(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(2) The following symbol, likewise, testifies the truth of this. For by the God “ sitting above the lotus ,” a transcendency and strength which by no means come into contact with the mire, are obscurely signified, and also indicate his intellectual and empyrean empire. For every thing belonging to the lotus is seen to be circular, viz. both the form of the leaves and the fruit; and circulation is alone allied to the motion of intellect, which energizes with invariable sameness, in one order, and according to one reason. But the God is established by himself, and above a dominion and energy of this kind, venerable and holy, superexpanded, and abiding in himself, which his being seated is intended to signify. When the God, also, is represented as “ sailing in a ship ,” it exhibits to us the power which governs the world. As, therefore, the pilot being separate from the ship presides over the rudder of it, thus the sun having a separate subsistence, governs the helm of the whole world. And as the pilot directs all things from the stem, giving from himself a small principle of motion to the vessel; thus, also, by a much greater priority, the God indivisibly imparts supernally from the first principles of nature, the primordial causes of motions. These particulars, therefore, and still more than these, are indicated by the God sailing in a ship.

(7) I have come to my abode. I have united the two diadems. I shine like a star. O ye flowers, the name of which is “the precious bunch,” I am the lotus which cometh out of the holy earth; when I am plucked, I settle myself at the nostrils of the Great Figure

(24) This, too, it says, that every single flower is appropriate to an angel (ameshôspend), as the white jasmine (saman) is for Vohûman, the myrtle and jasmine (yâsmin) are Aûharmazd's own, the mouse-ear (or sweet marjoram) is Ashavahist's own, the basil-royal is Shatvaîrô's own, the musk flower is Spendarmad's, the lily is Horvadad's, the kamba is Amerôdad's, Dîn-pavan-Âtarô has the orange-scented mint (vâdrang-bôd), Âtarô has the marigold (âdargun), the water-lily is Âvân's, the white marv is Khtûrshêd's, the ranges is Mâh's, the violet is Tîr's, the mêren is Gôs's, the kârda is Dîn-pavan-Mitrô's, all violets are Mitrô's, the red chrysanthemum (khêr) is Srôsh's, the dog-rose (nestran) is Rashnû's, the cockscomb is Fravardîn's, the sisebar is Vâhrâm's, the yellow chrysanthemum is Râm's, the orange-scented mint is Vâd's, the trigonella is Dîn-pavan-Dîn's, the hundred-petalled rose is Dîn's, all kinds of wild flowers (vahâr) are Ard's, Âstâd has all the white Hôm, the bread-baker's basil is Asmân's, Zamyâd has the crocus, Mâraspend has the flower of Ardashîr, Anîrân has this Hôm of the angel Hôm, of three kinds.

(13) It is not claimed, however, that in the pages of this book are given all the Secret Teachings of the Rosicrucians, such as their Formulas and Methods of Mental Alchemy, and Spiritual Transmutation. Such information cannot be cast broadcast, for reasons which will be apparent to every earnest and intelligent student. But, on the other hand, such information cannot be withheld from those who are ready to receive it , and who are moved by the proper motives in seeking to acquire the secret knowledge. When the student learns how to give "The Right Knock," then will he find proven the old promise: "Knock, and it shall be opened unto you." The Symbol of the Rosy Cross The well-known Symbol of the Rosicrucians—"The Rosy Cross"—appears in several forms, as for instance: The Cross surmounted by the Rose; the Sword (the Cross handle) attached to the Rose; the Cross surmounted by the Crown; a modification of the Phallic Cross, etc. The explanation of the general Symbol is Sevenfold—the three highest being reserved for Initiates of a certain rank, only, and therefore cannot be stated here. Below follow several of the meanings which we are permitted to translate and explain here: (1) The Cross Surmounted by the Rose , indicates that the "Rose" (the mystic symbol of the Divine) can be attained only by the suffering of mortal life (symbolized by the Cross).

(2) In the midst of primal becoming, the radiance of the Light (Yang Kuang) is the determining thing. In the physical world it is the sun; in man the eye. The emanation and dissemination of spiritual consciousness is chie ly brought about by this power when it is directed outward (flows downward). Therefore the meaning of the Golden Flower depends wholly on the backward-flowing method.

(16) Now the high priest's robe is the symbol of the world of sense. The seven planets are represented by the five stones and the two carbuncles, for Saturn and the Moon. The former is southern, and moist, and earthy, and heavy; the latter aerial, whence she is called by some Artemis, as if Aerotomos (cutting the air); and the air is cloudy. And cooperating as they did in the production of things here below, those that by Divine Providence are set over the planets are rightly represented as placed on the breast and shoulders; and by them was the work of creation, the first week. And the breast is the seat of the heart and soul.

(4) There is the Rose in which the Word Divine Became incarnate; there the lilies are By whose perfume the good way was discovered." Thus Beatrice; and I, who to her counsels Was wholly ready, once again betook me Unto the battle of the feeble brows. As in the sunshine, that unsullied streams Through fractured cloud, ere now a meadow of flowers Mine eyes with shadow covered o'er have seen, So troops of splendours manifold I saw Illumined from above with burning rays, Beholding not the source of the effulgence. O power benignant that dost so imprint them! Thou didst exalt thyself to give more scope There to mine eyes, that were not strong enough. The name of that fair flower I e'er invoke Morning and evening utterly enthralled My soul to gaze upon the greater fire. And when in both mine eyes depicted were The glory and greatness of the living star Which there excelleth, as it here excelled, Athwart the heavens a little torch descended Formed in a circle like a coronal, And cinctured it, and whirled itself about it.

(5) But others say it was the symbol of the intellectual world, and that of sense. The coveting, then, the barrier of popular unbelief, was stretched in front of the five pillars, keeping back those in the surrounding space.

(1) Whence also the Egyptians did not entrust the mysteries they possessed to all and sundry, and did not divulge the knowledge of divine things to the profane; but only to those destined to ascend the throne, and those of the priests that were judged the worthiest, from their nurture, culture, and birth. Similar, then, to the Hebrew enigmas in respect to concealment, are those of the Egyptians also. Of the Egyptians, some show the sun on a ship, others on a crocodile. And they signify hereby, that the sun, making a passage through the delicious and moist air, generates time; which is symbolized by the crocodile in some other sacerdotal account. Further, at Diospolis in Egypt, on the temple called Pylon, there was figured a boy as the symbol of production, and an old man as that of decay. A hawk, on the other hand, was the symbol of God, as a fish of hate; and, according to a different symbolism, the crocodile; of impudence. The whole symbol, then, when put together, appears to teach this: "Oh ye who are born and die, God hates impudence."

(13) Therefore also the Egyptians place Sphinxes before their temples, to signify that the doctrine respecting God is enigmatical and obscure; perhaps also that we ought both to love and fear the Divine Being: to love Him as gentle and benign to the pious; to fear Him as inexorably just to the impious; for the sphinx shows the image of a wild beast and of a man together.

(11) It is said also in a certain oracle,- "A pillar to the Thebans is joy-inspiring Bacchus," from the history of the Hebrews. Also Euripides says, in Antiope,- "In the chambers within, the herdsman, With chaplet of ivy, pillar of the Evoean god." The pillar indicates that God cannot be portrayed. The pillar of light, too, in addition to its pointing out that God cannot be represented, shows also the stability and the permanent duration of the Deity, and His unchangeable and inexpressible light. Before, then, the invention of the forms of images, the ancients erected pillars, and reverenced them as statues of the Deity.

(2) The eastern rays of the sun are the honey-cells in front. The Rik verses are the bees, the Rig-veda (sacrifice) is the flower, the water (of the sacrificial libations) is the nectar (of the flower).

(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,

(1) The southern rays of the sun are the honey-cells on the right. The Yagus verses are the bees, the Yagur-veda sacrifice is the flower, the water (of the sacrificial libations) is the nectar (of the flower).

(4) The Book of Successful Contemplation (Ying Kuan Ching) says: The sun sinks in the Great Water and magic pictures of trees in rows arise. The setting of the sun means that in Chaos (in the world before phenomena, that is, the intelligible world), a foundation is laid: that is the condition free of opposites {wu chi). Highest good is like water, pure and spotless. It is the ruler of the Great Polarity, the god who is revealed in the sign for that which greatly disturbs, Chin (19). Chen is also symbolized by wood, wherefore the image of trees in rows appears. A sevenfold row of trees means the light of the seven body-openings (or heart-openings). In the norlii-west is the direction of the creative. When it moves on one place farther, the abysmal is there. The sim which sinks into the Great Water is the image for the creative and abysmal. The abysmal is the direction of midnight (mouse, Tzu% north). At the winter solstice the thunder (Chin) is in the middle of the Earth quite hidden and covered up. Only when the sign Chin is reached, does the Light-pole come over the earth again. That is the picture representing the row of trees. The rest can be correspondingly inferred.

(14) (2) The Sword Attached to the Rose indicates that the Sword of the Spirit must be actively employed in the Battle of Life, in order to win the reward of the Rose (the Rose being the reward bestowed by the Queen upon the victorious Knight, in the olden days).

(17) Differently, the stones might be the various phases of salvation; some occupying the upper, some the lower parts of the entire body saved. The three hundred and sixty bells, suspended from the robe, is the space of a year, "the acceptable year of the Lord," proclaiming and resounding the stupendous manifestation of the Saviour. Further, the broad gold mitre indicates the regal power of the Lord, "since the Head of the Church" is the Savour. The mitre that is on it [i.e., the head] is, then, a sign of most princely rule; and otherwise we have heard it said, "The Head of Christ is the God and Father of our Lord Jesus Christ." Moreover, there was the breastplate, comprising the ephod, which is the symbol of work, and the oracle logion; and this indicated the Word logos by which it was framed, and is the symbol of heaven, made by the Word, and subjected to Christ, the Head of all things, inasmuch as it moves in the same way, and in a like manner. The luminous emerald stones, therefore, in the ephod, signify the sun and moon, the helpers of nature. The shoulder, I take it, is the commencement of the hand.

(5) The rods signify the kingly and directing faculty, making all things straight. The spears and the battle-axes denote the dividing of things unlike, and the sharp and energetic and drastic operation of the discriminating powers. The geometrical and technical articles denote the founding, and building, and completing, and whatever else belongs to the elevating and guiding forethought for the subordinate Orders. But sometimes the implements assigned to the holy Angels are the symbols of God's judgments to ourselves; some, representing His correcting instruction or avenging righteousness, others, freedom from peril, or end of education, or resumption of former well-being, or addition of other gifts, small or great, sensible or intelligible. Nor would a discriminating mind, in any case whatever, have any difficulty in properly adapting things visible to things invisible.

(7) Their numberless faces then, and many feet, manifest, as I think, their property of viewing the most Divine illuminations from many sides, and their conception of the good things of God as ever active and abundantly receptive; and the sixfold arrangement of the wings, of which the Scripture speaks, does not, I think, denote, as seems to some, a sacred number, but that of the highest Essence and Order around God; the first and middle and last of its contemplative and Godlike powers are altogether elevating, free, and supermundane. Hence the most holy wisdom of the Oracles, when reverently describing the formation of the wings, places the wings around their heads, and middle, and feet; suggesting their complete covering with wings, and their manifold faculty of leading to the Really Being.