Adepts believed in the macrocosm-microcosm theories of Hermes, that is to say, they believed that processes that affect minerals and other substances could have an effect on the human body (for example, if one could learn the secret of purifying gold, one could use the technique to purify the human soul). They believed in the four elements and the four qualities as described above, and they had a strong tradition of cloaking their written ideas in a labyrinth of coded jargon set with traps to mislead the uninitiated. Finally, the alchemists practiced their art: they actively experimented with chemicals and made observations and theories about how the universe operated. Their entire philosophy revolved around their belief that man's soul was divided within himself after the fall of Adam. By purifying the two parts of man's soul, man could be reunited with God. In the 14th century, alchemy became more accessible to Europeans outside the confines of Latin speaking churchmen and scholars. Alchemical discourse shifted from scholarly philosophical debate to an exposed social commentary on the alchemists themselves. Dante, Piers Plowman, and Chaucer all painted unflattering pictures of alchemists as thieves and liars. Pope John XXII's 1317 edict, Spondent quas non-exhibent forbade the false promises of transmutation made by pseudo-alchemists. Roman Catholic Inquisitor General Nicholas Eymerich's Directorium Inquisitorum, written in 1376, associated alchemy with the performance of demonic rituals, which Eymerich differentiated from magic performed in accordance with scripture. This did not, however, lead to any change in the Inquisition's monitoring or prosecution of alchemists. In 1403, Henry IV of England banned the practice of multiplying metals (although it was possible to buy a licence to attempt to make gold alchemically, and a number were granted by Henry VI and Edward IV). These critiques and regulations centered more around pseudo-alchemical charlatanism than the actual study of alchemy, which continued with an increasingly Christian tone. The 14th century saw the Christian imagery of death and resurrection employed in the alchemical texts of Petrus Bonus, John of Rupescissa, and in works written in the name of Raymond Lull and Arnold of Villanova. Nicolas Flamel is a well-known alchemist, but a good example of pseudepigraphy, the practice of giving your works the name of someone else, usually more famous. Although the historical Flamel existed, the writings and legends assigned to him only appeared in 1612. Flamel was not a religious scholar as were many