(11) None but the sun can display the sun, If you would see it displayed, turn not away from it. Shadows, indeed, may indicate the sun's presence, Shadows induce slumber, like evening talks, But when the sun arises the "moon is split asunder." In the world there is naught so wondrous as the sun, Though the material sun is unique and single, But the Sun of the soul, beyond this firmament, Where is there room in conception for His essence, So that similitudes of HIM should be conceivable?

(14) Concerning the astral-light bodies of flowers, James Gaffarel, in 1650, wrote the following: "I answer, that though they be chopt in pieces, brayed in a Mortar, and even burnt to Ashes; yet do they neverthelesse retaine, (by a certaine Secret, and wonderfull Power of Nature), both in the Juyce, and in the Ashes, the selfe same Forme, and Figure, that they had before: and though it be not there Visible, yet it may by Art be drawne forth, and made Visible to the Eye, by an Artist. This perhaps will seem a Ridiculous story to those, who reade only the Titles of Bookes: but, those that please, may see this truth confirmed, if they but have recourse to the Workes of M. du Chesne, S. de la Violette, one of the best Chymists that our Age hath produced; who affirmes, that himselfe saw an Excellent Polich Physician of Cracovia, who kept, in Glasses, the Ashes of almost all the Hearbs that are knowne: so that, when any one, out of Curiosity, had a desire to see any of them, as (for example) a Rose, in one of his Glasses, he tooke That where the Ashes of a Rose were preserved; and holding it over a lighted Candle, so soone as it ever began to feele the Heat, you should presently see the Ashes begin to Move; which afterwards rising up, and dispersing themselves about the Glasse, you should immediately observe a kind of little Dark Cloud; which dividing it selfe into many parts, it came at length to represent a Rose; but so Faire, so Fresh, and so Perfect a one, that you would have thought it to have been as Substancial, & as Odoriferous a Rose, as growes on the Rose-tree." (Unheard-of Curiosities Concerning Talismanical Sculpture of the Persians.)

(6) Upon this side he fell down out of heaven; And all the land, that whilom here emerged, For fear of him made of the sea a veil, And came to our hemisphere; and peradventure To flee from him, what on this side appears Left the place vacant here, and back recoiled." A place there is below, from Beelzebub As far receding as the tomb extends, Which not by sight is known, but by the sound Of a small rivulet, that there descendeth Through chasm within the stone, which it has gnawed With course that winds about and slightly falls. The Guide and I into that hidden road Now entered, to return to the bright world; And without care of having any rest We mounted up, he first and I the second, Till I beheld through a round aperture Some of the beauteous things that Heaven doth bear; Thence we came forth to rebehold the stars.

(22) Initiates of the Egyptian Mysteries were sometimes called scarabs; again, lions and panthers. The scarab was the emissary of the sun, symbolizing light, truth, and regeneration. Stone scarabs, called heart scarabs, about three inches long, were placed in the heart cavity of the dead when that organ was removed to be embalmed separately as part of the process of mummifying. Some maintain that the stone beetles were merely wrapped in the winding cloths at the time of preparing the body for eternal preservation. The following passage concerning this appears in the great Egyptian book of initiation, The Book of the Dead: "And behold, thou shalt make a scarab of green stone, which shalt be placed in the breast of a man, and it shall perform for him, 'the opening of the mouth.'" The funeral rites of many nations bear a striking resemblance to the initiatory ceremonies of their Mysteries.

(15) Leaf 4. At the top: "Let them believe that . everything is possible. The art is fleeting, bright and rare, and not believed by the foolish." The words between the sun and crescent read "It is hidden," and on the panel across the body "The Book of life and true Treasury of the World." The panel to the left of the figure says "Moving almost all, and the soul of its body returns to the place from which it had fled, and ripens seven months or nine, and the King crowned with his diadem appears." The right panel states: "There are three Mercuries: animal, vegetable, and mineral." The text below is of such a cryptic nature that to translate it is well nigh impossible. It declares that by putting fire beneath the feet of the symbolic figure it is possible to extract therefrom the sun and the moon which the human body is shown elevating to a position of dignity above its head.

(27) In common with certain philosophic institutions of Asia, the Jewish Mysteries contained a strange doctrine concerning the shadows of the Gods. Gazing down into the Abyss, the Elohim beheld their own shadows and from these shadows patterned the inferior creation. "In the dramatic representation of the creation of man in the Mysteries," writes the anonymous Master of Balliol College, "the Aleim [Elohim] were represented by men who, when sculpturing the form of an Adamite being, of a man, traced the outline of it on their own shadow, or modelled it on their own shadow traced on the wall. This is how the art of drawing originated in Egypt, and the hieroglyphic figures carved on the Egyptian monuments have so little relief that they still resemble a shadow."

(6) There are several interesting stories concerning the discoveries of ever-burning lamps in various parts of the world. In a tomb on the Appian Way which was opened during the papacy of Paul III was found a burning lamp which had remained alight in a hermetically sealed vault for nearly 1,600 years. According to an account written by a contemporary, a body--that of a young and beautiful girl with long golden hair--was found floating in an unknown transparent liquid and as well preserved as though death had occurred but a few hours before. About the interior of the vault were a number of significant objects, which included several lamps, one of them alight. Those entering the sepulcher declared that the draft caused by the opening of the door blew out the light and the lamp could not be relighted. Kircher reproduces an epitaph, "TULLIOLAE FILIAE MEAE," supposedly found in the tomb, but which Montfaucon declares never existed, the latter adding that although conclusive evidence was not found, the body was generally believed to be that of Tulliola, the daughter of Cicero.

(32) C.R.C. and his three friends were set to work moistening the bird's ashes with specially prepared water until the mixture became of doughlike consistency, after which it was heated and molded into two miniature forms. Later these were opened, disclosing two bright and almost transparent human images about four inches high (homunculi), one male and the other female. These tiny forms were laid upon satin cushions and fed drop by drop with the blood of the bird until they grew to normal size and of great beauty. Though the bodies had the consistency of flesh, they showed no signs of life, for the soul was not in them. The bodies were next surrounded with torches and their faces covered with silk. Virgo Lucifera then appeared, bearing two curious white garments. The virgins also entered, among them six bearing great trumpets. A trumpet was placed upon the mouth of one of the two figures and C.R.C. saw a tiny hole open in the dome of the tower and a ray of light descend through the tube of the trumpet and enter the body. This process was repeated three times on each body. The two newly ensouled forms were then removed upon a traveling couch. In about half an hour the young King and Queen awakened and the Virgo Lucifera presented them with the white garments. These they donned and the King in his own person most graciously returned thanks to C.R.C. and his companions, after which the royal persons departed upon a ship. C.R.C. and his three privileged friends then rejoined the other "artists," making no mention of that which they had seen. Later the entire party were assigned handsome chambers, where they rested till morning.

(22) The Virgo Lucifera, after assuring C.R.C. and his companions that all should be well if they were faithful and true, ordered the pages to conduct them to their rooms for the night while she remained to watch with the dead. About midnight C.R.C. awakened suddenly and, looking from his window, beheld seven ships sailing upon a lake. Above each hovered a flame; these he believed to be the spirits of the beheaded. When the ships reached shore, the Virgo Lucifera met them and on each of six of the vessels was placed a covered coffin. As soon as the coffins had been thus disposed of, the lights were extinguished and the flames passed back over the lake so that there remained but one light for a watch in each ship. After beholding this strange ceremony, C.R.C. returned to his bed and slept till morning.

(45) Apuleius said when describing his initiation (vide ante): "At midnight I saw the sun shining with a splendid light." The midnight sun was also part of the mystery of alchemy. It symbolized the spirit in man shining through the darkness of his human organisms. It also referred to the spiritual sun in the solar system, which the mystic could see as well at midnight as at high noon, the material earth bring powerless to obstruct the rays of this Divine orb. The mysterious lights which illuminated the temples of the Egyptian Mysteries during the nocturnal hours were said by some to he reflections of the spiritual sun gathered by the magical powers of the priests. The weird light seen ten miles below the surface of the earth by I-AM-THE-MAN in that remarkable Masonic allegory Etidorhpa (Aphrodite spelt backward) may well refer to the mysterious midnight sun of the ancient rites.

(12) While such figures doubtless will evoke the ridicule of modern Egyptologists, they are based upon an exhaustive study of the principles of sidereal mechanics as incorporated into the structure of the Pyramid by its initiated builders. If the casing stones were in position at the beginning of the ninth century, the so-called erosion marks upon the outside were not due to water. The theory also that the salt upon the interior stones of the Pyramid is evidence that the building was once submerged is weakened by the scientific fact that this kind of stone is subject to exudations of salt. While the building may have been submerged, at least in part, during the many thousands of years since its erection, the evidence adduced to prove this point is not conclusive.

(11) C. Piazzi Smyth asks: "Was the Great Pyramid, then, erected before the invention of hieroglyphics, and previous to the birth of the Egyptian religion?" Time may yet prove that the upper chambers of the Pyramid were a sealed mystery before the establishment of the Egyptian empire. In the subterranean chamber, however, are markings which indicate that the Romans gained admission there. In the light of the secret philosophy of the Egyptian initiates, W. W. Harmon, by a series of extremely complicated yet exact mathematical calculations; determines that the first ceremonial of the Pyramid was performed 68,890 years ago on the occasion when the star Vega for the first time sent its ray down the descending passage into the pit. The actual building of the Pyramid was accomplished in the period of from ten to fifteen years immediately preceding this date.