(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.

(32) Much of the information concerning the rituals of the higher degrees of the Egyptian Mysteries has been gleaned from an examination of the chambers and passageways in which the initiations were given. Under the temple of Serapis destroyed by Theodosius were found strange mechanical contrivances constructed by the priests in the subterranean crypts and caverns where the nocturnal initiatory rites were celebrated. These machines indicate the severe tests of moral and physical courage undergone by the candidates. After passing through these tortuous ways, the neophytes who Survived the ordeals were ushered into the presence of Serapis, a noble and awe-inspiring figure illumined by unseen lights.

(12) In his Disquisitions upon the Painted Greek Vases, James Christie presents Meursius' version of the occurrences taking place during the nine days required for the enactment of the Greater Eleusinian Rites. The first day was that of general meeting, during which those to be initiated were questioned concerning their several qualifications. The second day was spent in a procession to the sea, possibly for the submerging of a image of the presiding goddess. The third day was opened by the sacrifice of a mullet. On the fourth day the mystic basket containing certain sacred symbols was brought to Eleusis, accompanied by a number of female devotees carrying smaller baskets. On the evening of the fifth day there was a torch race, on the sixth a procession led by a statue of Iacchus, and on the seventh an athletic contest. The eighth day was devoted to a repetition of the ceremonial for the benefit of any who might have been prevented from coming sooner. The ninth and last day was devoted to the deepest philosophical issues of the Eleusinia, during which an urn or jar--the symbol of Bacchus--was exhibited as an emblem of supreme importance.

(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.

(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.

(15) And consider attentively, I pray, with what appropriateness the holy symbols are presented. For since death is with us not an annihilation of being, as others surmise, but the separating of things united, leading to that which is invisible to us, the soul indeed becoming invisible through deprivation of the body, and the body, through being buried in earth in consequence of one of its bodily changes, becoming invisible to human ken, appropriately, the whole covering by water would be taken as an image of death, and the invisible tomb. The symbolical teaching, then, reveals in mystery that the man baptized according to religious rites, imitates, so far as Divine imitation is attainable to men, by the three immersions in the water, the supremely Divine death of the Life-giving Jesus, Who spent three days and three nights in the tomb, in Whom, according to the mystical and secret teaching of the sacred text, the Prince of the world found nothing.

(17) There is a remarkable niche in the north wall of the Queen's Chamber which the Mohammedan guides glibly pronounce to be a shrine. The general shape of this niche, however, with its walls converging by a series of overlaps like those of the Grand Gallery, would indicate that originally it had been intended as a passageway. Efforts made to explore this niche have been nonproductive, but Mr. Dupré believes an entrance to exist here through which--if the well did not exist at the time--the workmen made their exit from the Pyramid after dropping the stone plugs into the ascending gallery.

(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.

(2) No better way can be found of introducing to the "Royal Art" a seeker after the mysteries of symbolical philosophy than to place at his disposal an actual example of alchemical writing. The text of this manuscript is as enigmatic as are its diagrams; but to him who will meditate upon the profound significance of both, the deeper issues of mysticism in due time will be made clear. An unknown person through whose hands this manuscript passed wrote thus of it:

(28) There are many accounts of stone images which, because of the substances entering into their composition and the ceremonials attendant upon their construction, were ensouled by the divinities whom they were created to resemble. To such images were ascribed various human faculties and powers, such as speech, thought, and even motion. While renegade priests doubtless resorted to trickery--an instance of which is related in a curious apocryphal fragment entitled Bel and the Dragon and supposedly deleted from the end of the Book of Daniel--many of the phenomena recorded in connection with sanctified statues and relics can hardly be explained unless the work of supernatural agencies be admitted.

(45) In the King's Chamber was enacted the drama of the "second death." Here the candidate, after being crucified upon the cross of the solstices and the equinoxes, was buried in the great coffer. There is a profound mystery to the atmosphere and temperature of the King's Chamber: it is of a peculiar deathlike cold which cuts to the marrow of the bone. This room was a doorway between the material world and the transcendental spheres of Nature. While his body lay in the coffer, the soul of the neophyte soared as a human-headed hawk through the celestial realms, there to discover first hand the eternity of Life, Light, and Truth, as well as the illusion of Death, Darkness, and Sin. Thus in one sense the Great Pyramid may be likened to a gate through which the ancient priests permitted a few to pass toward the attainment of individual completion. It is also to be noted incidentally that if the coffer in the King's Chamber be struck, the sound emitted has no counterpart in any known musical scale. This tonal value may have formed part of that combination of circumstances which rendered the King's Chamber an ideal setting for the conferment of the highest degree of the Mysteries.

(1) Now onward goes, along a narrow path Between the torments and the city wall, My Master, and I follow at his back. "O power supreme, that through these impious circles Turnest me," I began, "as pleases thee, Speak to me, and my longings satisfy; The people who are lying in these tombs, Might they be seen? already are uplifted The covers all, and no one keepeth guard." And he to me: "They all will be closed up When from Jehoshaphat they shall return Here with the bodies they have left above. Their cemetery have upon this side With Epicurus all his followers, Who with the body mortal make the soul; But in the question thou dost put to me, Within here shalt thou soon be satisfied, And likewise in the wish thou keepest silent." And I: "Good Leader, I but keep concealed From thee my heart, that I may speak the less, Nor only now hast thou thereto disposed me." "O Tuscan, thou who through the city of fire Goest alive, thus speaking modestly, Be pleased to stay thy footsteps in this place.

(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.

(85) The book to which this is the introduction is dedicated to the proposition that concealed within the emblematic figures, allegories, and rituals of the ancients is a secret doctrine concerning the inner mysteries of life, which doctrine has been preserved in toto among a small band of initiated minds since the beginning of the world. Departing, these illumined philosophers left their formulæ that others, too, might attain to understanding. But, lest these secret processes fall into uncultured hands and be perverted, the Great Arcanum was always concealed in symbol or allegory; and those who can today discover its lost keys may open with them a treasure house of philosophic, scientific, and religious truths.

(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.

(55) 1. The Colossus of Rhodes, a gigantic brass statue about 109 feet in height and requiring over twelve years to build, was the work of an initiated artist, Chares of Lindus. The popular theory--accepted for several hundred years--that the figure stood with one foot on each side of the entrance to the harbor of Rhodes and that full-rigged ships passed between its feet, has never been substantiated. Unfortunately, the figure remained standing but fifty-six years, being thrown down by an earthquake in 224 B.C. The shattered parts of the Colossus lay scattered about the ground for more than 900 years, when they were finally sold to a Jewish merchant, who carried the metal away on the backs of 700 camels. Some believed that the brass was converted into munitions and others that it was made into drainage pipes. This gigantic gilded figure, with its crown of solar rays and its upraised torch, signified occultly the glorious Sun Man of the Mysteries, the Universal Savior.

(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.

(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,

(17) Like nearly all religious and philosophical antiquities, the Bembine Table of Isis has been the subject of much controversy. In a footnote, A. E. Waite--unable to differentiate between the true and the purported nature or origin of the Tablet--echoes the sentiments of J.G. Wilkinson, another eminent exotericus: "The original [Table] is exceedingly late and is roughly termed a forgery." On the other hand, Eduard Winkelmann, a man of profound learning, defends the genuineness and antiquity of the Tablet. A sincere consideration of the Mensa Isiaca discloses one fact of paramount importance: that although whoever fashioned the Table was not necessarily an Egyptian, he was an initiate of the highest order, conversant with the most arcane tenets of Hermetic esotericism.

(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.