(The Way of La Toabey)

Tradition of MASONIC-Historical and ALCHEMICAL MANUSCRIPTS OF THE ORDER (Part I)

@: - Victor. A. Cabello Reyes. CR +

“However, in making the distinction, it was soon to be forgotten-as the term 'Speculative Freemasonry' entered into Masonic currency -that the so-called operative masons (and later 'Freemasons') had been speculating for THOUSANDS OF YEARS ”

(Freemasonry The Reality, by Dr. Tobias Churton, Honorary Fellow of Exeter University, Lecturer in Freemasonry and Rosicrucianism p. 117)

The Order of the Phoenix preserves authentic manuscripts that for many centuries have been carefully preserved and copied in the Temples of Light .

Even before the Italian Renaissance, great artists, painters, sculptors, musicians, poets, architects and builders, they had belonged to fraternities-guilds and brotherhoods where that "Occult Knowledge" was jealously preserved.

The Order of Saint Benedict, in which the monks of Cluny reformed the architectural styles, was only a lucid page in a process of Ancestral Knowledge that as an Ascending Spiral Scale continued almost without interruption for centuries.

Together with the Citeaux-Cister and the Cluny they spread across Europe like the Prelude to the Gothic.

Ancient oral traditions say that to the Master Builder Gauzon, the Apostle Saint Peter appears to him, giving him in a Vision the Plans of the Temple of Cluny III.

Centaurs and Phoenixes, lions, prophets and singers intermingle in the Floral-Spiral motifs of the decoration of the Santes Creus. Style carried by the nomadic brotherhoods of builders in that 'Going and Coming' to San Galgano, Fossanova or Casamari in Italy.

Sacred Square, well recognized by the 13th century Master Architect, Villard de Honnecourt when he exclaimed, "Vesci une glize D'Esquarie, ki fu esgardee a faire en L'ordene de Cistaus" =(Here is a square church designed by the Cistercian Order).

The Cistercian has a very special predilection for the Virgin Mary-Divinity Feminine.

An order that will offer its floral constructive forms in a wise and ritualistic way to the brothers of the Temple in their Castles of the Cross, crusader masters of the Stone of the Phoenix, "Through this Stone the Phoenix is ​​reduced to ashes ... " By the power of the grail the Phoenix lives again ”.

(Wolfram Von Eschenbach, Parzifal).

Lapis lapsus ex caelis-stone fallen from the sky.

Rosettes of the Saint-Jean Cathedral, Rouen Cathedral, Santa Chapelle ... or the fine Portal de la Vierge-Mere= (Virgin Mother of the Cathedral of Amiens).

Subsequently, the evolution of the forms develops and matures carefully maintaining the Cross Vault Pattern and cross of the Euclidean-Vitruvian model, Cruz; as we will see it in Chartres or in the Cathedral loved by Flamel, Notre-Dame de Paris.

Cross at Reims (1211), Cross at Chartres (1194), Cross at Amiens (1220).

Solar Light in Multicolored Prisms at La Sainte-Chapelle de Paris (1242-1248).

Cyclical Cross of Hendaye-Ocruxaves Pesunica-or crux abe spes unique-Cross that encloses the mystery of the macrocosm-microcosm, by which Hope-Faith is our only salvation. Phenomenon of Heaven and Man-Temple-Model-Geometric-Builder-Union-Square-Compass.

(Melancholy of Albrecht Dürer, The life and art of Albrecht Dürer; Erwing Panofsky, 2005)

The initiate Abbot Suger de Saint-Denis, knows the Mathematical Pattern and the Harmonic game of Stained Glass Prisms.

(The Art of the Italian Renaissance page 116 by Rolf Toman).

Solar Chromotherapy, which managed to create a very subtle vibration among the monks and visitors to the church.

The symbolic painting also keeps the "treasures of teaching" received from the Ara Pacis-Roman (Altar of Peace) by the teachers and priestesses of the temple to Apollo Sosianus with his sacred Swans (20 BC).

The Swans circled Delos seven times ... and they had not yet sung for the eighth time, when Apollo was born. "

(Hymn to Delos, Calimaco: In Fulcanelli page 107).

Swan of Leda that contains the Mystery of Magic and Sensuality of the Flower-Flower-gum.

Italy, Etymologically it is the Mother Earth-Feminine Divinity.

Sandro Boticelli's Spring (1478) for example, is deeply influenced by the Currents of neo-pagan thought and the multiple harmonic musical and 'symbola' between the Flower-Flora-Romana with their corresponding Musical attributes.

(Three-Graces).

Musical Harmonies that Alchemy will periodically take up as the basis and foundation of the Flowery Awakening and that the alchemists will later preserve in their Royal Art.

The “Sacred Music drives away melancholic and evil spirits''; is inscribed among the musical instruments on the central table by H. Khunrath-Amphiteatrum Sapientiae Aeternae (1604)

Seven candle-lights from the ceiling chandelier, Pentalfa Five-Pointed Star on its Altar , 'Festina Lens' well says the Athanor-Dormiens Watch-Watch while you sleep, written in the upper central corridor of Khunrath.

Saturn is a symbol of the Cross. Dürer's Melancholy is Saturnal!

Sacred harmony that '' vibrates '' in the mathematical proportions and geometric coordinates as the maximum expression of the celestial harmonic musical tone of the pattern of knowledge immersed in the quadrivium, arithmetic, geometry, astronomy and music, essence of the harmony of the celestial spheres and constructive forms.

Florence is the City of the Flower and the essence.

Painting is a book where wisdom is maintained and preserved with the underhanded endorsement of initiated artists and ambitious patrons.

The Master of the Church of Santa Croce, Giotto = (Death of Saint Francis-Bardi Chapel), Da Vinci, Giovanni Bellini, Raphael and others, They were Luminous beings that as 'receivers' of the Higher levels of the Musical-Artistic-Vibrational Scale.

Among them will be deposited a wealth of images and celestial archetypes that later 'sprout' after a rigorous and methodical educational-practical process in the Workshops and Guildes.

Mozart will recognize very later that he received the Golden Vibra of the Celestial Scales, the sublime Music of the Vibratile Spheres.

The sixth Pastoral of Beethoven, preserves the elements of the paradisiacal arcade as a transmission of the harmonic legacy between Man and nature-Mother-Divine-Shepherd.

The architectural legacy of cathedrals and Gothic churches will preserve the millenary substrates of the master-architects and masons who carved the 'raw stone', who knew very clearly that behind the construction and decoration was a Hermetic Veil of Arcane Wisdom.

In Santa María Novella this artistic legacy is deeply enriched thanks to the guild of Arte Di Calimala, as well as the Builder wisdom of the master architect Arnolfo di Cambio.

Reaching the Rosslyn Chapel in Scotland, where the famous apprentice's column gathers the designs of The Flower-Rose-Rose that only a Master of the Rose and the Phoenix can teach as Wisdom of the Kabbalistic Tree of Life.

In the Sala di Gigli (The Room of the Lily or Lis) in Florence -the heraldry of the Italian city has the Fleur de Lis- the Floral Master, Domenico Ghirlandaio (1482-84), a brilliant flowery Master who was nicknamed, “the flowery garland maker ”= Ghirlandaio.

It was he who kept the artistic motif valid as the initiatory inheritance of the Golden-Solar Chain and the artistic Sacred Floral Pattern of the Order of Guilds -Magister- of the Fleur de Lis.

That Flowery Pattern hides the Wisdom of the Hermetic Masters and Kabbalists. It is a floral transmission of inner power.

The Divine Flower is the Secret substance of Wisdom and the transformation of Illuminating knowledge.

It is the Flower of Wisdom as an alchemical metallic tincture from which the Golden Flower-spinal-like Arcanum springs will emerge.

The legacy of the ancestral wisdom of the sacred writing of the monastic scriptorium is recognized in his masterful work.

(Saint Jerome in his cabinet, 1480)

It is there where the geometric symbols of the spiritual orders are manifested and wisely combined between designs of the architecture, painting and geometry.

Sandro Botticelli had already done the same in his work (St. Augustine, ca.1480), in it, the books of the saint's scriptorium exemplify the legendary Euclidean tradition; that passes unscathed and fluent in the monastic and artistic scriptoria. The brilliant master Ghirlandiao -who was the Master of the Divine Michelangelo- skillfully hid among his flowery “columns” of the paintings, the Floral Wisdom-Crater of the Fleur de Lis.

(Tornabuoni Chapel, in Santa Maria Novella, work: Birth of the Virgin, 1485-90)

Look closely at the columns in his work, and the symbolic floral garlands. The two columns of the Masonic architectural tradition are also adorned with lily flowers.

The First Kings (7:19) says: "And the capitals that were on the upper part of the columns in the portico had work of lilies, four cubits".

The Hebrew term schu-schán, and its Greek equivalent, Krí-non, can also be translated as; "LILY": 1: Kings 7:22. "And on the upper part of the columns there was WORK of LILIES."

The most extraordinary thing is said here: “… and its rim was like the workmanship of the rim of A GLASS (The CRATTER!), A LILY FLOWER) '' 1: Kings 7:26.

And in Second Chronicles 2: 4 : 5: “… and its rim resembled the workmanship of the rim of a cup, a lily flower.

The Song of Songs 2: 1… “I am a simple saffron from the coastal plain, A LILY from the low plains”.

And so clearly, the lily IS LIKE the woman ... "Like a lily among thorny weeds, so is my companion among the daughters" (Song 2: 2 and 16)

This verse is truly beautiful.

"Your two breasts are like TWIN gazelle calves that are grazing among the LILIES" (Song 4: 5 and Song 6: 2, 3 and 5:13)

The symbolism clearly reaches the moment when Oséas preaches the restoration of the Israelite people .

“I will become like the ROCIO to Israel. He will flourish like the LILY… ” (Oséas14: 5)

The Divine Master Jesus mentions: “Learn a LESSON about the LILIES of the field, how they grow; they do not toil, nor do they spin”. (Matthew 6:28, 29)

Look for the esotericism about the LILY between Psalms 45, 60, 69 and 80.

The two sacred pillars are adorned on their capital Keter = Floral crown, adorned with lilies. (Albert G. Mackey, Encyclopedia of Freemasonry Volume III, p. 1189)

Formal tradition inherited from ancient times that is never fragmented, since it is tied like strong Catena Aurea.

Its spiritual content has been maintained for millennia, and still remains flawless, among the great works of the Flowery Masters.

Ancient Wisdom of the Flower and the Cross is hidden a great mystery. Stone and metallurgical mysticism are related to an immanent and transcendent sympathy of mystical filiation, deposited in the Wisdom of Prisca Theologia.

The operative tradition, the operative way, connects heaven with earth and has never been detached from legendary and spiritual philosophical speculation.

The divine mirror is constantly reflected in the achievement of the finished construction work as a reflection of the Light in the solar filters of the stained glass art.

What separates, is the cruel ambition, hypocrisy and ignorance, all of them, dark elements that obscure the path of the teacher.

The tools are there, waiting for the Magnus Opus, which is complemented by the creator's own spiritual development, to then unify, operative and speculative, in the eager search of the labyrinth towards the inner light.

Speculation has the most valuable object in the universe, its meanings and characteristics.

For the Master Paracelsus the arcanum santum is the internal star power of the whole. We are Cosmos!

(The Way of La Toabey)

Tradition of MASONIC-Historical and ALCHEMICAL MANUSCRIPTS OF THE ORDER (Part I) Victor. A. Cabello. Reyes CR +

Tradition of MASONIC-Historical and ALCHEMICAL MANUSCRIPTS OF THE ORDER (Part I)

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