An encyclopedic outline of masonic, hermetic, cabbalistic and rosicrucian symbolical philosophy. Being an interpretation of the secret teachings concealed within the rituals, allegories and mysteries of all ages

The powers of the universe were divided into 365 Aeons, or spiritual cycles. The sum of all these together was the Supreme Father, to whom he gave the Kabbalistic name Abraxas, as it numerically symbolized His divine powers, attributes, and emanations. Abraxas is usually depicted as a composite creature with the body of a human, the head of a rooster, and legs that end in serpents. C. W. King, in his work The Gnostics and Their Remains, provides a concise description of the Gnostic philosophy of Basilides, quoting from the writings of the early Christian Fathers: "He asserted that God, the uncreated, eternal Father, first brought forth Nous (Mind); from this came the Logos (Word); from this again Phronesis (Intelligence); from Phronesis sprang Sophia (Wisdom), and Dynamis (Strength)."

In describing Abraxas, C. W. King says: "Bellermann considers the composite image, inscribed with the actual name Abraxas, to be a Gnostic Pantheon representing the Supreme Being, with the five Emanations marked by appropriate symbols. From the human body—the usual form assigned to the Deity—spring the two supporters, Nous and Logos, expressed as serpents, which are symbols of the inner senses and the quickening understanding. For this reason, the Greeks made the serpent the attribute of Pallas Pallas Athena, the goddess of wisdom. His head—that of a rooster—represents Phronesis, as that bird is an emblem of foresight and vigilance. His two arms hold the symbols of Sophia and Dynamis: the shield of Wisdom and the whip of Power."

A Gnostic gem depicting the Lion-faced Light-power: a figure with a lion's head surrounded by seven rays and a serpent's tail.

This Gnostic gem represents the pathway of the Sun through its serpentine body and the exaltation of the solar orb in the Constellation of Leo through its lion head.

The Gnostics were divided in their opinions concerning the Demiurgus, or creator of the lower worlds. He established the terrestrial universe with the aid of six sons or emanations—possibly the planetary angels—which He formed out of, and yet within, Himself. As stated before, the Demiurgus was individualized as the lowest creation out of the substance called the "fullness" original: "pleroma". One group of Gnostics believed the Demiurgus was the cause of all misery and an evil creature. They argued that by building this lower world, he had separated the souls of men from the divine light by encasing them in material bodies. The other sect viewed the Demiurgus as being divinely inspired and merely fulfilling the dictates of the invisible Lord. Some Gnostics believed that the Jewish God, Jehovah, was the Demiurgus. This concept, under a slightly different name, apparently influenced the early medieval belief that the devil was the Lord of the material universe rather than the Supreme Deity. Mythology is full of stories of gods who possessed both celestial and terrestrial natures. Odin of Scandinavia is a good example of a deity subject to mortality and the laws of Nature, yet still considered, in certain senses, a Supreme Deity.

The Gnostic viewpoint concerning Christ is well worth considering. This order claimed to be the only sect to possess actual pictures of the Divine Syrian. While these were likely idealized conceptions of the Savior based on existing sculptures and paintings of pagan sun gods, they were all that Christianity had. To the Gnostics, Christ was the personification of Nous, the Divine Mind, and emanated from the higher spiritual Aeons. He descended into the body of Jesus at his baptism and left it again before the crucifixion. The Gnostics declared that Christ was not crucified, but that someone else suffered in His place. They claimed that Simon of Cyrene offered his life instead, and that the Nous, through its power, caused Simon to resemble Jesus. Irenaeus makes the following statement concerning the cosmic sacrifice of Christ:

"When the uncreated, unnamed Father saw the corruption of mankind, He sent His first-born, Nous, into the world in the form of Christ to redeem all who believe in Him from the power of those who fabricated the world (the Demiurgus and his six sons, the planetary spirits). He appeared among men as the Man Jesus and performed miracles." (See King's The Gnostics and Their Remains.)

A circular symbolic labyrinth used in ancient initiation ceremonies.

Labyrinths and mazes were favorite places of initiation among many ancient cults. Remains of these mystic mazes have been found among American Indians, Hindus, Persians, Egyptians, and Greeks. Some are simply complex pathways lined with stones; others consist of miles of gloomy caverns under temples or hollowed from mountainsides. The famous labyrinth of Crete, where the bull-headed Minotaur roamed, was undoubtedly a place of initiation into the Cretan Mysteries.

The Gnostics divided humanity into three parts: the savages who worshiped only visible Nature; those like the Jews who worshiped the Demiurgus; and lastly, themselves and similar cults (including certain Christian sects) who worshiped Nous (Christ) and the true spiritual light of the higher Aeons.

After the death of Basilides, Valentinus became the leading inspiration of the Gnostic movement. He complicated the system further by adding many details. He increased the number of emanations from the Great One (the Abyss) to fifteen pairs and also placed great emphasis on the Virgin

Sophia, or Wisdom. In the Books of the Savior, parts of which are commonly known as the Faith Wisdom original: "Pistis Sophia", one can find much material concerning this strange doctrine of Aeons and their unusual inhabitants. James Freeman Clarke, speaking of Gnostic doctrines, says: "These doctrines, strange as they seem to us, had a wide influence in the Christian church." Many Gnostic theories, especially on scientific subjects, have been confirmed by modern research. Several sects branched off from the main stem of Gnosticism, such as the Valentinians, the Ophites (serpent worshipers), and the Adamites. After the third century, the Gnostics gradually disappeared, but it is said that many Christian law-makers were still secret Gnostics. After their records were destroyed, the necessary information was lost. Even today, Gnostic philosophy exists in the modern world under other names, and its true origin is often unsuspected. Many Gnostic concepts have been incorporated into the dogmas of the Christian Church, and modern interpretations of Christianity often follow the lines of Gnostic emanationism.

THE MYSTERIES OF Decorative calligraphic sigil representing the name Serapis ASAR-HAPI

The identity of the Greco-Egyptian Serapis (known to the Greeks as Serapis and to the Egyptians as Asar-Hapi) is hidden by an impenetrable veil of mystery. While this deity was a familiar figure in the symbols of secret Egyptian initiation rites, his hidden nature was revealed only to those who fulfilled the requirements of the Serapis cult. Therefore, it is likely that everyone except the initiated priests—including the Egyptians themselves—was ignorant of his true character. As far as we know, no authentic account of the rites of Serapis exists, but an analysis of the deity and his symbols reveals their main points. In an oracle given to the King of Cyprus, Serapis described himself this way:

"I am a god such as I show to you,
The Starry Heavens are my head, my body the sea,
Earth forms my feet, the air provides my ears,
The Sun's far-reaching, brilliant rays are my eyes."

Several unsatisfactory attempts have been made to trace the origin of the word Serapis. Godfrey Higgins notes that Soros was the name Egyptians gave to a stone coffin, and Apis was Osiris incarnate in the sacred bull. Combining these words results in Soros-Apis or Sor-Apis, meaning "the tomb of the bull." However, it is unlikely that the Egyptians would worship a coffin in the form of a man.

Several ancient authors, including Macrobius, claimed that Serapis was a name for the Sun because his image often had a halo of light around its head. In his Oration Upon the Sovereign Sun, Julian says of the deity: "One Jove, one Pluto, one Sun is Serapis." In Hebrew, Serapis is Saraph, meaning "to blaze out" or "to blaze up." For this reason, the Jews named one of their hierarchies of spiritual beings the Seraphim.

The most common theory, however, is that the name Serapis derives from the compound Osiris-Apis. At one time, the Egyptians believed the dead were absorbed into the nature of Osiris, the god of the dead. While there is a strong similarity between Osiris-Apis and Serapis, the theory held by Egyptologists—that Serapis is merely a name for the dead bull of Egypt—is hard to accept given the deep wisdom of the Egyptian priests. They likely used the god to symbolize the "soul of the world" original: "anima mundi". The word Sapir is found in Chaldean and Brahmanic sources, and his name may be a Greek version of Ser-adah or Sri-pa, two titles of Yama, the Hindu god of death. This seems reasonable, especially since a legend says Serapis, in the form of a bull, was driven by Bacchus from India to Egypt. The fact that the Hindu Mysteries are older would further support this theory.

Other suggested meanings for the word Serapis include: "The Sacred Bull," "The Sun in Taurus," "the Soul of Osiris," "The Sacred Serpent," and "the Retiring of the Bull." This last name refers to the ceremony of drowning the sacred Apis bull in the Nile every twenty-five years.

There is considerable evidence that the famous statue of Serapis in the Serapeum at Alexandria was originally worshiped under another name at Sinope before being brought to Alexandria. Another legend says Serapis was a very early Egyptian king to whom the people owed their philosophical and scientific power. After his death, this king was elevated to godhood. Phylarchus declared that the word Serapis means "the power that arranged the universe into its present beautiful order."

In Isis and Osiris, Plutarch gives the following account of the origin of the magnificent statue of Serapis in the Egyptian Serapeum:

While he was Pharaoh of Egypt, Ptolemy Soter had a strange dream in which he saw a massive statue that came to life and ordered him to bring it to Alexandria as quickly as possible. Ptolemy, not knowing where the statue was, was confused about how to find it. While he was telling his dream, a traveler named Sosibius came forward and said he had seen such an image at Sinope. The Pharaoh immediately sent Soteles and Dionysius to negotiate for the statue's removal. Three years passed before they finally obtained it. The Pharaoh’s representatives eventually stole it and covered up the theft by claiming the statue had come to life, walked down the street on its own, and boarded the ship bound for Alexandria. When it arrived in Egypt, the figure was shown to two Egyptian Initiates—Timotheus the Eumolpid and Manetho the Sebennite—who immediately identified it as Serapis. The priests then declared it was equivalent to Pluto. This was a brilliant move, as both Greeks and Egyptians found a common deity in Serapis, fostering religious unity between the two nations.

Early authors have described several statues of Serapis that stood in his temples. Nearly all showed Greek rather than Egyptian influence. In some, a great serpent coiled around the god's body. Others showed him as a combination of Osiris and Apis.

A reasonably accurate description represents him as a tall, powerful figure who gave a dual impression of manly strength and womanly gentleness. His face showed a deeply thoughtful mood, almost leaning toward sadness. His hair was long and arranged in a feminine way, resting in curls on his chest and shoulders. Except for his heavy beard, his face was also quite feminine. The figure was usually dressed from head to foot in heavy robes, which initiates believed hid the fact that his body was androgynous possessing both male and female characteristics.

Statues of Serapis were made from various materials. Some were carved from stone or marble; others were cast from common or precious metals. One massive statue was made of various metal plates joined together. In a labyrinth sacred to Serapis stood a thirteen-foot statue of him, supposedly made from a single emerald. Modern writers suggest it was made of green glass poured into a mold, but the Egyptians claimed it passed all the tests of a real emerald.

Clement of Alexandria describes a figure of Serapis made from several elements: first, filings of gold, silver, lead, and tin; and second, all kinds of Egyptian stones, including sapphires, hematites,

emeralds, and topazes. These were ground up and mixed with the leftover pigment from the funerals of Osiris and Apis. The result was a rare, indigo-colored figure. Some statues must have been made of extremely hard materials, because when a Christian soldier—following the order of Emperor Theodosius—struck the Alexandrian Serapis with an ax, the tool shattered and sparks flew from the statue. It is also quite likely that Serapis was worshiped in the form of a serpent, as were many of the higher gods in the Egyptian and Greek religions.

Serapis was called the Heptagrammaton, or the god with the seven-lettered name. The name Serapis (like Abraxas and Mithras) contains seven letters. In their hymns, the priests chanted the seven vowels. Occasionally, Serapis is shown with horns or a crown of seven rays, which represented the seven divine intelligences manifesting through solar light. The Encyclopaedia Britannica notes that the earliest authentic mention of Serapis is related to the death of Alexander the Great. Serapis was so prestigious that he was the only god consulted on behalf of the dying king.

The Egyptian secret school of philosophy was divided into the Lesser and the Greater Mysteries. The Lesser were sacred to Isis, while the Greater were sacred to Serapis and Osiris. The historian Wilkinson believed that only priests were allowed into the Greater Mysteries. Even the heir to the throne could not enter until he was crowned Pharaoh, at which point he automatically became a priest and the head of the state religion. (See Wilkinson's Manners and Customs of the Ancient Egyptians.) Only a limited number were admitted to the Greater Mysteries, and they kept their secrets strictly hidden.

Information about the rituals of the higher Egyptian degrees has been gathered from studying the chambers and passages where initiations took place. Under the temple of Serapis destroyed by Theodosius, researchers found strange mechanical devices built by the priests in the underground corridors and caves. These machines were used for initiatory rites and show the extreme tests of moral and physical courage the candidates had to face. Neophytes new initiates who survived these ordeals were led into the presence of Serapis, an awe-inspiring figure lit by hidden lights.

The Gnostic Mysteries were linked to the Rite of Serapis. E. A. Wallis Budge, in his Gods of the Egyptians, depicts Serapis with a human body and a bull's head, much like the Minotaur. Labyrinths symbolized the complications and illusions of the lower world that the soul must navigate to find truth. In the labyrinth lives the "lower animal man" with the bull's head, who tries to destroy the soul lost in the maze of ignorance. In this context, Serapis is the Tester who determines if a neophyte is fit to join the immortals. The maze was also likely used to represent the solar system, with the Bull-Man representing the sun in the mystic maze of planets and moons.

The Alexandrian Serapis: an engraving showing a bearded deity (Serapis) enthroned with a modius on his head, a scepter, and the three-headed beast Cerberus at his feet. A sacred crocodile is beneath the throne.

Labyrinths were a key part of the hidden meaning of Serapis, and through Gnosticism, this god became closely linked with early Christianity. In fact, Emperor Hadrian, writing from Egypt in 134 AD, stated that the worshipers of Serapis were worshipers of Christ, and that the church also worshiped at his shrine. He even claimed that the Patriarch himself was forced to adore both Serapis and Christ when in Egypt. (See Parsons' New Light on the Great Pyramid.)

The overlooked importance of Serapis as a model for Christ can be seen in this quote from C. W. King: "There is no doubt that the head of Serapis, with its grave and thoughtful majesty, provided the first idea for the standard portraits of the Savior. The Jewish prejudices of the early converts were so strong that no attempt was made to paint His face until generations after everyone who had seen Him on earth had died."

Serapis eventually took over the roles of other Egyptian and Greek gods, becoming the supreme deity of both religions. His power lasted until the fourth century.