Drawing

Since Part I of this work was written, I find in the "Masonic Newspaper," of March 6, 1880, the above emblematic drawing, concerning which Brother William S. Paterson (thirty-second degree) says:

This emblem was found in the sarcophagus of one of the great kings of Egypt, entombed in the pyramid erected to his everlasting remembrance. It brings to mind the representation of the king's induction into those greater Mysteries of Osiris, held to be the highest aim of the wise and devout Egyptian.

Brother Peterson also says in the same article that the Hebrews were probably instructed in the legend of Osiris, and afterward changed the whole to accord with the wonderful and wise Solomon and his master-architect Hiram[;]

and adds that "the discoveries now going on in Egypt may lead to the key of these mysteries." Brother Patterson makes no attempt to explain the hidden meaning of this ancient Egyptian emblem; but, if the theory advanced in this work is correct, the reader will have no great difficulty in understanding it, for the same astronomical key which unlocks the hidden allegory of the legend of Osiris and of Hiram will also fully explain this ancient emblem, while the fact that this emblem so graphically and perfectly illustrates our astronomical solution of the legend is strong corroborative proof of its correctness.

The emblem may be thus explained: the form that lies dead before the altar is that of Osiris, the personified sun-god, whom the candidate represents in the drama of initiation, lying dead at the winter solstice. The cross upon his breast refers to the great celestial cross, or intersection of the celestial equator by the ecliptic. The figure of the lion grasping the dead sun-god by the hand alludes to the constellation Leo and the summer solstice, at which point the sun is raised to life and glory, as has been just explained in the allegory of the resurrection of the sun, and denotes that the candidate is about to be raised from a symbolical death to life and power by the grip of the lion's paw. This is made clearly manifest from the fact that the lion holds in his other paw the ancient Egyptian symbol of eternal life, or the Cruz Ansata, a full description of which and its true meaning are given in Part Third (see page 210). The tablet at the feet of the candidate has inscribed upon it in hieroglyphics the sacred names of Amon and of Mat, the wife of Amon Ra, and probably that of the royal candidate. The figure erect at the altar is that of the Grand Hierophant, attired as Isis, with the vacant throne upon her head, emblematic of the departed sun-God. She has her hand raised in an attitude of command, her hand forming a right angle; her eyes are fixed upon the emblematic lion as she gives the sign of command that the candidate be raised from death and darkness to light and life.

The objects on the altar are two of those peculiar-shaped glass jars, with pointed bases, in which wine was kept (See Wilkinson's "Egyptians of the Time of the Pharaohs" page 86, woodcut 62), and which, the same author says, "always had their place on the altar of the gods" (page 13). The emblem placed between the votive jars of wine is more obscure. It may be the thyrsus, but is more probably a floral offering. (See "Ancient Egyptians," vol. i, woodcut 260, No. 5.) There can be no doubt but that the whole device is a symbolical picture of the initiation of some important person into the Mysteries, not of Osiris, however, as Brother Paterson thinks, but of Isis, who, represented by the Grand Hierophant, stands behind the altar, giving the command to raise from death Osiris, who lies before it. This ancient Egyptian drawing is a strong and startling testimony of the entire correctness of the astronomical solution of the legend of Osiris and that of Hiram, as given in the foregoing pages. It is indeed, almost impossible to make an emblematic drawing which would be in more perfect harmony with it.

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