Tarot Keys 8 & 1 & 9


I did a Tarot reading last week by cutting my deck of 22 Major Arcana three times three, then turning over the top card of each pile.  This orderly picture was not what I expected to see, because I’d caught a bad cold and was all over the place; so I studied it carefully to find its higher message or ‘music’.  The first or centre one means Tifareth, with the Tree’s feminine and masculine pillars to the left and right.  Here is my reflection:

Key 1, the Magician (Mercury) wears a casual red mantle (Mars) over the inner robe which is white, and he gardens roses and lilies.  He conducts the force down from heaven to earth.  To his left are the tools – wand, cup, sword, pentacle – J H V H.  Above his head swirls the symbol of infinity.  If Amnesty is a kind of I-am-nesty, he is the One-nesty: an ‘intelligence of transparency’.  A turquoise snake girdles his waist to remind me of Key 13, the Reaper of life’s cycles.  Serpent symbolism is cyclic and regenerates itself. The circle round his waist and 8 over his head, combine pleasingly;  that which appears to be bounded (circle) is infinite inside.  Be planted in your garden.

The Keys – Hermit and Soul Strength – to each side of the Magus indicate what he is doing just now.  All three – representing the Kingdoms, animal, plant and mineral – gaze downward.  The Hermit stands on a snowy mountain top like a lighthouse keeper.  The Magus grows roses and lilies in the garden, while Mistress Soul Strength tames her alchemical Red Lion.  The Lion is our vital force, the Magus is our conscious self and the Hermit is All-Consciousness.

The woman with the Lion is a female magus – a lemniscate swirls above the flowers in her hair.  She wears the Magus’s shining white robe:  the loose red mantle of Mars is now the power of her Hermetic Lion whom she tames by opening his mouth for him to roar TUNEFULLY.  Binding him to her belly with a wreath of Magus roses, she is the higher Self/subconscious relationship.  Giving birth through the lion’s mouth, she is particular with the offspring she lets out.  She contains that power, like a breeze tossing birds on hilltop or green meadow.  Behind them is a wide open landscape for long walks, and in the distance rises the Hermit’s mountain; the lion frisks his tail.  The buttercup-yellow sky and background is (in Tarot) the colour of our sun or SOL.

Alchemy is called ‘the Sun’s work’.  It moves through and transforms our bodies, with what we eat, and pushes daffodil, buttercup and primrose through the ground.  Within the mountain the hidden veins of gold are ‘congealed sunlight’.

Annika and Aslan

The Hermit is ship’s mast, lighthouse column, SOLitude.  The staff he holds is himself: the rod with which our Magus brings down the light.  The Hermit IS ‘be still and know’.  His cloak the colour of grey rocks conceals pure light.  The lamp refracts and directs the beam.  In the dark, where the other two are in full sunlight, he is the maker of Light.  Light emerges through darkness.

The Hermit’s sign is Virgo.  (Magus is Mercury and the sign of Strength is the Sun’s own – Leo).  Virgo rules the dark labyrinth through which we process solar atoms into the blood stream.  He is seeing right down into his own digestive process, and he wears a YOD cap whose colour has feminine sensitivity – blue, like the priestess.  His hebrew letter YOD is the tenth:  it carries the same meaning as linga in Sanskrit – the phallus as a kindler of light.

Contemplate these three Keys, two of them sunlight, one of them night.  The edge of the Hermit’s key is Venusian green flecked with sunlight, like early leaves in spring.  Darkness generates that power of Light.  Any condition might be brought to realise so.


Alchemists call our gut the Black Dragon.  Solar atoms (golden yellow) are diffused through its walls into the bloodstream by means of lacteals called chyle, the virgin’s milk.  Red and white ‘soldiers’ (blood cells or corpuscles) then travel to the various cities and castles (organs) around the body where they are required. The old alchemical engravings  are filled with these ideas.  We may value also the interior splendour of our bodies: the hidden rainbow hues, the cosmic integrity and balance of each organ, vessel, enzyme and cellular memory in its place, the solar pulse and flow of life.   Virgo keeps the SECRET things in order, like a secretary.  The Hermit’s cap is phallic and feminine. YOD the smallest letter in the Hebrew alphabet, is spermatic, a tiny fish: the seed of all the other letters.   Reflect on the fluid mystery of masculinity and the androgyne; they put the king and queen to bed together in the Hermetica.



Conditions (and bad colds) pass, along with the idea of standing still in the flowery meadow;  another temporary adjustment to the tides of tempo:  a fruitful opportunity.  In the darkest part of the body is confected the light of life. Life is something to live slowly, because no matter where or how I am, it is full with light, sound, space and sensation. This open tempo prevails, even within an accelerated human topsoil.  I only have to stop and see and be it, and not be in a hurry.  It produces an almost imperceptible yet delectable manna from heaven.

Leo, Mercury, Virgo;  let these three add up to 18 which is 9, which always reduces to itself.   8    +      1     =     9

Astrologically, Key 1 is ‘Mercury’ wearing a red mantle of Mars – nowadays Mars is chugging along in Gemini, the sign ruled by Mercury.  Mercury changed direction last week in Aries (ruled by Mars).  It is now going Direct.  Mercury and Mars are in each other’s signs –  in mutual reception.  So is it surprising to see their clarity in the oracle?  What did surprise me was my transparency, because I felt blurred.  I think I had asked, ‘what’s this about?  What should I do?”

My ascendant (physical vehicle) is on the cusp Leo-Virgo;  here, Mercury stands between them on the cusp, in beautiful white, red and gold;  the signifier.  Mercury is the mental body, and its vitality; Mars the physical body and its regulation.   The Inner Plane or oracle reflects and advises the outer, and brings peace.  Make way for the Higher Hermetic Mercury.  He wears the Mars garment casually and he adapts the situation.  The Higher Hermetic Mercury is a healing staff:  Egyptian ankh, the Caduceus.

I find in my soul, a caduceus.  It is made from ebony or yew, and it has subtle powers of alignment.

The mental body  (Hermetic Mercury) is the template from birth for our volatile physical body.  From its constancy come needful repairs and healing to physical tissues; but that depends on what we identify with.  Many healers call upon the subtle template to assist them with repairs to the physical.  Jesus did, without even thinking of it.

Yeshua, loaves and fishes


The highest Mercurial operation in Tarot is in key 6 the Lovers, whose sign is Gemini.  Mercurius within their reciprocal space sets everything in its place, like a table laid for God.






Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2016. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/


Approaching Death is Life


Forest Medicine 2000

Forest Medicine 2000

“What will you do God, when I die?” (Rilke).  What will I do when my father dies?

I am reading the Castaneda books again. The Teachings (which terrified me in my psychedelic twenties) leaves me unmoved now, but the next book, A Separate Reality, awakens my seeing. This idea and its practice is seminal to my vital life. It gets submerged and reappears as a reality and re-membering.

What is seeing? It is when my heart-path sees through appearances and chimes the interconnecting filaments which bond every unique thing like gossamer. We humans are not those mere shapes in which we depress and die: we are egg-auras of the omnipresent flowing filaments, filled with awe and pulsation. When I stop looking, and see, I let go of depressing worries about my father’s discomfort as he grows much weaker, and my mother’s fret, and instead I focus the current. To see is to receive.

1968 sketch


The current has within it the wisdom of time, place and providence. It gives me freedom, space and sanity. It touches the other with that strength of purpose and surrender.   For me, everything boils down into the practice of seeing.   When this way is open, the silly mind is silent. Seeing floods the mental engine and stops its opera.   Real mind then works efficiently: connections and arrangements are made; the right level of care falls into place; patience knits.


Paths of Awakening

Paths of Awakening


In fact the trap-door opens. In the Tree of Life, the Daat catflap opens, so the transpersonal informs and revitalises the personal vehicle Yesod.

I must keep this way open for when I too am crumbling and dying and losing the plot. When it is closed up, I am tired, querulous and crazy. When it is open, I am my real self and sane. The worst thing for we humans about old age and dying, is the conditioned fears, papers and complicated houses, which crowd in and clog us up.



A warrior learns throughout life to dance to his or her dying: crows (turned silver) fly along the sunset – the image from the Teachings of Don Juan is very beautiful.   The only thing I can do for my dying parent is to be mindful of my warrior-dance and his: to see.   Over his house each morning at dawn flies a carol of starlings almost in murmuration.  (See this link for videos).

A family carries the same principle as a murmuration. (A spiritual or martial movement does the same.) A murmuration is a flock of birds forming fish-like patterns in the sky. The murmuration carries single birds in a singing cloud, constantly changing its shape, and greater by far, than the sum of all its fluttering hearts.

It is the same with the cells and all the moving parts of the body: the individual element serves the greater intelligence, in the natural state. Joy is a dissolution of conflict, as waves become the sea. Through conflict, we grow.  It arises, settles, changes and vanishes.

indian sparrow or crow


To see is the opposite of the life-habit way of looking-at. Perhaps animals see, and know therefore far more than we do.   Seeing includes the raw fear built into nature and earth’s tension and predators; but the beatitude around the seeing is radically different from our angular human bungalows.

Plants and stones see.   So do stars and angels and demons. So does our planet Earth Gaia, with the sores in her skin: a different order of time.   I then see the days and months and people coming and going in my father’s house and his struggle with failing heart aged 93, as an eye-blink, a preparation for the birth which is his death and planting: it awaits the astrological cadence. It could be weeks or several months, or more. It could be tomorrow. With this view I relax with the rugged rocks of necessity, and can be more present and helpful.


Seeing as a practice, is a compassionate, tender objectivity.   The seer engages more intimately with the condition than she could when she dramatised about it. To see is a conscious decision to switch off the drama.

My daily drama which blankets life is death.

Approaching the reality of physical death is Life.

I am getting tentative hold of this concept.   I live mostly in the walking dead – thus the conflict of nations and beliefs. As physical death draws near, Life becomes exposed – essence of life and pain: truth.   An essence of life is taken through the birth canal of Daat in the Tree of Life, as the physical heart lets go of its grip, its rhythm with the viscera … and then it flies.  Rekindling my sense of this, may assist my father by resonance, as we are close, we are both Capricorn-Cancer, the coastal path, the human song.

The sea beats against the cliff and the land falls into the sea.   When he read the Castaneda books he said the Sonora desert is a conscious power-point, like the ions along a rocky coastal path, where waves meet the rolling fields. We live and die into this eternal sound of one hand clapping. Time passes.


house inside


Contemplatively, I hold him in my arms with this. I renew his philosophy and his quest: his name and form fade into the landscape, into the music and the birds.  His body farmed the land for a teeming moment, for almost a century!  Thank you for the green fields we knew and grew in, and all their names!

Contemplatively I scan the ocean ahead – what will it be like after he dies?

How can I know?  I feel in touch.


coastal path, near Hartland





Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/



Mysteries of Master R – Part 12: Trinosofia Chapter Seven, For Give


master R sketch 5

Master R, Comte de Saint-Germain, sketch 5, 2003


For Master R’s Trinosofia meditation and Manly P Hall’s commentaries, go first to the “Trinosofia texts” page in the title bar of this blog, and scroll down to chapter seven.

Below is my understanding:

Chapter Seven of the Most Holy Trinosofia takes us through an alchemical triple distillation, although (strictly speaking), the Distillation phase in the Great Work is assigned to the 6th sign, Virgo. Students of the bota Lessons in Tarot and Alchemy will recognise the work of the Sun flowing through the black dragon.

The Seventh stage in the Great Work is in the sign Libra, ruled by Venus, and it is called the “Sublimation”.  These three essential self-reflective processes – Digest, Distil, Sublimate – are ruled by the Sun, Mercury and Venus consecutively: that is, the action of Leo (Tarot 8 Strength), Virgo (Tarot 9 Hermit) and Libra (Tarot 11 Justice) in our body. Tarot Key 10 the Wheel is assigned to Jupiter.

I am considering the orbits of Mercury and Venus within the inner Solar aura.

The Tarot Key is Justice –  midpoint of the Tarot, the sign Libra. Its hebrew letter ‘LAMED’ is the tallest in the alephbeis – pictorially an ox-goad.  It also suggests the raised serpent of kundalini.  This Key invokes Karmic equilibrium which is cosmic justice. Reconciliation of opposites is suggested in the complementary colour tones.  On her breast she wears the letter T – a form of the 22nd letter, TAV, ruled by Saturn.  Saturn is exalted in Venusian Libra, as “the Faithful Intelligence”.   The Tarot Keys are living entities.  They are profound metaphors or archetypes. Contemplating them, with the desire “to live the good life”, awakens their correspondence in our soul.

bota key 11


In this post I re-open my 2003 journal – a time of intense study:

Journal 6 September 2003

Most Holy brother – as the radiations copy laboriously in the shop, please help Your ray move through me effortlessly, as does the fragrance of the rose, or amber. 

I dreamt in the night, of piercing thunder and lightning … I suspect my refuge in Master R is lodged in my primitive emotional strata; also within the intuition of what Kabbalah calls our Supervisors and what is elsewhere called the Masters, or the Great White Brotherhood – for the growth and refinement of the person in the soul.  At the root there is this ineradicable quest.  

Nothing is known for sure in Assiyah, the material world.  This is why Life in the body is the most mysterious element in the universe.  Only in the Higher World dimension (to which we mostly have little access) is there certainty.  Have compassion with brave and fumbling scientists!  Assiyah is the flambency of the mystery and bafflement of being at all – arrival as a human;  projection as a human.  Who and what am I?


libra sunrise 1988_0001

Journal, 7 September 2003

Manly Hall’s commentary confirms that this stage in the Trinosofia initiation is governed by Libra, the Scales.  In biblical times, this Sign represented the Passover of life from material into a non-material condition – the release.


roob alchemy saturn illustration

S Trimosin, Splendour Solis, London 16th century.  “Just as this Saturn is baptised with his own water, the black raven flies off.

The passage is one of purification;  the King sweats it out.  The water of Life which the sages gave him to drink, is now his to bathe in, pollute and regenerate.  The second immersion is corrosive and therefore of Mars.  The traveller stays there for 16 days (the Tarot path of Mars on the Tree) immersing, drying off and becoming the water, as the water purifies itself back to white sand and no longer wets him.  He has three immersions. When he leaves, he is equal to the water’s pure composition.  In the core of Hermetic philosophy is our water’s nature to cleanse itself, ultimately.

Trinosphia facsimile illustration in chapter 7

Trinosphia facsimile illustration in chapter 7

The illustration is the Great Seal between green pillars of Jakin, Bohaz.  The two small circles (red and black concentric rings, side by side) are interpreted as the Sun and Moon. The pendant Cross between them is the Stone of the regenerated elements – salt, sulphur, mercury – in Azoth.  It has four colours, but I am not told which colours.  It hangs from a gold cross-bar between the two disks.  These as Sun and Moon represent heaven and earth:  the Cross between them is their progeny and equilibrium.

Surrounding this symbol are two circles of hieroglyphs.  The outer one is indecipherable and apparently random; the inner one has a cuneiform script which Hebrew can crack.  It continues … “and is the outbreathing of Everlastingness”, and says “the Leg” (dawn of the age of Aquarius) is the beginning of the destruction before Nirvana.  This boils down to the chrysalis dying off … in present times.

The text, but not the illustration, has a silver axe with a blue handle.  It has a Hebrew name, which might be as Manly Hall says, “the instrument of separation”.  It is called the Destroyer, but the translation is “Lift the voice to its fullness in chant or song.”  This makes me think of the walls of Jericho and the trumpet.  It also implies, “separate the subtle from the gross” and “IAM … IAO”.  The symbolism is around the Justice figure arcanely, but plain to see.  The axe is an ancient symbol of initiated builders.  Its meaning is also in the Hebrew letter QOPh with which the Qabbalah begins.

Thou shalt separate the subtle from the gross,
and return it to its Nature, with prudence and wisdom.

Le Comte, terracotta sketch

Le Comte, terracotta sketch, 2003

This is separation through purification; in the threefold transmuting stages of the water, read the evolutionary aeons.  The water in the oval vessel is the Fountain and the Shining Sea. The lunar power is John the baptist: the solar power is Christ’s baptising by messianic fire. “The gross particles of the soul – the rust – are washed away, and life is prepared for a supersubstantial existence.”

IAM is OM, and AM is the most powerful and misused word in the human universe; and AUM resonates a harmonic around the OM.  SO-HAM is the ancient Sanskrit (and apparently Egyptian also) way of breathing in and out: “I am.”

I woke in the morning with two messages:  “on the path with Fear, you don’t get many Love messages” and Master R saying in the 1947 transcript, “Love and you shall know.


Trinosofia illustration chapter 7 - give way to the force

Trinosofia illustration chapter 7 – give way to the force


Journal, 8 September 2003

The way forward with V – I think – is to perform in myself small and actual rites of for-giveness. To give way to the force – a wordplay which dawned on me at age 20 – is in our mutual seed, and the intention FORGIVE must be stencilled clear in our etheric body.  If I do this, it may help him.  Elder Brother, I loved V, but you know one loves any Tree to whom one gives so many years and so much gardening, because that in itself is the act of love, and when I met V 34 years ago at age 20, the force of what was to come was recognised and received as shock.

Meditation – the moving breath – happens at the point of connection, the interface, the agenda.  The Fountain is the oval bath in the Trinosofia Seven script, and the cleansing of rusty Mars.

Note also at this point: the Sword and Scales of Justice: Saturn’s exaltation in Venus’s sign Libra.  Do not overwork, but acknowledge these things in passing;  the light touch, the way the subconscious delivers its operation.  When I know the subconscious operates perfectly, I do not have to put a fork in it to make it work, do I?  It processes this matter just fine, and does what is required, no more and no less.

bota key 18 The Moon

And see also the operation of the red and the violet together, in Key 18. Its Hebrew letter is QOPh, meaning “an axe” and also the roof which opens up.

This key’s magenta border – reddish violet – vibrates at B-Natural.  From the medulla oblongata in the brain stem at the back of the head, it governs processes of sleep, embodiment and evolution of species.  The path beyond the twin towers of the body ascends gradually and undulates, so that the dark valleys are higher than the summits we attained when setting out .  Upon that mountain in the far distance stands the Hermit (9) who illumines the life of our soul.


So I just now drew in colour (see above), a ‘FOR GIVE’ MANTRA in the general design of Trinosofia Seven.  Thoughts which arose during this were: the first obedience is to the promptings of one’s own soul, and the severest penalties occur until one learns this for good.  Secondly, I believe V gave me his angry ‘cornered dog’ story as a gesture from his soul, so I shall re-read it in the light of the mantra I drew this morning.  

(As I drew it, a loose “bye bye go well”
sketch fell out of the sketch pad):

Pithy tree of life


It now seems the for give drawing reveals in colours, something of my Ray structure that I wondered about yesterday.  It is a powerful stencil.

(I painted on the same day, for Sacred India Tarot, Sita through the fire in the suit of Staves.)

Sacred India Tarot - 7 of Staves

Sacred India Tarot – 7 of Staves


7 July 2015

I mentioned the walls of Jericho (in para above – ‘The text, but not the illustration, has a silver axe with a blue handle’). These three Tarot Keys from right to left, are assigned to Aries (ruled by Mars), Mars and Pluto.  Jericho’s walls fell at a blast from the Archangel’s trumpet, pictured in Key 20.  The observant Emperor, the collapsing Tower and the uplifting Judgement are images of the Mars vibration (red).

The path of Mars is Tarot Key 16, the Tower (or House of God) connecting Hod to Netzach. The awakening vibration  is deep scarlet. On my Alchemy Tree it has at centre a little feminine blue triangle where it crosses the royal blue path of Temperance.  You can see it on the base-line of the red “Awakening” triad.  Below it is a second blue downward triangle in the violet sphere of Yesod.  In Malkuth, earth, there is a red masculine triangle in the indigo oval. This is the akasha-tejas tattva, combining the mars and saturn centres.

The male triangle rises towards the two descending female ones.

There is a beautiful correspondence here with the Siva Shakti Indian yantra:


Along the path of Mars where walls fall away, speech of the higher planes may be heard. When I listen carefully, the speaking tongue (hebrew letter PEH) of Mars-squared (4X4=16),  carries a transmission: truth.   I found that when I study this path, it leads me to the wisdom of Master R.



Netzach Hod Temperance sketch

Netzach Hod Temperance sketch.  Temperance is Tarot Key 14, with Archangel Michael.


In the Bible story, the walls around the city of Jericho – personal ego – fell when Archangel Gabriel’s trumpet sounded.  Here too, the path joining Hod to Malkuth, is a scarlet field;  it vibrates into the ground, like a fire stick.

In Tarot, the tonal frequency of letters SHIN and PEH is scarlet.  The word RGVZ (associated with Key 14 Temperance, which crosses Key 16 Tower) is generally translated as ‘wrath’ (suggesting the wrathful expression of Mars) but actually means ‘vibration’.

The human code interprets this violently, but it is more like a whisper, a zephyr in the field, an alteration of the form.  As flowers pierce, as newborn babies rotate and crown, as the desert wind softly turns your sense of direction, so the power emerges – Mars gently.

Violinist 2


Song in Scottish mode, by Master R, 18th century

Song in Scottish mode, by Master R, 18th century






Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/


Discoveries in Tarot and the Garden 2011, Day Three

Arcanum 20 judgement

24 May 2011 – Notes from a BOTA study group
Contemplating BOTA TAROT Key 20.

BOTA key 20

We colour our own BOTA Tarot Keys by the book, to receive and embody their resonance.

Gabriel appears four-dimensionally, obeying no law of foreground or background time, but here, out of his cloud ring. He is an Archangel of Water, with fiery wings.   The horn he blows is straight down the middle: the design traces the Tree Sefiroth. The horn is the spinal thread on which the chakras are strung: the inner flute. It calls the uprising child, whose arms outstretched form a Y or V.

There are seven planetary rays from its bell, and twelve zodiac rays from Gabriel’s cloud, plus a thirteenth – the horn itself: AChD, AHBH (13 = unity and love).

Note that Key 19 – the Children of the Sun – sheds 13 YODs, and how the rays of the Sun shine concentrically around.   In Key 20, the 13 YODs as rays, are focused into the human condition, like a bird’s wing indrawn.

The Sun rises with Buddha’s intimate detachment as the children “cook” in their grassy vessel with sunflowers.   Then Archangel Gabriel in the Judgement, the Annunciation – (for he the messenger, struck Mary’s child with divine awareness) – engages intimately with each human soul.

madonna at table 1957

madonna at table 1957


Gabriel’s right hand is over his heart and his left hand over his belly.   This is said to be a good mudra to summon sleep and align one’s bodies.

The stone coffins float on the waters of the subconscious:   they are not only linear third-dimension cells from which the cultivated humanas grows, but also the athanor of the Children of the Sun: their protecting wall.

BOTA key 20 - detail

bota key 21 World

These Children grow up into parents:   their child becomes the androgynous Union of the World in Key 21.

The woman’s gesture L is active. She smiles, because at last she is understood.   The man’s gesture X over his heart is surrendered, he now looks up and receives the Archangel directly.   L V X:   let there be light.   Let this be no mere salute.


What is Judgement? How is it different from Justice?   The design echoes and develops Key 14 on the path of Probation, in which the human beings are the lion and eagle in Ezekiel’s vision. (The lion and eagle receive alchemically, the water which burns and the fire which flows.)  Where Justice holds a Karmic balance, the Judgement commands an Ascension to a higher level. The Archangel Michael in Tarot Key 14 is often depicted holding the sword and scales of Justice, Key 11.

Visually, the design in Keys 20 and 14 fits over Key 6 the Lovers too, whose Archangel is Rafael. (see further down)

The subconscious responds to images. Each of the Tree of Life’s 22 paths has a Tarot Key.  We contemplate the Tree visually and as a whole – the paths of intelligence and influence.

Through the Four Worlds of Jacobs Ladder, the paths of ZAIN (sword) and SHIN (tooth) “overlay” each other. The Hebrew letter ZAIN (the Lovers) is the descent of Understanding and discernment from Binah into Tifareth, the heart centre.  Letter SHIN (the Judgement) is the element of promethean fire reaching Malkuth, the ground.


Pictorially, the Archangel is veiled from the Lovers by the cloud, and pierces THROUGH the cloud to the lovers of the Judgement.   The Judgement is an overall cosmic grace, receiving Volition (Gevurah) and Benevolence (Hesed).   The qualities of Gevurah and Hesed are constraint and expansion, the balance.

Then where is the fourth Archangel?   Key 15, the Shadow, masks Archangel Uriel of the lightning flash – and presents our greatest challenge, at all levels.   There are organisations.   “Give me a spiritual contact and I will organise it!

Examine the different attitudes of nakedness in the 22 Keys – how the man and woman in 15 seek to exploit and disguise it, and how in 6 and 17, the nakedness is unabashed and loves itself:  the natural state.

arcanum 17 star

bota key 17 star

In Key 17, the chakras in the woman’s spine are “interior stars”.  The pool is all of them, reflecting the evening sky.  Her foot rests lightly on the waters of the soul.  This Key is also called “Meditation”, and from the same pool the evolutionary path of Key 18 will emerge – as she sees it.  The hebrew letter Tzaddi resembles a fish-hook which we let down into the deep.

Painting of Arcanum 18, 2002. The idea here, is to sit with the star-woman by the well. Look up with her, through the Tree’s Sefiroth from Malkuth to Kether. Yesod is the pool of evolution, with crayfish, guardian dog and wolf. Tifareth is the golden Sun just visible at the horizon of the long  path to full humanhood. Daat is the timeless presence of our unknown Guides. The ‘third eye’ Tzaddi is Key 17’s ‘fish hook’ meditation. Kether is the White Sun. The side Sefiroth are coloured in the Queen Scale. Each Tarot Key is modelled on the Tree of Life.


In Key 20, the Judgement, the great sea water congeals to ice mountains – the density of the Spirit of Ruach.   We receive a fountain breath right down the centre of Key 20, from above to below, like Genesis.   Let the horn wake the flute.

One of the most helpful pointers for me, was when we spontaneously saw that the seven stages of spiritual unfoldment – F’s question, doing his tarot Interpretation exam – are not just 15-21, but INCLUDE the two septenary levels above them in the Tarot Tableau:   the tonal depth enriches and opens up the dimension.

bota tarot tableau

BOTA Tarot Tableau, showing the three septenaries and all the intermediary relationships of the Tarot, like a keyboard.


Are the coffins in Key 20 tethered to land, or do they float?   We agreed that they float, and we also caught sight of the opened lids, representing all the Karmic history which limited the parents: the child has no lid but the infinite Archangel – the Law of resurrection or growth through the planes.   Those floating coffins are like the silhouettes I’ve been discussing (in previous post), pasted on the infinite, wobbling in the water surface like oil.   The human Family arises like a living iris from flat-earth outline theory.


The Iris flower symbolises Key 14: the rainbow.   Michaels’ wings are of fire through droplets of water.

BOTA key 20

There is an outline, and there is the living truth:   they intersect at a right angle – this is displayed cryptically in the red cross flag attached to Archangel Gabriel’s horn. The red cross flag represents also the white work and the red work.   The white work is spiritually inspired.   The red work applies it to the earth vessel with the help of Mars, the secret fire.

It was agreed that different souls’ responses to kundalini – whether it be presented in picture form or internalised in body awareness – should not be generalised.

The flag also represents the rosicrucean vault proportions – 3 : 5, 5 : 8 – the golden mean.   The cross on it echoes the man’s hands, crossed over his heart.

renaissance angel, 1957

renaissance angel, 1957

An African told me two dreams he had, which helped him to understand one of Warren’s books perfectly (Halevi).  In the first dream, a priest told him he is Jewish. In the second dream, he was shown in a graphic diagram, just how souls drop into incarnation along the line, in such a way that it changed his life. Then he could read the book, which before, he couldn’t grasp.


This day of Tarot is, as it were, the other side of yesterday’s Deva page.   They co exist happily, like palms together.

renaissance madonna, 1957

renaissance madonna, 1957


Each Tarot Key has a musical note, related to its colour vibration, as in Pythagoras.  We learn these in the BOTA correspondence course lessons.

The council lawn mower passes back and forth, below my window.   Its motor has a tonic note, to which I spontaneously chimed a fourth above; and suddenly struck a beautiful edgeless chord or vibration.   This is how we can “play” the Tableau visually. The notes of Mirth, Awakening, Meditation, Embodiment, Realisation, Ascension and Completion along the base of the Tableau make chords with the Keys above them.

bota tarot tableau, keys 15-21


The lawnmower note turned out to be the first I blew on the whistle – an E.   E is yellow, the tone of the Fool and the Magician and Strength.   The tonic is B major – magenta – Key 18 the Moon:   the questing way of embodiment.

Very nice to see these Keys together – how the Fool leads the quest, and the Magician and Strength contain and focus it.


Arcanum 18, painting


F said yesterday, it is difficult for him to grasp the chakra correspondences in the bota system.   It takes time. We have to live with it and let it grow and inform, like the Magician with his plants.


arcanum 0 fool





Discoveries in Tarot and the Garden 2011 – part One

Glancing back … In 2011, I studied Tarot, Alchemy, reclamation and relationship.  Physically, I sanded down, varnished and restored the floors of a small concert venue in Highgate, and at the same time removed (by hand) a ten year rubbish dump from a string of neglected gardens in Alum Way near Golders Green – the task took almost 9 months.  In my journal I reached ground zero and celebrated my daughter’s birthday:

arcanum 3 empress


Summer gives me a greatly extended day: getting up with full daylight, is at 5.45, earlier than ever. I finish writing between 8 and 9.30 usually; then all being well, I am active until eight or nine in the evening – how do I manage in winter?   The body clock contracts accordingly, so everything adjusts.   In winter I watch more TV and (obviously) sleep more, because I hit the hay about the same time.

the builders - Tor mudras 2003

Each morning before I write, I open the Tree of Life.  I say Warren Kenton’s Invocation (“let us gather together, draw together, let us form a vessel to catch the dew of heaven.  Let us rise up and go to that holy place of meeting, and gather there with the Companions of the Light;  and let the veil of Heaven be drawn back.  Hear this:  Malkuth, Yesod, Hod  …”).

With the Invocation, I do  Dion Fortune’s hand mudras – The Good Shepherd, Those who Sailed West to East, The Builders – and repeat Actaeon’s vision to – “part the waves, kiss the lips, turn the wheel, fingers touch numbers of the clock, enter the cave, find the jewel, and climb the mountain, through the rainbow.”

I let it dance as a physical instrument, to earth it, feet on rosewood floor.   At the end of writing, I blow out the candle and “come down the Tree.” I used to neglect this, but was taught that closure is proper.   In ritual I am lazy – it is pared down to the essentials – but dedicated.   This sounds right. It is a hand-clap to summon and thank the guardian angel.  It diminishes my weevils and opens the sky.   Ritual is a statement of embodied intention: ascent.

The drawing above, is of Dion Fortune’s mudra – three gestures with the hands were transmitted to her in trance. I drew them embedded in the slanting wave-contours of Glastonbury Tor. The peak is a mental-plane arena – ring of stones, winged angel and chalice, in a subtle vesica-pisces geometry. The vertical circles intersect the horizontal one – like my painting of the Grail Table with the Tree.

Grail Table round

The Tor angel is a cut out silhouette window of light within the tower.   Recall  the silhouettes we see each other as;  my day’s changing modes are silhouettes. A rare opportunity permits my intimacy with another silhouette; to deepen objectively and be aware.   The invitation to enter another’s room, and vice versa, rubbing shoulders, should not spell out each others’ codes, but empathise. Our vesica pisces: the circles, as on the Tor peak, enter each other just a little.   Creative imagination is the Empress dressed in green.   Out she comes! lush, like an apple.

bota key 3 Empress

Venus is lush like an apple.  Yellow, green and red, with black and blue are colours of alchemical antimony, a kind of transformational corrosive, or quickening.   She is pregnant, about to parturate, seated on a stone bench – cool stone to her distended fanny.   Swollen seed splits.   Golden stars of the zodiac dance nonchalantly around her head; her gaze eye to eye, is direct:   relationship.


11 hours old

At 9.15am, thirty four years ago, I saw my daughter rotate out from my thighs, slippery, greyish dark pink, flecked with blood, vibrantly athletic and alive, her father’s face, her well formed female sex, her strong trumpet cry – the lady’s a survivor!   In this light, the Angel descended through me a moment later, with an overwhelming maternal bonding instinct:   love.

How perfectly it all fits together ! When a royal child lies in her cradle in the fairy tales, the godmothers who gather round, are zodiacal powers of love and of compromise – the gifts for life.   They are titanic feelings.   Every mother who has looked at her new child and been struck by lightning, knows them. Nature!


primrose hill


Nature is the goddess – and when I next see Ris (she says she wants a quiet birthday on her own, but might change her mind later and let me take her out for a nosh), ask her a bit more about the Goddess or feminine energy she’s reading about, and the totem stick.   She told me the other day, about seven daughters of Eve, and mitochondrial DNA.

7 daughters of Eve, by Ulla Plougmand Turner

7 daughters of Eve, by Ulla Plougmand Turner

Ancient women of Gaia at first trusted the masculine deity as he rose – made trade with him – and then, as he abused them, they became atheists.

When a deep perception is on the way, it is like the child coming through the canal, and my thought in-draws silently, and waits.   Labour in its fullness, is the natural coming and going of the breath.   My labour hurt a lot, but after I was allowed to push with it, the massive commitment with nature replaced the pain.  The essence of labour is not violent, though the sensations in transition are extremely so – the waves knock against each other.   The essence of labour, as during the pregnancy, guides the little voyager through the portals;  she rides her vessel through oceanic storms of emotion – which there were.   Whatever the mother’s argument, tension, grief or release, that little presence deep inside, is kept safe in harbour as she grows.

The ancient women of Gaia trusted the man in the field, planting grain, and he betrayed, abused and confined them.

This fable works its way organically through the soul, like a baby through the birth canal, until it is delivered to the air.   When the fable is embodied, she is conscious, and may choose to forgive.   For as long as there is no “for give”, it must be born again.   Eventually the forgiveness – the wholeness – is accomplished, and then there is movement.

Whatever the lifetimes in my daughter’s private inner soul, unknown to me – an outline emerges; the depth of her Karmic compassion as a certain trouble took form. Her soul was emboldened to reconcile it. Her father lost his creative path in life, and abused us with his rage and disappointment. She does not wish him ill.   She may have interacted with him in previous lives, as I did, or he may have been called upon by destiny to play the bully.   He knew not what he did.  At a certain depth, and taking time, the action of individual souls upon each other is archetypal and transformative.

For me, Karmic issues seek a conscious breath and transmutation.   If an ancient woman is abused or blamed, if men exploited her, lifetimes may fill with revenge, directed outwardly or inwardly, sometimes inflicting and sometimes receiving, sometimes as the man and sometimes as the woman.  Long shadows are thrown across history, for ourselves to embody with life, growth and awareness.  In time a maternal environment is found, which is alchemical, and accelerates things:   we meet our full nature … and let it go.

The fertile green plants all down her stair and filling her balcony, are symbolic.   On my way to Warren’s meeting on Thursday evening, I saw her sitting in her doorway among them – she has an open view up to Hampstead from her roof-terrace village – and so I sent a text, and she waved back.

Karmic issues are subtle, powerful wave-trains. It is too simplistic to make them tit for tat, because they criss-cross also (as in the Nasca lines of birth chart aspect patterns);  Karma is an echo chamber. When I walk in the sea with Mercury, my soul is raised enough to glimpse the divine dimension which seems to us (who live within its walls, waves and thumb-print whorls) such a labyrinth. I see the simple noble outlines, and at the same time, their complexity; a vast world. It is a great honour to behold thus: to walk in the sea with Mercury.

Illustration from Alchemy & Mysticism by A Roob

Illustration from Alchemy & Mysticism by A Roob

Speaking of which, Mercury through Gemini rules The Lovers, Tarot key 6.

My daughter’s Tarot template is:

Individuality:  Sun on Gemini cusp – The Lovers, key 6
Personality: Ascendant (and Moon) in Cancer –  The Chariot, key 7
Problem: add 6 to 7 = Death, key 13, “Scorpio force” (the movement)
Solution:  subtract 6 from 7 = key 1, the  Magician, Mercury (the focus)
by what Means?:  subtract 1 from 13 = 12, the Hanged Man: the Waters
Integration – sum of the previous five = 12, the Hanged Man: or 3, the Empress.

Ris tarot template

Ris tarot template, Sun Gemini (Lovers) Ascendant Cancer (Chariot)

bota key 3 Empress

jane tarot template

jane tarot template, Sun Capricorn, Ascendant Virgo –  only four keys, because problem & solution are both 6.  The sum of the four keys reduces also to 3, the Empress.


I knew Key 12 was strong in her template: which means “reversal”, the capacity to invert a wrong and to change things round.   The womans’ staff she told me about some weeks ago, is the caduceus or ankh. She has electricity and healing in her hands, still awakening, being born in the Year of the Snake.

The Tarot Keys are godmothers, the bringers of the forces.

In 1969 when I first knew him, a mantra arose, concerning her father Mr V:   Give way to the Force.   For-give.   I intuited in those early months, a transgression which would be my life’s work and instruction, to forgive. I saw the tender child in him, not fully formed;  and the soldiers around him.  I projected furies with and through him, as well as an obsessive romance and fear.   I enacted the woman bruised and scorned.   In those days – he was 34 then – he was attractive, intense and tentative, feeling his way. I was fascinated by his warmth, and by the cold steel in his nature.  He was vulnerable to my drama, as his ego was not secure, and his path was at a forking of the ways.  I was just 20.  I wanted a child with him.

The little fish who swam towards our first encounter and knocked at the door for life, was born seven years later in Gemini.   She persisted and prevailed.

To forgive, does not erase from the slate – no one can do that except the bearer, with God.  It goes to a hidden place and it opens wide.   To forgive means to give away my enmity; to move apart; to respect that soul’s providence and freedom as a whole.   To be able to forgive and move on, is a personal boon; I am not jailed, I am out on parole.   To forgive is the holistic LAW OF THE UNIVERSE;   and the Law is movement: and movement through the fields and seasons of life is Key 13, the “scorpio force”.

My friend Lyn is writing an autobiography of the scorpio force through herself. She told me she has trouble with the amount of “I” in it.   I told her Actaeon left the I out of his first draft, and it was contrived and read badly.   Perhaps the answer is, to ask from time to time what this “I” is – Self-enquiry.   Then it becomes objective, and the dimension of cosmic mystery restores the Life.   So why not study … the human who is closer to me than my heartbeat?   All else is speculative.

theatre arunachala j&d8


Meanwhile, at Alum Way, there is the man, my friend David.  We’ve been together for five years;  we are reclaiming the string of overgrown gardens next to the woods and the brook.  My building of rough timber fences is now approved of by the man; with the addition of some long apple branches, the fabric starts to flow, and is strong.   Yesterday I almost finished the digging.  In the corner of the garden where the recent rubbish is stacked, the earth was packed with broken pots and old barbecue coals and litter, and has died to dust, it is filled with tough thatches of dead corpuscular root fibre.   Nothing will want to grow there except – possibly – nasturtiums which are said to like infertile ground.   It might be a good place to put the man’s fishpond.   The man wants the rubbish pile remnants to be moved into the woodpile garden, away from his sight, until it can be dealt with.   But  the woodpile garden is my little subconscious sanctuary – as well as being the first place last year, that I entered and cleared.   Why not put it further back, in the nettle garden which no one is bothering with at the moment, and cut it up into bags for the municipal dump?

For me these gardening details are psychology.   After digging along the border, I raked, levelled and trod a room-size area where the high rubbish tip used to be; to lay the first turf.   It is incredibly exciting and creative.  Around the green “mandala”, we can seed grass and wildflower, to watch it grow.   I found the man in good voice with these plans in general.   The place which is trod and prepared for grass, is a magical dancing floor at dusk; darker than the lumpier ground around it.

The “I” in narrative is fine, so long as the dimension is alive through it, of a story working through a local i, like a sonata through a cello.

The Singing String 1986


I’ve been reading in Self Enquiry April 2003, Jim Pym’s article on spiritual healing.   It is very interesting.   It is for him the attentive practice of “I do not know, nor do I try to fix it”, which clears the space for God.

The man had a bad day yesterday, with his back. He can live with a lot of physical pain, but not the fear and tension that rises to his head from it as it accumulates.  His GP referred him to a pain management clinic, where they can try out drug changes. I heard (when I had toothache) that to alternate pain killers is more effective than to use just one, which habituates.  He draws the line at morphine.   Clive up the road wears morphine patches and he says he’s not going there.    Alum Way is tenanted by brave souls in pain, crying a little in their beds at night.   The Welsh lady downstairs has almost wasted away, but is as wiry as a root, thanks to the bottle.   The man pulled strings through his social worker (a large black lady called Lolita whom he manipulates with great skill), and the council came along at once, and mended the steps and re-concreted the front path – he is delighted with his will with A Way.   He made prints in the wet cement with stencils of a rose and a boat, and a magendovid.   I told him the magendovid looks more like a paw print.   He said he will make his dog walk in it.  Through the ages, the cave dweller marks his dab.

Spiritual and sexual healing does not remove his pain – yet – but it does open up his resources and inner soul strength. It is a long-haul circuit. As a “soul gardener”, he manifests a physical garden and an Eve.   His Aries will is powerful.  My lovership with him, and in the garden, is for the whole.   Does this rare opportunity stand equal with writing great screeds and getting published and influencing people?


Quantock hill waters

Quantock hill waters





Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mysteries of Master R – Part 8: Three Trinosofia paintings



The first painting – a bird shaped lamp – in fact belongs to the end of Trinosofia Chapter Two.  A guiding star led the initiate through a white door to the turbulent waters of life – Chapter Three – into which he dived, and was tempted by temporal power.  You can read Manly P Hall’s translation of each chapter (as I go along), in the Trinosofia Texts page in the title bar.

I have a technical problem with reproducing my drawings here.  The yellow in my originals is soft and subtle.  But it scans out hard and greenish.  Even if I erase the yellow in the original, its shadow is still there.   This happens when yellow is placed on white or next to white;  if yellow is next to another strong colour, it is ok.

trinosofia bird lamp

I love the shape of this bird-lamp.  Where the wings should be, is a great curved space.  The bird turns its head to see.  The whole object is a dancer:  a “hold” of ballroom grace.  The lamp stands on a plinth of granite rocks turning gold.  It illustrates the existential interface of psyche, spirit, alchemy with the flat surfaces of our world-view – the rocks bulge out from under the plane of the plinth.


trinosofia 2 Lions_0003

Here are a pair of Lions – scarlet and black – actually indigo blue – in an alchemical sphere.  The red one stands for Mars:  the indigo one for Saturn.

Between them is a crown. There is an arrow to each side, a bow along the base, and red inscribed tablets above and below.  Manly P.Hall translated the (illegible) Greek inscription under the lions, to English, and I had the happy idea to write it out in English:  “Each must sprinkle himself with his own wine from the Mountain of Chios. He must drink to God before the wood.  He must give himself in exchange for that for which he yearns.”

MPH comments: “… Wood was the symbol of Dionysius, and it was in honour of this god of the wood and of the vine that the ritual of the Communion was first established.  To drink of one’s own blood or to sprinkle oneself with his own wine is to be immersed in or tinctured by the inner soul power.  Fermentation was the presence of Bacchus or the life in the juice of the grape, and the Greeks used the symbol of intoxication, as do the Sufis of Islam, to represent ecstasy.  A man in an ecstatic state was described by them as being one ‘intoxicated with God’.”

I assumed the Lions were alchemical ones, and the sphere a flask, or “Lens”.  Not until the drawing was nearly done, did I look at Manly P Hall’s commentary at the back of the book, and discover they represent unregenerate “nobility” and “rulership”.  This is because of an inverted symbol on the red lion’s flank which I didn’t spot, because the online reproduction (of the copy of Master R’s painting) blurred it.   Inversion turns nobility to misuse of power, and rulership to indiscretion – it moves them backward.   Charisma becomes a despot, the red lion lust, the black lion, tyranny.  MPH again: “Those who would accomplish wisdom must overcome these animals if they would reach the Crown (Kether) which lies beyond.  The black lion is the temptation of power … the red lion is the temptation to possess … there can be no compromise with these monsters of perversion.”

Throughout the full text, Master R signalled the perils of “misuse of power” and”indiscretion”.  It is a balance in the soul Triad of the Tree – Tifareth regulates Hesed and Gevura – which must be corrected before the initiate can proceed.

At this point, I include some dakini oracle images from a recent reading for a friend …

dakinis 40,42,41,6

… simply because these pictures move around in my mind just now, and form a phrase of life.

Anyway, my Lions:  the sphere which contains them is a lens.  To each side are the arrows – (2 of Swords, meaning polarity-tension) and under it is the strung bow:  continence of the demons, their transmutation to gold mist.   I don’t agree with Manly P Hall that the clouds they stand on are the world’s pomp and circumstance.  I see the clouds as steam – the accelerated Karma within the alchemic flask or lens.  It “sweats” out the lions and makes them glorious to see.

The inscription above them is in an unknown script – I was able just, to see and outline the letter shapes.  MPH tells us it says “Bend knee and worship God who sends forth his love in winged splendour from Aries the first angle of the world.  The 6th sign Virgo, is the ending and completion of the ages – the symbol of service and renunciation by which the lions may be overcome.  He who gives up life for wisdom, shall receive a fuller life…”

While working on the drawing – it took several hours – I felt its vibrant mystery.  This happens when the Trinosofia illustrations are tangibly recreated.  I don’t know yet their full meaning, but they are energy Keys.  The connection is discreet and powerful:  the colours seem to glow.  I use watercolour pencils and a brush.


trinosofia interior cave of light_0001

In the evening, while watching TV, I copied this strange illustration – (at the end of Chapter Three) of a dark cave with the sea and the sun coming in – adapting it to my inner vision.  It too is a lens – an eye.  The lit up rocks shine like gold.  There’s a little interior landscaping, of trees and a house in the dawn.  It is mysterious.  Compositionally I am the darkness looking out and into which the redeeming dawn shines.  There is a spiral swirl of scribble rock formation.

It belongs with some earlier (1980s) sketches of the inner eye:  a sunlit landscape within the cliffs of fall:  the Hermetic Underbeing.  A friend commissioned from me an oil painting to illustrate G M Hopkins’ poem “O Mind, thou hast Mountains, Cliffs of Fall“.   The painting was subsequently stolen from him, and all that I have is this blurred photo.   Some years later, I re-drew and painted it for myself.  The lost original was precious to me, because a chance paint formation up in the sky suggested a seal’s head … which I developed.

The seal of the ocean was the soul soaring into the sky through a crack in the mountain strata.  In the later sketch, a Capricorn goat grazes on the alp.  Down the sheer dark cliffs to the right, the seeking soul or initiate tumbles … and to the left, Hermes Trismegistos receives him, opening an inner landscape of the eye.


From Manly P Hall’s commentary to the text :
(for the text, see Trinosofia page in title bar)
The first initiation is that of earth, represented by the black passageways in the subterranean regions of the volcano.  To pass this test the body must be subdued in all its parts and become a perfect instrument of the enlightened will.  The bodily atoms and molecules must be vibrated anew … 

“The second mystery in the order of the Memphis rite is that of water, and at the beginning of this section the candidate finds himself standing on the shore of a vast underground lake.  This is the sea of ether which separates the two worlds.  It is the humidic body of the earth, the sphere of generation.  He who would reach the Invisible world must cross this sea, that is, become master of the generative powers of nature (and of his thought).  Led by the blazing star, the candidate throws himself into the midst of the waves.  With his lamp upon the crown of his head (the spirit fire lifted into the pineal gland), he struggles for mastery over the currents of the etheric world.  

“His strength fails, and he cries out to the Universal Cause for help.  A boat appears, in it seated the king of the earth with a golden crown on his forehead.  But the boat is pointed back toward the shore from which the neophyte came.  The crowned man offers the kingdoms of the earth, but the disciple of wisdom … cannot be thus easily tempted.  Strengthened by the power of right decision and aided by the invisible genii, the candidate fights his way to the distant shore.  Before him rises the silvery wall of the moon, the lady of the sea whose dominion he has passed. 

“The fire initiation awaits him.  Having mastered the vital principle of nature by which growth and propagation are controlled, the candidate next faces ambition, the fire of pride and the flaming tyranny of emotional excess.  He beholds the lions, the fire symbols.  The key to the course of action is revealed by the hieroglyphics.  The lions, the writing and the wall dissolve.  The path stretches out through the sphere of eternal flame.

“The alchemical aspect of the symbolism is one of purification or the passing of the elements of the Stone through a bath.  In this process they pass from an earthy state through a vaporous or watery condition, to a fiery or gaseous quality.  The lunar humidity present in all bodies must be dried out, which led the Greek philosophers to declare that ‘a wise soul is a dry one’ …

‘… The moon rules physical generation or the perpetuation of corruptible forms, but the sun has dominion over spiritual generation, the creation of incorruptible bodies.  Man is the progeny of fire (sun), water (moon) and air (the bird of Thoth).  The temptation by the king with the golden crown, suggests one of the most common difficulties of the alchemical tradition.  Those who attempted the art in most cases failed in their quest for wisdom, because they became fascinated with dreams of wealth.  Material gold tempts the alchemist away from his spiritual quest for enlightenment and immortality.”

Zain and Yod - the signs (Gemini and Virgo) which are ruled by alchemical Mercury, in the air and in the ground.

Zain and Yod – the signs of these Tarot Keys (Gemini and Virgo), are ruled by alchemical Mercury, in the air and in the ground.


I find MPH’s commentary very apt, beautiful, and directly relevant to matters I struggle over, at present:  to apply the inner alchemical vision to lessons of daily life, psychology, training and practical assistance to myself and others.   I feel an absolute greenhorn.  The problem is one of regulating my inner vision to the exterior text.   My ideas with people turn out to be raw and naive.


An awakened human life flows along the ground, admixturing, composting the subtle with the gross. The crucible, the mortar and pestle of each day, grinds fragrance. With this idea, the fragrance opens and goes out into the world a little – a tiny puff of Universe prana confected in the soul.  My role is here, making, mixing and breathing it out – the subtle particle with all situations open to it.  I, we, transmit solar-neutrinos which pierce the magnetic shield.  The quantum is homeopathic.  The mountains, the pits of daily life, are small ruts in a muddy lane.

Meet the world’s inconsolable suffering yet again, the increase of evil trafficking, and a woman in North London who rescues children from it and starts to rehabilitate them … and find yet again, that my role is not on that front-line.  I am too open and easily distressed.

Here is the Master as Bulwer Lytton’s Zanoni … and a gem on the table surface.

… and here are two drawings I did for another friend last week – initiations by water and by fire:

rahu 6 aslan

rahu 5 - woman and sea

… and by Air:  a turning Mevlana Dervish

rahu 4 - turning dervish

Enough said!   Mercury and Rahu/the North Node that day, together TURNED Direct in Scorpio.

Finally – Master R’s Third Violin Sonata.  A gem, this one!  a thoughtful opening Adagio, with the answering Andante a bit later. The second of the two Allegros (pp 16/17) when played up to speed, seems to turn and turn – a joyous whirl of planets and galaxies around their polar axes, around the Dervish’s left foot on the ground …

the law of the Dance.




Link to Three Trees of Life

POST SCRIPT – I came across what I wrote in July 2003 when I first studied the Trinosofia:

In Section Three of the Trinosofia (I read it last night with little understanding but a sense of rest) the pilgrim comes to a white marble platform, and the star falls into the surging sea, and the pilgrim goes in after the star.   In the surging sea, and struggling to swim and survive to the far dark shore, the pilgrim meets a king in a golden boat who says to come with him, the foremost in the world. But the pilgrim says he will trust in God alone, and the king sinks, and soon the pilgrim swims hard and reaches the land, a shore covered with green sand.   Here the next instructions are displayed on a silver wall or “gate” which vanishes as soon as he’s read them. Two lions on a cloud guard a Crown. Around them is an iron circle. To each side, and below, are two arrows and a bow. Above and below the iron circle are inlaid scarlet panels, the one has greek inscriptions, the other, sacred letters. There are also apparently sacred letters on the flank of the lion.

To go into the surging sea in this path through the white pure door of the Adept, is Courage into the vibration, into noise-interference to which I am hypersensitive and judgemental. The Holy One is at the heart of All. Receive and rock with the impressions, unconditionally, tendering their timeless points, and smiling.  The Lord of the World sinks:   I am carried by the Waters, swimming by my effort. The green sand of the shore is in the sense that the sand is like the Spirit, blown in whorls by the wind, and has the same gematria as blood; and when you melt sand it turns to glass – the crystal of the Soul. Here it is green – the natural state. Green sand.

You only really see or are shown what you have already understood by travelling it. The lions are the sea, and they guard Kether, which sometimes masquerades as an earthly crowned sovereign.* The iron circle is mars-like, and the bow and arrows and the writings imply Guidance. The lions represent Fire, and in the illustration they are elegantly and gracefully drawn, snaking their tails on a sea of clouds.   Fire, entering water, becomes air – the breath of JHVH. And even the Lions breathe each other in and out.

The two arrows remind me of the equilibrium of the Two of Swords. The bow along the bottom is aimed into the One Thing – the “absence of two” in the Crown.

*I must make my own path of discovery even when the Sovereign himself appears – or as some say, if you see the buddha on the path, kill him.  Don’t be spoon fed.



Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mysteries of Master R – Part 7: Apprentice to Mystery & Science


1  Emerald table

16 October 2013

So called “Mysteries” are clear, scientific secrets.  What is a science?  The linguistic root is knowledge – self knowledge by experiment.  What is a secret?  Something which desires to be known – and known in the heart.  What is the laboratory?  A life-work in my soul and body, tried and tested and ongoing.

I do not relate much to projections upon Count Saint-Germain – Master R – as a glamorous, mysterious figure.  The Mystery there is set upon an altar, and does not alter things for real.  From him is purported to come much new age channeling.  I read a little of it, some of it seems excellent, some of it is platitude, and as I have not studied those writings comprehensively, I am not in a position to comment.   I got involved in a St Germain society about ten years ago, for a while.  Some of it was good, but the medium became corrupt and demanded a large house and income.  The lesson I drew from this, is never to rely on someone else’s version for verification.  See into my own life as given.  It is all there – hands to the plough:  seabirds hover and swoop.

The Hermetic Table of Alchemy states:  Visita Interiore Terrae Rectificando Invenies Occultum Lapidem “Journey into your own centre (earth) to put things right, and discover the hidden Precious Stone.”  

The seven initials – one for each chakra –  spell “vitriol” – an alchemical paradox.  Vitriol is sulphuric acid, and it also means “a harsh criticism”.  Alchemical vitriol is that same power to turn inward, “without hatred or envy“, and – from brewing the wisdom of the ages – to see outward and adjust our world according !  The art is performed with sulphur, salt and mercury … Hokhmah, Binah, Kether.

Vitriol transforms to Elixir.  (see http://www.crcsite.org/printTabulatext.htmInterpretation and Explanation of the /tabula smaragdina hermetis, in The Rosicrucean Archive).   Alchemy is homeopathic, transmuting toxins and eliminating the rust.  Upon sound psychological observation the Chariot of the Spirit is drawn.  Psychology is the wheelbase of all occult and esoteric study.  Self knowledge is the essence.

The second in a series of paintings (1986) where the trail opened inward, rather than upon outward portraits of life.  In the centre are pilgrim and cloven footed gate keeper.  To the right is a train with all my current acquaintances and friends as passengers.  On the rocky cliff is a mythic Greek bull, myself naked, and a mother trying to protect her baby from the sea.  The man creeping along the cliff is a conductor.  The ship out to sea is the vessel.  It was a mixture of dream images in the pot.

“Rocky” – The second in a series of paintings (1986) where the trail opened inward, rather than upon outward portraits of life. In the centre are pilgrim and cloven footed gate keeper. To the right is a train with all my current acquaintances and friends as passengers. On the rocky cliff is a mythic Greek bull, myself naked, and a mother trying to protect her baby from the sea. The man clinging along the cliff to save himself, is a conductor – the personal ego. The ship out to sea is the vessel. It was a mixture of dream images in the pot.


My relationship with Master R – who counsels civilizations rather than single students – is based on my working interest in Alchemy – a chosen, pragmatic focus.  At such moments I become attuned to some of “his” way of seeing things, and my patterns of life then verify it with subtle rhymes that I recognise with my life pattern.  It is a working relationship of the soul, rather like duet playing.  It takes practice.  Willingly keep practicing!

master R sketch 6

This Master is not an individual.  He is a way of seeing things trans-personally.  It is a way which subtly alters the environment from within.  I have a whole article yet to write, about how I discovered a way to contact him and the other great teachers in his plane, by drawing, waiting tentatively – a kind of surrender to the unknown – and then having to do it myself.

A hallmark is that I am not told what to do.  When in great difficulty, I try something, leave it open, and then the smallest nudge indicates: right or left.  Open or close.

I am the left pair of hands, and all ear for my friend who is a much more competent pianist.  It is autumnal and tumbling.  This person had an attractive curiosity about life.

Piano duet 1999 – I am the left pair of hands, and all ear for my friend who is a much more competent pianist. It is autumnal and tumbling. He had an attractive curiosity about life.

This morning’s plan is to copy his first full painting in the Trinosofia, like I did the 12th.  It prefaces Section Two in the Trinosofia, because Section One is introductory, and written from a prison – the human dungeon.  Section One warns the reader against abuse, indiscretion and the Inquisition.   Section Two is an inner liberation.  It takes us into the interior, deep under Mount Vesuvius.

However, as soon as I sat down – after a long search for my sketching paper – words started to come.  “He” wanted to say something about scientific attitudes.  I have the gist of lifetimes in my bone and blood.  I ploughed my talent into the secrets of the universe, and discovered it is one and the same.  I only write down “his way of inspiring me”, by having toiled and verified the same for myself.  I get annoyed with trendy young Professors on TV who declare “astrology is a load of rubbish” without the courtesy or discipline to study the basics for themselves.   Theirs is NOT scientific thinking, it is belief, and belief takes ignorant short cuts.

The problem with scientism is when it fails to incorporate the observer who is “real science” by genuine trial and error.   The problem is the practitioner’s failure or unwillingness to incorporate the Heisenberg principle – (that the observer’s consciousness influences the experiment;  that a wave particle may be detected in position OR in motion, never both at once).  The Heisenberg principle is the observer, inseparably.  The problem is the false separation.   As J.Krishnamurti knew and said, “The observer is the observed.”  But what academic ambition could tolerate that?

The Table of Hermes also states, “Let all obscurity fly from thee.”

On a broader canvas, modern science – which in Quantum theory approaches the vision of the Vedas – is divorced from the medium which is Gaia – ourselves – our Earth and biosphere, weathers, oceans, creatures and volcanic interior.   The whitecoat is divorced from the laboratory bench, because he seeks to manipulate a new toy, something commercially viable for the tiny humanosphere.  Whereas, an Alchemist IS the bench, the laboratory, the elemental table, as handed down through thousands of years and the distillation of many civilizations.

Trinosofia figure 2, photo of facsimile on computer screen

Trinosofia figure 2, photo of the facsimile on my computer screen.
De Givry said of this figure: “It represents a man gazing into a prophetic cup forming a magic mirror. The conjoined signs of the Sun and the Moon are seen against the pedestal of the table; at the top, a super-position of different coloured rectangles indicates the phases of the Work, and the double sign of the Lingam in a circle emblematically recalls the Hermetic male and female. An inscription in Greek letters and made-up characters gives a formula for the composition of Gold/the Sun King, by means of a mixture of gold and silver regenerated by vital mercury. Linked to the blue rectangle giving this formula, is a red rectangle inscribed with the rule for the furnace fire in Hebrew characters.
“The Hebrew letters in the red panel are translated: ‘On account of distress, they shall cling to the Bestower. The wise who are wearied with worldliness, shall turn to wisdom, the bestower of all good things.’
“The letters in the circle are Greek and translate to “the Light of revelation”. The inscription in the blue rectangle describes the quickening of the soul seed (Aries) and of the breath upon the waters. The number 62 appears, with an admonition to open the holy gate (clairvoyance) with the aid of the vessel or cup … adepts drink the water by which the soul remembers its own substance and origin …”

Alchemy, Freemasonry and the esoteric schools of Europe, were Master R’s hobby when he dressed as a diplomat among kings and nobles.  When I feel him – or who? – drawing near, it is like a river flowing into my back from behind, and over my shoulders … playful, pleasurable and awesome:  joy, truth and tearful.   The connection with him is my natural Yes.  My years of refining my tools and studies in his working channel are the current: apprenticeship.  The Master goes away to attend to his stuff on the inner planes, and leaves the apprentice to work things out.   The Master outside and embracing space and time, dips into it at will, condenses himself to a heavier medium of thought for a quick visit, dissolves back into light, presents a countenance through the sky colour changing clouds which his apprentices  recognise.  The light rejoices the fields.

The Master comes to the way of love, because love always meets its own, and “truth agrees with itself” as Paul Foster Case has said.   “Love, and you shall know.

Right now, we are carpenters, builders of furniture and carving at a bench, and both wear leather aprons.   The Master is better known, however, as a jeweller.  In this drawing, his profile and left eye looking down, is across the upper right corner, and when I drew it, those were planetary orbits coming near, and detailed chippings into the soul, releasing gems.

It was 1988:  I did not know then, that Saturn, Uranus and Neptune were conjunct, entering Capricorn.

Jeweller 1988 - or gem maker from planet orbital planes

Jeweller 1988 – or gem maker from planet orbital planes

His eye has compound vision – multi dimensioned – yet is deeply attentive to one thing.  The shared lens is “concentration”.  Those may be cones of sight, or simply one-pointedness.

Having hinted at what a Science might be – the expression of a path of knowledge – let’s look at Mystery.   Any so called Mystery which stands in front of the mystery of why am I here at all?  Why aren’t I you?  Why is the nose on my face like this?  Why do the flowers grow that way, and how do the lambs dance out of their mothers? … is a camouflage.  It conceals and congeals.  Mystery is the “plain to see,” or as a friend once put it – “the Miss Trees”.   Because life and the economy are hard, many of us prefer to go to the cinema or stare at a smart, smart phone, and be frightened of robbers.   The Greater Mystery is nude.

The figure on the right was drawn when I was seven or eight.  I guess this post is inspired by my classic dream last night of walking up Finchley Road and talking to people and then discovering I had no clothes on at all, which up till that moment, felt perfectly natural.   There was nothing to cover myself with – my aging defects and blemishes – but a large book, which was inadequate.   That tells reams !

aphrodite - Version 2The Mystery – a hidden treasure which loves to be known – resides perhaps at the heart of all the conventional interpretations of being stark naked in a dream.  I feel the connection.  In my dream as I woke up, I found some transparent nightwear in a small shop, to go home in, which did the job less effectively than Aphrodite’s hair!  My dreams poke fun at me.  I love it.

Revenons a nos moutons.   It is time to tackle that new drawing.


Not knowing Greek, I had to guess at the letters and shapes in the blue rectangle; also the online reproduction of the facsimile blurs them. The coloured planes behind it are the elements. I gave it a grey background, to suggest the cave.

Not knowing Greek, I had to guess at the letters and shapes in the blue rectangle; also the online reproduction of the facsimile blurs them. The coloured planes behind it are the elements. I gave it a grey background, to suggest the cave.


What fun I had with this!

For Master R’s writing of the inner journey, see my new Page in the title bar – Trinosofia Texts.  I particularly love where he says, “Without reproach of the past, without fear of the future, I went on.

FROM MY JOURNAL, 17 October – Yesterday was interesting after the naked dream.  I began a new Master R post in Aquariel, tugged into writing about science, a hobby horse of “his” – and I began to realise the naked dream was coming up through it with an alchemical meaning of its own … and at last began the new Trinosofia drawing.   It took a very long time, as the two figures in the original are clumsily drawn, and the anatomy is very difficult to copy.  The original in colour is online, and though much better than the xerox in my book, the repro is low-resolution and the lines are fuzzy.  The two figures are naked, but she wears a peculiar black skirt or shawl round her waist, and black boots.  I made her skirt an indigo velvet colour (saturn).

He wears nothing but a pair of red strappy sandals with yellow soles, (mars-mercury colours) and is very muscular.  He bends over the blue “table” on which stands a golden cup and a lance-head/sword.  He gazes in his feminine mirror.  With a turquoise wand – the scorpio force – she touches his third eye, making him an Initiate.   In the painting she lays it across his left shoulder as if knighting him, but in the text it says clearly, his third eye, his forehead, so I decided to follow that.  I also altered the position and shape of her legs.

They are an extremely dynamic couple.  They ignite an alchemical Great Mystery – a fire self-combusts on the night-sky floor, near where the sun and moon conjoin, and it bends towards him.  This is the secret fire, which quickens him.   I worked on through the evening, with time off for my friend H’s visit (during which I wept, as we talked of painful stuff) and watching Grand Designs on TV and then I fell asleep on the floor for an hour and a half – final session midnight until about 2 am, I filled in most of the panel detail, background etc.

It is beautiful to copy and savour the precise Alchemical Colours, the reds, blues, yellows, green, violet, indigo, knowing what they signify.  The Mystery throbs to life.  It is right that he is muscular, for this is the tonicity of Mars.   Her breasts and upper body are plump above her dark skirt, and she has an earnest expression.  She is Isis, with long flowing brown hair, curly, and she looks like Morgan in Dion Fortune’s Moon Magic.   With the robes on she would be regally dignified;  with the absurd concealing skirt and boots, she isn’t, she is rather a comedy – just like I feel if caught undressed – but she presses on with the job.   She represents the man’s encounter with Mother Nature, himself mother naked, from birth, as he will be, in the grave.   Above them are beautiful plaques hanging, red and blue, with alchemical letters.  I’ve done the red one/hebrew letters, and have just the blue one to do, this morning.

I love the way the colours so unexpectedly come to life and sing together.   It is the good Prang crayons I use, and the long practice with the Tarot Keys.  Alchemy releases the inner rainbow, and Master R’s art did the same, in his day.   The “originals” in Trinosofia are actually copies of his work which disappeared.   He said to the Cases in 1947, that they are good copies.

The cross depicts the deep room the neophyte came to.  The doors leading from it are red (faith and universal medicine), sky-blue (purification/elixir of life), black (labour, making material gold) and white (philosophers' Stone).   On the north wall over the black door by which the neophyte entered, was hung the painting.

The cross depicts the deep room the neophyte came to. The doors leading from it are red (faith and universal medicine), sky-blue (purification/elixir of life), black (labour, making material gold) and white (philosophers’ Stone). On the north wall over the black door by which the neophyte entered, was hung the painting.

As well as Science, I touch on Mystery.  I said the real Mystery is “existence” – more so than anything put on an altar.  But I fib, because I am unable to bathe in the Mystery, with all my worries taking up the space.   Nevertheless I know that an Initiate does bathe in it and is washed clean.   With the drawing, something of the Greater Mystery is touched and unveiled:  the keys which deeply nourish the soul and link with Eternity.   The Greater Mysteries, as far as Master R is concerned, have an essential ceremonial in them – something is at first blindfold, then unveiled – viz the symbolism of me going naked up Finchley Road.

Always it is an exchange of man and woman – as demonstrated in colour in the drawing, for the blue plaque is above the man and the red plaque above the woman – hers is a right-pillar active role;  he, like Gevurah on the Tree’s left pillar, receives.   The man who is about to be initiated into the Greater Mysteries, strips and bows to Her.

Passion does not fulfil the heart.   Life softens and ripens the fruit of love.

“When the heart is deeply moved, it likes a little ceremony.”

Up came my Nakedness in Public.  I have been struggling with my worry about A …  I have tried to keep cool and okay and not think about it.  But I decided to talk to H, who is always inviting me not to bottle things up but have it out with him.   And alas alack – the emotional pressure, my thick voice, my tears in eyes – all the work I have done on myself seems useless.   And how foolish I feel then about my esoteric studies – to non-esotericks like H, they must seem to be my escape route.   On and on I go with this traumatic pressure inside unchanging.

None of us, he said, live our lives without making significant mistakes.  They make us grow.  He began to outline a few of his own.  We live with them for the rest of our life, but it is not negative, because of what we do subsequently.   It is our responsibility.

I live with my feeing of having done wrong …  Address this, because otherwise my expectation that bad things might happen,  materialises.  I am wise when silent and writing of it, and I am a mad merrygoround when trying to drive the chariot with someone else;  when trying to speak of it.   It is so frustrating.

A healing colour combination, the other day.  The blue is meant to be indigo, but my camera saw it differently.  Indigo is Saturn, Orange is Sun and Red is Mars.  Tarot Keys the Lovers and the Sun are both in the solar orange frequency:  the tone is D-natural.

A healing colour combination, the other day. The blue is meant to be indigo, but my camera saw it differently. Indigo is Saturn, root chakra, Orange is Sun, the heart, and Red is Mars, navel chakra. Tarot Keys the Lovers and the Sun are both in the solar orange frequency: the tone is D-natural.


The core problem is Worries.  The habit of worrying about anything  I depend on, like my bike making funny noises,  or my laptop behaving oddly.  if it seems not to work properly, guilt slams in, and a sick tension inside, I did something wrong.   This must be seen to, because it is a chronic condition, and it may get worse as I get older.   It says I have let someone down.   I neglected.   I didn’t look after her.  I had a fantasy, a playground, and it wasn’t true.   I let down even the Great Work.

So that is also the inappropriate naked feeling in the street – suddenly uncomfortable where I was insouciant.   The guilt feeling is so backed up, that when I speak of it to anyone, it makes it worse, the sound of it, the stuck wheel.

Enter Art Therapy!   My dreaming re-booted, because of this plan: I shall go to an art therapist to explore this thing in clay and collage, hands on, rather than struggle with speech.  It feels somewhere refreshing and discharged, to have dreamed busily again last night.  I dreamt of a wacky commune by the sea.  They had a huge communal bath-tub outside the house, and the rooms inside were like Mick Jagger’s in the “Performance” movie.  I had long conversations with wild hairy drop-outs and old acid-heads,  and am amazed at their colourful personalities and their faces – how did my mind invent them in such detail, and their life-stories?  Then I dreamed of a complex citadel or town of many levels, and suddenly I saw through a window, the rocky summit of Mont St Michel, just outside.  My way forward would traverse the peak.

I felt relieved, after what my friend H said – about what we do with our mistakes –  but the turbulence takes time to settle, and I made supper – brown rice and lentils, tin of spiced sardines, some beetroot, tomatoes, coriander and cress and a bit of curry powder, golly how delicious – and went straight back to my drawing.  The rice and lentils boiled dry and burned on the bottom.

The turbulent location takes relief in its stride, it is a circuit of tension and relief, it is self-important and doesn’t move.   This is the substance to address.

The Inner School isn’t concerned with time.  It doesn’t make immediate changes, it chimes up the process which then takes time to clear – many years, as I now know – or lifetimes – being human.   Facing grief – turning to face the wind.

Therapy with the Inner School opens spectacular insight, and the feeling of great seismic shifts and clarity and progress – and then a bewildered disappointment on discovery that the situation in the surface has not eased.   The emotional upset – the trauma deep down – is as intractable as ever.

Remember:  the seismic shift is REAL.   Deliverance is certain.  But the Karmic stuff remaining – the slow fuel – takes time to consume and release.   Many years of Capricorn.

This is also the meaning of the fire under the Initiate, which blows towards him.  His legs and body glow.  He is being speeded up, confronting the fire directly, even as he drinks the water of life and is touched by Isis.   Life isn’t easy.


A strange image!  It heads this section II of Trinosofia.  The reproduction I copied it from is itself blurred, so I don't know what the figures are at the "tunnel" entrance.  Or is this a convex shape?  I have left my perspective deliberately a bit awry.  A portal of some kind ... to an under of interior world.  I had a dream of bricks looking watery, like an Irish or Highland stream with its autumnal glints.   I may work on this a bit more, sometime.

A strange image! It heads this section II of Trinosofia. The reproduction I copied it from is itself blurred, so I don’t know what the figures are at the “tunnel” entrance. Or is this a convex shape? I left my perspective deliberately a bit awry. A portal of some kind … to an underworld or interior realm – it doesn’t anywhere say “abandon hope”.
I had a dream of bricks looking watery, like an Irish or Highland stream with its .autumnal glints – the flow of “snake water stone”. I may work on this a bit more, sometime.


And I have an aim.   I want to be and live like an Initiate, discreetly camouflaged to the social terrain of today, because this is the real way.  It is like “toning” the colour in a painting, to a plant or stone in the hedgerow.   I want to work with persons.

It seems to take decades to weather the raw Stone.  I must NOT appear as a wild occult loon, or have sticky opinions about it – and that is tricky, because the juice of the inner School ignites the personal ego to burn-off.   Dignity and discretion!   What layers and layers of training there are – and how far off this ideal still seems, even if – like my glimpse of the rock and lichens of Mont St Michel last night  – i can almost reach and touch it.

This morning I read and reblogged Lissa’s wonderful article about Trauma.  Her insight and her “damascan discovery” reach right in to my Trauma zone, and illumine the subconscious strata from which my habitual worries sprout:  for give.

We give to each other the Fruit of Life.

Orpheus.  Note the strata of the soul, behind him.  He rises like trees, from the core of the Earth and ancient history.

Orpheus. Note the strata of the soul, behind him. He rises like trees, from the core of the Earth and ancient hieroglyphic history.


Peace, peace.  The opening phrase of this Sonata by Master R, is beautiful and gentle.  And the finger-friendly pair of Minuets at the end!





Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Begin an Inner Journey – My House of the Psyche

A meditation from the beginning of September – I had highlighted it then, for a post; so here it is.  It is followed by another Saint-Germain violin sonata, and something my mother wrote a long time ago, about the sea.


Master Key

Master Key

The house before me has an oak arched door … a room of the soul directly.

The door is reddish brown, heavy and strong, with tongue-in-groove planks perhaps, hung in a masonry ogive like a church.  An iron key from Tiruvannamalai market opens it.   Breathe down into the belly and go in.

Tiru key, pyramid, devon pebble and jug

Tiru key, pyramid, devon pebble and jug

It is fresh inside as if scented with spring hedgerow blossom, discreet;  adjust to the low light.   Interior space.  A black cat perhaps is curled on the floor.  The floor varies.  It might be a green carpet, or it might be old wood floorboards, like my upstairs at home.   My hallway or entrance here is more spacious than at home, a square room with books shelved around it on the walls, and not much else.   The books are more for wallpaper than for study.   Like lifetimes, I have read them, and now they rest inside their motley covers and spines, like “My War”.

Let’s have just one chair here:  sometimes two – for a reader.   It is like my white armchairs, but of natural wood.   My entrance hall is a library, but in the far left hand corner there is a door:  go through that – there are stairways in a well, one going up, one going down.  Can walk straight through into a violet tinged room or space which is Yesod.

malkuth yesod

Tree of Life detail – Malkuth, Yesod


My Sefiroth and paths are not cluttered or furnished much:  they are colours.  The entrance library has all the data.   So here, I can just reach for a book which attracts me on the shelves.  At the moment I see Stephen Szegedy Szuts’ “My War” (1932) and in it the story is told in crisp brush drawings; each has a title which is listed in the contents page.   The first drawing is of waking up on a beautiful morning.   The facial expressions and the swift Magyar touch, are vivid in my inner eye.

Two drawings by Szegedy Szuts

Two drawings – Awakening and Flowers are Speaking, by Szegedy Szuts

The message of the book is the dawn of consciousness through the monstrous world-war which the lemmings run to :  wake up to “Stop the Killing!” – but the objector was shot.   I also see through this, the atmosphere of Stephen’s house and studio above the Cornish sea. It seemed to be overhung with flowers, and Gwynedd dragging her hip around the rooms, and a small crowded kitchen sink where Stephen washed up; and upstairs in the studio where we children slept, Stephen’s strange abstract paintings watch us all night long:  they are eyes and swords and hollow ways:  personalities – like this one I painted with a knife, many years later:  it took just 20 minutes.

Ikon 1987

Ikon 1987

My house of the Psyche is simply what happens when I sit down with my coffee each morning, and “reach for a book”.

I have to let earlier forms fade away.  Why?  Because my inner ruler doesn’t work with them, and they are in the way.   So leave go all the rules about garden cave library, or hallway, butler and housekeeper:  be still.

Child with geese by Szegedy Szuts

His daughter, mistress of the geese – by Szegedy Szuts 


There is a garden, where I am just now.   It is a rose garden, and I am seated on a stone-cut tier around the central fountain.

It is the rose garden which is seen from above in my  Black Swans picture – I painted it while listening over and over to the cyclic splendour of the Credo in Bach’s B Minor Mass. Black Swans was inspired by a visit to a stately home near Staines, with a Henry James atmosphere.  It has a mass of simultaneous perspectives.  The swans were tragic princes.

Rest here:  hear the water, breathe the scent of the roses … remember also Liszt’s St Elisabeth Roses tune.  It came naturally with the roses and their scent.   There is a drowse of honey bees.   The garden is quite unlike any ground I have to tackle in life.  It needs no maintenance. It is a rest-place, and the fountain is the well of my soul.   The fountain is also Hebrew-letter AYIN, embleming the Capricorn Devil Arcanum;  behind that spectral Shadow, is the Guardian Angel’s light.   When you look down on a fountain, it is an eye:  a fountaining point with a circle around it.

precious stones

And there are stones:  polished pebbles – hold one in hand and polish it further.   Jewels are stones – flower-stones – which have been polished so much by being touched and held, that they shine.   Jewels are Himalayas brushed by an eagle’s feather once every hundred millennia or so.   And so a jewel may transfigure everything it touches.   DNA.   The equations of the serpent of the stars are sacred.

Zodiac with Ophiocus the Serpent-bearer constellation

Zodiac with Ophiocus the Serpent-bearer constellation


My house of the Soul goes no further for the moment.   Establish the garden and the entrance library.  Put my old ideas about it in the fountain and let them wash away.   The air is stripped naked.   Keep attentive to my actual map, its unfolding.     I am going through the door, like Alice past the oak tree;  but the door is in my Self:  all things in the deep cohere, and combine and are One.

Obviously my house begins with books and shelves;  because every genuine inner journey starts with writing.   Sitting down with the writing is my door and Tiru key.   The Tiru key is Ramana and Self enquiry.   It is with me for ever.

In my entrance library, there IS a colour painting of the Tree of Life, just like in here.   It is on the wall among the bookshelves; or propped or on a stand.   This I can look at first, before journeying to any Sefira or Temple.

Alchemy Tree of Life

I have a feeling in the Master R Aquariel series, to travel the Trinosofia in it.

I see and hear combine harvesters, the smell of cut grain – the harvest time of Virgo.  The shrine of the soul:  and sweeping my shrine which is a cave.   I see my Zodiac Hermetic temple – the dinnerplate drawing.


A contemplation for the technically minded:  most of these sketches (except for the second one) were done when I was first studying Kabbalah, and I worked with a different path system from the one I use now.   A good way to get to know the Tree and bring it to life, is to play with it in all kinds of ways:  the period of Hod, Sefira of learning.

Regarding the Tao Tree above, top left, whose “eyes” are at Gevurah and Netzach:   I had a comment-conversation with someone in blogland yesterday (i.e.30 August), about putting the Tao-symbol’s “eyes” at Gevurah and Hesed instead, so it makes a spirit level. This centres the Tao on where the paths of the Priestess and of Strength intersect, just above Tifareth.  The circumference passes through Kether and Yesod:  Malkuth is outside it as the root.

(I like this idea, but for me the Tao is always coming into balance, to earth; and so the first version illustrates it better.)

If the Tree glyph is “folded” along the line of the Tower path (Hod-Nezach) with Malkuth resting on DAAT (the known-world in the unknown), the base becomes Yesod, the Foundation of the Tree:  the personality.  The meaning of this is that “the Real world” is so much more than we think we see or believe.

Malkuth is a gateway to a Mandala – to the inner Temple of the Tree, embracing it as a whole.  This is how it is, with an inner journey.   Malkuth has all the data.

Number Ten:  the (1) is part of a discarded didgeridoo made by my nephew

Number Ten: the (1) is part of a discarded didgeridoo made by my nephew


I stay with the entrance library and the rose garden for the time being, moving freely from one to the other.  They are aspects of my Malkuth – the root or base of the Tree of Life:  its manifestation in my physical world. Malkuth is my alchemical vessel or craft.

The bluish-violet glow towards Yesod is in the dark beyond the stair-well.   It corresponds to the path of GVPh Key 22, between Malkuth and Yesod, which in Kabbalah is called the path of Administration:  our body as the temple.  The stem of the Tree.   Then Yesod (local ego) is the  personal expression of the transpersonal, and I shall visit it another time.

It seems to me that the paths and Sefiroth into the Tree of Life are scattered with little jewel stones here and there – like the glow worms who light the way – the stars.

hermit and gem


For me, the arcana of the Tree of Life and Tarot keys, are – for that period of focus – a way of hearing or writing music.   It awakens me inside:  happiness is concentration, a keen third eye.  What counts on an interior journey, is not events and images – we all experience these individually – so much as the kind of focus, and travelling with it.  Then there is a lens, and the Companions of the Light know where to shine through it, into the ground, and offer their counsel.   Wisdom is the still small voice.  It seeks an accurate tonal perception – a clear window – to speak through.

Through Beauty is my Way!   In the sacred geometries I enjoy great beauty … it is within all the weathers.

To withdraw from the contemplation, just be in the library and “come down the Tree”.

Then I am outside the door, looking back at my plain grey house-of-the-psyche – (it has trees growing up it, to each side) – with the key in my hand.  I am in open country which is the situation of my life.   And on with the day.


The Adagio in this Violin Sonata by Le Comte, has great charm, and some tender key changes, rather improvisatory.


Here is part of a letter my mother wrote in 1960, to her father, Jim Ede – I discovered it the other day, on a visit.

“No I don’t think it’s really true that there is a special need for the sea.  I do know just what you mean and when with the sea, a certain need is often deeply fed and satisfied.  But what there is for us in the sea is there also in the trees and sky and clouds and grass, if it is there in our hearts to respond.  If we have to seek it out by road, rail or air specifically at chosen spots, it hasn’t really any significance, it’s just another kind of telly.  I do think we all need sometimes to be alone and quiet and in communication with things which are not man made – but if we feel that the sea has this focus which the sky has not, then I think we need to sit down quietly and empty ourselves of chatter so that we can be more receptive.

“Mind you, I have a fearful feeling for the sea myself, and often a powerful yearning – but I think this yearning is very physical – so much so that it goes right back to the beginning of life in the earliest oceans.

“Inasmuch as there is no separation of the physical and spiritual, I suppose you might call this a spiritual need – but I don’t really think it’s a need at all.  I think all we need is here, where we are.

“Today I was crippled/bad back – but even if this was to go on for the rest of my life, I don’t want NOT TO BE any more, just because I can’t run on the hills and swim in the sea.  These are just ways of being myself by becoming for a moment the moors or the sea.  But if I am in direct communication with everything about me, then there is no ‘ME’ as an entity apart from all else, and so I no longer need to lose myself in the sea or the telly or social welfare or anything. 

“I think it is up to each of us to make our lives quiet and simple so that we can understand these things.  I am very very privileged, because I have been allowed to grow in comparative freedom.  But I am no more privileged than any other human being ought to be.  We have stunted ourselves so terribly – so obliterated our natural abilities and perceptions, that most of us after we are two years old, can see nothing as it really is, but only in a warped and twisted light.

“… …Loving is true living, and we all fall short of that.”


A painting I did in '86 - a London meadow behind the houses across the road, with a twilight stroll and the street upside-down through it;  a pair of hedgehogs play among the cow-parsley

A painting I did in ’86 – a London meadow behind the houses across the road, with a twilight stroll and the street upside-down through it; a pair of hedgehogs play among the cow-parsley




Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mystery of Master R – Part 2: Searching the Likeness


0 glyph of inner contact in class


In December 2002, I attended a Qabbalah class on “Interior Contacts”.  It was hosted by the Lotus Foundation, the home of my dear friend Genie, whom I met for the first time on that day.

The class teacher told us:  “In Beriah are the Magidim of the Tree’s Upper Face, or Masters.  Every School of the Soul has a connection with these.  Schools have ‘ray’ functions.  Your membership depends on what your ray resonance is. ”

He for instance, tried very hard to become a Freemason.  When finally initiated through a friend, he was prevented every time from going to meetings at Lodge by two hour flu, train strikes or whatever.  He realised that freemasonry was a stepping stone from the past, but no longer required.  Guidance only registers when you take it on board, inside.

He told a story about Paul Foster Case and his Magid, the Count Ragoczy (Saint-Germain) of Transsylvania, who phoned and met him in a hotel in New York, and about how Case and his wife and a student took dictation once a week through an ouija board, word by word;  and the EXTRAORDINARY QUALITY OF THAT TRANSMISSION – and its way of dry teasing.   Our teacher read aloud a few passages to us.  Case only had to turn his mind to any one aspect of the teaching, and it would open up.  He was told to set up a new wisdom School, and to move from the East coast to California.

(NB – this story was told a second time in the other Kabbalah group, five months later when I asked for verification – see previous post.) 

Now of course I was very excited to hear about Le Comte;  and our teacher had even brought along an 18th century portrait of him in his white wig and piercing deep eyes.  He stood it on the mantelpiece, in Genie’s big room.


18thC portrait of Master R.  It is signed by "A.Knapp".  The reproduction carries this information:  "It is generally suppoosed that this mysterious adept was born in 1710, but the Countess v.Gergy declared she had seen him during that year in Venice, and  he appeared to be between 45 and 50 years old at that time.  While the church register at Eckenforde contains a record of his death in 1784, it is known that he was seen upon several occasions subsequent to that date, having attended a Masonic conference in 1785, and having been recognised in Venice in 1788.  The last historical mention of the Comte was in 1822, at which time he was presumably on the eve of embarking for India."

18thC portrait of Master R. It is signed by “A.Knapp”. The reproduction carries this information: “… … It is generally supposed that this mysterious adept was born in 1710, but the Countess v.Gergy declared she had seen him during that year in Venice, and he appeared to be between 45 and 50 years old at that time. While the church register at Eckenforde contains a record of his death in 1784, it is known that he was seen upon several occasions subsequent to that date, having attended a Masonic conference in 1785, and having been recognised in Venice in 1788. The last historical mention of the Comte was in 1822, at which time he was presumably on the eve of embarking for India.” ~~~~ I have this picture in my home.  The class teacher generously gave it to me, a few months later.


During a class tea-break, I took a couple of quick sketches from this portrait.  My ‘magyar’ connection has an energy here!   I heard of St-Germain before, but only vaguely.  I hadn’t known he is behind the Alchemy I am studying.   Suddenly he came to life, and I was literally trembling :

2 master R, sketch 1


3 master R, sketch 2


From my Journal – 8 December 2002:

“Ragoczy is a big fish, a Great Master Magid of a School, not of individuals, but I am inspired by him and his shoal of fishes.  As soon as I got home last night, I drew him into my sketchbook – from the drawings and from memory – as best I could:

master R, sketch 3


“The Book of Tokens is by him, and so are the lessons of the Great Work, I guess.  Our teacher read to us some paragraphs which he has.  It is about evolution and the Scorpio force.   Can I reconstruct an essence of it?

“The thing is not genetic.  That is to say, it is not by genetic evolution: (in the 1930s and 40s when these transmissions were being taken down, the topic of genetic selective breeding was all the rage, as also with the Nazis.)    The natural genes haven’t got the radical composition.  The Scorpio force is the being born again during life, to serve the Great Work.  It is the alchemy of the individual lead into gold.  The sexual nature is irreversibly altered and refined.  LOVE, AND YOU SHALL KNOW.  It said that Love isn’t of anything or anyone;  it IS.

“Now as Love is the One Source, the current of it comes through the Count, because at the level of his consciousness, there are no separate individuals.  He’s the same as Ramana or anyone else it comes through, to stress the point.  Yet he oversees particular rays or gardens of the teaching.  That face in his portrait is only an interface function, to recognise him by.  The truth overflows any container.  Our personality and its distortions and insecurities is unaltered by Self-realisation, and yet the realisation is at its root.

“Most of us see love in terms of returns and partners.”  (But if one has loved deeply, without return, then it is branded in!)   “‘Love and you shall know.’  ‘The can-opener of the intellect is too dull to probe the secrets of the Heart of Life.

“Let the excitory sense be peace … I think for me to plod on with the revelations in ‘The Great Work’ is quite enough to go on with.  Unfortunately I couldn’t retain most of what was read out today, because my sense of re-cognition kept getting in the way.


GALLERY of early portraits, studies and sketches of Le Comte and companions. 
Drawings in this post are december 2002 – May 2003


“When invoking, consider – “Who is saying the Name through you?” (God speaking to God.)  … The Grail in an early morning impression, overflowed, and its white effulgence expanded concentrically all around it, penetrating everything, everything to become it.   This was encouraging, and I jumped out of bed after lying in the fountain for a bit.

“Practice looking at things STRAIGHTLY, without any feeling about them at all.  The feeling-stuff is what reinforces and defines ME.

“REFLECTING – Diminishing the sense of I, for a more accurate impession, I become less;  God becomes more.  How to diminish the small-i?  Change the mode of feeling …  the feeling-triad on the Tree, Yesod, Hod, Netzach.   Open it out with the conscious Sun, Tifareth, and the root to earth, Malkuth.

“George Eliot, Daniel Deronda page 407 – “I am lord of this moment’s change, and will charge it with my soul … … To be in a state of suspense, which was also one of emotive activity and scruple, was a favourite attitude of his conscience … … the passionate patience of genius.”

19a emblem

“Look into the dark texture pool of the soul.  Only look.  Only one problem, the I-importantce, or as Alan Jacobs would say, the schopenhaurian Will.  Do not allow any opinions to finish or foreclose.  They are all coloured by the I-importance, and both illusory and limiting.

“Overheard at Shul – preparations for Graham’s wedding – the words Wisdom and Understanding.  As Kabbalists we try to act with wisdom and understanding.”


GALLERY, including some pages of Master R/St-Germain’s music
for violin and harpsichord continuo (see previous post).



“… She perceived in a box near the stage, a countenance which at once, and like magic, produced on her mind an effect never to be analyzed nor forgotten.  It was one that awakened an indistinct haunting reminiscence, as if she had seen it in those daydreams she had been so wont from infancy to indulge.  She could not withdraw her gaze from that face, and as she gazed, the awe and coldness that had before seized her, vanished, like a mist from before the sun. 

“In the dark splendour of the eyes that met her own, there was indeed so much of gentle encouragement, of benign and compassionate admiration;  so much that warmed, and animated, and nerved;  that anyone – actor or creator – who has ever observed the effect that a single earnest and kindly look, in the crowd that is to be addressed and won, will produce upon his mind, may readily account for the sudden and inspiriting influence which the eye and smile of the stranger exercised upon the debutante. 

“And while the yet she gazed, and the glow returned to her heart, the stranger half rose, as if to recall the audience to a sense of the courtesy due to one so fair and young … 

” … Yet again, as she turned from the stage, she looked back involuntarily, and the stranger’s calm and half melancholy smile sunk into her heart – to live there – to be recalled with confused memories, half of pleasure and half of pain.”

From ‘Zanoni’ — a Novel by Lord Lytton
— London 1874


Polish the mundane … carve and polish the precious stones of Life, through night and day:  the Stone of the wise.





Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

A Mystery of Master R – the Yeast and the Grape


Master R in London - JA 08

Master R in London – JA 08

This is Master R, as he might have appeared to me, in London’s Temple district in the 1750s, on a damp night.

The altar – bird – torch emblem which is worked into this portrait, meant a great deal to me.  It is in his Trinosofia – a journey of transformation.

“Altar, bird and torch are the symbol of all things.  Nothing can be done without them … You could have seized instantly – you would have become altar, bird and torch at one and the same time.  Now, in order to arrive at the most secret place of the Palace of sublime sciences, it will be necessary for you to pass through all by-ways.  Come … I must first present you to my brothers.”


trinosofia altar bird torch, 2

trinosofia altar bird torch, 2

trinosofia altar bird torch 1

trinosofia altar bird torch 1

trinosofia section 12 - "His companion wore no garment, but a sun radiated from her breast.  Her right hand held three globes;  a coronet of red flowers confined her beautiful hair. She sprang into the air, and seemed to lift with her the warrior who accompanied her." - Trinosofia of Saint-Germain

His companion wore no garment, but a sun radiated from her breast. Her right hand held three globes; a coronet of red flowers confined her beautiful hair. She sprang into the air, and seemed to lift with her the warrior who accompanied her.” – Trinosofia of Saint-Germain, section 12


When I think of the “The Most Holy Trinosofia of the Comte de St-Germain”, I have a composite image of an underground volcanic cavern with a Cross of colours in it, a deep sea breaking on a sandy beach, a screen of symbols which melts into initiation, an ascent, a many-pillared round temple where are found the Companions of the Light, a long desert trek, a cornucopia of alchemical beauty and strange tongues.

trinosofia cross & pillars..

The work is illustrated with copies of the Master’s own paintings, in black and white facsimile, leaving the life to my imagination.  I would like to re-draw them, in colour …

The bird is the Ibis, the altar is the Cube of space, and the torch, the Caduceus.

Altar, bird, torch - detail

Altar, bird, torch – detail

The bird – with green branch – is called “to be given the Life.”  The altar is coded “The Crown, Kether, when shall be the gate of entrance:  Immortality shall be conferred at the gate of the House of Wisdom.”  The name of the torch is Light, and reads:  “The dernier shall be hidden away and forgotten”.   The dernier was a coin, as in the Tarot suit of Pentacles.   The statement as a whole suggests “The body of the wise man shall be concealed.”


Master R’s physical remains are concealed:  his paintings – whose colours had a peculiar lustre, he is said to have ground pearl into his pigments – all disappeared.   The music he wrote is stored in the British Library.  I have xerox copies of it.  He played the violin in London, with elegance, verve and grace.

Violin Sonata 2 - keyboard part

Violin Sonata 2 – keyboard continuo part:  the violin is the top line.


In about 1918, Paul Foster Case received a phone call in New York:   “Meet me for coffee at —–Hotel.”   The voice sounded familiar.   It had spoken in his inner ear, ever since he was a small child.   At the rendez-vous, he met an elegant stranger who proceeded during the next fortnight, to lay before him the entire esoteric curriculum for – what was to become a School of the Soul – the Builders of the Adytum.

This was his Hierophant and lineage, Master R – also known as Comte de Saint Germain.   The writings on alchemy, number and the Hebrew hieroglyphic language are of superhuman intellect, beauty and dexterity, particularly in some unpublished texts.   It seems that whenever Paul Foster Case sat down to write, something in his mind-body opened to admit the Cosmic body.   He was a musician, a skilled organist.  He reached every Key, each pipe and every string.   The body of this Great Work had an immense urgency, to leaven the escalating crisis in humanity during the 1930s and 40s.  The Master drily remarked to him, “We come not to the charm of your personality, but to the focus of your mind.”


FR violin 03 copy


He also said …

Transcript:  The Harp of Ten Thousand Strings

“In Kether is the One, the Indivisible, but in Malkuth that same One appears as Four, and comes into manifestation as the Ten which return into the One.  But mark this:  the Four are truly but Two, even as in the body the two genders are always conjoined.  Even when the whole body has almost no trace of its complementary gender, yet is there in its composition always some trace of both.  So it is with the four elements also.  Truly there are but two, Fire and Water.  For Air is the mixture of Fire and Water with Fire predominant, and Earth is a like mixture with Water the stronger. 

“Thus to enter the Kingdom there must always be “two”, for the Wheel turns not, but by the alternation of opposite forces.  Yet the Kingdom of Adonai is not the kingdom of this world’s illusion, and the bodies of the servants of Adonai must be freed from the illusion, before they may serve as transparent channels for the Light which descends from Above. 

“The Law of Adonai is other than the laws of men, for into the laws of men has entered confusion.  This must needs be, since mankind remains a work unfinished.  Yet be on guard, if you seek to be numbered among the sons and daughters of the true Israel, lest you mistake the half formed concepts of an earlier stage of growth, for final truths. 

“The Great Work directs itself always toward the building of the Temple of Adonai, and at its early stages there are needs which do not continue throughout the building process.  Yet men mistake the scaffolding for the building itself! and thus pay idolatrous reverence to old rules which have no longer any useful purpose.  Watch therefore, if you would “rule the world” lest you usurp the rights of Adonai ! 

Note: The World, Key 21 on the centre root path, Malkuth Yesod (Kingdom and Foundation) in the left-hand picture.  This is the “GVPh” or word of embodiment (see paragraph on GVPh further down).  The whole Tree is the Temple.  To view as gallery with notes, click on image. For further notes on the Tree and Kabbalah, search Tree of Life in my primary blog, http://janeadamsart.wordpress.com


Transcript continues:

“His and His alone is the Temple (of the living body) …  Not thine, but Mine is the work … for truly Kether (the Ineffable) is in Malkuth (the earth and physicality), and in Kether I dwell as One without a second …  Mine is your body, you who seek to find me – mine alone.  Mine is the power in all that comes into manifestation through the thought, the word or action of any of My instruments.  Never shall they who remain deluded by the illusion of separateness, become clear channels for the irresistible out-pouring of My power, until all follies of ‘mine’ and ‘thine’ are cleared out …

“Do you comprehend?  You aspire to the highest.  Take heed lest you surrender to the world’s illusion through seeing the Light through the coloured lenses of your personal prejudices and personal emotional needs.

“Refusal to act is like keeping shut the gate which releases a stream of water into a pipe leading to a turbine.  To be sure, no water is wasted so long as the gate stays shut, but neither is power generated.  Of what use are fine ideals about serving mankind, if one refuses to become a channel for broadcasting the power? 

“The whole world suffers in inexpressible agony, yet some who might do much to heal these festering wounds, remain aloof, wrapped in the garments of their own self righteousness.  Yet but for One whom all the world condemned, you would not be sitting here.  “Except your righteousness be greater than the righteousness of the scribes and pharisees,” said the Master, “you shall in no wise enter into the Kingdom.”  Think well on these things.



Speaking of the letters G,V,Ph (a Hebrew word for ‘the body’ – read the letters from right to left) … “What is this GVPh which has its seat in Malkuth?  Consider its three tokens (letters).  First comes letter Gimel which links Kether to Tifareth. This is the sign of the Uniting Intelligence;  from this you learn that the body conjoins a man to the Highest. 

“Second comes letter Vav.  This is the token of the Eternal Intelligence uniting  AB with BEN – the Father with the Son.”

Father, Son, Hermes - an illustration from the Book of Lambspring.  "The Son ever remains in the Father and the Father in the Son.  Thus in divers things they produce untold, precious fruit.  They perish never more, and laugh at death ... Upon one throne by the grace of God they sit, and the face of the Ancient Master is straightway seen between them.  He wears a crimson robe."

Father, Son, Hermes – an illustration from the Book of Lambspring. “The Son ever remains in the Father and the Father in the Son. Thus in divers things they produce untold, precious fruit. They perish never more, and laugh at death … Upon one throne by the grace of God they sit, and the face of the Ancient Master is straightway seen between them. He wears a crimson robe.”

(By this, he refers to Vav – which joins together – as it is the sixth letter of alephbeis, and the first syllable of TVPhRTh/Tifareth.)

“From this token, know that your body is the link between the true Self in Tifareth, and the universal Life and Wisdom of Hokhmah.   Now the third token – Ph -is the letter which signifies the mouth of man, and is also the Active Intelligence which unites Netzach with Hod. 

Three Tarot Keys, signifying (from right to left, as with Hebrew script) , Reflectivity, Inner Hearing and Speech.


Transcript continues:

“So this, your body, is the instrument whereon may be played the Song of Life.  Nay, it is more than this;  for on this harp of ten thousand strings, the wind of the Spirit moves ever, and sounds night and day, the harmonies of that Eternal Song. 

“Yet few there be, with ears to hear.  For that hearing is too often dulled by the noisy clamour of the world’s illusion.  Yet he who has eyes to see, and mind to remember, may see in the very word GVPh, that the heart of its meaning is to do with Hearing. (The Hebrew hieroglyph V is related to the sense of hearing.)

What else is the letter V but the heart of this word?  …  How few there are, who listen for the still, small music of the Eternal Song! … “


This transcript is from a direct communication to Paul and Harriet Foster Case and Anne Davies in 1947.  It is summarised in the Meditation on Malkuth in The Book of Tokens, which you can buy in bookshops, or from the Builders of the Adytum (bota.org)   A correspondence course of Lessons covering Kabbalah, Tarot, Alchemy, Colour & Sound, and every factor of this teaching, is available from the Builders of the Adytum.

Kabbalah 1989 79 tree of life - Version 3


The Master appears an individual, but he is an inner plane consciousness and has no separate sense of “me”.   He is intimately transpersonal.   He moves as easily through neighbouring densities of manifestation, as from field to field with the clouds, and back and forth through apparent death or disappearance.    Wherever the third-eye focus is confected, here he stands.  He – traditionally a Magyar aristocrat – was behind the veil of the “strong Child” in the American Declaration of Independence.   He was a Freemason, a Rosicrucean and Alchemist;  he led the secret Schools in France and Germany;  he seemed to have unlimited wealth, and all the courts in 18th century Europe welcomed him.  He attempted by diplomacy to “defuse” the coming French Revolution, but had to flee to London.  He spoke of the real Revolution, which is evolutionary in the soul.  Isabel Oakley’s  carefully researched biography of him is called The Comte de Saint Germain – the Secret of Kings.

liszt in door

Franz Liszt, a few decades into the 19th century, wrote of Le Comte to the Grand Duke Carl Alexander of Eisenach:

“An extreme ease of manner with the most highly placed personages gained him the privilege of saying anything with impunity.  Kings’ fools had this privilege in days of yore, and I take pleasure in thinking that it is not their fault if it didn’t make the kings wiser.  While affecting a profound contempt for riches, Saint-Germain enjoyed displaying a prodigious quantity of precious stones and diamonds, and boasted that he had learnt the art of cutting diamonds well, on one of his first voyages to the Indies. 

“… Apart from his chemical knowledge and alchemical illuminism, Saint-Germain played the violin admirably – so well, that people thought they could hear an entire orchestra under his bow – and possessed in addition the talent of writing equally well with right and left hand, which I envy him doubly, for my handwriting being horrible and almost illegible, it greatly displeases me. 

“By means of his elixir of long life, he claimed he had already lived for 350 years.  The same liquor also had the property of turning a woman of 70 into a perfect resemblance of a girl of 17 – and further, made anyone quite simply immortal.  This idea was carried on moreover, without elixir, in Condorcet’s remarkable book ‘Des Progres de l’Esprit Humaine’. 

“Frederick the Great asked M.de Voltaire for a few details about the Comte de Saint-Germain.  “He is a man who doesn’t die, and knows everything,” replied Voltaire.  He did die, however, in 1784 – or 1785 – as a close friend of the Prince of Hesse-Cassel.  This intimacy would explain in rather a singular manner why the present Elector of Hesse governs in the manner of 350 years ago;  a method which has succeeded extremely well for him thus far, as it has with others who haven’t even the merit of his obstinacy. 

But the pitcher goes so often to the well that in the end … it fills itself – says Figaro. Be so kind Monsignueur, to excuse my want of greater erudition …”

Your very grateful servant … 

 FL signature


Le Comte Saint-Germain is synonymous with “Master Rakoczy” of Hungary.  My pragmatic contact with Le Comte and his thought, is through studying Alchemy.   That is what makes it real.  In 2002, I was given a copy of some of the Master’s lessons on the Great Work of Alchemy, which illumined and earthed all that I had previously read.   I worked through them for about a year. Some months into the journey,  I consulted a psychic, who emailed to me:  “Master ‘R’ just peeked in through the etheric Levels to say that he is the overviewing Presence in your Soul’s Life.  Adieu.”

For verification, I asked Le Comte, could he please arrange to have himself mentioned in that day’s Kabbalah meeting.   Half-way through the discussion – whose theme that day happened to be the inner-plane Maggidim or teachers – another student raised his hand and narrated – out of the blue – the story of Paul Foster Case’s encounter in New York with Master R.

In the Toledo Kabbalah-society tradition, Master R was lucky if he got a mention once in a year or two.  Later on, I discussed this with Halevi, on the understanding that our guides and preceptors ring the changes, as life brings fresh challenges.   Halevi said “he’ll be your Head of Department then.  The general ‘staff’ assigned to individuals and situations, they come and go, under him.”

The question arose, because Master R is not a shepherd of individuals, but of civilization.  Why would he connect to me?   The answer is transpersonal – it is the level of love – the level of awareness on Jacobs’ Ladder.   My concentration on alchemy and the transcripts, was a lens through which he looked and I could see.   I learned an essential thing.  Contact with a Master – a Maggid – is a two way process:  the chosen dialogue, kept in focus, and always fresh.

He is not my “teacher” in the personal sense.  But when I really put my mind to it, over a period of time, I can “tune up” to his wavelength, which covers many domains.  My ear is to the ground in a special way.  Language flows, and I learn about the way things work.  He doesn’t “advise” me, and when he guides, it is in a minimal, unobtrusive way which rhymes unmistakably with my inner world, yet comes from beyond.

During that period, I learned through drawing their portraits, the nature of the inner plane Maggidim, and of transmission;   I clarified for ever, a distinction between mediumship and mediating.   The former is a monologue, the latter is a conversation.


60 diagrams tower & tattvas copy

One of my deep treasures received, is AKASHA TEJAS.   The Akasha Tattva, linked to Saturn and the root chakra, is an indigo oval.   The Tejas Tattva, linked to Mars and the navel chakra, is a scarlet triangle.   Combined, they are an esoteric Key to the interior Gold – the heart centre chakra.   Astrology aspects during the spring of 2003, illumined this combination, as a teaching.

Years later, this feature became embodied in, and sustains, my close friendship with an Aries  –  jewel of Saturn and Mars rulership:  Capricorn with Aries.  It all takes time.

7 chariot - Version 2

bota key 7 The Chariot


In conventional astrology, Saturn and Mars are malefics – they resist each other.  The Mars tempo is quick:  Saturn moves in wider cycles.  It is like trying to do a gear-change.  But in Kabbalah, on the Tree, the struggle was co-operative.  Saturn and Mars form the left-pillar Binah-Gevurah path of Influence, whose Tarot Key is 7, The Chariot.   Scratch below the surface of any enduring pair of lovers or conscious siblings;  there is probably a jewel of this kind.

The Akasha Tejas Tattva is a jewel the Master took out of his pocket and polished for me.    In the abundance of life’s pearls, I mostly forget to visualise, or to polish this one so it shines.   “Polish the mundane.”

This suggests:  let it not be routine, but let it recreate the affection.

akasha tejas



Here are a few teachings in my inner ear, as they came it seems, from the Master:

27 May 2003

“Do the rose cross or whatever else, when love comes.  With love.  That is the breakthrough from mercury into venus on the path of mars.

“Yes, very slowly and with love, hearing the music note deep within, and smelling the rose with the sea breathing.  Simple, and one thing at a time.  The meaning and flowering of the Rose Cross Ritual, and of all ritual gesture, is when ‘you’ are not doing it.  Then as you find, that fascination or pondering, kindles the golden circles.  Magic is made not with what is known, but with what you can’t quite grasp, and you wonder at.  This draws your mercury up the rod into the place of meeting.  So the Rose Cross SHIN and the golden encirclings have power, like a left-hand drawing.  We said:   no one is skilled, who begins magic.”



1 November 2003

Early this morning in bed, I asked “what is the Third Eye?”  and this reply came:

“The third eye is the I of the Subtle body encircling Earth as it opens.”

A sort of violet blue clarity was in this picture as I wrote down the fading message.  Where is my third eye?  Answer as above.  The subtle-body, like the etheric sheath, is a standwave, rather than a timespace process.  It registers relative “eternals”.   It is the blueprint to which all the variety bears passing form.  Earth’s etheric field is the lunar orbit.  This itself – moon’s silver circling around turquoise earthpupil – looks like a eye.

How do I find and use my third eye?  Ah!  it is in Perseus myths.  The three grey sisters passed the one eye among them;  and yet they could not see, because they argued.  It is somehow clear that it exists, since Serapis kissed it there, in a way more reliable than before.  Practise using it.

My crowded, operatic mind, fond of its noughts and crosses and sores, puts up a great resistance to “re-membering” and “practising”.  But if I say “this third eye is Open” indeed it is;  and if it encircles planet Earth, its capacity has the collective “I”.

Where to focus it?  (Put your attention on the invisible, beloved!)  inward, within the brow, where the Stone of gold-producing Light is confected, where the pineal pine cone, opens woody petals spiral wise.  Only see these simple things, and my Third Eye is seeing.

You know you can’t see the eye, or I, you see through!  The same it is with the Third.  It is not a mark, or an organ.  It is a Way.  It encircles the earth transpersonally, like the bright veil she draws around her lands and seas.  The arising of the Love current is Her opening, likewise.  It flows up through the spine and opens the brow.  I am a pyramid with the eye in its apex,  the symbol of freemasonry.  The pyramid is a little lens, gathering to it all the matter of earth, and shining back:  Eye-dentity.

Your attention on the invisible is displaced from the visible obstruction or belief;  from “my-story”. Your attention on the Great Mystery is not upon “my-story”.

That is what is meant by “the IN-visible”;  and by silence.



27 June 2003

Oh yes:  here’s yesterday’s Big Thought, which I jotted in my notebook:   The violet mantled King in Basil Valentine’s story, meant:

“If I have ears to hear,
Hear Thee
like the Stars brought close to the eyes
oak Tree.”

In other words, the teachings of the Magid, although as far beyond the spacetime context of my person as the stars in the night sky, are brought inward as the stars to shine in my own eyes and being.



scales 2

And here is Master R’s published sonnet:

Curieux scrutateur de la Nature entiere,
j’ai connu du grand tout le principe et la fin.
J’ai vu l’or en puissance au fond de sa riviere,
j’ai saisi sa matiere et surpris son levain.

J’expliquai par quelle art l’ame aux flancs d’une mere
fait sa maison, l’emporte, et comment un pepin
mis contre un grain de ble, sous l’humide poussiere;
l’un plante et l’autre cep, sont le pain et le vin.

Rien n’etait, Dieu voulant, rien devint quelque chose,
j’en doutais, je cherchai sur quoi l’Univers pose.
Rien gardait l’equilibre et servait de soutien.

Enfin avec le poids de l’eloge et du blame,
je pesai l’eternel;  il appela mon ame:
je mourrai, j’adorai, je ne savais plus rien.


The jewel is here:   the gold in the flowing river:  the soul at the  mother’s flank;  the yeast, the grain and the grape;  the bread and wine.

I would appreciate an English translation of this poem, from a French-speaking reader – any offers?  Very broadly my understanding of it goes:

 ”Examining nature, I learned her fundamental principle.  I saw in her river’s flowing depth the gold, and seized its potency.  I understood how the soul in the mother’s womb rises like yeast, and carries the lodging onward (through the generations);  and how a tiny grape seed and a grain of wheat when placed together in moist earth – the one a plant, the other a pip – ferment to bread and wine.  

“Without God’s will and wisdom, nothing grows.  I searched in vain:  I found no ‘thing’ to equilibrate or uphold the Universe. 

Sacred India Tarot - VARUNA - Version 2


“Finally, in the balance of applause and censure, I weighed Eternity:  it called my Spirit.  I died to the world. I adore.  I knew nothing more.”


Fra music 5


With embryo in womb,
yeast and grain in the vine,
the Eternal alone calls the Soul;
the world knows nothing.

(The door is TAV, and in it flowers the Rose.  Saturn is the root and door by which we give birth, parturition of the seed itself, all in one.  As the Soul makes house “aux flancs d’une mere”, so in damp dark soil does pip to a grain grow bread in the vineyard.  Saturn is the root, and Venus in the throat chakra is its calyx or flowering point.)


Oakley book cover image of le Comte - from a contemporary engraving

Oakley book cover image of le Comte – from a contemporary engraving


In the ten years or so since these writings, a lot of water flowed under the bridge !  I had so much to learn, to practice and to clarify in life.  There were difficult tests yet to come, with deep issues to heal and let go.   It took me far away from the initial contact with the Master.

Life is “initiation” – a curve of the years.  The landscape was challenging, and I got distracted and made mistakes.  It is all valuable.   My objective in these two or three posts about Master R, is to take up some slack, and by doing so, re-invite his presence and teaching in my work:  a discovery.

Master R/Saint-Germain means different things to different societies and souls, according to projection.  In Part 2, I shall tell how my particular contact came about.







Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/