(33) The Turbæ Philosophorum is one of the earliest known documents on alchemy in the Latin tongue. Its exact origin is unknown. It is sometimes referred to as The Third Pythagorical Synod. As its name implies, it is an assembly of the sages and sets forth the alchemical viewpoints of many of the early Greek philosophers. The symbol reproduced above is from a rare edition of the Turbæ Philosophorum published in Germany in 1750, and represents by a hermaphroditic figure the accomplishment of the magnum opus. The active and passive principles of Nature were often depicted by male and female figures, and when these two principle, were harmoniously conjoined in any one nature or body it was customary to symbolize this state of perfect equilibrium by the composite figure above shown.

(16) The essay published in French by Alexandre Lenoir in 1809, while curious and original, contains little real information on the Tablet, which the author seeks to prove was an Egyptian calendar or astrological chart. As both Montfaucon and Lenoir--in fact all writers on the subject since 1651--either have based their work upon that of Kircher or have been influenced considerably by him, a careful translation has been made of the latter's original article (eighty pages of seventeenth century Latin). The double-page plate at the beginning of this chapter is a faithful reproduction made by Kircher from the engraving in the Museum of Hieroglyphics. The small letters and numbers used to designate the figures were added by him to clarify his commentary and will be used for the same purpose in this work.

(42) Leaf 26. This page, which concludes that part of the Hermetic manuscript bearing the symbols of the Secret Work, contains a number of emblems not directly correlated. At the top is the head of the King--the most common of alchemical figures. To the right of the King is an alchemical vessel designated the Hermetic Seal. Below is the head of a ferocious bird, here designated a griffon. To the left of the King is a headless figure elevating a Sun, or spiritual face. This figure is the world, which must be headless, since its spiritual and rational part is not material and consequently, is invisible. Below is a circle unaccompanied by descriptive matter. Directly under the King's head is a vase of flowers, in which rises the golden plant of the Philosophers. At the bottom of the page is additional alchemical equipment, this also being termed a Hermetic Seal.

(7) And when upon their hinges were turned round The swivels of that consecrated gate, Which are of metal, massive and sonorous, Roared not so loud, nor so discordant seemed Tarpeia, when was ta'en from it the good Metellus, wherefore meagre it remained. At the first thunder-peal I turned attentive, And "Te Deum laudamus" seemed to hear In voices mingled with sweet melody. Exactly such an image rendered me That which I heard, as we are wont to catch, When people singing with the organ stand; For now we hear, and now hear not, the words.

(5) The rods signify the kingly and directing faculty, making all things straight. The spears and the battle-axes denote the dividing of things unlike, and the sharp and energetic and drastic operation of the discriminating powers. The geometrical and technical articles denote the founding, and building, and completing, and whatever else belongs to the elevating and guiding forethought for the subordinate Orders. But sometimes the implements assigned to the holy Angels are the symbols of God's judgments to ourselves; some, representing His correcting instruction or avenging righteousness, others, freedom from peril, or end of education, or resumption of former well-being, or addition of other gifts, small or great, sensible or intelligible. Nor would a discriminating mind, in any case whatever, have any difficulty in properly adapting things visible to things invisible.

(399) under the circumstances, and acquiescing in the event. These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave. And these, he replied, are the Dorian and Phrygian harmonies of which I was just now speaking. Then, I said, if these and these only are to be used in our songs and melodies, we shall not want multiplicity of notes or a panharmonic scale? I suppose not. Then we shall not maintain the artificers of lyres with three corners and complex scales, or the makers of any other many-stringed curiously-harmonised instruments? Certainly not. But what do you say to flute-makers and flute-players? Would you admit them into our State when you reflect that in this composite use of harmony the flute is worse than all the stringed instruments put together; even the panharmonic music is only an imitation of the flute? Clearly not. There remain then only the lyre and the harp for use in the city, and the shepherds may have a pipe in the country. That is surely the conclusion to be drawn from the argument. The preferring of Apollo and his instruments to Marsyas and his instruments is not at all strange, I said. Not at all, he replied. And so, by the dog of Egypt, we have been unconsciously purging the State, which not long ago we termed luxurious. And we have done wisely, he replied. Then let us now finish the purgation, I said. Next in order to harmonies, rhythms will naturally follow, and they should be subject to the same rules, for we ought not to seek out complex systems of metre, or metres of every kind, but rather to discover what rhythms are the expressions of

(10) The ornamental headpiece shown above has long been considered a Baconian or Rosicrucian signature. The light and the dark A's appear in several volumes published by emissaries of the Rosicrucians. If the above figure be compared with that from the Alciati Emblemata on the following pages, the cryptic use of the two A's will be further demonstrated.

(4) Long before the introduction of idolatry into religion, the early priests caused the statue of a man to be placed in the sanctuary of the temple. This human figure symbolized the Divine Power in all its intricate manifestations. Thus the priests of antiquity accepted man as their textbook, and through the study of him learned to understand the greater and more abstruse mysteries of the celestial scheme of which they were a part. It is not improbable that this mysterious figure standing over the primitive altars was made in the nature of a manikin and, like certain emblematic hands in the Mystery schools, was covered with either carved or painted hieroglyphs. The statue may have opened, thus showing the relative positions of the organs, bones, muscles, nerves, and other parts. After ages of research, the manikin became a mass of intricate hieroglyphs and symbolic figures. Every part had its secret meaning. The measurements formed a basic standard by means of which it was possible to measure all parts of cosmos. It was a glorious composite emblem of all the knowledge possessed by the sages and hierophants.

(4) And even as birds uprisen from the shore, As in congratulation o'er their food, Make squadrons of themselves, now round, now long, So from within those lights the holy creatures Sang flying to and fro, and in their figures Made of themselves now D, now I, now L. First singing they to their own music moved; Then one becoming of these characters, A little while they rested and were silent. O divine Pegasea, thou who genius Dost glorious make, and render it long-lived, And this through thee the cities and the kingdoms, Illume me with thyself, that I may bring Their figures out as I have them conceived! Apparent be thy power in these brief verses! Themselves then they displayed in five times seven Vowels and consonants; and I observed The parts as they seemed spoken unto me. 'Diligite justitiam,' these were First verb and noun of all that was depicted; 'Qui judicatis terram' were the last. Thereafter in the M of the fifth word Remained they so arranged, that Jupiter Seemed to be silver there with gold inlaid.

(41) The twentieth numbered major trump is called Le Jugement, the judgment, and portrays three figures rising apparently from their tombs, though but one coffin is visible. Above them in a blaze of glory is a winged figure (presumably the Angel Gabriel) blowing a trumpet. This Tarot represents the liberation of man's threefold spiritual nature from the sepulcher of his material constitution. Since but one-third of the spirit actually enters the physical body, the other two-thirds constituting the Hermetic anthropos or overman, only one of the three figures is actually rising from the tomb. Court de Gébelin believes that the coffin may have been an afterthought of the card makers and that the scene actually represents creation rather than resurrection, In philosophy these two words are practically synonymous. The blast of the trumpet represents the Creative Word, by the intoning of which man is liberated from his terrestrial limitations. In the pseudo-Egyptian Tarot it is evident that the three figures signify the parts of a single being, for three mummies are shown emerging from one mummy case.

(18) The windings of these serpents formed the base, and the three heads sustained the three feet of the tripod. It is impossible to secure satisfactory information concerning the shape and size of the celebrated Delphian tripod. Theories concerning it are based (in most part) upon small ornamental tripods discovered in various temples.

(65) Because from these mysterious compositions comes life, That staff becomes a serpent and divides the Nile, Like the staff of Ha, Mim, by the grace of God. Its outward form resembles the outward forms of others, Yet the disk of a cake differs much from the moon's disk. The saint's weeping and laughter and speech Are not his own, but proceed from God. Whereas fools look only to outward appearances, These mysteries are totally hidden from them; Of necessity the real meaning is veiled from them,

(4) It will be noted that while these Seven Veils serve to conceal the Real Self—in the sense of imposing limitations and shape to it, yet at the same time it reveals the presence of Spirit by means of its outlines. The ancient teachers were wont to illustrate this concealing-revealment by means of a bit of thin gauzy drapery suspended across the space of an open door or open window into which the breeze is blowing. The drapery covers (and thus conceals) the moving wind, yet at the same time it shows a form representing the movement and presence of the wind, and thus reveals the latter. Another favorite illustration was that of an invisible hand, of itself impossible of being perceived, but upon which was placed seven gloves, one over the other. The gloves were filled, and the presence of the hand revealed; but each glove, in turn, is mistaken for the hand itself. The hand is able to feel but faintly, and to act clumsily when the gloves are all on it, but as each glove is taken off it feels more sensitively, and performs more delicate actions; but without at least one of the gloves it is not apparent at all, even to the eyes of its owner.

(29) Although Eugenius Philalethes disclaimed membership in the Rosicrucian Fraternity, it is believed that for a number of years he was the head of that Order. In a little work called Lumen de Lumine, or A New Magical Light Discovered and Communicated to the World, published in London in 1651, Eugenius Philalethes gives a remarkable letter, presumably from the Rosicrucian Order. Accompanying the letter is an emblematic figure setting forth in symbolic form the processes and formulæ of the Philosopher's Stone. This epistle is an excellent example of the Rosicrucian system of combining abstract theological speculations with concrete chemical formulæ. With the aid of the material contained in various parts of this present book the student would do well to set himself the task of solving the riddle contained in this hieroglyph.

(84) Far-sighted were the initiates of antiquity. They realized that nations come and go, that empires rise and fall, and that the golden ages of art, science, and idealism are succeeded by the dark ages of superstition. With the needs of posterity foremost in mind, the sages of old went to inconceivable extremes to make certain that their knowledge should be preserved. They engraved it upon the face of mountains and concealed it within the measurements of colossal images, each of which was a geometric marvel. Their knowledge of chemistry and mathematics they hid within mythologies which the ignorant would perpetuate, or in the spans and arches of their temples which time has not entirely obliterated. They wrote in characters that neither the vandalism of men nor the ruthlessness of the elements could completely efface, Today men gaze with awe and reverence upon the mighty Memnons standing alone on the sands of Egypt, or upon the strange terraced pyramids of Palanque. Mute testimonies these are of the lost arts and sciences of antiquity; and concealed this wisdom must remain until this race has learned to read the universal language--SYMBOLISM.

(4) Of the four lists were fashioned the two arms, The thighs and legs, the belly and the chest Members became that never yet were seen. Every original aspect there was cancelled; Two and yet none did the perverted image Appear, and such departed with slow pace. Even as a lizard, under the great scourge Of days canicular, exchanging hedge, Lightning appeareth if the road it cross; Thus did appear, coming towards the bellies Of the two others, a small fiery serpent, Livid and black as is a peppercorn. And in that part whereat is first received Our aliment, it one of them transfixed; Then downward fell in front of him extended. The one transfixed looked at it, but said naught; Nay, rather with feet motionless he yawned, Just as if sleep or fever had assailed him. He at the serpent gazed, and it at him; One through the wound, the other through the mouth Smoked violently, and the smoke commingled. Henceforth be silent Lucan, where he mentions Wretched Sabellus and Nassidius, And wait to hear what now shall be shot forth.

(13) Lo, to thee I pour as a libation the sparkling gleam of Bromius."He signifies, as I think, the soul's first milk-like nutriment of the four-and-twenty elements, after which solidified milk comes as food. And last, he teaches of the blood of the vine of the Word, the sparkling wine, the perfecting gladness of instruction. And Drops is the operating Word, which, beginning with elementary training, and advancing to the growth of the man, inflames and illumines man up to the measure of maturity. The third is said to be a writing copy for children -marptes, sfigx klwy, zxnkqhdos. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for maryai is to grasp. And the harmony of the world is meant by the Sphinx; and zunkqhdon means difficulty; and klwys means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by " the curved rods" (keraisi) is meant "ploughs;"and by the warp (sthmosi), the furrows; and the woof (mitos) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the "parts" (moirai) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them "white-robed," as being parts of the light?

(8) "The Cryptomenysis and Cryptography of Gustavus Selenus in nine books, to which is added a clear explanation of the System of Steganography of John Trithemius, Abbot of Spanheim and Herbipolis, a man of admirable genius. Interspersed with worthy inventions of the Author and others, 1624." The author of this volume was believed to be Augustus, Duke of Brunswick. The symbols and emblems ornamenting the title page, however, are conclusive evidence that the fine hand of the Rosicrucians was behind its publication. At the bottom of the picture is a nobleman (Bacon?) placing his hat on another man's head. In the oval at the top of the plate, it is possible that the lights are beacons, or a play upon the name Bacon. In the two side panels are striking and subtle "Shakespearian" allusions. On the left is a nobleman (possibly Bacon) handing a paper to another man of mean appearance who carries in his hand a spear. At the right, the man who previously carried the spear is shown in the costume of an actor, wearing spurs and blowing a horn. The allusion to the actor blowing his horn and the figure carrying the spear suggest much, especially as spear is the last syllable of the name "Shakespeare."

(10) In writing of the deck from which the four cavaliers (jacks) here reproduced were taken, William Andrew Chatto notes: "Some of the specimens of Portuguese cards given in the 'Jeux de Cartes, Tarots et de Cartes Numérales' have very much the appearance of having been originally suggested by, if net copied from, an Oriental type; more especially in the suits of Danari and Bastani,--Money and Clubs. In those cards the circular figure, generally understood as representing Danari, or Money, is certainly much more like the Chakra, or quoit of Vichnou [Vishnu], as seen in Hindostanic drawings, than a piece of coin; while on the top of the Club is a diamond proper, which is another of the attributes of the same deity." Also worthy of note are the Rosicrucian and Masonic emblems appearing on various mediæval decks. As the secrets of these organizations were often concealed in cryptic engravings, it is very probable that the enigmatic diagrams upon various decks of cards were used both to conceal and to perpetuate the political and philosophical arcana of these orders. The frontispiece of Mr. Chatto's books shows a knave of hearts bearing a shield emblazoned with a crowned Rosicrucian rose.

(2) Art therefore, perceiving this innate desire thus implanted by nature, and distributed about it (art itself also being multiformly distributed about nature), variously attracts and derives it as through a channel. Hence it transfers that which in itself is orderly and arranged into the privation of order, and fills that which is beautiful and commensurate with deformity. But the venerable end in each particular thing, which is connascent with union, it transfers to another indecorous plenitude, which is an assemblage of different things according to a common passion. It likewise imparts a matter from itself, which is unadapted to the whole generation of what is beautiful, either because it does not entirely receive it, or because it transfers it to other things. It also mingles many different physical powers, which it manages as it pleases for the purposes of generation. Hence we have universally shown, that the apparatus of a venereal connexion of this kind proceeds from a certain human art, and not from a certain dæmoniacal or divine necessity.