Category Archives: Hermeticism

The Turning Sky | Lapham’s Quarterly

“The god Horus is a falcon (the word for which in hieroglyphs is qhr, the falcon’s cry). In the third surviving column of text, remarkably, the falcon is marked with a triangle, the hieroglyphic designation for the star Sirius. As if it were a mathematical proof unfolding before my eyes, I saw that if the falcon marked by the triangle is Sirius, the fire is the light of dawn in which the gods—the things marked holy by the hieroglyphic prayer flags—are stars. The baboon’s penis is in actuality a familiar sight: the Sword of Orion (the three stars under Orion’s belt), which rises directly before Sirius on the path of rising stars. The hieroglyphic lines on the wall express an immediate, visual moment in the physical world: the dawn rising of Sirius signaling the rising of the Nile, the key moment of the Egyptian agricultural year. The clear, repetitive, and simple hieroglyphic lines read not as a magic spell but as a finely machined poetic riddle: The Sword of Orion opens the doors of the sky. Before the doors close the gate to the path over the fire Beneath the holy ones as they grow dark, As a falcon flies, as a falcon flies, may Unis rise into this fire, Beneath the holy ones as they grow dark. They make a path for Unis. Unis takes the path. Unis becomes the falcon star, Sirius. That this was the case was borne out by the text as I translated further. Beautifully constructed verses presented one vivid astronomical reference after another: Taurus (“Would that the bull break the fingers of the horizon of earth with its horns. / Come out. Rise.”), the full moon (“the face, the head, the eye”), the North Star (“the axis at the center of the wheel”), the Dippers (“the arms of night”), the Milky Way (“the ladder to heaven”). The verses of the Pyramid Texts map the night sky as a detailed seasonal clock reliably predicting the most critical resource of all: water. Egyptian civilization came out of radical climate change—cattle herders whose grazing land was rapidly becoming desert as the water dried up in the climate shift of the Neolithic, much as is happening in Texas and around the world today.

The verses present a sequence of poetic images in which the human body is transformed back into its elements in the visible universe of the turning sky. The remnant essence of a human life rises as a star in the east: “moses” (the hieroglyphic word for infant) in “the field of rushes” (the eastern stars at dawn). The infant star is the child of “she who gave birth but did not know it” (the sky). The sky is a flood of cool darkness across which sail the stars: Sirius and its evil twin, “the detested wild dog Set,” the second brightest star in the sky, Canopus, the rising of which signals the autumn rains with their deadly flash floods and thunderstorms. Through this glittering wetland of stars wanders the golden calf, the golden crescent horns of the moon.

This extraordinary convergence of poetry, science, and religion resides not only in the writing but in the pictures within the words themselves. Osiris is a phonetic rendering of a hieroglyphic rebus: the seat of the eye, the universal corpse in which resurrection is not a religious mystery but an inevitability of nature. In the Pyramid Texts, hieroglyphic vocabulary is rich with images: The body is a tree. The snake is the life in it. The fruit of the tree is the eye. What is being expressed is the intelligence of nature itself in the ongoing process of creation: the death, decay, and rebirth of plant and animal life in the cyclical year. One familiar religious trope after another appears not as literal historical fact used to proscribe, threaten, and dictate the parameters of human life but as poetic imagery used to bring to life the awareness of our fragile and beautiful world. The richness of these images is echoed in the Book of Job: “As for the earth, out of it cometh bread, and under it is turned up as it were fire. The stones of it are the place of sapphires, and it hath dust of gold.” The Pyramid Texts are not magic spells or religious prescription any more than this. Instead, the text takes up a key question: Where shall wisdom be found?

…over the fire
Beneath the holy ones as they grow dark,

As a falcon flies, as a falcon flies, may Unis rise into this fire,

Beneath the holy ones as they grow dark.

They make a path for Unis. Unis takes the path.

Unis becomes the falcon star, Sirius.

 

Would that the bull break the fingers of the horizon of earth with its horns.

Come out. Rise.

Poetry and religion arise from the same source: the perception of the mystery of life. Early Egyptian writing belongs to this eternal language. The vehicle at work is associative thinking, in which metaphors act as keys to unlock a primeval human sense of the integrated living world. The meaning may not come across on the pedantic level, but on the poetic level it is transparent.”

Source: The Turning Sky | Lapham’s Quarterly

Susan Brind Morrow

Susan Brind Morrow’s translation and analysis of the Pyramid Texts, The Dawning Moon of the Mind: Unlocking the Pyramid Texts, was published in 2015. She received a Guggenheim Foundation fellowship in 2006.

Gerald Massey – Wikipedia

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In regard to Ancient Egypt, Massey first published The Book of the Beginnings, followed by The Natural Genesis. His most prolific work is Ancient Egypt: The Light of the World, published shortly before his death. Like Godfrey Higgins a half-century earlier, Massey believed that Western religions had Egyptian roots.

Massey wrote:

The human mind has long suffered an eclipse and been darkened and dwarfed in the shadow of ideas the real meaning of which has been lost to moderns. Myths and allegories whose significance was once unfolded in the Mysteries have been adopted in ignorance and reissued as real truths directly and divinely vouchsafed to humanity for the first and only time! The early religions had their myths interpreted. We have ours misinterpreted. And a great deal of what has been imposed on us as God’s own true and sole revelation to us is a mass of inverted myths.

One of the more important aspects of Massey’s writings were his assertions that there were parallels between Jesus and the Egyptian god Horus, primarily contained in the book The Natural Genesis first published in 1883. Massey, for example, argued in the book his belief that: both Horus and Jesus were born of virgins on 25 December, raised men from the dead (Massey speculates that the biblical Lazarus, raised from the dead by Jesus, has a parallel in El-Asar-Us, a title of Osiris), died by crucifixion and were resurrected three days later.

Christian ignorance notwithstanding, the Gnostic Jesus is the Egyptian Horus who was continued by the various sects of gnostics under both the names of Horus and of Jesus. In the gnostic iconography of the Roman Catacombs child-Horus reappears as the mummy-babe who wears the solar disc. The royal Horus is represented in the cloak of royalty, and the phallic emblem found there witnesses to Jesus being Horus of the resurrection.

Herbert Cutner notes that per the pamphlet Paul the Gnostic Opponent of Peter written by Gerald Massey, he proves quite clearly to any unbiased reader that “Paul was not a supporter of the system known as Historical Christianity, which was founded on a belief in the Christ carnalized; an assumption that the Christ had been made flesh, but that he was its unceasing and deadly opponent during his lifetime; and that after his death his writings were tampered with, interpolated, and re-indoctrinated by his old enemies, the forgers and falsifiers, who first began to weave the web of the Papacy in Rome.”

Source: Gerald Massey – Wikipedia

image: Gerald Massey 1856

The Hermetic Papers of A. E. Waite and his idea for The Hermetic Text Society

 

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‘The Hermetic Text Society was a pipe-dream of Waite’s that never proceeded further than the issuing of this breathtaking prospectus’, A.E. Waite’s bio-bibliographer R.A. Gilbert intriguingly observed with reference to a 14-page pamphlet issued by Waite in 1907.  Searching the Internet for ‘The Hermetic Text Society’ only yields a few references, all to the now sadly defunct American periodical Cauda Pavonis: The Hermetic Text Society Newsletter. Of Waite’s Hermetic Text Society’s ‘pipe-dream’ there is not a trace on the world wide web; in print, fortunately, there is Gilbert’s brief but informative description of Waite’s ‘grandiose affair’ in the biography which he published in 1987.  

At the time Waite laid down his plan for a Hermetic Text Society, he had already been in control for a few years of the Isis Urania Temple of the collapsed Hermetic Order of the Golden Dawn, which he had re-named ‘The Independent and Rectified Rite’ (with the implicit and tacit addition of ‘of the Golden Dawn’). Waite had diverted the Order away from magic towards mysticism, altogether in line with his belief that there was a secret tradition underlying all esoteric paths, whether mystical, alchemical, kabbalistic, Rosicrucian, masonic or other, which led to direct experience of God. On the professional side of his life, he was wrapping up his career as a commercial manager for Horlick’s, manufacturers of malted milk. Waite wrote in his autobiography Shadows of life and thought that at this time, prospects ‘of a new life’ opened before him: these prospects were related to definitively establishing himself as an authority and an exponent of the ‘secret tradition’. His Hidden church of the Holy Graal, published in 1909, was to be its first product.

Gilbert writes that the idea for the Hermetic Text Society had been suggested to Waite by the gnostic scholar G.R.S. Mead, who had reviewed Karl von Eckartshausen’s The cloud upon the sanctuary in the translation of Isabelle de Steiger for the Theosophical Review in 1903. Waite had written an Introduction for the book, which had caused Mead to enthuse: ‘If only someone – and why not the scholarly mystic who writes this Introduction? – would play Max Muller to the “sacred books” of the Christian mystics from the XIVth to the XVIIIth centuries, what a feast there would be for hundreds of thousands of starving souls!’ – Cis van Heertum for The Ritman Library

more text at the link http://www.ritmanlibrary.com/collection/hermetica/the-hermetic-text-society-fl-1907/

What is Alchemy? by A.E. Waite
The Introductory Notes are taken from “Hermetic Papers of A.E.Waite”, edited by R.A Gilbert (Aquarian Press,1987). The text of “What is Alchemy?” reproduced here is scanned from the periodical “The Unknown World”, and formatted and corrected by hand at[Adepti.com]
THERE are certain writers at the present day, and there are certain students of the subject, perhaps too wise to write, who would readily, and do, affirm that any answer to the question which heads this paper will involve, if adequate, an answer to
those other and seemingly harder problems- What is Mysticism? What is the Transcendental Philosophy? What is Magic? What Occult Science? What the Hermetic Wisdom? For they would affirm that Alchemy includes all these, and so far at least as the world which
lies west of Alexandria is concerned, it is the head and crown of all. Now in this statement the central canon of a whole body of esoteric criticism is contained in the proverbial nut-shell, and
this criticism is in itself so important, and embodies so astounding an interpretation of a literature which is so mysterious, that in any consideration of Hermetic literature it
must be reckoned with from the beginning; otherwise the mystic student will at a later period be forced to go over his ground step by step for a second time, and that even from the starting point. It is proposed in the following papers to answer definitely
by the help of the evidence which is to be found in the writings of the Alchemists the question as to what Alchemy actually was and is. 

The Vessels of Hermes – an Alchemical Album (ca.1700)

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The contents of Box 14 from the Manly Palmer Hall Collection of Alchemical Manuscripts, a huge collection of esoteric works amassed by Manly Palmer Hall, a Canadian-born author and mystic, perhaps most famous for his The Secret Teachings of All Ages (1928). Most of the material in the collection was acquired from Sotheby’s auctioneers on a trip he made in the 1930s to England and France – bought very cheaply due to the economic conditions of the time. The material in Hall’s collection dates from 1500 to 1825, and includes works from the likes of Jakob Böhme, Sigismond Bacstrom, Alessandro Cagliostro, George Ripley and Michael Maier. The creator of these particular watercolours featured below is unknown. A typewritten note in the back, in French, translates as follows:

ALCHEMICAL ALBUM – The Vessels of Hermes – quarto atlas containing five beautiful colour plates very artistically executed and with explanatory caption. Vol. half vellum.

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For more images and full article, see The Public Domain Review: http://publicdomainreview.org/collections/the-vessels-of-hermes-an-alchemical-album-ca-1700/

Jean Delville – The New Mission of Art: A Study of Idealism in Art

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The Belgian Symbolist painter and writer Jean Delville (1867 – 1953) is considered a mystic, an idealist, and an occultist who sought to revive the ancient traditions of Cabbala, Magic, and Alchemy. In 1896, he founded the Salon d’Art Idealiste, which is considered the Belgian equivalent to the Parisian Salon de la Rose Croix and the Pre-Raphaelite movement in London.

Among his poetry and other literary works is La Mission de l‘Art (1900) in which he wrote extensively about the nature and purpose of Art, viewing it as a catalyst for the uplifting of mankind. He saw the true artist more in the likeness of a spiritual teacher or prophet.

Delville became committed to spiritual and esoteric subjects during his early twenties. In 1887 or 1888 he spent a period in Paris, where he met Sâr Joséphin Péladan, an eccentric mystic and occultist, who defined himself as a modern Rosicrucian, descended from the Persian Magi. Delville was struck by a number of Péladan’s ideas, among them his vision of the ideal artist as a spontaneously developed initiate, whose mission was to send light, spirituality and mysticism into the world. He exhibited paintings in Péladan’s Salons of the Rose + Croix between 1892 and 1895.

In 1895 Delville published his Dialogue entre nous, a text in which he outlined his views on occultism and esoteric philosophy. Brendan Cole discusses this text in his D.Phil. thesis on Delville (Christ Church, Oxford, 2000), pointing out that, though the Dialogue reflects the ideas of a number of occultists, it also reveals a new interest in Theosophy. In the mid or late 1890s, Delville joined the Theosophical Society. In 1896, he founded the Salon d’Art Idealiste. The Salon disbanded in 1898. In 1910 he became the secretary of the Theosophical movement in Belgium. In the same year he added a tower to his house in Forest, a suburb of Brussels. Following the ideas of Jiddu Krishnamurti, Delville painted the meditation room at the top, including the floorboards, entirely in blue. The Theosophical Emblem was placed at the summit of the ceiling. Though photographs and drawings still exist, the house no longer stands.

From 1907 through 1937 Delville taught at the Académie Royale des Beaux-Arts in Brussels.

His work “A Mission de l’Art” is available for reading online; the link is at the bottom of this post.

Introduction to artist, mystic, idealist Jean Delville’s work “A Mission de l’Art” or The New Mission of Art: A Study of Idealism in Art.

“THE AUTHOR of the following treatise will be known by name to very few of his English readers, yet the book reveals a personality so distinguished that those hitherto unacquainted with M. Delville’s work may care to know something of the writer. The few to whom he is already known will be found among those who, possessing an interest in the arts, have lived a considerable time in Brussels or in Glasgow. In the former, because M. Delville is an artist of renown in his own country : in the latter, because about eight years ago he was appointed to the chief- professorship in the Glasgow School of Art. He worked there for half-a-dozen years and with such personal success that when he returned to Brussels and instituted the ” Atelier Delville” a large number of his former pupils went oversea to follow him. The world of art is hardly less variously peopled than the wider world of politics and affairs. No painter, no writer, can ever please all artists, and M. Delville, especially, by his unflinching adherence to idealism, has encoun- tered for many years much ridicule or abuse from the supporters of other schools. It is unfortunate that so small a number of men is capable of avoiding an extreme. No sooner is a certain style grown over-ripe than the next generation, dismissing the entire school as misguided, errs yet more markedly in the opposite direction. Here in England at the moment we read articles by men who declare that Burne-Jones knew nothing of his art or that there is nothing of sublimity in the work of Tennyson. In place of those formerly accepted and over-praised, they exalt some trifling fellow who, though deficient in a thousand ways, has yet no trace of the particular weakness which overcame the giant they would depose.

For reaction, useful as a corrective influence, is nearly always excessive, and its devotees quite readily mistake their own backwater for the full main-stream of art. Incapable of improving upon the achievements of a bygone school, they choose out themes and methods which were most likely rejected as unworthy by the painters they despise. The excessive praise of Whistler is now subsiding, but in its place has arisen the cult of those who consider clear colour to be the brand-mark of the commonplace, fair form the delight of an inferior taste. Nor do these bubble-movements lack believers among those who are fearful lest they should be stigmatised as unprogressive, for most men — critics or craftsmen — are carried along by the taste of their time, and few are those who, standing aside from the immediate, work on in the great traditions. Of such is M. Delville. Faults he has, but not the faults of our time. There is no affectation Jean Delville xv in his work : no superficial, catchpenny display of skill. With him, the picture has again become of more importance than the painter. For he is a poet, a thinker, a man who cares greatly for the welfare of the world. The eminent French poet who penned the introductory note to this book has shown how unavoidably a painter communicates his ” Weltanschauung ” to his work, and every phase of M. Delville’s mind is thus reflected. In early youth he was a materialist, and the dusty paintings of that period which hang from the walls of his studio would merit praise from some of those who call themselves, euphemistically, ” rationalists.”

Indeed, if anyone should search the great studio he might disinter examples of many contemporary methods. For even in the earliest of his student- days M. Delville possessed a facility so astonish- ing that before he had been working at the School of Art in Brussels for more than a week, the professor set up his canvas as an object- lesson to the assembled students. In after- years the paintings he produced readily reflected the rapid changes of his mind. For he did not rest easy in materialism, and, having experimented with spiritism, in spite of the usual chicanery he discovered what he considered overwhelming evidence of dis- incarnate existence. The pictures which accompany this phase are more terrible than beautiful — vast, lurid, and awful. During a few years he followed the faint stars of spiritism until they had brought him to the limitless horizon of theosophy, and it is to the inspiration of this world-old wisdom that his latter and important work is due. His adherence to that scheme of thought has cost him much, for in Belgium the Ecclesiastical Party, which is dominant, regards theosophy as a formidable menace, and has opposed him repeatedly. But M. Delville was born a fighter, and never flinches in his loyalty to a philosophy which is strangely abused and misunderstood. A keen student of contemporary science, an eloquent and fiery speaker, one who writes prose with vigour and verse with a rare beauty, he is well able to defend his convictions with a widely-cultured mind and with a range of ability that compels respect. Unfortunately, he shares with Rossetti a dislike of exhibiting his work, but the annual exhibitions at Brussels have occasional examples.

A stately picture, called ” L’Ecole de Platon ‘ was exhibited some years ago at Milan, where it won the Gold Prize. Most of M. Delville’s work is on a very large scale — indeed, his preliminary sketches are usually the size of most large pictures. A vast composition, which is named ” L’Homme-Dieu,” and repre- sents a multitude of men and women surging up, with gestures half exultant, half despairing, to the enaureoled Christ, occupies an entire wall in his ” atelier.” Yet he has said that he would like to re-paint it as large again if he could put it in a church. At present in his private studio, at Forest, a country suburb of Brussels, he is preparing a series of frescoes which are to decorate the walls of the Palais de Justice. Perhaps the designs for this national work are the most powerful and most complete examples of idealistic art which he has yet achieved, and it is safe to predict that the Belgians of the future will not regret the choice of the commissioners.

M. Delville was born in 1867 ; he never studied his art except in the school at Brussels, although when his student-days were over he spent some two years in Rome — a city which he felt to be strangely familiar, thus offering a theme for speculation to the believer in palin- genesis. His manner of life is simple, as befits a mystic ; the vegetarian may number him in the list of the enlightened ; and his pleasures are those of the intellect. Often might a friend, having walked through the little garden, come into the house to find him absorbed in a brilliant rendering of some Wagnerian masterpiece, or studying with the firmest concentration some recent work on evolution or biology. In these days, when life is losing continually more and more of its ancient dignity, when occultism, above all else, has fallen into the hands of commercial, unreligious, and vulgar persons, it is an inspiration to receive the friendship of a man like M. Delville, whose life is worthy of his great religion, who retains not a little of the grandeur which caused the occultists of old time to be so greatly honoured, who realizes the wonder of existence, the sublimity of the universe, and the potential godhead of man. Almost alone he is combatting, year after year, the inane but popular painting of our time, setting forth in daily life and in some of the best of the Belgian reviews that conception of art which he formulates in the present work. It is with deep interest that we who are his allies will watch the reception given to it in England.

It is a book which proclaims, not a new and unrelated art, but the necessity of applying some new inspiration to the incomparable traditions of the past : a book which opposes all that is commonly praised in the art of our period ; a book which we who are with him can only regard as the work of a great man who writes in a trivial and materialistic age.”

Clifford Bax

Some well-known and lesser well-known examples of Delville’s paintings

 Archangel

Archangel

jean_delville_003_parsifalParsifal

Jean Delville - Untitleduntitled

Jean Delville The LiberationThe Liberation

Jean Delville - Par Le Glaive Et La TorcheJean Delville – Par Le Glaive Et La Torche

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Satan’s Treasures

 Link to full text at Archive.org http://www.archive.org/stream/newmissionofarts00delv/newmissionofarts00delv_djvu.txt

see also http://www.bc.edu/bc_org/avp/cas/fnart/art/delville.html

The Sabians and their role in the development of astrological, alchemical and magical traditions

“In what is now southern Turkey stand the remnants of a city called Harran. Part of long ago Babylon, Harran was once the site of the Temple of the Moon god-Sin, one of seven temples in seven cities sacred to the seven classical planets.  Unlike the other great celestial temples, though, the Temple of the Moon in Harran continued to host astral rites long after the coming of Muhammed. From the 6th until the 11th centuries C.E., a wild Hermetic syncretism bloomed, tended carefully by a people who called Hermes their prophet, and themselves Sabians.”

“In alchemy, Jābir ibn Hayyān was known to have spent time among the Sabians, and his work displays the unique fusion of astrology, Neo-Platonism, Hermeticism, Aristotelianism and Galenic medicine developed in Harran.  Jabir’s work hugely influential work spawned a plague of pseudonymous books, and more than 3000 texts have come to be attributed to him.”

Jabir_ibn_HayyanJabir ibn Hayyan was a prominent polymath: a chemist and alchemist, astronomer and astrologer, engineer, geographer, philosopher, physicist, and pharmacist and physician. Born and educated in Tus, he later traveled to Kufa. Jābir is held to have been the first practical alchemist.

As early as the 10th century, the identity and exact corpus of works of Jābir was in dispute in Islamic circles. His name was Latinized as “Geber” in the Christian West and in 13th-century Europe an anonymous writer, usually referred to as Pseudo-Geber, produced alchemical and metallurgical writings under the pen-name Geber.

http://en.wikipedia.org/wiki/J%C4%81bir_ibn_Hayy%C4%81n

 “The Sabians of Harran played a crucial but often under-recognized role in the transmission and development of astrological, alchemical and magical traditions. Harran acted as a crucial bridge for the Hermetic arts and sciences, ferrying them from the decay of Byzantine Rome all the way to the shores of Medieval Europe half a millennia later.  Many all of the greatest Arabic astrologers, alchemists and magicians can be shown to have spent time in Harran.  Without them, astrology would not have survived the West’s dark ages, nor would the complexities of alchemy or the high cunning of astral sorceries have been passed on.

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Harran hosted what were perhaps the sole inheritors and practitioners of Babylonian astral magic at a time when both the Christian and Islamic worlds were being steadily purged of them.  Yet the Sabians were not pagan fundamentalists.  Hellenistic influences abound in what record we have of the Sabians’ practice.  They embraced the metaphysics of Neo-Platonism, the experimental philosophy of Hermeticism and the science of Hellenistic astrology, forging a sophisticated framework for the Babylonian astral magick they inherited.  The Gayat Al Hakim, also called the Picatrix, a legendary planetary grimoire, emerged from this elegant syncretism, and may testify to its intricacies best.”

For full article at Clavis Journal, see here: http://clavisjournal.com/the-shadow-of-harran/

Rosarium Philosophorum; when you make the two into one..

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When you make the two into one, and when you make the inner like the outer and the outer like the inner, and the upper like the lower, and when you make male and female into a single one, so that the male will not be male nor the female be female, when you make eyes in place of an eye, a hand in place of a hand, a foot in place of a foot, an image in place of an image, then you will enter the Kingdom.

    Gospel of Thomas, 22

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(images: Rosarium Philosophorum)

The combination of substances and the union of opposites is a key element in the alchemical process. This is often represented as a mystical marriage of the lunar element representing the feminine, Sophia (wisdom) and the solar element, the male, Logos (knowledge/reason). These two opposing elements meet and are joined in what is known as the ‘chemical wedding’. This union creates something bigger and more powerful than the individual parts – the perfect integration of male and female energies – the hermaphrodite.

The Curious Case of Hermetic Graffiti in Valladolid Cathedral

The Curious Case of Hermetic Graffiti in Valladolid Cathedral –  Eric W. Vogt

oFRONTIS_Fig_ATurning now to closely examine the frontispiece of Valladolid ms. 40/8 (Figure A), the investigator meets a wonderful confluence of related hermetic symbols. The total number of sides (twelve), the interpretation of the two symbols, the title and lyrics, form a complete whole. Reading from the outside inward, three nested squares frame the title and the hermetic symbols. The three squares allude to the marriage of ‘tertiary and the quaternary’. These concepts are familiar to students of number symbolism: the four elements distributed in groups of three among the twelve signs of the zodiac (four sides X three squares = twelve). The groupings of signs of like element are known as the triplicities; the lines connecting the conjunctions form four trigons, or equilateral triangles, around the zodiac. The conjunctions of Saturn and Jupiter, to which we will return presently, describe these lines during their nearly 800-year cycle of conjunctions.

http://www.esoteric.msu.edu/VolumeV/CURIOUS.htm

Withdraw into yourself and look..

Plotinus:

‘Withdraw into yourself and look; and if you do not find yourself beautiful as yet, do as does the sculptor of a statue … cut away all that is excessive, straighten all that is crooked, bring light to all that is shadowed … do not cease until there shall shine out on you the Godlike Splendour of Beauty; until you see temperance surely established in the stainless shrine-(Ennead, 1, 6, 9).

Alfred Kubin – The Guardian 1902-304-alfred-kubin-el-guardian-gardien-the-guardian-1902-03-peninkwashwatercolour

The Tarocchi de Mantegna

The Tarocchi of Mantegna is one of the earliest known tarot or Tarocchi packs, “being dated to c.1465, contemporary with the Visconti-Sforza deck of the mid-fifteenth century which is recognised as the earliest tarot.”

In the words of Adam McLean:

The symbolism of these cards, or perhaps we should say ’emblematic figures’, would seem to derive from the Hermetic tradition which is now recognised as underlying the Italian Renaissance of the mid-fifteenth century. It was during this period that the Platonic Academies of the Medici’s were set up and Ficino and other scholars began translating texts such as the Corpus Hermeticum and the works of Plato, some of which were brought to the Court of Florence from Constantinople by Gemistus Plethon (c.1355-1450), a Greek scholar who was probably an initiate of a ‘Platonic’ Mystery School in the East. This reconstruction of hermetic and neoplatonic esotericism is reflected in such ideas as the Muses, the Liberal Arts, the Cardinal Virtues, and the Heavenly Spheres, and it is my view that the Tarocchi of Mantegna should be seen as an ’emblem book’ of this hermetic current. The fact that its designs show parallels with the later tarot decks should therefore be of the greatest interest both to students of tarot and of Hermeticism.

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For the full article, see here: http://www.levity.com/alchemy/mantegna.html