(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).

(9) Note 1. Tombeau de Seti I. (Musée Guimet, Vol. IX, Plate 34

(5) This symbol of the "Circle enclosing the Cross" is one particularly sacred to the Rosicrucians, since to them it represents the Universal Activity and Universal Creation, symbolizing the Great Mystery of Occult Generation on all planes of Life. In the fanciful symbology of the ancient Rosicrucian Brotherhoods, the Circle was transformed into the Rose , and the Cross sometimes transformed into the Sword with its Cross-like handle. The sign, then, of the Cross (or Sword) combined with the Circle (or Rose), symbolized the Mystic Union of the Rose and the Cross, from whence arose the name of the Order, i.e. Rosi-Crucian, meaning "Rose-Cross." The Third Aphorism states: "The One became Two. The Neuter became Bi-Sexual. Male and Female—the Two in One—evolved from the Neuter. And the Work of Creation began." In this Aphorism there is given the "hint" at the very important teaching of the Rosicrucians concerning the Universal Sex Principles in Nature—the presence and activity of the Sexual Pairs of Opposites, Male and Female, which constitute the Secret of Creation. According to the Secret Doctrine of the Rosicrucians, there are present in All-Creation the activities of a Male Principle and a Female Principle, both Universal in Nature, Character and Extent—both Opposing Aspects of the World Soul—which act and react, one upon the other, and thus produce all Creative Activity and the "Cosmic Becoming" or Universal Activity and Change. And the teachings also are that these Two Sex Principles operate and manifest upon every plane of Life, from the Sub-Mineral, on to the Mineral, on to the Plant, on to the Animal, on to the Human, or to the Super-Human, on to the Angelic or God-like. And, likewise, that in every Thing in Creation there is present and manifest the activity of Sex.

(29) The vignette of 153 A , in the papyrus III, 93, of the Louvre ( Pb ), shows a clap-net drawn by four men. Behind it comes the deceased, holding in his hand two instruments mentioned in the text: the and the , called or each of them consists of different parts having a distinct name

(14) The vignette consists of the three figures described in the rubric. That which is given here is taken from the Turin papyrus. It differs slightly from the description and from the vignettes of the other texts. The middle figure should have a man’s body with a lion’s claws

(20) The two chapters which are numbered by M. Naville as 136 A and 136 B are represented in the later recensions by a single chapter, which has been made out of them. There is very much obscurity in the ancient texts, though the MSS. containing them are numerous, and the more recent versions are quite as difficult to understand. We must be satisfied for the present by a strict literal and grammatical translation, wherever this amount of success is attainable. The royal sarcophagus 32 of the British Museum gives the latest form of 136 A

(3) After the interruption due to Chapters 153 and 154, we revert to the series inaugurated by 151, the description of the chamber in which the mummy is deposited, and of the funeral equipment of the deceased, his amulets and ornaments. The papyrus III, 93 (Pb), of the Louvre, throws several of these Chapters into one, with the title: the description of the hidden things of the Tuat , and the vignette (Pl. LV) represents three figures of Chapter 151: the statuette, the torch or flame, and the Anubis; besides two Tat of different substances, one of them for the wall, and one to be put on the neck of the deceased, and a buckle

(2) In this Second Aphorism of Creation the Rosicrucian is directed to apply his attention to the concept of the World Soul—the First Manifestation of the Eternal Parent. This World Soul—the First Manifestation—is represented by the Rosicrucians by the symbol of a circle containing at its centre a black dot or point. The circle, of course, represents the Infinite Unmanifest, and the black dot or point represents the Focal Point of the new Manifestation—the "Germ within the Cosmic Egg," as the old occultists poetically expressed the idea.

(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.

(11) Even though the deeds [of one paying such reverence] may not have been very elegant while in the human world, at his death there will come at least one kind of sign, such a rainbow-radiance, bone- images, and bone-reliques. This is because the esoteric [or mystic] doctrines possess great gift-waves.

(15) This Chapter is found in two papyri: one at Leyden, and one at Naples. Its title begins like that of Chapter 124. The first paragraphs are translated from the papyrus at Leyden, which stops suddenly, because the space allotted to the text, below the vignette, came to an end. From there the scribe passes over to the rubric

(3) In order to understand the symbology of the Universal Androgyne, it is necessary to first become familiar with the two ancient symbols of Sex. In all the ancient philosophies and religions, we find that the "Cross" (+) is the symbol of the Male; and the "Circle" (O) the symbol of the Female. In representing the Bisexual, the Hermaphrodite, the Androgyne, the two symbols, i.e. the Cross and the Circle are combined in one of several ways. The original way was that of placing the Cross within the circumference of the Circle; but later usage preferred the various forms of the so-called "Phallic Cross," which consists of the Circle, or Oval, sustaining the Cross which depends downward from it. (See illustrations.) Sometimes the Cross is represented as the letter "T", and the Circle as the letter "O".

(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.

(16) (4) The Modified Phallic Cross , indicates the Sexual Duality of the Manifested Universe—the Presence and Activity of the Universal Male Principle and the Universal Female Principle, respectively. [The Modified Phallic Cross of the Rosicrucians, however, must not be taken to indicate any relationship of the Rosicrucians with the gross forms of Phallic Worship, however. The latter is merely the distorted shadow of the Truth, and must not be mistaken for the Reality.] Concluding this introductory statement, and inviting you to enter into the study of the Secret Doctrine of the Rosicrucians, let us ask you to carefully consider the following words of an ancient aphorism: "The possession of Knowledge, unaccompanied by a manifestation and expression in Action, is like the hoarding of precious metals by the miser—a vain and foolish thing. Forget not The Law of Use, in this and all other things."

(2) Whatever the explication necessary on the point in hand shall demand, shall be embraced, and especially what is occult in the barbarian philosophy, the department of symbol and enigma; which those who have subjected the teaching of the ancients to systematic philosophic study have affected, as being in the highest degree serviceable, nay, absolutely necessary to the knowledge of truth.

(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.

(3) Not otherwise in summer do the dogs, Now with the foot, now with the muzzle, when By fleas, or flies, or gadflies, they are bitten. When I had turned mine eyes upon the faces Of some, on whom the dolorous fire is falling, Not one of them I knew; but I perceived That from the neck of each there hung a pouch, Which certain colour had, and certain blazon; And thereupon it seems their eyes are feeding. And as I gazing round me come among them, Upon a yellow pouch I azure saw That had the face and posture of a lion. Proceeding then the current of my sight, Another of them saw I, red as blood, Display a goose more white than butter is. And one, who with an azure sow and gravid Emblazoned had his little pouch of white, Said unto me: "What dost thou in this moat? Now get thee gone; and since thou'rt still alive, Know that a neighbour of mine, Vitaliano, Will have his seat here on my left-hand side. A Paduan am I with these Florentines; Full many a time they thunder in mine ears, Exclaiming, 'Come the sovereign cavalier,

(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.

(14) The vignette generally consists of a cow, having between her horns a solar disk, with two plumes. Occasionally behind her there is a goddess with a cow’s head having the same attribute. This cow I consider to be the goddess Nut, the mother of Rā. An image of the cow, made of pure gold, is to be put on the neck of the deceased; or, what would be much easier and cheaper, it is to be painted on a hypocephalus of new papyrus, and put under the deceased’s head. Part of this chapter is the usual text found on the hypocephali