Mysteries of Master R: 15 – The Holy Trinosofia, Chapter 9

Master Rakoczy, St-Germain – 7 July 2015

Returning to the artist’s journey through the Trinosofia, I recommend you first refresh this link to Chapter Eight  to retrieve the journey so far.  You can find the other chapters in “Archive of all posts” in the title-bar.

The 12 Zodiacal stages in the alchemical process are: 1) Calcination/Aries, 2) Congelation/Taurus, 3) Fixation/Gemini, 4) Dissolution/Cancer, 5) Digestion/Leo, 6) Distillation/Virgo, 7) Sublimation/Libra, 8) Putrefaction/Scorpio, 9) Incineration/Sagittarius, 10) Fermentation/Capricorn, 11) Multiplication/Aquarius and 12) Projection/Pisces.

It seems to me that the meditations in Saint-Germain’s Trinosofia link these 12 stages by letting each one flow towards the next while recollecting the previous.  The 9th stage which I contemplate today contains elements of Scorpio (Putrefaction) and Sagittarius (Incineration).  The 10th chapter (Incineration stage) likewise will converse Sagittarius with Capricorn (Fermentation).  The message is; rigid divisions between the 12 stages are not held – we should not literalise or confine the material.  Life is fluid. Like the planetary motions as seen relative to our position on Earth, the adept passes through light and shadow back and forth, to journey through being.

I am reminded also of my studies of  Indian astrology.  The zodiac signs in Jyotish overlaid the actual constellations, before precession of the equinox.  In Western astrology the zodiac is by now removed 23 degrees from the elder alignment. The twelve Signs are still named after the constellations, but represent the phases of Earth’s journey around the Sun.  With this discrepancy I learned how subtler shades of interpretation incline towards one or the other, like two sides of the same leaf.  Are the Trinosofia’s twelve stages of alchemy rooted in the constellations?  There are references throughout the text to languages far older than the western occult tradition.  This is one of many Mysteries encoded in the work …

The alchemical symbolism in the Trinosofia is rich and abundant.  My posts on the subject are long, and require imaginative reading.  For Master R’s original text and Manly P Hall’s excellent commentary, please open “Trinosofia Texts” in the title bar above, and scroll down the page to Chapter Nine.

Here is a reminder of Chapter Eight:

Almost four years passed since my last Trinosofia drawing!  …  Yesterday the door opened for me to draw the Ninth chapter.  It was not an easy one for me to integrate after my father died in early 2016.  The Bardo of becoming was to sing also with five other deaths since his – all of them deeply significant relationships in my life; and all with liberation in their different ways.

The Ninth chapter contemplates the dark putrefaction of the 8th stage under Scorpio, processing towards the Sagittarian incineration.  So I had to draw a black horse with a dead human falling out of its slit belly; and then the second sombre image – the young rosy man in a red tunic with the decomposing corpse.  This is alchemical negrido before the stars appear in the raven’s wing.  The red garment is fiery Mars.   Here is the illustration in the book:

trinosofia 9 illustration

Illustration from the text of the Trinosofia; copy from the original painting by Master R, which disappeared.

The way opened today unexpectedly, for me to enter and begin.  I felt Le Comte’s encouragement, since the “Sixth Sun” transmission last week.  The Phoenix rises from ashes; a decomposition to cleanse and flicker into life in the dark night of the soul’s cavern.  It’s not finished yet.  This morning I feel I should darken the background to the black horse, for the passage is a deep obscurity.  Also I drew my young alchemist in red tunic very badly, need to rearrange his legs and re-do his arm?

Click on images to view

The picture includes three inscribed black panels.  Two of them I painstakingly copied; the third, with the floral Roman lettering was too indistinct (so I wrote it in English as if on stone); and the enclosed grey panel’s lettering was too blurred in the Scribd reproduction. It reads:

“The select few – how many are there? Forty who in brotherly love assemble together to the four quarters and the Bird.  Here below (in the mortal sphere) to be held (gathering or assembly) until in its place is the coming in the fourth quarter (Aquarius).”  The large characters M B refer to the alchemical process whereby the mortification and destruction of the body is accomplished.

(From Manly P Hall’s commentary on
The  Most Holy Trinosofia of the Comte de St-Germain

Philosophical Research Society Inc. Los Angeles 1983)

Manly Hall’s translation of the other two inscriptions will go underneath the drawing when I have finished it.  The book includes his introduction, commentaries, text, translation and black/white reproductions of the illustrations.  My interpretation is an individual one; it comes out of my life, I am a different generation.  It is interesting to read both.

(See Triniosofia texts, above)


So what is found here?  The birth of the living dead, from the animal kingdom’s bafflement, inverts the Saviour’s birth: deep dark expulsion of the soul into the strange un-illumined luminosity of the dead;  the unconscious victim condition where we blame others is ash.

In the second image the alchemist, fascinated with the materia, tries to raise it to life;  he stirs the ashes.  But he hears a Voice commanding him to let it go.  So he’s about to drop it again.  The wrong way is how we Elizabethan and Renaissance explorers tried to manipulate the dead,  believing we could command the secrets of matter, of the soul and of anatomy.  The Voice breaks into that creative fantasy.  Again it is like the horse expelling the dead body.  What is dead is dead!

What are the living dead? How do I regard them?  it is important to take responsibility and get the definition right.  The living dead are those regions in my psyche, individual or collectively linked, where we walk in our sleep, lock ourself into noise, blame other persons, institutions or life itself for our trouble … and blindly consume our nature.

The living Spirit is a matter of choice; of turning to face the music and cross the lake.  The second lake in the journey (to Chapter Ten) will turn clear turquoise.  Now the image develops further, for I might suggest the lake in the vision is a Caduceus.

The Voice said (it thundered like a trumpet) – “This black earth has lain in this hall only 87 years; when 13 more years have elapsed, thou and the other children of God may use it.”  The alchemist was delayed until the time should reach a century 100; he explored the vessel, the dark room for nine days as prescribed, and then departed through the opposite door to the one by which he entered.  The numbers 87 (15), 13 and 100 are Hebrew gematria – a shorthand for the Mysteries..

To reach this dark hall he had waded through the first lake (“thick as cement”) for 13 days, his feet touched bottom everywhere, it was useless to swim.  When he reached the dark hall, the earth was as dark as that water.  The building he entered was basalt black; a warm moist wind pushed him into the chamber and shut the doors.  There the Living Principle remained inside the belly of death to be born; there he explored the room and investigated the matter.   His consciousness is a lamp, it quickens the flesh.

It is like a dream I had long ago.  Here is the story – “a house of hundreds of rooms”

In Chapter Eight four years ago, we saw the crowned white lion and cluster of grapes on a salver with a shining pile of salt.  He impregnated his body with the salt, he rubbed the purifying salt crystals over himself, then he was given a choice of two doors by which to leave that chamber.  One opened to a hot arid plain which seemed to burn him; the other opened to the first lake at the end of which a black marble façade was visible.  He preferred to cross the lake itself rather than make his way along a rocky shore to the distant bridge.  So he ended up in the black marble  hall.

(To see the detail from illustrated text of the Trinosofia, and read M P Hall’s comments on the Hebrew meanings, click on these images)


We are given choices and tend to take the complicated one, as we are drawn to the dregs.  The odyssey is the same in the end.  The Trinosofia theme offers him the simple way, but he takes the more complex and glamorous one which takes longer.

As I began the drawing, the transformative Phoenix rose from the ashes.  The façade of the black hall itself was engraved with ancient Persian hieroglyphs. Should my alchemist kneel or stand?  Perhaps he crouches. The English translation says he stands, the original French says he is “place pres du cadavre”.  I need to lower his left arm and his left knee.  At the moment – as I copied the original – his anatomy is all kaput.  The original drawings in the text – themselves old copies from Le Comte’s paintings which disappeared – are anatomically weak.  For the originals, Le Comte is said to have mixed pearl dust with his pigments.

During my work on the drawing yesterday, I listened to Richard Rudd’s audios on the Ecstatics: Rilke, Taliesin, Walt Whitman, Anandamayi Ma, Mother Julian.  You can hear them at   These were given several years ago with the Gene Keys transmission bubbling creatively in the pot: the joyous poet.  The creative joy is today rediscovered, renewed and sung for itself; the yeast within any treacly condition.

5G advertising came through my letterbox.  I am beginning to see that I must not buy into fear and negatives about that and other aggressive technologies, but  keep doing my thing in the living energy field.  We humans will grow tired of the “More and More” stuff that we still “want” at present..  It is a symptomatic tension – a temporal terror of the Great Change which moves so deep within our world, our climate and DNA with the universe and solar system. There will be and already is a collective longing to breathe, to create peace in the air.  I try to live my particle of the Bigger Picture.  The way around and through, and often because of the pollutant, always opens.  The pollutant itself has no power against Gaia.  Most of us cannot see this because we are accustomed to our minds’ closet and what we are told by “experts”. We want by default to blame “Them”.

So, mon Cher:  You would have us feel, rather than think.  Thinking provides a mere quantity of scenarios and speculative terminus.  Feeling is the natural path, day by day, with every element: the ear to the ground like the sole of the foot.  The feeling is Consciousness Now.  Entering the dark Shadow, I behold my process and seek the Gift;  being born into the dead; the effort of the curious to resurrect putrefaction; the call to travel forth.


With Mercury retro in Scorpio it is suitable.  The  action dressed in red  investigates old process while moving towards the light.  He must leave the old flesh behind. The second lake and its far pavilion beckons him.  He will walk in it for 18 days.

Hermes in the sea – alchemical engraving in Roob’s “Alchemy & Mysticism”

I recalled that when crossing the first lake its waters became darker and thicker as I advanced.  The waters of this (second) lake on the contrary, became ever clearer the closer I approached the shore.  My robe which had in the palace become as black as the walls seemed to me to be of a greyish hue; gradually it resumed its colours, however it did not become entirely blue, but was near to a beautiful green.”

(See Trinosofia Texts in title bar of this page; scroll to Chapter Nine)

That is the pilgrim’s robe: not the alchemist’s red tunic in the image.  However they are the same, for the colours complement.  The blue transmuting to “a beautiful green” is turquoise, through Scorpio’s tonal vibration in the Tarot (Key 13).  Turquoise is the colour of movement.


Next Day

I wore myself out yesterday trying to get that drawing to work.  It wouldn’t.  At last I trimmed a piece of paper to fit the space and began it again – this time it came OK, and the Initiate stands as in the original illustration, trying to raise his discovery of dead flesh and bones from the levels of corruption.  The cadaver is not quite as good as my first version but is bigger in relation to the “child”.  The cadaver is the world-systems which no longer work.  The child tries to handle it but the Voice calls; it is not the time yet.  Don’t be distracted by those old systems.  Continue the journey of Light and Heart.  Don’t dally but keep walking.

I darkened all the background around the horse in the first picture, except for the ground where the darkness becomes illumined as the sticky stinking black earth full of creeping elementals and fearful dreams.  The Initiate had to stay in there for nine days and not get into mischief.

The evolution of the animal kingdom (horse) trembles with shock at having to tarry and wait for the human preoccupation to catch up and liberate itself.

This second picture will be the more effective if I darken its left-hand side too, around the big “M”.  Then we will have the Initiate emerging from the dark with his imagined retrieval of the secrets; he is positioned where the Shadow becomes the Light.  And there begins the second lake’s slow illumination and clarity to wade for “18 days” towards the far pavilion.  There is a “violet land haze” just suggested behind that palace.  It is  sketchy and the sky turns turquoise.

Trinosofia NINE

The Initiate in the Trinosofia pictures is Master R as a child – black curly hair and luminous sweet cheeks the way they drew people in the 18th century.   He has the proportions of an eight year old child – homunculus – except when with a woman; then he is a warrior, a full grown man.  Eight years old is the human age.  He grows into a warrior whenever his seed rises up to sow.

Ophiocus Sagittarius – detail

Trinosofia’s Chapter Nine travels through Scorpio and Sagittarius; the dark constellation over galactic centre.  Sagittarius is the Journeyman’s need to travel and expand. Along the Bowman lies also the Serpent constellation Ophiucus.  I needed to at least begin the next drawing – so I did – of the Initiate leaping from the tomb with golden staff and floating crown: the process of Sagittarius through Capricorn (see the post to come, on Chapter Ten.) …  It is difficult for me to copy “poor” drawings to make better drawings – for the “poor” drawings have their own lively gesture and character which I want to retain, but the anatomy and perspective are compromised; so I grope and erase for hours.  In fact, Master R told Paul Foster Case in 1947 that the existing illustrations are excellent copies of his own work.

Awakening the Trinosofia is a wonderful profound journey, with some of the strange landscapes and caves I reproduced from it.

Stage 9 illumines the dark prison – things come to light.  The Initiate tries to drag the knowledge forth like a great weight, but the Voice says “it is not yours.  Attend to the staff of Light and walk the waves.  Don’t ‘think’.  Feel.”

And in the next picture which I began, the Initiate is the Lightness of being.  I will make the stone coffin more massive and turned more towards the viewer so you can see its bottom – regurgitate its contents.  Out of it come the deep souls, saviours of the world, as your children being born; no more are the living dead being born.

With the deep belly breath, locate my inner trouble, hear and let it with the exhalation trickle out into the earth’s gravity ground to be recycled. In the part of my body which bears the tension, allow the air of love and compassion to flow.  And I smiled again!  The practice of “Relationship Mastery” in all fields of the world – business, government, politics, family, sexuality, friendship – is focused, alive and direct to the point.

I just saw again that I know nothing.  I know only what I think I know and have experienced.  The depth of my experience of life is yet a superficial lid if I paste it upon the needs of others.  Krishnamurti spoke of how we degrade each other with our images of expectation..

The defilement of environment is what that poor horse in my drawing has to smell.  Countless captive creatures live in that and are consumed as meat products; the stench defiles our DNA sensitivity with the animal kingdom.

This appalling realisation comes forth.  The Time of Sixth Sun re-launch was not only sweet light and New Earth but woke up all this more detailed awareness.  What to do?   Do not configure enemies.  There IS a cosmic battle in earth as in heaven and in all the strata between – the forces of dark inertia, fear and imagined disease with those of progress and transformation.   It is tempting to personify or project one’s own demons onto the collective shadow, but it doesn’t help.  Knowing ourselves as lighthouse keepers, the work starts here at home at whatever level.   I am aware how the dimensions of the body of light work homoeopathically through the Shadow. The condition on Earth plane is growth through resistance. To keep silent is wise, because ordinary social talk “wants” a distorting mirror. Let Nature flow as always into balance.   An immense Change – like chrysalis to butterfly – moves through our resistance.  The message for sustainability – particularly in this last year or so – expands exponentially.

What to do?  Carry the Staff of Light and the Crown unworn; sprung from the abyss.  Be conscientious; listen, and pass on the vibrance in the field in simple ways – a smile, a seat on the train, a chat with a cashier.  We as predatory consumers still want a luxury culture of excess. This deranges our animal companions.  So by now, we humans know what it is to derange ourselves.

Yet there is the conscious reorientation – our choice. As with Siva swallowing the world’s murk and turning it peacock blue in his throat, the Resource I can call upon is Infinite.

“You offer a window through which others may look and see and wake up.   You offer a window – a viewpoint – which quickens evolution.   We gave you this window to maintain. Your job is to keep the window clear and clean;  to hold the vessel;   to recreate our Perspective through it.   The window is also a navigational instrument, the approach of Eternity to the new sciences.  Behold it, to the living world.   A Lens.”

Alignment with the magnetic field overcomes obscurity and penetrates any blanket of leaden thoughts.  This same soft power within the animal, avian and plant kingdoms adapts, turns and follows alternative patterns and flight paths as the atoms do.  Everything in the Great Tuning Fork has ultimate harmony and resonance; for the time we are in is an evolutionary acceleration – the fall-out around us, of centrifugal wobble and spin.  The tension in the atmosphere is heightened by the devices humans manufacture to copy it.   But always there is return to navigational centre; solar plexus; the floating compass; the slow sunlit unfoldment of the Now.   Choose which!

Awake the cubed blossom in my root.  It is subtle, like Johannes Kepler’s golden seed among  dung for the hens to find.  A piece of crystal – rock of ages – is warmed by the human body to emit a signal.

The signal is the feeling; feel the Philo Sofia; lover of wisdom.




A song (circa 1770, written in London) by Master Rakoczy, Saint-Germain.  Xeroxed from the British Library collection

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 2012-2019. 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

Rites of Fire, Water, Wood in Spring

Profile, dancer’s masque


In Persia there is an ancient Zoroastrian rite – outlawed by the current regime – to jump over the fire with the early days of spring.  Letting go our worries into the flames, the firebird phoenix rises from the ashes.   We enjoy the feast with neighbours and family.  In Iran and Kurdistan and all over the world the elder secret fire is  stirred.



Before the fire party, I took my camera over Hampstead Heath.  The fire is in the wood: the life is in the waters.

Spring spikes sky pond

Oak flows


The White Bull


triad fire nests


THE PAINTBOX: all of this has colour and swishes of the loaded brush. The fire mystery is within my dryadic photo odyssey through the heath and Sandy-heath and ponds:  the sexual flow and texture of oak and spiky root and arboreal nakedness and light:  the trees piercing the pond are shivered by ripples of a passing pair of ducks.   The Rite of spring!


Loaded brush stroke

A Song by ‘Argent’ (1970s):

We will light a giant burning fire tonight
We will build it and dance in the smoke
Every branch we’ll tie somebody’s worry to it
We will burn it and dance in the smoke

I recall it was too tall
To see the flames grow high
But on tiptoe
The flames would grow
And burn into the sky!

Lyrics found <a href=””>here</a&gt;




Horned Creature Janus

Gallery – to view, click on images




fire dance 1

triad salamanders

flesh and flame in the wood


WHAT IS CULTURE? … something about Siva and the Rishis’ wives in elder India.

The Rishis’ ashram had become a dry old stick of the intellect.   Vagrant lord Siva came as Agni (sacred fire deity) out of the forest and impregnated the Rishis’ wives through their hair follicles, as they warmed themselves around the blaze.   I have always loved this story.

Last night I saw fire, ashes, crackling sticks of the nest, and the flaming, dancing Bird.  In the fire I knew there is Zoroaster … the edge, the archetypal cleavage of the darkness and the light:  Azda, Ahriman – vaguely recalled concepts which I drew thirty years ago.

Sunflower & Ahriman, 1986 – the dark and the light support each other

The reality however, of the flame and the love and the family and the dancing, jumping and singing around and in the fire … and later, the soft and ancient glow of knowledge through my body … is ORIGINAL, and cancels book-learning like the sea in my face:  Gnosis.

Fire is fire, the heart and hearth and art of the fire: Thou ART i AM.

It is like the fire in Plato’s cave … the inner fire, and its passage to the Sun outside, as night falls on apple blossom in the garden.

I saw that the old and worshiped treasures of human culture, which developed into religions and spiritual paths and occult Mysteries are this thing that families do around the fire, around the heart, long before anything got written about it.  Then the children grow inside the women.  There is no need for Schools.   Here, the consecrate seed begins.


Gallery – click on image





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



Mystery of Master R: part 6 – the Twelfth Day of Trinosofia


Sketch of Trinosofia 12th stage - Initiate and Isis

Sketch of Trinosofia 12th stage – Initiate and Isis

trinosofia master r

For some reason, I  wanted to begin my sketches from Master R’s Trinosofia with the Twelfth chapter – the final one – of the inner journey.  I posted this monochrome xerox in Part 1:  so here is a link to the facsimile original, where you can see it properly:  scroll down it, to Section Twelve.

I  copied as best as I can, the colours in the original.   I am not a good colourist, so I found it difficult, and I don’t know how many more I shall try – perhaps in different styles.  Master R’s figures and characters have rosy cheeks.  The period style sits intriguingly with his Alchemy.


Here is Manly P Hall’s translation from the French:

“The hall into which I had just entered, was perfectly round;  it resembled the interior of a globe composed of hard and transparent matter, as crystal, so that the light entered from all sides.  Its lower part rested upon a vast basin filled with red sand.  

“A gentle and equable warmth reigned in this circular enclosure.  The sages call this hall – hebrew text from section 12 trinosofia “With astonishment I gazed around this crystal globe, when a new phenomenon excited my admiration.  From the floor ascended a gentle vapour, moist and saffron yellow.  It enveloped me, raised me gently, and within thirty-six days, bore me up to the upper part of the globe.  Thereafter, the vapour thinned;  little by little I descended and finally found myself again on the floor.  

“My robe had changed its colour.  It had been green when I entered the hall, but now changed to a brilliant red.  A contrary effect had taken place in the sand on which the globe rested.  Gradually its red colour had been transformed into black.   After finishing my ascent, I remained three more days in that hall. 

“After that time, I left it in order to enter a large place surrounded by colonnades and gilded porticoes.  In the centre of the place stood a bronze pedestal supporting … a large strong man whose majestic head was covered with a crowned helmet.  A blue garment protruded through the meshes of his golden armour.  In one hand he held a white staff bearing certain characters; the other hand he extended towards a beautiful woman.  

“His companion wore no garment, but a sun radiated from her breast.  Her right hand held three globes joined by golden rings;  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;  both were borne up by the clouds around them.  On the capitals of four white marble columns were set four bronze statues;  they had wings, and appeared to sound trumpets.

“I crossed the place, and mounting a marble platform, I noticed with astonishment that I had re-entered the Hall of Thrones – the first in which I had found myself, when entering the Palace of Wisdom.  The triangular altar was still in the centre of this hall, but the bird, the altar and the torch were joined and formed a single body.   Near them was a golden sun. 

“The sword which I had brought from the hall of fire, lay a few paces distant on the cushion of a throne.  I took up the sword and struck the sun, reducing it to dust.  I then touched it and each molecule became a golden sun, like the one I had broken.  At that instant, a loud and melodious voice exclaimed, ‘The work is perfect !’

“Hearing this, the children of Light hastened to join me, the doors of immortality were opened to me, and the cloud which covers the eyes of mortals, was dissipated.  I SAW, and the spirits which preside over the elements knew me for their master.”

bird of fire 18th c

Bird of fire, 18th century


For me, the way to read beautiful alchemical texts or poetry, is not to churn it intellectually, but to receive the images slowly, one after the other.  They tell the story to the part beyond speech, where wisdom replies.

This one is particularly rich, awaking old engravings of the vessel and the bird;  the dew of life;  the purifying of the mind’s residue as the red sand turns black – rajas active, to tamas, its absorbent texture.  At certain times during the alchemical process, over the years, the wing of a highly esteemed Raven appears:  the negrido.   In the black sky, the stars – the grains of cosmic sand – are visible.




In Manly P Hall’s commentary, the Hebrew letters spelling the name of the hall are: “A place where drops trickle”.  The basin sustaining it is “the desert of blazing fire” or “the agent which enables the drops to escape.  From the bottom of the glass retort, vapours are constantly ascending.  The adept is lifted up, and after 36 days is borne to the upper part of the globe.  The heat being reduced, he descends and discovers that the colour of his garment has changed from green to brilliant red.  ‘The solution in the alchemical retort, if digested for a certain length of time, will turn into a red elixir which is called the Universal Medicine.  It resembles a fiery water, and is luminous in the dark’ – see ‘The True Way of Nature’ by Hermes.”

This interpretative paragraph is by itself, full of meaning.  There is a condensation on the flask of the interior life.  It falls to earth as the water of life.  The thirty six days is a reference to the LAMED VAV – the counsel of 36 Masters of Wisdom, who guide Earth and humanity (whether we listen or not.)  The number remains constant.  In the Initiation, the adept or aspirant becomes of their number.  The heat – the intensity of the Great Work – cools as he returns to life.  The Universal Medicine gives a ruby tinge.   The colour of his clothes has changed – from green, the tint of Venusian laws of attraction, to red – Mars:  the action itself, of the Sun.

An Illustration from A.Roob's Alchemy & Mysticism

An Illustration from A.Roob’s Alchemy & Mysticism


Hall continues:  “He beholds the bird, the altar and the torch united into one spiritual body.  Heaven, earth and man have been united by the indissoluble bonds of Hermetic wisdom.”

Master R : 08 - altar bird torch

Realisation brings with it a sense of amalgam – of all parts being fused:  the universal connectivity in humankind’s cosmic heart.

“The adept himself is now the Universal Medicine, the very substance which is for the healing of nations … The philosopher breaks the golden sun – the Universal Gold – in fragments, distributing it throughout nature.  He then touches them, and each becomes perfect.  The alchemist is master of his Art, and by virtue of the Stone he releases and perfects the fragments of divinity locked within each mortal constitution ... the ages acknowledge a new Master.”

Pelican & Phoenix - A.Roob Alchemy & Mysticism

Pelican & Phoenix – A.Roob Alchemy & Mysticism


If I digest these symbols, as visually represented, slowly they begin to tincture my problem of life, by themselves.  Trust and love the process, and let IT work.  Alchemy is in everyman’s reach, closer than breath. The heat should be as a hen’s breast to hatch her egg. Alchemical language was made deliberately obscure in medieval, renaissance and reformation times, to avoid abuse, misuse and persecution.

At the beginning of the Trinosofia, the adept travels in the volcanic bowels of the earth and survives an ordeal of stormy seas.  Our way to interior peace is through psychological resistors – the  violent veils, each of which we face, and pass;  as we know ourselves.

Of the picture, Hall remarks, “The pilgrimage of the adept is at last complete.  In the heavens blazes the philosophic Sun – a triangle surrounded by a circle and a square, unifying the diversified elements of Nature into one divinely radiant and effulgent power.  The female figure is Isis – her body no longer concealed by a black garment.  She is Nature.  With one hand she points upward towards the Divine Light, her source, while with the other, she carries three globes emblematic of the ART, the supreme Hermetic alchemy.  The globes represent the three parts of the Philosopher’s Stone, bound together by gold rings. 

“The large strong man is the Initiate himself.  Through the meshes of his golden armour protrudes the blue undergarment, his starry cloak.  In his hand he carries a white wand ornamented with magical characters – insignia of his rank, the baton of the adept.”

It is the baton or tool of an artists’ creative imagination – a pencil full of images and ideas.

pelican, serpent staff & phoenix, 18th century

pelican, serpent staff & phoenix, 18th century


I find Manly P Hall’s commentary on the Trinosofia illuminating and useful.  It seems that Master R himself did not altogether agree!  He is on record telling Paul Foster Case:  “If you will procure and read the pamphlet on St Germain, and compare it with what you know of me, you won’t have much difficulty in understanding that none of us are exactly enthusiastic about the life, ways and work of M.P.H.  We use him sometimes, but he is after all pretty much of a solemn ass. 

“Remember the words of Lao Tse: ‘evil men are the material with which the sages work’, and one of our Eastern brethren once paraphrased it by saying that the Masters employ the Dugpas for their dirty work.  Not that M.P.H. is a dugpa, he is really a fairly effective instrument for arousing torpid minds, but he does take himself so seriously, that it is painful even to us, who have the highly developed sense of humour which is one sure consequence of true inner growth … now we will resume with another fragment of the Text (on Malkuth) …” (5 February 1948)

And:  “Incidentally, now that you have heard Manly Hall, perhaps you can understand that we are not too pleased with his flatulent comments on the Trinosofia.  His copy is not the original, not even the drawings, which however were excellent copies of the originals.  Yet there is material in that text (Trinosofia) germane to your work, and it might be well to give it more thorough inspection.

“… the inner work is arduous at its early stages;  it calls for unusual abilities on the part of those who seek to become proficient in the higher ranges of practice;  it is emphatically not for neurotic visionaries of the type so often encountered amongst Theosophists and so-called Rosicruceans …(19 February 1948)


19th century master r

From this romantic 19th century impression of Master R, I attempted this new drawing, a few days ago.  It was immensely hard to get right.  My eyes are not as good as they were.  While I am on the drawing, it is almost there and begins to speak.  Then I look from a more objective angle, and it is all out of proportion – eyes have to be redone, and so on!


Master R - in 19th century  mode

Master R – in 19th century mode


And now let him speak.  The Adagio and the Andante of his sixth Violin Sonata (composed and performed in London in the 1750s) are exquisite, conversational movements.   I try to draw out the pianistic touch slowly like a violin – a flexible baroque style rubato;  let it sing.  I haven’t tried the quicker movements;  the slow ones are within my reach.  But, like Bach, this music may be enjoyed as slowly as you like;  play it as a chorale perhaps.


EARLIER NOTE – 30 September 2003

To return to my Holy Brother’s Sonnet, the star ripples secret fire and Light through spatial atoms, the yeast spreads through the grain, the grape ferments to Bacchus, the pip that is the sperm ferments within the womb as the Soul lodging in womb’s wall ripples into the maternal chorionic villi.   Fermentation is a kind of sparkle.  It is invisible.  Yet all around it is this ripple and ferment,  this life which is not decay nor carrion.  Ferment is – it releases warmth, Mars, energy – a controlled rot.  Press one of Lord Saturn’s buttons and his coat flies open.  This amazing bubbling of the brew smells sweetly ripe and is under Law.


phoenix copy from Trinosofia section 12


“The Most Holy Trinosofia of the Comte de St-Germain with Commentary by Manly P.Hall” was published by The Philosophical Research Society in L.A. in 1983.

Above, is my brand new copy of the Phoenix figure which heads Section 12.  The body of our firebird is the purified jewel – lapis lazuli;  liberation.   The Master had a wonderful control with his colours.  In the original they glow like gems.  He is said to have ground pearl dust into his pigments!   Copying his images, I learn what they are about;  they work through me, physically.  The sincerity comes before skill.





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

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