(39) In the allegory of the four horsemen--according to the mysteries of philosophy--is set forth the condition of man during the stages of his existence. In his first and spiritual state he is crowed. As he descend into the realm of experience he carries the sword. Reaching physical expression--which is his least spiritual state--he carries the scales, and by the "philosophic death" is released again into the highest spheres. In the ancient Roman games the chariot of the sun was drawn by four horses of different colors and the horsemen of the Apocalypse may be interpreted to represent the solar energy riding upon the four elements which serve as media for its expression.

(23) The seventh numbered major trump is called Le Chariot, the Chariot, and portrays a victorious warrior crowned and riding in a chariot drawn by black and white sphinxes or horses. The starry canopy of the chariot is upheld by four columns. This card signifies the Exalted One who rides in the chariot of creation. The vehicle of the solar energy being numbered seven reveals the arcane truth that the seven planers are the chariots of the solar power which rides victorious in their midst. The four columns supporting the canopy represent the four Mighty Ones who uphold the worlds represented by the star-strewn drapery. The figure carries the scepter of the solar energy and its shoulders are ornamented with lunar crescents--the Urim. and Thummim. The sphinxes drawing the chariot resent the secret and unknown power by which the victorious ruler is moved continuously through the various parts of his universe. In certain Tarot decks the victor signifies the regenerated man, for the body of the chariot is a cubic stone. The man in armor is not standing in the chariot but is rising out of the cube, thus typifying the ascension of the 3 out of the 4--the turning upward of the flap of the Master Mason's apron. In the pseudo-Egyptian Tarot the warrior carries the curved sword of Luna, is bearded to signify maturity, and wears the collar of the planetary orbits. His scepter (emblematic of the threefold universe) is crowned with a square upon which is a circle surmounted by a triangle.

(2) Behold him coming: he is Rā on his journey: he is the four gods who are over the upper region

(115) But if it getteth the victory, then it bringeth with its piercing penetration its light and knowledge into the outermost birth or geniture of man; for it presseth back with force through the seven spirits of nature, which here I call the astral spirits, and governeth in the council [or counsel] of reason.

(10) I stand on thy wall, directing my navigation. I see the way towards thee. I gather myself together. I am the man who puts a veil on thy head, and I am uninjured. I am the great magician; thy eyes have been given me, and I am glorified through them. Who is he who goeth on his belly? Thy strength is on thy mountain; behold, I march towards it, and thy strength is in my hand. I am he who lifts the strength. I have come and I have taken away the serpents of Rā, when he rests with me at eventide

(1) Come, then, let us at last, if you please, rest our mental vision from the strain of lofty contemplation, befitting Angels, and descend to the divided and manifold breadth of the many-shaped variety of the Angelic forms, and then return analytically from the same, as from images, to the simplicity of the Heavenly Minds. But let this first be made plain to you, that the explanations of the sacredly depicted likenesses represent the same ranks of the Heavenly Beings as sometimes ruling, and, at other times, as being ruled; and the last, ruling, and the first, being ruled; and the same, as has been said, having first, and middle, and last powers --without introducing anything absurd into the description, according to the following method of explanation. For if indeed we were to say that some are ruled by those above them, and then that they rule the same, and that those above, whilst ruling those below, are ruled by those same who are being ruled, the thing would manifestly be absurd, and mixed with all sorts of confusion. But if we say that the same rule and are ruled, but no longer the self-same, or from the self-same, but that each same is ruled by those before, and rules those below, one might say appropriately that the Divinely pictured presentations in the Oracles may sometimes attribute, properly and truly, the very same, both to first, and middle, and last powers. Now the straining elevation to things above, and their being drawn unswervingly around each other, as being guardians of their own proper powers, and that they participate in the providential faculty to provide for those below them by mutual communication, befit truly all the Heavenly Beings, although some, pre-eminently and wholly, as we have often said, and others partially and subordinately.

(21) O ye gods, O ye Glorified who precede Rā, and who escort his soul, tow me as you tow him, in the same way as you conduct Rā and tow those in the sky. I am the lofty power in the Amenta

(2) In this Seventh Aphorism of Creation, the Rosicrucian is directed to apply his attention to the concept of the Sevenfold Soul—One in essence—of Man; which in the figurative language of the mystic constitutes the seven veils which conceal from (yet reveal to) Man his real Self. This concept is represented by the Rosicrucians by means of the symbol of the figure of a man surrounded by seven outlined shapes—the man, himself in his essence, is represented by the blank space disclosed by the inmost outline, and each one of the "concealing but revealing veils" is represented by an outlined figure, each being but one of the series of seven. The series of outlines, be it noted, is enclosed in the circle representing the Infinite Unmanifest.

(2) Those who were wise among the Greeks and the barbarians have advanced to the powers which have come into being by way of imagination and vain thought. Those who have come from these, in accord with the mutual conflict and rebellious manner active in them, also spoke in a likely, arrogant and imaginary way concerning the things which they thought of as wisdom, although the likeness deceived them, since they thought that they had attained the truth, when they had (only) attained error. (They did so) not simply in minor appellations, but the powers themselves seem to hinder them, as if they were the Totality. Therefore, the order was caught up in fighting itself alone, because of the arrogant hostility of one of the offspring of the archon who is superior, who exists before him. Therefore, nothing was in agreement with its fellows, nothing, neither philosophy nor types of medicine nor types of rhetoric nor types of music nor types of logic, but they are opinions and theories. Ineffability held sway in confusion, because of the indescribable quality of those who hold sway, who give them thoughts.

(2) In addition to these things also, the magnitude of the epiphanies [or manifestations] in the Gods, indeed, is so great as sometimes to conceal all heaven, the sun and the moon; and the earth itself, as the Gods descend, is no longer able to stand still. When archangels appear, certain parts of the world are moved, and a divided forerunning light precedes them. But they exhibit a magnitude of light commensurate to the magnitude of their domination. The angelic light is less than the archangelic, and more divided, but in dæmons it is still more divided, and the magnitude of the manifestation is not always equal in them. The manifestation of heroes is still less than that of dæmons, but exhibits more of an elevated condition. Again, the manifestation of such archons as preside over mundane forms, presents itself to the view as above measure great; but such of them as are distributed about matter, exhibit in their manifestations an abundance of pride and arrogance. Those of souls are not all of them seen to be equal, but appear to be less than those of heroes. And, in short, the magnitude of the manifestation is appropriately present in each of these, according to the magnitude of their powers, and the amplitude of the empire through which they extend themselves, and in which they exercise their authority.

(19) I am the lord of the thrones above, traversing the horizon in the train of Rā; the offerings for me are in the sky in the field of Rā, and my portion on earth in the garden of Aarru; I journey in the Tuat like Rā; I weigh the words like Thoth, I march as I will, I hasten in my course like Sahu the mysterious one, and I am born as the two gods

(46) As a beast of burden the horse was the symbol of the body of man forced to sustain the weight of his spiritual constitution. Conversely, it also typified the spiritual nature of man forced to maintain the burden of the material personality. Chiron, the centaur, mentor of Achilles, represents the primitive creation which was the progenitor and instructor of mankind, as described by Berossus. The winged horse and the magic carpet both symbolize the secret doctrine and the spiritualized body of man. The wooden horse of Troy, secreting an army for the capture of the city, represents man's body concealing within it those infinite potentialities which will later come forth and conquer his environment. Again, like Noah's Ark, it represents the spiritual nature of man as containing a host of latent potentialities which subsequently become active. The siege of Troy is a symbolic account of the abduction of the human soul (Helena) by the personality (Paris) and its final redemption, through persevering struggle, by the secret doctrine--the Greek army under the command of Agamemnon.

(17) This journey of man through the world may be divided into four stages -- the sensuous, the experimental, the instinctive the rational. In the first, he is like a moth which, though it has sight, has no memory, and will singe itself again and again at the same candle. In the second stage he is like a dog which, having once been beaten, will run away at the sight of a stick. In the third he is like a horse or a sheep, both of which instinctively fly at the sight of a lion or a wolf, their natural enemies, while they will not fly from a camel or a buffalo, though these last are much greater in size. In the fourth stage man altogether transcends the limits of the animals and becomes capable, to some extent, of foreseeing and providing for the future. His movements at first may be compared to ordinary walking on land, then to traversing the sea in a ship, then, on the fourth plane, where he is conversant with realities, to walking on the sea, while beyond this plane there is a fifth, known to the prophets and saints, whose progress may be compared to flying through the air.

(170) Having put on the completely armed-vigour of resounding Light, with triple strength fortifying the Soul and the Mind, He must put into the Mind the various Symbols, and not walk dispersedly on the empyræan path, but with concentration.

(21) This symbolic figure, representing the way to everlasting life, is described by Khunrath in substance as follows: "This is the Portal of the amphitheatre of the only true and eternal Wisdom--a narrow one, indeed, but sufficiently august, and consecrated to Jehovah. To this portal ascent is made by a mystic, indisputably prologetic, flight of steps, set before it as shown in the picture. It consists of seven theosophic, or, rather, philosophic steps of the Doctrine of the Faithful Sons. After ascending the steps, the path is along the way of God the Father, either directly by inspiration or by various mediate means. According to the seven oracular laws shining at the portal, those who are inspired divinely have the power to enter and with the eyes of the body and of the mind, of seeing, contemplating and investigating in a Christiano-Kabalistic, divino-magical, physico-chemical manner, the nature of the Wisdom: Goodness, and Power of the Creator; to the end that they die not sophistically but live theosophically, and that the orthodox philosophers so created may with sincere philosophy expound the works of the Lord, and worthily praise God who has thus blessed these friend, of God." The above figure and description constitute one of the most remarkable expositions ever made of the appearance of the Wise Man's House and the way by which it must be entered.

(42) In the middle region of the Table appears the all-form-containing personified Spiritual Essence--the source and substance of all things. From this proceed the lower worlds as nine emanations in groups of three (the Ophionic, Ibimorphous, and Nephtæan Triads). Consider in this connection the analogy of the Qabbalistic Sephiroth, or the nine spheres issuing from Kether, the Crown. The twelve Governors of the Universe (the Mendesian, Ammonian, Momphtæan, and Omphtæan Triads)--vehicles for the distribution of the creative influences, and shown in the upper region of the Table-are directed in their activities by the Divine Mind patterns existing in the archetypal sphere, The archetypes are abstract patterns formulated in the Divine Mind and by them all the inferior activities are controlled.

(49) Kircher writes: "The throne denotes the diffusion of the triform Supreme Mind along the universal paths of the three worlds. Out of these three intangible spheres emerges the sensible universe, which Plutarch calls the 'House of Horns' and the Egyptians, the 'Great Gate of the Gods.' The top of the throne is in the midst of diffused serpent-shaped flames, indicating that the Supreme Mind is filled with light and life, eternal and incorruptible, removed from all material contact. How the Supreme Mind communicated His fire to all creatures is clearly set forth in the symbolism of the Table. The Divine Fire is communicated c to lower spheres through the universal power of Nature personified by the World Virgin, Isis, here denominated the IYNX, or the polymorphous all-containing Universal Idea." The word Idea is here used in its Platonic sense. "Plato believed that there are eternal forms of all possible things which exist without matter; and to these eternal and immaterial forms he gave the name of ideas. In the Platonic sense, ideas were the patterns according to which the Deity fashioned the phenomenal or ectypal world." (Sir W. Hamilton.)

(1) It is necessary then, as I think, first to set forth what we think is the purpose of every Hierarchy, and what benefit each one confers upon its followers; and next to celebrate the Heavenly Hierarchies according to their revelation in the Oracles; then following these Oracles, to say in what sacred forms the holy writings of the Oracles depict the celestial orders, and to what sort of simplicity we must be carried through the representations; in order that we also may not, like the vulgar, irreverently think that the heavenly and Godlike minds are certain many-footed and many-faced creatures, or moulded to the brutishness of oxen, or the savage form of lions, and fashioned like the hooked beaks of eagles, or the feathery down of birds, and should imagine that there are certain wheels of fire above the heaven, or material thrones upon which the Godhead may recline, or certain many-coloured horses, and spear-bearing leaders of the host, and whatever else was transmitted by the Oracles to us under multifarious symbols of sacred imagery. And indeed, the Word of God artlessly makes use of poetic representations of sacred things, respecting the shapeless minds, out of regard to our intelligence, so to speak, consulting a mode of education proper and natural to it, and moulding the inspired writings for it.

(3) After these things, therefore, we shall define the reasons of the self-apparent statues [or images]. Hence, in the forms of the Gods which are seen by the eyes, the most clear spectacles of truth itself are perceived, which are also accurately splendid, and shine forth with an evolved light. The images of archangels present themselves to the view true and perfect; but those of angels preserve, indeed, the same form, but fail in plenitude of indication. The images of dæmons are obscure; and those of heroes are seen to be still inferior to these. With respect, also, to archons, the images of such as are mundane, are clear; but of such as are material, obscure. Both, however, are seen to be of an authoritative nature. And the images of souls appear to be of a shadowy form.

(3) Again, therefore, the phasmata of the Gods are entirely immutable, according to magnitude, morphe,[A] and figure, and according to all things pertaining to them; those of archangels approximate to those of the Gods, but fall short of the sameness of them; those of angels are subordinate to these, but are immutable; and those of dæmons are at different times seen in a different form, and appear at one time great, but at another small, yet are still recognized to be the phasmata of dæmons. Moreover, those of such archons as are leaders are immutable; but those of such as are material are multiformly changed; those of heroes are similar to those of dæmons; and those of souls imitate in no small degree the dæmoniacal mutation. Farther still, order and quiet pertain to the Gods; but with archangels, there is an efficacy of order and quiet. With angels, the adorned and the tranquil are present, but not unattended with motion. Perturbation and disorder follow the dæmoniacal phasmata; but spectacles attend the archons, conformable to each of the particulars which we have already mentioned; the material archons, indeed, being borne along tumultuously; but those of a leading characteristic, presenting themselves to the view, firmly established in themselves. The phasmata of heroes are subject to motion and mutation; but those of souls resemble, indeed,