever eaten. I literally have around 5 mgs max and I am flying.

I have been taking a purple gold preparation which is prepared as follows:
  1. Do the first wash on the purple precipitate in the normal way.
  2. With the second wash , save the wash water for consumption.
  3. I have the precipitate in a tall thin vial (2 X 15 centimeters).
  4. There is about 2 millimeters of precipitate in the bottom of the vial.
  5. Fill the remainder of the vial with distilled water and shake it well.
  6. Let it settle for a day or two and take the clear liquid off the top, leaving the purple precipitate to energize the next batch.
  7. Put the liquid off the top into an eyedropper bottle.
  8. I use two eyedropper squirts in the morning and evening.
Virtually everyone reports that the high frequency "nada" sound starts after a few days of taking this material. Most people report a tightness in the chest or throat chakra areas. Most people report that they sleep deeper or longer for a few days. Some people report an increase in dream activity. A few report some increased psychic activity.
This HCl/peroxide method seems to work on the platinum group metals, mercury, gold and silver. It might not work on any metal which dissolves readily in HCl such as cobalt. It may work on copper and nickel.
I would stick to the platinum group, gold and silver since the most is known about the effects these ORME elements.

Here are some assorted comments from yet another researcher on this process:
"I was sitting here watching my flask of clear solution cool - it was at 9.5 to 10.0. I wondered if residual H2O2 was responsible for the transition so I put one drop in. The solution began to turn purple. I put two more in. The solution is a lilac color right now and it is a tint rather than a dark saturated color."

"I don't know if I blew it or what. After my last message the solution transitioned to a blue color and I tried to manipulate the pH by taking it down and then up again. I got a flask full of and orange red precip. It might be described as brick red - I think I favor the earthy side of the color range here.
Is it that if any precip occurs past the target range then the solution is not recoverable. I am not used to solutions which seem to be at the correct pH yet nothing will precip.
The correct titration is much more laborious than I anticipated - and seems less forgiving."

"Now I have done it again very very carefully. Even when I was at pH1 I could see that if I wasnt stirring vigourously a faint cloud would form in the yellow solution. I approached 7.0 dropwise from 2 and proceeded very slowly. The color change I was getting was to a blue color - it is not cloudy. Subsequent drops of half strength NaOH show a dark cloud where the drop goes in but I cannot go further without getting out of range. I have stopped the process. I measured and it took 222ml to get to pH of 2.0. It then took only drops to get into range from there."

I was able to take it from the blue back into a strong clean yellow with HCl. I brought it back up to the about pH 9.5 and stopped. I let it cool. It was perfectly clear. After reading your email regarding the blue color I have added NaOH until the pH increased and I saw the blue color return with the drops as they disperse. I put it on a light table where I could watch and the blue keeps getting stronger with each drop and I have gone all the way to pH 14. The blue is almost like steel blue. It is not what I would call attractive and the solution is so dark as to appear black except with strong transmitted light.
This does not appear to follow the expectation that this phenomena occurs only up to pH of maybe 10.8 was it. And the color has no red or purple to it - it is not a cobalt blue either. It has almost been like the solution is at the stopping point but won't shift gears so to speak (failure to resonate with the red gold morphic field?).
If this sounds like a dead end please let me know - I may be able to shift back into a yellow solution again and take it back to the pH where the magic is supposed to happen.
> You may just have a very small amount of the gold in solution. Did you add
> the H2O2 several times in the 12 hours before you brought the pH up?
Yes. The solution had plenty in it by the time it was through. It was barely bubbling of its own accord but if I agitated the flask it would release a cloud of bubbles.
I did catch some of the subtleties of the process with repetition. I would like to have confidence that I have arrived at the desired and worthwhile destination of "red gold" though."

I got the red gold tonight - it is my third batch. Thank you for you help. I made myself a burette and it worked beautifully - I will try to take some pictures of my setup sometime soon.
It is actually a purple color and very pretty. It took an hour and fifty minutes to run the precip ( that's about 60 minutes rapid stirring with a few 5 minute breaks ).
My burette works very very well and it is so simple and elegant ( less than $5 also ). I can set it very easily to put the drops in as slow or as fast as I could want. I was running about one drop for a little over a second with about 5 or 6 stirs per drop.
At 30 minutes I had put in 48ml and the pH was 1.0 ( the burette helps measure also )
After another 21 minutes of stirring ( after reloading the burette ) I had put in another 45ml and the pH was 1.0
After another 8 minutes I had put in another 15ml and the solution went clear and the pH was about 8.0 to 8.5
Another drop and the pH was 9.0
Another drop and the pH was 10.5
Upon cooling slightly after transfer into an Erlenmeyer flask the pH read 10.0 and the color was clear with a slight yellow tint.
I put the slightest of film of hydrogen peroxide on the very tip of a stir rod and touched the tip only very lightly for a moment to the surface of the solution, withdrew it, and waited. Within seconds the color began to show and spread into the solution slowly. The clear was being replaced and looked like smoke as it disappeared.
Ta Da - purple is here. Lilac. With a very small amount of precip so far.