(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.

(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.

(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.

(3) Displayed moreo'er the adamantine pavement How unto his own mother made Alcmaeon Costly appear the luckless ornament; Displayed how his own sons did throw themselves Upon Sennacherib within the temple, And how, he being dead, they left him there; Displayed the ruin and the cruel carnage That Tomyris wrought, when she to Cyrus said, "Blood didst thou thirst for, and with blood I glut thee!" Displayed how routed fled the Assyrians After that Holofernes had been slain, And likewise the remainder of that slaughter. I saw there Troy in ashes and in caverns; O Ilion! thee, how abject and debased, Displayed the image that is there discerned! Whoe'er of pencil master was or stile, That could portray the shades and traits which there Would cause each subtile genius to admire? Dead seemed the dead, the living seemed alive; Better than I saw not who saw the truth, All that I trod upon while bowed I went. Now wax ye proud, and on with looks uplifted, Ye sons of Eve, and bow not down your faces So that ye may behold your evil ways!

(3) I was as one who still retains the feeling Of a forgotten vision, and endeavours In vain to bring it back into his mind, When I this invitation heard, deserving Of so much gratitude, it never fades Out of the book that chronicles the past. If at this moment sounded all the tongues That Polyhymnia and her sisters made Most lubrical with their delicious milk, To aid me, to a thousandth of the truth It would not reach, singing the holy smile And how the holy aspect it illumed. And therefore, representing Paradise, The sacred poem must perforce leap over, Even as a man who finds his way cut off; But whoso thinketh of the ponderous theme, And of the mortal shoulder laden with it, Should blame it not, if under this it tremble. It is no passage for a little boat This which goes cleaving the audacious prow, Nor for a pilot who would spare himself. "Why doth my face so much enamour thee, That to the garden fair thou turnest not, Which under the rays of Christ is blossoming?

(1) And now we shall tell of their stay and abode there on the mountain, where the four called Balam-Quitzé, Balam-Acab, Mahucutah, and Iqui-Balam were together. Their hearts mourned for Tohil, Avilix, and Hacavitz, whom they had placed among the air-plants and the moss. We shall tell now how they made the sacrifices at the foot of the place where they had carried Tohil, when they arrived in the presence of Tohil and Avilix. They went to see them, to greet them, and also to give them thanks for the arrival of the dawn. They were in the thicket amidst the stones, there in the woods. And only by magic art did they speak when the priests and sacrificers came before Tohil. They did not bring great gifts, only resin, the remains of the gum, called noh, and pericón, they burned before their gods.

(43) "And because that this history did represent the more part of that of the innocents slain by Herod, and that in this book I learned the greatest part of the art, this was one of the causes why I placed in their church-yard these Hieroglyphic Symbols of this secret science. And thus you see that which was in the first five leaves.

(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.

(6) All of their coverings uplifted were, And from them issued forth such dire laments, Sooth seemed they of the wretched and tormented. And I: "My Master, what are all those people Who, having sepulture within those tombs, Make themselves audible by doleful sighs?" And he to me: "Here are the Heresiarchs, With their disciples of all sects, and much More than thou thinkest laden are the tombs. Here like together with its like is buried; And more and less the monuments are heated." And when he to the right had turned, we passed Between the torments and high parapets.

(2) Then reigned within my lofty fantasy One crucified, disdainful and ferocious In countenance, and even thus was dying. Around him were the great Ahasuerus, Esther his wife, and the just Mordecai, Who was in word and action so entire. And even as this image burst asunder Of its own self, in fashion of a bubble In which the water it was made of fails, There rose up in my vision a young maiden Bitterly weeping, and she said: "O queen, Why hast thou wished in anger to be naught? Thou'st slain thyself, Lavinia not to lose; Now hast thou lost me; I am she who mourns, Mother, at thine ere at another's ruin." As sleep is broken, when upon a sudden New light strikes in upon the eyelids closed, And broken quivers ere it dieth wholly, So this imagining of mine fell down As soon as the effulgence smote my face, Greater by far than what is in our wont. I turned me round to see where I might be, When said a voice, "Here is the passage up;" Which from all other purposes removed me,

(56) Both Mithras, the Persian Redeemer, and Serapis, the Egyptian God of the Earth, are symbolized by serpents coiled about their bodies. This remarkable drawing shows the good and evil principles of Persia--Ahura-Mazda and Ahriman--contending for the Egg of the Earth, which each trying to wrench from the teeth of the other.

(10) The publication of this manuscript places at the student's disposal the most profound secrets of the Hermetic Art. At first the task of decipherment may seem hopeless and the superficially-minded will be tempted to scoff at the possibility of real knowledge being perpetuated in such unconventional fashion. The scoffer will not realize that one of the purposes of the document is to awaken ridicule and thus preserve more effectually its arcana from the profane. A few sheets (such as those here reproduced) represent the life work of one who has consecrated himself to the task of tearing aside the veil of the World Virgin. Years of research and experimentation, days of incessant labor, nights of prayer and meditation, and at last comes the realization of accomplishment! This is the real story told by the grotesque figures drawn so painstakingly upon the faded, worm-eaten pages. Those who have glimpsed the greater realities of being realize that the fundamental verities of life find at best only imperfect expression through physical symbols. Only those who have passed through the travail of spiritual birth can adequately comprehend and properly reverence the pathetic efforts to portray for others that knowledge necessarily locked within the heart of the one who knows.

(6) Three maidens at the right wheel in a circle Came onward dancing; one so very red That in the fire she hardly had been noted. The second was as if her flesh and bones Had all been fashioned out of emerald; The third appeared as snow but newly fallen. And now they seemed conducted by the white, Now by the red, and from the song of her The others took their step, or slow or swift. Upon the left hand four made holiday Vested in purple, following the measure Of one of them with three eyes in her head. In rear of all the group here treated of Two old men I beheld, unlike in habit, But like in gait, each dignified and grave. One showed himself as one of the disciples Of that supreme Hippocrates, whom nature Made for the animals she holds most dear; Contrary care the other manifested, With sword so shining and so sharp, it caused Terror to me on this side of the river.

(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:

(51) "This is that emblematical magical type, which Thalia delivered to me in the invisible Guiana. The first and superior Part of it represents the Mountains of the Moon. The philosophers commonly call them the Mountains of India, on whose tops grows their secret and famous Lunaria. It is an Herb easy to be found, but [for the fact] that men are blind discovers itself and shines after night like pearl. The earth of these mountains is very red and soft beyond all expression. It is full of crystalline rocks, which the philosophers call their glass and their stone: birds and fish (say they) bring it to them. Of these mountains speaks Hali the Arabian, a most excellent judicious author: 'Go, my son, to the Mountains of India, and to their quarries or caverns, and take thence our precious stones which dissolve or melt in water, when they are mingled therewith. Much indeed might be spoken of these mountains, if it were lawful to publish their mysteries, but one thing I shall not forbear to tell you. They are very dangerous places after night, for they are haunted with fires and other strange apparitions, (as a I am told by the Magi) by certain spirits, which dabble lasciviously with the sperm of the world and imprint their imaginations in, producing many times fantastic and monstrous generations. The access and pilgrimage to this place, with the difficulties which attend them, are faithfully and magisterially described by the Brothers of R.C." (Set accompanying letter.)

(1) O Simon Magus, O forlorn disciples, Ye who the things of God, which ought to be The brides of holiness, rapaciously For silver and for gold do prostitute, Now it behoves for you the trumpet sound, Because in this third Bolgia ye abide. We had already on the following tomb Ascended to that portion of the crag Which o'er the middle of the moat hangs plumb. Wisdom supreme, O how great art thou showest In heaven, in earth, and in the evil world, And with what justice doth thy power distribute! I saw upon the sides and on the bottom The livid stone with perforations filled, All of one size, and every one was round. To me less ample seemed they not, nor greater Than those that in my beautiful Saint John Are fashioned for the place of the baptisers, And one of which, not many years ago, I broke for some one, who was drowning in it; Be this a seal all men to undeceive. Out of the mouth of each one there protruded The feet of a transgressor, and the legs Up to the calf, the rest within remained.

(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,

(41) "The fourth and fifth leaves therefore, were without any writing, all full of fair figures enlightened, or as it were enlightened, for the work was very exquisite. First he painted a young man with wings at his ancles, having in his hand a Caducean rod, writhen about with two serpents, wherewith he struck upon a helmet which covered his head. He seemed to my small judgment, to be the God Mercury of the pagans: against him there came running and flying with open wings, a great old man, who upon his head had an hour glass fastened, and in his hand a book (or syrhe) like death, with the which, in terrible and furious manner, he would have cut off the feet of Mercury. On the other side of the fourth leaf, he painted a fair flower on the top of a very high mountain which was sore shaken with the North wind; it had the foot blue, the flowers white and red, the leaves shining like fine gold: and round about it the dragons and griffons of the North made their nests and abode.

(15) For He who prohibited the making of a graven image, would never Himself have made an image in the likeness of holy things. Nor is there at all any composite thing, and creature endowed with sensation, of the sort in heaven. But the face is a symbol of the rational soul, and the wings are the lofty ministers and energies of powers fight and left; and the voice is delightsome glory in ceaseless contemplation. Let it suffice that the mystic interpretation has advanced so far.

(20) In contrast to the idea of Hades as a state of darkness below, the gods were said to inhabit the tops of mountains, a well-known example being Mount Olympus, where the twelve deities of the Greek pantheon were said to dwell together. In his initiatory wanderings the neophyte therefore entered chambers of ever-increasing brilliancy to portray the ascent of the spirit from the lower worlds into the realms of bliss. As the climax to such wanderings he entered a great vaulted room, in the center of which stood a brilliantly illumined statue of the goddess Ceres. Here, in the presence of the hierophant and surrounded by priests in magnificent robes, he was instructed in the highest of the secret mysteries of the Eleusis. At the conclusion of this ceremony he was hailed as an Epoptes, which means one who has beheld or seen directly. For this reason also initiation was termed autopsy. The Epoptes was then given certain sacred books, probably written in cipher, together with tablets of stone on which secret instructions were engraved.