(3) "Because of its drawings and illustrated expositions, the manuscript is of preeminent importance to the Rosicrucians and the contemporary order of Freemasons. The first, and larger, part of the illustrations deals with the Hermetic philosophy, explaining its teachings and doctrines. Interspersed among these are portraits of great teachers and satirical representations of bunglers and their mistaken views. The systematically arranged part shows with wonderful clearness the color development of the alchemical processes from blue-gold over black to white and rose. Throughout it treats of the change in human beings and not of the making of gold. Ever upon the Grade of Black (the return into Chaos from which new creations are possible) follows the Grade of the Neophytes, the New Birth, which is often repeated with impressive lucidity. The black stage occurs as usual through fire. This unopened and unpublished manuscript belongs to the order of the most important Precepts and Documents of the Rosicrucians, and Freemasons. A search through the museums and library collections of Germany has failed to reveal any item of even a similar character."

(28) Between the upper end of the Grand Gallery (G. G.) and the King's Chamber is a small antechamber (H), its extreme length 9 feet, its extreme width 5 feet, and its extreme height 12 feet, with its walls grooved far purposes now unknown. In the groove nearest the Grand Gallery is a slab of stone in two sections, with a peculiar boss or knob protruding about an inch from the surface of the upper part facing the Grand Gallery. This stone does not reach to the floor of the antechamber and those entering the King's Chamber must pass under the slab. From the King's Chamber, the Grand Gallery--157 feet in length, 28 feet in height, 7 feet in width at its widest point and decreasing to 3½ feet as the result of seven converging overlaps, of the stones forming the walls--descends to a little above the level of the Queen's Chamber. Here a gallery (E) branches off, passing mere than 100 feet back towards the center of the Pyramid and opening into the Queen's Chamber (F). The Queen's Chamber is 19 feet long, 17 feet wide, and 20 feet high. Its roof is peaked and composed of great slabs of stone. Air passages not shown lead from the Queen's Chamber, but these were not open originally. In the east wall of the Queen's Chamber is a peculiar niche of gradually converging stone, which in all likelihood, may prove to be a new lost entrance way.

(22) While stigmatized as pagans by reason of their philosophic principles, it is noteworthy that these Dionysiac craftsmen were almost universally employed in the erection of early Christian abbeys and cathedrals, whose stones even to this very day bear distinguishing marks and symbols cut into their surfaces by these illustrious builders. Among the ornate carvings upon the fronts of great churches of the Old World are frequently found representations of compasses, squares, rules, mallets, and clusters of builders' tools skillfully incorporated into mural decorations and even placed in the hands of the effigies of saints and prophets standing in exalted niches. A great mystery was contained in the ancient portals of the Cathedral Of Notre Dame which were destroyed during the French Revolution, for among their carvings were numerous Rosicrucian and Masonic emblems; and according to the records preserved by alchemists who studied their bas-reliefs, the secret processes for metallic transmutation were set forth in their grotesque yet most significant figures.

(35) In the latter part of the fourteenth century there lived in Paris one whose business was that of illuminating manuscripts and preparing deeds and documents. To Nicholas Flammel the world is indebted for its knowledge of a most remarkable volume, which he bought for a paltry sum from some bookdealer with whom his profession of scrivener brought him in contact. The story of this curious document, called the Book of Abraham the Jew, is best narrated

(1) SUPREME among the wonders of antiquity, unrivaled by the achievements of later architects and builders, the Great Pyramid of Gizeh bears mute witness to an unknown civilization which, having completed its predestined span, passed into oblivion. Eloquent in its silence, inspiring in its majesty, divine in its simplicity, the Great Pyramid is indeed a sermon in stone. Its magnitude overwhelms the puny sensibilities of man. Among the shifting sands of time it stands as a fitting emblem of eternity itself. Who were the illumined mathematicians who planned its parts and dimensions, the master craftsmen who supervised its construction, the skilled artisans who trued its blocks of stone?

(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.

(1) IN his well-known work, The Rosicrucians, Their Rites and Mysteries, Hargrave Jennings reproduces five Qabbalistic charts which he declares to be genuine Rosicrucian drawings. He gives no information concerning their origin nor does he attempt an elucidation of their symbolism. A recent writer who reproduced one of these charts correlated it to the emblematic tomb of Father C.R.C., thus exposing the true nature of Christian Rosencreutz.

(41) Concerned primarily with the problems of mystical anatomy, Mr. Pryse relates the various symbols described in the Popol Vuh to the occult centers of consciousness in the human body. Accordingly, he sees in the elastic ball the pineal gland and in Hunahpu and Xbalanque the dual electric current directed along the spinal column. Unfortunately, Mr. Pryse did not translate that portion of the Popol Vuh dealing directly with the initiatory ceremonial. Xibalba he considers to be the shadowy or etheric sphere which, according to the Mystery teachings, was located within the body of the planet itself. The fourth book of the Popol Vuh concludes with an account of the erection of a majestic temple, all white, where was preserved a secret black divining stone, cubical in shape. Gucumatz (or Quetzalcoatl) partakes of many of the attributes of King Solomon: the account of the temple building in the Popol Vuh is a reminder of the story of Solomon's Temple, and undoubtedly has a similar significance. Brasseur de Bourbourg was first attracted to the study of religious parallelisms in the Popol Vuh by the fact that the temple together with the black stone which it contained, was named the Caabaha, a name astonishingly similar to that of the Temple, or Caaba, which contains the sacred black stone of Islam.

(15) At hand also was a manuscript copy in English of the Book of the Cabalistick Art, by Doctor John Pistor. The document is undated; but judging from the general type of the writing, the copy was made during the eighteenth century. The third volume used as a reference was the Sepher Yetzirah, by the late Win. Wynn Westcott, Magus of the Rosicrucian Society of England. The fourth was the Sepher Yetzirah, or The Book of Creation, according to the translation in the Sacred Books and Early Literature of the East, edited by Prof. Charles F. Horne. The fifth was a recent publication, The Book of Formation, by Knut Stenring, containing an introduction by Arthur Edward Waite. At hand also were four other copies--two German, one Hebrew, and one Latin. Certain portions of the Sepher Yetzirah are considered older and more authentic than the rest, bur the controversy regarding them is involved and nonproductive that it is useless to add further comment. The doubtful passages are therefore included in the document at the points where they would naturally fall.

(4) Caliph al Mamoun, an illustrious descendant of the Prophet, inspired by stories of the immense treasures sealed within its depths, journeyed from Bagdad to Cairo, A.D. 820, with a great force of workmen to open the mighty Pyramid. When Caliph al Mamoun first reached the foot of the "Rock of Ages" and gazed up at its smooth glistening surface, a tumult of emotions undoubtedly racked his soul. The casing stones must have been in place at the time of his visit, for the Caliph could find no indication of an entrance--four perfectly smooth surfaces confronted him. Following vague rumors, he set his followers to work on the north side of the Pyramid, with instructions to keep on cutting and chiseling until they discovered something. To the Moslems with their crude instruments and vinegar it was a herculean effort to tunnel a full hundred feet through the limestone. Many times they were on the point of rebellion, but the word of the Caliph was law and the hope of a vast fortune buoyed them up.

(1) IT was a common practice among the early Egyptians, Greeks, and Romans to seal lighted lamps in the sepulchers of their dead as offerings to the God of Death. Possibly it was also believed that the deceased could use these lights in finding his way through the Valley of the Shadow. Later as the custom became generally established, not only actual lamps but miniatures of them in terra cotta were buried with the dead. Some of the lamps were enclosed in circular vessels for protection; and instances have been recorded in which the original oil was found in them, in a perfect state of preservation, after more than 2,000 years. There is ample proof that many of these lamps were burning when the sepulchers were sealed, and it has been declared that they were still burning when the vaults were opened hundreds of years later. The possibility of preparing a fuel which would renew itself as rapidly as it was consumed has been a source of considerable controversy among mediæval authors. After due consideration of the evidence at hand, it seems well within the range of possibility that the ancient priest-chemists did manufacture lamps that burned, if not indefinitely, at least for considerable periods of time.

(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.

(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.

(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.

(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.

(7) Although the majority of the items in the bibliography are in my own library, I wish to acknowledge gratefully the assistance rendered by the Public Libraries of San Francisco and Los Angeles, the libraries of the Scottish Rite in San Francisco and Los Angeles, the libraries of the University of California in Berkeley and Los Angeles, the Mechanics' Library in San Francisco, and the Krotona Theosophical Library at Ojai, California. Special recognition for their help is also due to the following persons: Mrs. Max Heindel, Mrs. Alice Palmer Henderson, Mr. Ernest Dawson and staff, Mr. John Howell, Mr. Paul Elder, Mr. Phillip Watson Hackett, and Mr. John R. Ruckstell. Single books were lent by other persons and organizations, to whom thanks are also given.

(19) Upon moving the altar to one side a brass cover was disclosed. Lifting this revealed a body, presumedly that of C.R.C., which, although it had lain there 120 years, was as well preserved as though it had just been interred. It was ornamented and attired in the robes of the Order, and in one hand was clasped a mysterious parchment which, next to the Bible, was the most valued possession of the Society. After thoroughly investigating the contents of the secret chamber, the brass plate and altar were put back in place, the door of the vault was again sealed, and the Brothers went their respective ways, their spirits raised and their faith increased by the miraculous spectacle which they had beheld.

(21) And of these kinds of wood lay upon the altar under the sacrifice, such as have been tested as to their appear- ance, and do not lay (thereon) any split or dark wood, (but) hard ana clean, without fault, a sound and new growth ; and do not lay (thereon) old wood, [for its fragrance is gone] for there is no longer fragrance in it as before.

(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.

(5) What helpeth it to butt against the fates? Your Cerberus, if you remember well, For that still bears his chin and gullet peeled." Then he returned along the miry road, And spake no word to us, but had the look Of one whom other care constrains and goads Than that of him who in his presence is; And we our feet directed tow'rds the city, After those holy words all confident. Within we entered without any contest; And I, who inclination had to see What the condition such a fortress holds, Soon as I was within, cast round mine eye, And see on every hand an ample plain, Full of distress and torment terrible. Even as at Arles, where stagnant grows the Rhone, Even as at Pola near to the Quarnaro, That shuts in Italy and bathes its borders, The sepulchres make all the place uneven; So likewise did they there on every side, Saving that there the manner was more bitter; For flames between the sepulchres were scattered, By which they so intensely heated were, That iron more so asks not any art.