Hidden Symbolism of Alchemy and the Occult Arts, Herbert Silberer [good inspirational books .txt] 📗

By a commonly used change of significance the number 5 is symbolized by 5-leaved plants (rose, lily, vine). “The flowers, however, and the garden in which they grow, early served as symbols of the Fields of the Blessed or the ‘better country’ in which dwell the souls passing through death to life; in antithesis to the terrestrial house of God, the [pg 188] temple built with hands, which was represented by the rectangle [Symbol: rectangle], the holy number 5 denoted the celestial abodes of the souls that had attained perfection, and therefore represented both the House of Eternity or the City of God and the Heavenly Jerusalem. The holy pentagram in the form of the rose, not only in the ancient but in the early Christian world, decorated the graves of the dead, that in their turn symbolized the gardens of the blessed. And the significance that the academies and loggia attributed to the pentagram placed in the rose is explained by the fact that their religious festival was closely connected with this emblem. Already in the ancient world at the festival of St. John, the rose feast or rhodismus or Rosalia was celebrated, at which the participants adorned themselves with roses and held religious feasts.” (Keller, 1. c., p. 21.)

As already mentioned, the cross, i.e., the Greek cross with its four equal arms, expresses the number five. It is interesting that already in the ancient number symbolism, rose and cross appear united, a fact which I mention here in view of the later connection of these two objects.

The semicircle or moon is an emblem of borrowed light. Besides the circles or spheres, the symbols of eons (divine beings, powers) that are enthroned in the ether as eternal beings, the human soul—the psyche or anima, which does not coincide with reason or the purified soul—appears as a broken circle. As the sun and its symbol, the ragged circle, symbolize the eternal light, the half circle is, as it were, [pg 189] the symbol of that spark of light that slumbers in the soul of man, or, as the alchemists often say, the hidden fire that is to be awakened by the process. If we reflect that in this symbolism the cross expresses a penetration, the alchemic symbol [Symbol: mercury] is explained. It is now quite interesting that the like connection appears in the subterranean places of worship in this form [Symbol: female with concave arc underneath it], (l. c., p. 27). Keller calls it a symbol of the all and the soul of man.

The number 7 (seven planets, etc.) also is of some importance in the old latomies. It is noteworthy besides that sun and moon usually appear as human forms; the sun wears on its head a crown or garland or beaming star, while the moon image is wont to carry the symbol [Symbol: Silver]. Alchemy, too, likes to represent [Symbol: Gold] and [Symbol: Silver] as human, and indeed frequently as crowned figures, sometimes as a royal bridal couple.

The ancient lore of the sacred numbers breathes a spirit that may be embodied in the following words: The soul of man, which through resignation or meekness, as they used to say then, is impelled onward to purity and union with the Eternal, has in itself a higher life, which cannot be annihilated by death. The doctrine of the infinite value of the soul ... and of God's entering into the pure soul of man forms the central point of the thought of religious fellowship. Neither for sacrifice, which the state religions practice, nor for the beliefs in demons, by which the masses are controlled, nor for the idea of priesthood as means of salvation, was there a place in this system, and not a trace of such a belief [pg 190] is demonstrable in this religion of wisdom and virtue. (l. c., p. 33.)

Besides the early Christian ideal, which recognized and encouraged the connection between the teachings of Christ and the ancient wisdom of platonism, there was in early times another which emphasized and endeavored to develop the antithesis more than the connection. From the time when the new Christian state church came to life, and sacrificial religion and the belief in devils and the priesthood were restored, a struggle of life and death developed between the church and the so-called philosophic schools. “The fraternity saw that it had to draw down the mask still further over its face than formerly, and the ‘House of the Eternal,’ the ‘Basilika,’ the ‘Academies,’ and the ‘Museums’ became workshops of stone cutters, latomies, and loggia or innocent guilds, unions, and companies of every variety. But all later greater religious movements and tendencies which maintained the old beliefs, whether they appeared under the names of mysticism, alchemy, natural philosophy, humanism, or special names and disguises, as workshops or societies, have preserved more or less truly the doctrine of the ‘sacred numbers’ and the number symbolism, and found the keys of wisdom and knowledge in the rightly understood doctrine of the eternal harmony of the spheres.” (Keller, l. c., p. 38.)

Keller derives modern freemasonry from the academies of the renaissance, which, as we have just heard, continued the spirit of the ancient academies. [pg 191] Now it is interesting that the later branches of these religious societies (after the renaissance) took among others the form of alchemy companies and further that such fraternities or companies [as are not called alchemical], still employed symbols that we recognize as derived from alchemy. The hieroglyphics of alchemy appear to be peculiarly appropriate to the religious and philosophic ideas to be treated of. Rosicrucianism was, however, one of the forms into which alchemy was organized. It is further important that in just those societies of the beginning of the seventeenth century which outsiders called “alchymists” or “rosicrucians,” the characteristic emblems of the old lodge appeared, as, for instance, the circle, the cubic stone, the level, the man facing the right, the sphere, the oblong rectangle (symbol of the Lodge), etc. (Keller, Zur Gesch. d. Bauh., p. 17.) These “alchymists” honored St. John in the same way as can be shown for the companies of the fifteenth century. I need not mention that modern masonry, in its most important form, bears the name of Masons of St. John.

From the beginning of the 17th century attempts were made inside the fraternity, as the company societies working in the same spirit may be called, to bring to more general recognition a suitable name for this company, which could also form a uniting bond for the scattered single organizations. The leaders knew and occasionally said that a respected name for the common interest would be advantageous. This view appears especially in the letters of [pg 192] Comenius. It was then indeed an undecided question what nation should place itself at the head of the great undertaking. (Keller, in the M. H. der C. G., 1895, p. 156.) “As a matter of fact precisely in the years when in Germany the brothers had won the support of powerful princes and the movement received a great impetus, very decided efforts were made both to create larger unions and to adopt a unifying name. The founding of the Society of the Palmtree [1617] was the result of the earlier effort and the writings of Andreaes on the alleged origin and aims of the rosicrucians are connected with the other need. The battle of the White Mountain and the unfortunate consequences that followed killed both attempts, as it were, in the germ.” (Z. Gesch, d. Bauh., p. 20.) Note by the way that the name of the “Fraternity of the Red Cross” was taken from symbols which were already employed in the societies. In regard to this it is quite mistaken accuracy to maintain that it was correctly called “Bruderschaft des Rosenkreutz” and not “des Rosenkreutzes,” as the “Handbuch d. Freimaurerei,” p. 259, emends it. Vatter Christian Rosenkreutz is indeed evidently only a composite legendary personage as the bearer of a definite symbolism (Christ, rose, cross), (and may have been devised merely in jest). The name does not come from the personality of the founder but the personality of the founder comes from the name. The symbols and expressions that lie at the foundations are the earlier.

The attempt mentioned, to find a common name, did not permanently succeed. The visionaries and “heretics” decried as “Rosicrucians” and “alchymists” were considered as enemies and persecuted. It is irrelevant whether there was an organized fraternity of rosicrucians; it was enough to be known as a rosicrucian. (Keller, Z. Gesch. d. B., p. 21.) The great organization did not take place until a great European power spread over it its protecting hand, i.e., in 1717, when in England the new English system of “Grand Lodges of Free and Accepted Masons” arose. (Keller, D. Soc. d. Hum., p. 18.) We see that Keller arrives by another and surer way than Katsch at the same result, and shows the continuity of the alchemists or rosicrucians and the later freemasons, if not in exactly the same way that Katsch has outlined it. In particular Keller gets along without the unproved statement that there were organized rosicrucians (outside of the later gold- and rose-crosses). He shows what is much more important, namely that there were societies that might have borne the name of rosicrucians (or any similar name).

Figure 1.

Several interesting peculiarities should not be omitted, as for instance, that Leibniz, about 1667, was secretary of an alchemist's society (of so-called rosicrucians) in Nuremberg. Leibniz describes alchemy as an “introduction to mystic theology” and identifies the concepts of “Arcana Naturae” and “Chymica.” (M. H. der C. G., 1903, p. 149; 1909, p. 169 ff.) In the laws of the grand lodge [pg 194] “Indissolubilis” (17th and 18th centuries) there are found as doctrinal symbols of the three grades, the alchemistic symbols of salt (rectification, clarification), of quicksilver (illumination), and of sulphur (unification, tincture), used in a way that corresponds to the stages of realization of the “Great Work.” The M. H. d. C. G., 1909, p. 173 ff. remarks that we should probably regard it only as an accident, if there are not found, in the famous hermetic chemical writings, similar signs with additions as would for experts, exclude all doubt as to their purport. In 1660 appeared at Paris an edition of a writing very celebrated among the followers of the art, “Twelve Keys of Philosophy,” which was ostensibly written by one Brother Basilius Valentinus. In this edition we see at the beginning a remarkable plate, whose relation to masonic symbolism is unmistakable (Figure 1). In addition to the lowest symbol of salt (represented as cubic stone) there is a significant reference to the earth and the earthly. [I should note that besides [Symbol: circle with diameter line] alchemy used [Symbol: square] for salt, in which there is a special reference to the earthly nature of salt. In Plato the smallest particles of the earth are cubical. Salt and earth alternate in the terminology, just as mercury [Symbol: female] and air [Symbol: air] or water [Symbol: water] do; as sulphur [Symbol: sulfur and fire [Symbol: fire]; only, however, where it is permitted by the context.] The Rectification of the subject (man) taken up by the Art, is achieved through the purification of the earthly elements according to the indication of the alchemists who call the beginning of the work “Vitriol,” [pg 195] and form an acrostic from the initial letters of this word: “Visita Interiora Terrae, Rectificando Invenies Occultum Lapidem” [= Visit the interior of the earth; by purifying you will find the hidden stone]. Half way up there floats the [Symbol: mercury] that has the value of a “union symbol” in the brotherhoods (as such, a symbol of fellowship) and left and right of it is found the moon and sun or the flaming star. Above is placed a triangle, in which is a phoenix rising from the flames; and on the triangle stands the crowned Saturn or Hermes (in masonry Hiram). On the left and right of this kingly form, on whose breast and stomach are placed planet symbols, we notice water in the shape of drops (tears) and flames that signify suffering and resurrection. “When we notice that not only the principles of the old ‘amateurs of the art’ correspond with those of the ‘royal art’ [freemasonry], but that