The State University of New York at Potsdam

THE DERIVATION OF MASONIC SYMBOLISM AND MOZART’S USE OF IT IN

THE MAGIC FLUTE

By

Patty Welch

A Thesis
Submitted to the Faculty of
Musical Studies
In Partial Fulfillment of the Requirements
For the degree
Master’s of Musical Studies

Potsdam, NY
January 20, 2009
 This thesis entitled

The Derivation of Masonic Symbolism and Mozart’s Use of it in The Magic Flute

By

Patty Welch

Has been approved for the

Department of Musical Studies

____________________________________ _______________
[Title] Date

____________________________________ _______________
[Title] Date

____________________________________ _______________
[Title] Date

The final copy of the above mentioned thesis has been examined by the signatories and
found to meet acceptable standards for scholarly work in the discipline in both form and
content.

2
 PERMISSION TO COPY

I grand the State University of New York College at Potsdam the non-exclusive right to
use this work for the University’s own purposes and to make single copies of the work
available to the public on a not-for-profit basis if copies are not otherwise available.

_______________________________ _____________

Patty Welch January 20, 2009

3
 Abstract

Authors such as Manly P. Hall and John J. Robinson have done extensive research on the
history and derivation of Freemasonic symbolism, while authors such as Jacques Henry,
Jacques Chailley, Neal Zaslaw, and William Cowdery have done extensive research on
Masonic symbolism within Mozart’s Opera, The Magic Flute. However, throughout my
research for this paper, I have yet to see many, if any resources that make a connection
between the two. The goal of this paper is not only to help explain where Masonic
symbols come from, but also make the connection between them and The Magic Flute.

4
 Table of Contents
I. Introduction……...………………………………………………………….……..6

II. The History of Freemasonry……………………………………………………....8

III. Masonic Rituals and Symbolism…………………………………………….…..12

IV. Masonic Ties to Ancient Egypt…………………………………………………..19

V. Mozart, the Mason…………………………………………………………….....25

VI. Masonic Symbolism within The Magic Flute…………………………………....30

VII. Conclusion……………………………………………………………………….37

VIII. Appendix a: The Magic Flute Synopsis: written by John T. Gates……………...38

IX. Appendix b: The Story of Isis and Osiris……………………………………..….44

X. Appendix c: The Lost City of Atlantis……………………………………….…..51

XI. Appendix d: Visual Examples of Masonic Symbolism………………………….55

Bibliography………………………………………………………………..……………58

5
 The Derivation of Masonic Symbolism and Mozart’s use of it in

The Magic Flute

1 2 3

I.
Introduction

The All Seeing Eye, the pentagram, the pyramid, the level, the square and the

compass: these are symbols that surround us in our everyday lives. They have been in use

for thousands of years, and are now recognized as belonging to the Freemasons. These

common symbols are often used in advertising and architecture, as well as many other

areas. Many well-known composers, such as W.A. Mozart, were Freemasons, and often

included Masonic symbols in their musical compositions. It is common for the people of

our time to recognize these symbols, but where did they come from and what are their

origins? Documented use of these symbols can be traced all the way back to the Ancient

Egyptians, even back to the Lost City of Atlantis.4

Freemasonry began influencing the compositions and life of W. A. Mozart with

his initiation as a Freemason on December 14, 1784. His Funeral Ode (July 1785) was
1
http://www2.srmason.net/images/uploads/macnulty.jpg (Accessed 7 May 2008).
2
http://www.summum.us/images/gif/FreemasonrySymbol.gif (Accessed 7 May 2008).
3
http://cantontruth.blogspot.com/2008/02/secretary-of-state-condoleezza-rice.html (Accessed 7
May 2008).
4
Refer to Appendix c

6
composed during this time period. This piece is recognized as being “one of [the] most

elevated pieces in all music.”5 Titled as Masonic, this piece is still performed at the

funerals of many distinguished Freemasons.6 However, the best known of his works to

contain Masonic elements is his opera The Magic Flute. Within this opera, Mozart

makes frequent use of the numbers 3 and 5, which are important in Masonic symbolism.

He makes use of the transition from darkness to light, or chaos to order, as well as the

four elements of Fire, Water, Air, and Earth.

Authors such as Manly P. Hall and John J. Robinson have done extensive

research on the history and derivation of Freemasonic symbolism, while authors such as

Jacques Henry, Jacques Chailley, Neal Zaslaw, and William Cowdery have done

extensive research on Masonic symbolism within Mozart’s Opera, The Magic Flute.

However, throughout my research for this paper, I have yet to see many, if any resources

that make a connection between the two. The goal of this paper is not only to help

explain where Masonic symbols come from, but also make the connection between them

and The Magic Flute.

5
Jacques Henry, Mozart The Freemason (Vermont: Inner Traditions, 1991), 49-55.
6
Ibid, 49-55.

7
 II.
The History of Freemasonry

It has been said that Freemasonry is “no longer so much a secret society as it is a

society with secrets…Whenever you have people holding meetings and conducting

rituals in private, you’re going to find someone who thinks that they’re somehow plotting

against the world.”7

Author Manly P. Hall has done extensive research on the symbols and rituals of

the Freemasons. In his book The Lost Keys of Freemasonry, Hall describes Freemasonry

as religious, yet not a religion. He says that it is a balance between the materialist and the

spiritist.8 It is esoteric, not a thing of this world. It conceals the mysteries of creation in

which the lazy will be excommunicated from the brotherhood. Those who are chosen to

do so are regarded among the brotherhood as failures. The noblest tool of Freemasonry is

the mind, its value measured by the use that is made of it.9 Masons evolve through the

self-conscious effort to live up to the highest ideals within themselves.10 Freemasonry is

a high ethical order, a noble and sacred mystery.11

The story of Freemasonry is said to have begun in the year 1000BC with young

Hiram Abiff, who was chosen to be the Son of God (The Builder’s Father), and was to

build his house. The size and layout of this structure were to be equal to that of

Solomon’s Temple. (See picture on page 5) With the tools given to him by The Builder’s

Father, Hiram built three workers to help him complete the temple. However when he

informed the workers of their assignment, they laughed at him, and demanded the

7
Sylvia Browne, Secret Societies and How They Affect Our Lives Today (Carlsbad, California: Hay
House, Inc, 2007), 38.
8
Manly P. Hall, The Lost Keys of Freemasonry (New York: Penguin Group, 2006), 13.
9
Ibid, 31- 34.
10
Ibid, 48.
11
Ibid, 96.

8
knowledge that was given to him by The Builder’s Father. Hiram Abiff assured them

that all would be revealed when the temple was completed. Enraged, the three builders

then killed him with his own tools, and the dying Hiram shouted, “Who will help the

widow’s son?”12 Immediately, the voice of The Builder’s Father spoke to the three

murderers, saying, “He is not dead, but asleep.” As punishment for their treacherous

deed, the workers were to continue laboring, dedicating their lives to the resurrection of

their Master. “These three murders - perverted thought, uncurbed emotions, and

destructive actions, slay the spirit of life in man, and bring down the Temple of Creation

in ruins about their own heads.” (See picture page 10)13 Because of their treason, they

also were to forever wander, searching for the unmarked grave of their Master, Hiram

Abiff, guided only by the light of the oil lamp given to them by The Builder’s Father.14

The exact origins of Freemasonry are very unclear, however most scholars are in

agreement on where the name Freemason originated. In her recent book, Secret Societies

And How They Affect Our Lives Today, Sylvia Browne gives three possible accepted

reasons:

1. Early stonemasons were, by and large, free men. At one time,

the various skills of masonry were at a premium because of the
large number of churches, castles, and cathedrals that were being
built. Masons and other craftsmen, unlike serfs and farmers,
were allowed their freedom because they were proficient in the
building trades and could travel around and find work at will.
Hence, they became known as “freemen masons,” which was
then shortened to “freemasons.”

2. Masons worked in freestone (a type of quarry stone) and were

therefore “freestone masons,” which again was shortened to
“freemasons.”

12
Mysteries of the Freemasons: The Beginning, dir. Pip Gilmour, 60 min. The History Channel, 2006.
Television Program.
13
Hall, 22.
14
Ibid, 25.

9
 3. The final and most probable explanation comes from the French
term franc- maçon, which denoted a mason who’d been granted a
contract by a church to work on its property, therefore being
“free” from taxation or regulation by the king or local
municipality.15

16

15
Browne, 39-40.
16
http://atheism.about.com/library/FAQs/christian/blxtn_jerusalem-maps01.htm (Accessed 13 August
2007).

10
 17

17
Hall, 22.

11
 III.
Masonic Rituals and Symbolism

There are three steps to becoming a Freemason, each representing a different

stage of life. The first is the Entered Apprentice, representing youth. The second is the

Fellow Craft, representing manhood, and the third is that of the Master Builder,

representing old age.18

The Entered Apprentice (youth) is the degree of preparation. The candidate is

given the number seven, which relates to the seven liberal arts and sciences (grammar,

rhetoric, logic, geometry, arithmetic, music, and astronomy.) The first onus of the

candidate is to awaken the powers of these, following the directions of those who possess

greater knowledge than they. They must build and thus evolve the powers of

discrimination, as well as strength of character.19 The candidate must recognize the

oneness throughout his home life, business life, and society.20

The spiritual requirements for this first step of the Entered Apprentice consist of
the following:
1) The candidate must have studied the anatomy of the physical body enough to
have a general idea of its make-up, since this degree is based on the enigma
that is the human form.
2) He must realize that his body is the living temple of the living God, treating it
accordingly.
3) He must study the problem of maintenance of the body through food, clothing,
and breathing, as well as other necessities.
4) He must grow physically, in the expression of concrete things, idolizing
human relationships while seeking to unfold all that is unselfish.
5) He must also seek to diminish all inequalities, balancing mental and physical
organisms through the application and study of the seven liberal arts and
sciences.
Once a candidate is deemed spiritually worthy, he is considered for advancement to the

second stage of his growth.21

18
Hall, 41.
19
Ibid, 42-3.
20
Ibid, 46.
21
Ibid, 47.

12
 The second degree is that of the Fellow Craft (manhood). At this time in his

development, a candidate must reach a point of balance between his heart and mind. He

must use this balance to work with his elemental fire, because it is his duty to turn it into

his own spiritual light. The keywords of this step are compassion, poise, and

transmutation.22

The spiritual requirements for this second step of the Fellow Craft consist of the
following:
1) The mastery of emotional outbreaks.
2) The mastery of animal energies.
3) The understanding and mastery of creative forces.
4) The transmutation of personal affection into impersonal compassion.
5) The realization that the five senses are key.23

The third degree of the Master Builder (old age) is the graduation from the school

of esoteric learning, the old man having found the staff of life and truth upon which he

leans. He is truth, having become the spokesman of the highest symbol: that of the rising

sun. He completes the temple with the final stone, and preaches about the Eternal Plan of

his Masters. He may now begin his climb of the ladder to the stars behind the blue veil,

the degree that is not known to earth.24

In order to qualify as a Master Builder, a candidate must know that there is but

one Lodge: that of the Universe. This Lodge is the brotherhood that is composed of all

that moves or exists in all of Nature. He must also recognize the oneness of life

manifested through the diversity of form, as well as realize that there is one connected

Life Principle, the spark of God in all living things. Religion must be universal,

recognizing only the light, not the bearer. He must also develop the powers of

22
Ibid, 53-9.
23
Ibid, 52-3.
24
Ibid, 52-9.

13
observation, asking himself how he can be of greater use in the Universal Plan.

Unselfish, he is forever and always on call to the Builder, prepared to be ready at a

moment’s notice, often when he least expects it.25

Many scholars have concluded that the Freemasons implanted certain symbols

into the American dollar bill. The most popular of these can be found within the seal of

the United States of America, that of the All-Seeing Eye. A popular symbol, the eye is a

compact and non-controversial way of representing God. This symbol is accompanied by

the Latin phrase for “New Order of the Ages,” commonly referred to as the New World

Order. Being that the All-Seeing Eye (as well as the triangle) is one of the most

commonly known Masonic symbols, many believe this to symbolize the plan of the

Freemasons to eventually take over the world. It is also known that the symbol of the

All-Seeing Eye was not adopted into Freemasonry until 14 years after the seal of the

United States was developed.26 The eye of Horus (or Ra) is also one of the most

commonly known Ancient Egyptian symbols. To the Egyptians, the eye represented life

and resurrection, one way to bring order out of chaos.27

Raised as a devout Catholic, Mozart found the values and beliefs of the

Freemasons to be an extension of Catholicism. However, many Christians view Masonic

beliefs as Satanism, the worship of Lucifer.28 This even extends into the construction of

our nation’s capital, Washington, D.C. According to these “scholars” (for lack of a better

word), the streets around the heart of Washington, D.C. form an upside-down pentagram,

the main symbol of Satanism. These scholars are certain that this formation of streets
25
Ibid, 63-6.
26
Mysteries of the Freemasons, television program.
27
Decoding the Past: Secrets of the Dollar Bill, dir. Alex Kohler and Card White, 60 min. The History
Channel, 2006. Television Program.
28
More information on Christian opinions of Freemasonry can be accessed at
http://bibleprobe.com/freemasonry.htm.

14
was deliberately planted in order to stamp the power of the Freemasons on the United

States.29 Others argue that formations such as this could be found on any map, essentially

saying that if you set out to see something in particular, you will find it one way or

another.30

Dupont Circle, Scott Circle, and Logan Circle (in Washington, D.C.) represent

even more designs attributed to representing the occult, each circle being the intersection

of six streets (six streets, three times = 666). The circle is believed to be “the most

important of all units in magic symbolism…intended to denote spirit, or spiritual

forces.”31

29
http://www.theforbiddenknowledge.com/chapter3/ (Accessed 7 September 2007).
30
Decoders of the Past, television program.
31
http://www.theforbiddenknowledge.com/chapter3 (Accessed 7 September 2007).

15
 33

32
Dollar Bill: http://freakish.20m.com/america.html (Accessed 5 May 2008).
33
The Eye of Ra: http://www.ancient-egypt-online.com/horus-egyptian-falcon-god.html (Accessed 4
October, 2007).

16
 34

34
Aerial view of Washington, D.C.: http://www.delusionresistance.org/christian/mason_pics.html
(Accessed 7 May, 2008).

17
 35

35
Dupont Circle, Scott Circle, and Logan Circle: http://www.theforbiddenknowledge.com/chapter3/
(Accessed 7 September 2007).

18
 IV.
Masonic Ties to Ancient Egypt

In her 1999 article “Looking at Ancient Egypt, Seeing Modern America”,

Deborah Weisgall of the New York Times quotes Professor Robert Levin of Harvard as

saying that “[in] The Magic Flute, Mozart invented a religion with Egyptian flair.” She

goes on to describe it as a “smoke screen for the ideas of freemasonry, with its radical

notions of political equality…intended to cross class barriers.” Weisgall also makes

mention that the first set designers for this opera actually used drawings of Egyptian

monuments as references.36

Scholar Manly P. Hall addresses the many similarities that exist between the

Freemasons and the Crata Reopa, or initiations to the Ancient Mysteries of the Priests of

Egypt.

When an Aspirant desired to enter the Ancient and Mysterious Society of

Crata Repoa, he had to be recommended by one of the Initiates…the
Aspirant was [then] referred to the learned of the Institution at Memphis,
and these sent him on to Thebes.37

The following is a brief description of the seven grades (steps) to becoming a

Crata Repoa in Ancient Egypt.

The First Grade, Pastophoris, begins with a knocking on the door, signifying the

dedication of the disciple (neophyte), thus granting him admission. The order’s high

priest then questions the neophyte, who must give clear answers, thus showing his

agreement and understanding of that which makes up the phenomena of the world. After

36
Deborah Weisgall, “Looking at Ancient Egypt, Seeing Modern America,” The New York Times (14
November 1999). http://www.library.cornell.edu/colldev/mideast/ameregp.htm (Accessed 31 July 2008).
37
Manly P. Hall, The Lost Keys of Freemasonry (New York: Penguin Group, 2006), 165.

19
being “tested as to his emotional poise and [being] tried as to the courage of his

realization,” the neophyte must then take an oath of obedience.

The neophyte [then] kneels, representing the subjection of his own will to
Universal Will. The Sword of Karma is placed against his throat to
remind him that if he breaks the law, he will destroy himself. In this oath,
he asks that the sun, the moon, and the stars witness his integrity. The
stars represent spirit; the sun, soul; and the moon, body – the three parts of
his own nature which he must bind into one obedient wholeness.38

Standing between the two columns (known as Jachim and Boaz in Freemasonry),

the neophyte is now able to see the ladder that stands between them. There are seven

steps, which represent the seven planets, as well as eight doors, which represent the eight

gates of the soul. (The Ancient Egyptians believed that the soul consisted of eight

parts.)39 After ascending the ladder, the neophyte is now ready for the Second Grade.

All ancient mystery systems include probationary periods, which give a chance

for applicants to apply philosophical principles to their everyday lives. In the Crata

Repoa, the period of probation appears to have been one year.40 The neophyte’s duty for

the second grade is the cleansing of his heart and mind. He must prove his self control by

standing in a chamber full of serpents, while an additional (sometimes poisonous) serpent

is drawn through his robe and placed on his chest. The snake signifies both the tempter

and the illuminator.41

According to Hall, “The third grade of the Crata Repoa corresponds to the Third

Degree of the Blue Lodge, of modern Freemasonry.”42 The neophyte is now led through

another chamber, known as the vestibule to the Gate of Death, symbolic of Dante being

38
Ibid, 189.
39
Ibid, 189.
40
Ibid, 191.
41
Ibid, 192-3.
42
Ibid, 194.

20
led into the depths of Hell. This vestibule leads to a crypt, in which mummification is

taking place, representing physical existence. This crypt also contains the mummy case of

Osiris, who has been regarded as the personification of Truth and has been destroyed by

evil, the nobility of man slain by his own animal nature. 43 44

After stating his innocence, having had nothing to do with the death of Osiris, the

neophyte is now led through the Gate of Death, where the initiates of the grade, in black

robes, await him. This degree is symbolic of not only the material universe, but also of

man’s place within it. Classical philosophers see this universe as the underworld. It is

the neophyte’s task to understand the “true relationship” existing between life and the

afterlife.45

The Pharaoh now enters, throned as prince of the material world. He presents the

neophyte with the royal crown of Egypt. Symbolizing his final conquest of pride,

egotism, and love of power, the neophyte now throws the crown on the ground and

tramples it. When he learns not to accept the symbol for real, he is given the Seven-

Rayed Crown of Truth.46

The neophyte is then knocked unconscious by the Pharaoh, having been struck in

the head with the sacrificial ax, a symbol of temporal power. He is carried into the

“invisible world amidst natural phenomena, to represent all the strangeness and solemnity

of dying.”47 The members continue by wrapping him in bandages, until he resembles

Osiris’s mummy. He is now rowed across the river Styx, which divides the physical and

astral planes. Greeted by Pluto, Lord of Death, who attempts to hold his spirit, the

43
See Appendix b: The Story of Isis and Osiris.
44
Hall, 194.
45
Ibid, 196.
46
Ibid, 196.
47
Ibid, 197.

21
neophyte’s bandages are removed, and he is condemned to wander, in search of truth in

the physical universe.48

He begins the search for truth in the physical universe by wandering

through the curious passageways of the labyrinth…He is given the three
instructions, which tend towards the development of peace, fraternity,
responsibility, patience, and hope. He learns to draw and paint…He must
decorate coffins and mummies…He is taught the hieratic alphabet, the
secret language of the priests, and continues his progress in geometry and
astronomy. [He] masters rhetoric by applying himself to the composition
and interpretation of the funeral rituals…Further progress depended
entirely upon the disciple’s capacity to discover the hidden meanings of
the lessons revealed in the circumstances of initiation.49

The neophyte, now called initiate, is given a sword and buckler. The sword is

will, the active instrument of spirit. The buckler is wisdom, the passive instrument. He

then continues into the labyrinthine galleries, where armed and masked men attack him.

A cord around his neck, the initiate is led into a large room, which houses an assembly of

initiates. He finds himself in yet another room, this one being filled with priests, standing

in an arrangement representing the universe. This part of his journey represents the

slaying of Medusa, who represents evil. After slaying Medusa, the initiate is allowed to

change his clothes, as his name is inscribed in the Book of Light. He is now sustained by

the Universal Law.50

In the fifth grade the initiate is not a participant but an observer…The

adept reaches a degree of enlightenment in which he remains apart from
the drama of existence, observing all things but free from the
entanglements of participation.51

48
Ibid, 197.
49
Ibid, 197-8.
50
Ibid, 199-200.
51
Ibid, 200.

22
 In this stage, the initiate is led into a room that is arranged much like a theatre, for

“in the drama of life, each individual is only the audience.”52 The teaching within this

stage is heavily based on chemistry, or alchemy. “The initiate is assisted in his mastery

of alchemy by Masters of the science and, having fulfilled his responsibilities, looks

forward to acceptance into the next grade.”53

The initiate begins the sixth grade in shackles, as he is brought down the lower

four steps, which represent the four elements of air, fire, water, and earth. He sees many

coffins and bodies of the “dishonored dead who had betrayed the secrets of the Society”

and is informed that he will suffer the same fate if he should ever break his vows and

obligations. He continues by learning of many things: the origin of the Gods, as well as

how all the universe is suspended from one indefinable Principle.54

…the initiates brought the candidate into a large room where he beheld
representation of the Gods…the candidate enjoyed full participation in
intellectual wonders of the divine world of the Society.55

After then being told of the history of the order, the new initiate is now ready to

move on to the final degree.56

The seventh grade was bestowed only at the pleasure of the Pharaoh and
the high priest with the assent of all of the members of the Society. The
actual ceremony of reception seems to have been a simple gathering of the
members of the Society and an acceptance of the candidate into the
adytum [inner shrine] of the temple.57

For completion of this grade, the initiate is given a full white striped robe, white

representing the pure, and striped representing the disciplined body of life.
52
Ibid, 200-3.
53
Ibid, 200-3.
54
Ibid, 203-4.
55
Ibid, 204.
56
Ibid, 204.
57
Ibid, 206.

23
 The symbol of the Degree is the Crux Ansata, or the ansated cross,
consisting of a T or Tau Cross surmounted by a circle. This was the proper
symbol of Egyptian adept, and means in ancient philosophical language
“the life bestowing.” This the master must wear constantly upon his heart,
the perfect symbol of the perfect man.58

With the completion of this final step, the initiate is now a member of the Crata

Repoa.

58
Ibid, 207.

24
 V.
Mozart, the Mason

Scholar Jacques Henry acknowledges the Masonic Order as having assembled

everything that Europe considered brilliant during Mozart’s time.

The importance of freemasonry in the eighteenth century is difficult to

imagine today…Among the currents of the period, freemasonry stands out
as one that has most deeply influenced intellectual society…It declared
itself to be officially religious and outwardly professed its belief in the
Great Architect of the Universe, God.59

Raised as a devout Catholic, Mozart found the values and beliefs of the

Freemasons to be an extension of Catholicism, something that he had long been searching

for.60 “His deep belief in the Masonic ideal revealed to him that reaching the light,

beauty, and a world above the secular one became possible by living through the

symbols.”61 Mozart was also drawn to Freemasonry by the idea of humanity, and the

hope of helping others.62

Freemasonry had a profound influence on the life of W.A. Mozart, particularly

throughout the last few years of his life.63 However it is known that his earliest contact

with Freemasons happened during his travels to Mannheim and Paris in 1777 and 1778.

Upon arrival in these cities, Mozart became aware that the local musicians were not only

paid more, but were also more respected than those in Salzburg. These aspects were very

appealing to him. Much to his disappointment, he soon found that it was not quite as

easy to find work as he had hoped, being turned down by courts in Munich, Mannheim,

and Vienna.64
59
Jacques Henry. Mozart the Freemason. (Vermont: Inner Traditions, 1991), 2.
60
Ibid, 12.
61
Ibid, 19.
62
F. Erkmann, “The Jubilee of the ‘Magic Flute’,” The Musical Times 62, No. 954 (Nov. 1, 1921): 767.
63
Ibid, xv.
64
http://homepage3.nifty.com/wacnmt/sub-4.html (Accessed 7 December 2007).

25
 Although shunned by the courts, Mozart managed to become friends with many

of the Mannheim court musicians, including Christian Cannabich (conductor), Johann

Baptist Wendling (flautist), and Friedrich Ramin (oboist). All Freemasons, these men

welcomed Mozart, and encouraged him to begin teaching lessons and compose.

Wendling even offered him room and board. Finding himself in a very similar situation

in Paris, Mozart permanently relocated to Vienna a few years later, where he found

himself in the company of Freemasons such as his scriptwriter Gottlieb Stephanie and

tenor Valentin Adamberger.65

Mozart was initiated as a Freemason to the lodge “Beneficence” in Vienna in

1784, reaching the stage of Fellow Craft in January of 1785.66 He went on to urge his

father to become a Freemason as well. Leopold Mozart was initiated on April 6 of the

same year, passing through the stage of Fellow Craft only 10 days later, and reaching the

esteemed stage of Master Mason by April 22, 1785!67

Researcher/Author Shuji Fujisawa has compiled an extensive list of Mozart’s

activities within and for the lodge, as well as his compositions.

December 14, 1784: Mozart was accepted to join the lodge "Beneficence"
as an "Apprentice"
He attended the 340th ' Work' (Meeting) held by the lodge "True
Harmony".
January 7, 1785: He attended the 343rd 'Work' held by the lodge "True
Harmony". By the request of the lodge "Beneficence", the lodge
"True Harmony" held a ceremony for promoting Mozart to the
second degree "Fellow Craft". (Mozart was promoted to the third
degree "the degree of Master Mason", but the date was not
known.)
January 28, 1785: He attended the 'Work' held by the lodge "True
Harmony".

65
Ibid.
66
Ibid.
67
Henry, 11.

26
March 26, 1785: He composed " Lied zur Gesellen reise"(K. 468) for
Freemasonry.
April 4, 1785: His father Leopold was accepted into the lodge
"Beneficence" as an "Apprentice".
April 16, 1785: Leopold was promoted to the second degree "Fellow
Craft". At that opportunity, K.468 was performed.
April 20,1785: Mozart composed a cantata "Die Maurerfreude"(K. 471)
April 22,1785: Leopold was promoted to the third degree "the degree of
Master Mason".
April 24,1785: Celebration ceremony for Ignaz von Born who was the
Master of the lodge "True Harmony" was held. Both Leopold and
Mozart attended the ceremony. K.471 was performed at the
ceremony.
August 12,1785: Mozart attended the 'Work' held by the lodge "True
Harmony"
October 20,1785: In response to the request from the lodges "Three
Eagles" and "Palm Tree", he attended the charity concert for
economic assistance of two bassethorn players, Anton David and
Vinzent Springer who were Freemason brothers
November 1785: He composed "Maurische Trauermusik"(K.477=479a).
This was performed on November 17,1785 when the funeral
ceremony for brothers, Duke Megremburg and Count Esterhergy,
was held.
December 11, 1785: An imperial ordinance on the control of Freemasonry
was announced publicly. By this ordinance, eight Viennese
Freemason lodges were obliged to be of three or less. The lodge
"Beneficence" had to restart as the lodge "New Crowned Hope"
together with the lodge "Crowned Hope" and the lodge "Three
Flames"
December 15, 1785: The lodge "Crowned Hope" held a charity concert
similar to that of October 1785. Mozart attended the concert and
played piano.
December, 1785: He composed two odes "Zerfliesset heut' geliebte
Brüder"(K.483) and "Ihr unsre neuen Leiter"(K..484).
His cantata "Dir Seele des Weltalls"(K.429) is also thought to be
the work composed around this time.
January 14,1786: The ceremonial party for celebrating the start of the
lodge "New Crowned Hope" was held. However Mozart did not
attend the party.
March, 1786: He attended the meeting held by the lodge "New Crowned
Hope" and left the attendance record "Mozart, Membership
number 66, Kapellmeister, the third degree".
January 8,1787: Mozart filled his name with a Masonic emblem in Franz
Edmund Weber's commemorative notebook
January 11,1787: He was invited to Prague, where his "Le nozze di
Figaro"(K.492) was highly popular. During his stay in Prague, he

27
 visited Count Canal who was the founder of the lodge "Truth and
Concord" first and met Father Unger next who was the deputy
director of the lodge. During his stay in Prague, Mozart visited this
lodge again and again.
March 30,1787: He wrote his commentary in English signing himself as
"Mozart, New Crowned Hope, in the Orient of Vienna" in Johann
Georg Kronauer's commemorative notebook who was his private
English teacher.
April 4,1787: Mozart sent a letter to Leopold who was on his deathbed, in
which his thoughts on death were described. [This letter of his
thoughts on death is famous as "the acceptance of death" which
Masons had in common.]
April 27,1787: Ignaz von Born wrote his commentary in Mozart's
commemorative notebook.
June 24,1788: He attended the meeting held by the "New Crowned Hope"
and left the attendance record "Mozart, Membership number 70,
Kapellmeister, the third degree" (Note: The lodge name of "New
Crowned Hope" was changed back to "Crowned Hope" this year. 　
However, "New Crowned Hope” is still to be used in this chapter
to avoid confusion)
March end, 1789: He sent a letter to Franz Hofdemel in which he wrote
"We will soon call each other by more respectful names! Your
period of apprenticeship will soon be over!"
Date N.A., 1789: Brother Bauernfeind who was the member of the lodge
"New Crowned Hope" wrote his commentary in Mozart's
commemorative notebook.
Date N.A.1789: There remains Mozart's attendance record "Mozart,
Membership number 51, Kapellmeister, the third degree" in the
attendance list of the lodge "New Crowned Hope" for 1789/1790.
Date N.A.1790: There remains Mozart's attendance record "Mozart,
Membership number 56, Kapellmeister, the third degree"
July 1791: He composed " Die ihr des unermesslichen Weltalls Schöpfer
ehrt"(K.619) for Regensburg Freemasonry lodge.
September 1791: After the performance of "La clemenza di Tito"(K.621)
in Prague, he visited the lodge "Truth and Concord".
Sept. 30,1791: Masonic opera "Die Zauberflöte"(K.620) was given its first
public performance at the Theater auf der Wieden.
November 18,1791: Mozart attended the ceremonial party for the newly
constructed hall for the lodge "New Crowned Hope". He
conducted the cantata "Laut verkünde unsre Freude"(K.623) at this
party.68

68
Shuji Fujisawa: ‘Mozart, an enthusiastic Freemason’, New Mozart Theory (Accessed 7 December 2007),
http://homepage3.nifty.com/wacnmt/sub-4.html

28
 Many other well-known composers were also affiliated with the Freemasons.

Becoming a Freemason in early 1785, Josef Haydn’s interest in the group waned after

only two years, as he stopped taking part in their rituals and ceremonies. Another

composer affiliated with the Freemasons, but not known for sure to have actually been

one, was Ludwig van Beethoven. Contrary to Haydn’s music, there is evidence of

Masonic influence within some of Beethoven’s music.69 The most popular piece of his

containing Masonic symbolism is his Fifth Symphony.70

Unlike the other aforementioned composers, Mozart remained faithful to the

Freemasons throughout his entire lifetime, while at the same time retaining his faith as a

devout Catholic. He simply saw Freemason beliefs as an extension of Catholicism, God

representing the Architect of the Universe.71

VI.
Masonic Symbolism within The Magic Flute

69
Cecil Hill and Roger J.V. Cotte: 'Masonic Music', Grove Music Online ed. L. Macy (Accessed [17 June
2007]), http://www.grovemusic.com.
70
For more information on this, please visit
http://themasonictrowel.com/Articles/degrees/degree_3rd_files/the_hiramic_legend_and-
the_symbolism_of_the_master_degree.htm (Accessed 5 May 2008).
71
Henry, 12.

29
 One Masonic element within The Magic Flute that must be explored is the use of

the numbers three and five. In Freemasonry, the number three is a masculine element,

and the number five is a feminine element. Similarly, in many Roman Catholic

iconographies, the head of God [the Father] is often enclosed within a triangle, whereas

the head of the Virgin is enclosed within a five-pointed star.72 Mozart used

instrumentation to help solidify the significance of these two numbers. Any series of

three knocks, or “masculine rapping” throughout the opera is orchestrated using wind

instruments, those commonly used during lodge ceremonies. Any series of five knocks,

or “feminine rapping” throughout the opera is orchestrated as a tutti, without the use of

any specific instrumentation.73 These rappings are often written in the notation of oo-o,

oo-o, oo-o- or o-oo-oo.74 Mozart used a series of three “knocks” at the beginning of the

second part of the overture. Repeated twice, these “knocks” represent the drumming of

the third degree in Freemasonry.75 During Mozart’s time, men were viewed as superior to

women, thus being the masculine of the two numeric symbols, the number three was

more commonly used throughout the opera. In Freemasonry, the number three is a sacred

number, symbolizing divinity/perfection. The following is a selected list of some of the

forms in which it appears:

-Beats, or knocks (rappings), of Masonic Ritual

-Key signatures using either three sharps or three flats, or dotted rhythm (a
symbol of time.76
The key of E flat major (or its relative of C minor) is referred to as the “Masonic

key”. Mozart often chose to compose in this key, as The Magic Flute begins in the key of

72
Jacques Chailley, The Magic Flute Unveiled: Esoteric Symbolism in Mozart’s Masonic Opera (Vermont:
Inner Traditions International, 1971), 86-7.
73
Ibid, 91.
74
Ibid, 86.
75
Henry, 111.
76
Henry, 24-6.

30
E flat major. The three flats of this key represent the “three points,” or third degree of

Freemasonry. However there are other keys that are also seen as symbolic. The key of C

major is pure, as it contains no accidentals, or points. Some also think the key of D major

carries a symbolic meaning, as the symbol for the Greek letter delta is a triangle. 77

Mozart also used intervals of thirds to symbolize the number three. He did this

through the use of both arpeggiated and non-arpeggiated chords. In either major or minor,

these intervals have been referred to as “perfect” ever since Pythagoras first analyzed and

named them as such. Mozart preferred to use thirds in order to express the serenity of

Masonic thought, focusing on its evocative power.78

In addition to its use in tonality and chords, the number three is used as a symbol

through ternary rhythm. Henry describes the dotted rhythm as it “brings to the musical

line a slightly breathless, panting quality, appropriate to the difficulty of making one’s

way toward the light.”79 An example of Mozart’s use of dotted rhythm can be seen in

measures 9 and 10 of Papageno’s “The Bird-Catcher’s Song”.

77
Ibid, 27-8.
78
Ibid, 30-1.
79
Ibid, 32.

31
 80

Act II of The Magic Flute opens with the march of the priests, which contains

many Masonic elements that have previously been discussed. The orchestration is for

wind instruments, those commonly used during Masonic rituals, referred to among

Masons as “columns of harmony.”81 Beginning in a serene manner, this piece concludes

in march style, with the use of many dotted rhythms. Many imitations of this march have

since been found. The most common example is the first two measures of the Canadian

hymn O Canada.82

The transition from chaos to order, or darkness to light, symbolizes initiation.

This can be seen throughout The Magic Flute in the struggle between Sarastro and the

Queen of the Night. Sarastro, man, represents light, while the Queen of the Night,

woman, represents darkness. This situation is also seen as a conflict between two

worlds.83 This conflict can be seen at the entrance of Masonic temples, with the letters J

(Jakin) [Jachim] and B (Booz) [Boaz] inscribed on two columns, which refer to the two

80
Rescored from: Charles Burkhardt, Anthology for Musical Analysis Fifth Edition (United States:
Wadsworth Thomson Learning, 1994), 237.
81
Chailley, 235.
82
Ibid, 236.
83
Ibid, 92-3.

32
brass columns built by Hiram Abiff. Each is meant to represent one of the elements in its

multiple figurations.

Jakin Booz
Osiris Isis
Masculine Feminine
Sun Moon
Day Night
Fire Water
Gold Silver
Active Passive
Number 3 Number 5
Red Black or white
Elucidation Discourse
Bull Twins
Masonry of Hiram = Order of Mopses =
Traditional masculine feminine “Masonry
Masonry of Adoption”84

Throughout the opera, the characters of Tamino and Pamina represent Fire and

Water. As previously mentioned, the characters of Sarastro and the Queen of the Night

represent the Sun and the Moon.

85

84
Ibid, 98-9.
85
Ibid, 100.

33
 In his article “The "Zauberflote" of Mozart”, published in May of 1873 in the

journal The Musical Times and Singing Class Circular, N.M. points out the importance

of the elements as portrayed in The Magic Flute.

Freemasonry is indicated in the “Zauberflöte” as the temple of Isis and

Osiris…it is stated: the uninitiated beheld in the symbol of the sun and the
moon Osiris and Isis; but in a mystic sense the sun was the Supreme and
only Divinity, the principal Source of every good, and the moon was the
symbol of his creative power. Sometimes the sun-symbol signified spirit
and fire, and the moon-symbol earth and water, which two pairs of
opposing forces, according to their teaching, generated the air.86

The four Elements of Fire, Water, Air, and Earth hold a great deal of symbolism

throughout the opera, as the “trials by the four Elements” are symbolic of the Freemason

rite of initiation. Tamino (and Papageno) struggle through this process of initiation, each

of their ordeals having to do with a different Element. The first trial, Earth, occurs during

the night. There is thunder, which not only represents terror, but also seismic shocks that

speak of the forces of the Earth. If Tamino succeeds, acquiring the love of Pamina will

be his reward. The Three Ladies (who represent the messengers of the Queen of the

Night) return to the stage, and try to seduce Tamino, but he stands his ground and resists

the temptresses. A priest then enters to announce that Tamino has successfully

completed his first trial.87 [However, Papageno’s main concern is to “finally get his hands

on a pretty companion.”]88

The second trial is that of Air. The Three Boys enter on a flying chariot and set a

table with mouthwatering dishes. Once again, Tamino resists the food by playing his

86
N.M., “The "Zauberflote" of Mozart,” The Musical Times and Singing Class Circular 16, No. 363 (May
1, 1873): 71.
87
Chailley, 137-40.
88
Ibid, 137-40.

34
flute (“wind”), thus successfully completing his second trial. Papageno, on the other

hand, devours the food without hesitation, thus not completing his trial.89

The trials of Fire and Water occur simultaneously. Two great mountains come

into view, one with cascading black (feminine color) water, and the other spitting red

(masculine color) fire. Two Men in Armor guide Tamino to a pyramid, with an

inscription that they read to him. This same inscription is presented in an 1836 text as the

inscription on Hiram (Abiff)’s tomb. It reads: “He who commits himself to this

dangerous route will be purified by Fire, Water, Air, and Earth. If he can surmount the

terror of death, he will soar up from the earth toward the sky. Then he will be in a state

to receive the light and to consecrate himself completely to the mysteries of Isis.”90

Tamino is on his way to pass through the “gates of terror” when Pamina appears,

asking him to play his flute for her. It is now that the symbolism of the flute transforms

from that of only Air to that of all four Elements. Played by the breath (Air) of Tamino

(Fire), who is accompanied by Pamina (Water), the sound of the flute pierces the Earth.91

The flute is specified as being gold in color, as opposed to other flutes from the time. “…

[D]estined for use under the sign of Air (man’s breath), it has been produced magically

during a stormy night under a downpour (Water), to the noise of thunder (Earth) and the

flash of lightning (Fire). It unites the four Elements, whence its perfection.”92

Jacques Chailley describes the title of Mozart’s opera as follows:

…the traditional translation of Die Zauberflöte as La Flûte enchantée is faulty:

the flute is “magic” in the sense that it creates enchantment; it is not ‘enchanted’
in the sense that it has undergone enchantment.93

89
Ibid, 141.
90
Ibid, 143.
91
Ibid, 147.
92
Ibid, 25.
93
Chailley, 123.

35
 Chailley states that many see The Magic Flute as a betrayal by Mozart, having

given away many of the secrets of Freemasonry. What is not commonly known,

however, is that all of these “secrets” have been published in various books, and are now

easily available to the public, as they have been for many years. Henry puts it best when

he says, “Mozart’s last opera…clearly confirms the permanence and solidity of his

attachment to his Masonic ideals right up to the end of his life. Contrary to what its

appearance could lead one to think, it is not at all a piece of fantasy…[it] turns out to be a

veritable declaration of faith...”94 The outline of the story is a narration of the Masonic

ritual ceremony of initiation. Being not ritual, but narrative, this story is told without

betraying the secrets of the society, contrary to what many think.95

94
Henry, 105.
95
Ibid, 108-9.

36
 VII.
Conclusion

“Not a secret society, but a society with secrets”,96 the Freemasons will always be

an enigma to the general public. Critics will continue to see artists and composers such

as Mozart as having betrayed the great secrets of this famous society. Those of us who

know better see Mozart as a great composer, simply using the gift of music to portray

rituals and symbols of the Freemasons, a group that was very dear to his own heart.

Masonic symbols used by Mozart can be traced as far back as Ancient Egypt and the Lost

City of Atlantis. While these symbols are highly recognized in society, most people are

unaware of their origins. For thousands of years, the symbols, values and beliefs of the

Freemasons have continued to have an effect on society. Whether it is through the use of

religion, architecture, art, or music, we are constantly engulfed by the symbols of the

Freemasons, as we are likely to forever be.

96
Browne, 38.

37
 VIII.
Appendix a
The Magic Flute Synopsis
Written by John T. Gates97

ACT I
A Deserted Place

Tamino, a handsome young prince, is fleeing a monstrous serpent. He calls for

help and faints of fear. Three Ladies, attendants of the Queen of the Night,
answer his plea and kill the serpent. They immediately lose their hearts to the
handsome youth, and depart to report this prophetic arrival to the Queen of the
Night.

Tamino awakes. He hears the call of a panpipe and sees Papageno, a birdman.
Papageno sings of catching birds and looking for a girlfriend. Papageno falsely
brags that he was the one who killed the snake.

The Three Ladies again appear. They lock Papageno's mouth for lying and give
Tamino a gift from the Queen, a portrait of her daughter, Pamina. The Three
Ladies exit. Transfixed by the beauty of the portrait of Pamina, Tamino falls
magically in love. The Three Ladies return and tell of Pamina's abduction by a
powerful villain, Sarastro. Tamino vows to rescue her.

The Queen of the Night appears. She promises Tamino the hand of her daughter,
should he manage to rescue her. The Queen and the Three Ladies disappear.

Tamino seeks hopelessly to unlock the mouth of the struggling Papageno. The
Three Ladies appear again and remove the lock. They give Tamino a magic flute
to aid him in his quest to save the Queen's daughter. To Papageno, who is
commanded to accompany Tamino, they give a set of magic bells, to protect him
on the journey. Tamino and Papageno note that they do not know the way to the
evil demon's realm. The Ladies instruct the two young men to follow the advice
of three young, wise, beautiful, wondrous boys, who will hover about them.

A Turkish Room

Three slaves gloat at the misfortune of their Moorish foreseer, Monostatos. He

was to guard the Queen's daughter, but due to the complications of a foiled
sexual advance, he was not able to prevent her escape.

Monostatos enters, having recaptured Pamina, and treating her brutally. She
faints. Papageno enters. He and Monostatos see each other. Both run away, each
thinking that the other is the Devil. Pamina recovers from her collapse. Papageno
regains his composure and reenters the scene. He recognizes Pamina as the
daughter of the Queen of the Night and tells of Tamino's quest to rescue her. She

97
John T. Gates: ‘The Magic Flute Synopsis’, (Accessed [8 January 2008]),
http://www.music.sfasu.edu/prospective_students/voice_opera/magic_flute_synopsis.html.

38
immediately falls eternally in love with Tamino. Papageno and Pamina ready
their escape.

At the Portals of the Temples of Wisdom, Logic, and Nature

Escorted by the Three Boys, Tamino enters the scene. The boys encourage him
by saying that manly behavior and persistence will lead him to Pamina. The
Three Boys exit.

Tamino tries to enter two of the temples and is turned back. Attempting to enter
the last portal, he is confronted by a priest. The priest tells him that Sarastro is no
demon, but a guardian of virtue. He adds that Tamino only has a chance of
uniting with Pamina if he joins Sarastro's sun cult. The priest exits.

Tamino plays the flute, hoping to find Pamina, but the magical music enchants
only wild animals from the surrounding area. They dance joyfully to the flute's
melody. Tamino hears Papageno's panpipe and exits hoping to find him.

Papageno and Pamina enter the stage on the run from Monostatos. With his
slaves, Monostatos catches up with Papageno and Pamina. Papageno plays his
magic bells, which enchant Monostatos and the slaves into a euphoric dance.

Before Papageno and Pamina can resume their escape, they are overtaken by
Sarastro and a ceremonious procession of his sun priests. Papageno is relieved of
his magic bells. Pamina begs for mercy. Sarastro promises not to force her to
love him, for he knows that she loves Tamino. He refuses, however, to grant her
freedom. He tells her that her mother is subject to his power, and that she
(Pamina) should better follow a man's rather than a woman's advice.

Monostatos enters, now having captured Tamino and having taken away his
magic flute. Pamina and Tamino see each other for the first time. Sarastro has
Monostatos beaten for his advances on Pamina. The priests place hoods over the
heads of Tamino and Papageno who are led away for purification before entry
into the temple.

ACT II
A Ritualistic Location

Sarastro and the priests enter in ceremonious procession. Bowing to Sarastro's

counsel, the priests vote to allow Tamino to undertake the rites of entry into their
brotherhood. Sarastro selects two priests to mentor Tamino and Papageno in their
pursuit of virtue. The priests pray for the success of the initiates and, should they
fail, that Isis and Osiris take them into their eternal care.

39
 A Foreboding Place

The scene opens revealing Tamino and Papageno frightened, not knowing their
whereabouts. The two priests Sarastro designated as mentors enter the scene and
assign the first trial: Tamino and Papageno must be silent. They may see women
but will not be allowed to speak.

The Three Ladies appear and try to dissuade the two from pursuing the path to
membership in Sarastro's brotherhood. They are driven away by thunder and
lightning as the chorus of priests warns of desecration of the holy temple
grounds.

The two mentor priests enter and congratulate Tamino and Papageno for having
survived the first trial.

A Chamber

Eaten with lust, Monostatos observes Pamina in her sleep. Rationalizing his
behavior, he concludes again to attempt a forced sexual advance on Pamina. The
Queen appears and drives him away.

The Queen presents a dagger she forged for the murder of Sarastro and orders
Pamina to fulfill this mission. Pamina is instructed to recover the powerful sun
circle, which is the source of Sarastro's might. The Queen assures Pamina that
she will be disowned if she fails in this task. The Queen vanishes.

Desperate and torn, and thinking herself alone, Pamina declares herself incapable
of murder. Having listened in on the plot to murder Sarastro, Monostatos tries to
blackmail Pamina into rendering herself to him, but she refuses. Angered,
Monostatos proceeds to wield the dagger on Pamina.

Before Pamina can be harmed, Sarastro enters and disarms Monostatos. Sarastro
bans him from the realm of the brotherhood. Monostatos resolves to abscond to
the Queen as he leaves the scene.

Pamina pleas that Sarastro forgive her mother for the murderous undertaking.
Sarastro declares that vengeance is alien to the principles of his brotherhood. The
Queen, he says, should finally fully accept her utter defeat and humiliation.

A Foreboding Place

Utter silence. The two mentor priests lead Tamino and Papageno, their heads
covered, onto the scene. The priests instruct them to stay silent. They are to
remain in this place until the sounding of trombones. Then they are to proceed in
the direction indicated by the priests.

40
An ugly old hag appears and gives Papageno a cup of water, which he shuns as
poor hospitality. She intimates to him that she is his predestined partner. He is
horror-struck. He asks her name. Before she can answer, there is a blast of
thunder and she disappears from the scene.

The Three Boys enter and bring a table full of delicious food and wine. They also
return to Tamino and Papageno the magic flute and magic bells. The boys
promise Tamino and Papageno victory if they remain courageous and silent.
Papageno unleashes his voracious appetite.

Pamina enters the scene and is ecstatic to finally be united with her destined
lover, but he does not respond to her. Knowing nothing of his vow of silence, she
is crushed and declares that only death could soothe the pain of her unrequited
love. She leaves in utter dejection.

Trombones sound. After struggling to separate Papageno from his food, Tamino
exits. Only after having been threatened by Sarastro's lions does Papageno leave
the scene.

A Ritualistic Place

The priests, in ritualistic ceremony, sing with solemn resolution that Tamino will
successfully withstand his trials.

Sarastro has Tamino brought onto the scene and instructs him that he has but two
trials to endure. He then has Pamina brought onto the stage and tells her, in the
event of Tamino's failure, to bid her final farewell. Sarastro adds, however, that
Tamino's success is probable, in which case the two would be reunited. Sarastro,
priests, Tamino, Pamina leave the room.

Papageno enters but is blocked by thunder from leaving the room. His mentor
priest enters and informs him that, due to his inability to keep the vow of silence,
he will not be admitted to the brotherhood of Sarastro's sun cult. The priest also
informs Papageno of the clemency of the gods... he will not be punished for his
failure of the rites of initiation.

Papageno notes that his proclivities are not unique and says his greatest pleasure
for the time being would be a good glass of wine and nothing more. The priest
declares that his wish will be fulfilled. A glass of wine appears. He drinks and
sings in his ecstasy (drunkenness) of his longing for a wife to make his life
complete.

The old hag enters and approaches Papageno. In order to be released from these
gloomy confines, Papageno agrees to take her as his partner. In an instant, she is
transformed into the beautiful bird-girl, Papagena. They approach each other for
an embrace, but, before this transpires, the priest sweeps Papagena away.
Papageno is forced, at first, to remain behind.

41
 A Garden

The Three Boys sing of the coming of the day and with it the advancement of
humanity to loftier spheres. They find Pamina, driven to madness and preparing
to take her life with the very dagger her mother forged for Sarastro's death. The
Three Boys intercede and insure her of the immediacy of her reunion with
Tamino. They promise to lead her to him.

A Mysterious Setting

Tamino is escorted onto the scene by two men in armor. They announce the trial
of fire and water, through which one is enlightened, so as to understand the
mysteries of Isis and Osiris.
Tamino prepares to enter the trial of fire but stops upon hearing Pamina's voice.
She enters the scene. The armored men allow Tamino and Pamina to embrace.
The united pair resolves to undergo the trial together. Guided by the hand of love,
and protected by the magic flute, Tamino and Pamina survive these final tests. A
portal opens to the temple, revealing blindingly brilliant opulence. A chorus of
priests revels in the couple's victory and invites them to enter the temple.

A Garden

Papageno is seen playing his panpipes, desperately searching for Papagena, but
in vain. Deeply saddened, he prepares to hang himself. The Three Boys intercede
and remind him to play his magic bells instead of the panpipe. He plays his bells
and Papagena appears. The bird pair unites and sings joyfully of the prospect that
the gods grant them the greatest of all blessings... many, many children.

At the Portals of Sarastro's Temple

Monostatos leads the Queen and her ladies to the temple's entrance. They are to
destroy the temple and recover the powerful sun circle. The Queen has promised
Monostatos the hand of Pamina, should they succeed in their destructive
conspiracy. There is horrifying thunder and lightening. The Queen and her
accomplices are foiled.

The entire theater becomes a sun.

42
Sarastro and his priests celebrate their victory over the Queen of the Night. They
rejoice in Tamino's induction into the priesthood and in the union of the prince
with Pamina.

43
 IX.
Appendix b
The Story of Isis and Osiris

how Set murdered Osiris and how Horus avenged his father

In the days before Ra had left the earth, before he had begun to grow old, his
great wisdom told him that if the goddess Nut bore children, one of them would
end his reign among men. So Ra laid a curse upon Nut - that she should not be
able to bear any child upon any day in the year.

Full of sorrow, Nut went for help to Thoth, the thrice-great god of wisdom and
magic and learning, Ra's son, who loved her. Thoth knew that the curse of Ra,
once spoken, could never be recalled, but in his wisdom he found a way of
escape. He went to Khonsu, the Moon-god, and challenged him to a contest at
draughts. Game after game they played and always Thoth won. The stakes grew
higher and higher, but Khonsu wagered the most, for it was some of his own light
that he risked and lost.

At last Khonsu would play no more. Then Thoth the thrice-great in wisdom
gathered up the light which he had won and made it into five extra days which
for ever after were set between the end of the old year and the beginning of the
new. The year was of three hundred and sixty days before this, but the five days
which were added, which were not days of any year, were ever afterwards held as
days of festival in old Egypt.

But, since his match with Thoth, Khonsu the moon has not had enough light to
shine throughout the month, but dwindles into darkness and then grows to his full
glory again; for he had lost the light needed to make five whole days.

On the first of these days Osiris, the eldest son of Nut, was born, and the second
day was set aside to be the birthday of Horus (the son of Isis and Osiris). On the
third day the second son of Nut was born, dark Set, the lord of evil. On the fourth
her daughter Isis first saw the light, and her second daughter Nephthys on the
fifth. In this way the curse of Ra was both fulfilled and defeated: for the days on
which the children of Nut were born belonged to no year.

When Osiris was born many signs and wonders were seen and heard throughout
the world. Most notable was the voice which came from the holiest shrine in the
temple at Thebes on the Nile, which today is called Karnak, speaking to a man
called Pamyles bidding him proclaim to all men that Osiris, the good and mighty
king, was born to bring joy to all the earth. Pamyles did as he was bidden, and he
also attended on the Divine Child and brought him up as a man among men.

When Osiris was grown up he married his sister Isis, a custom which the
Pharaohs of Egypt followed ever after. And Set married Nephthys: for he too
being a god could marry only a goddess.

44
After Isis by her craft had learned the Secret Name of Ra, Osiris became sole
ruler of Egypt and reigned on earth as Ra had done. He found the people both
savage and brutish, fighting among themselves and killing and eating one
another. But Isis discovered the grain of both wheat and barley, which grew wild
over the land with the other plants and was still unknown to man; and Osiris
taught them how to plant the seeds when the Nile had risen in the yearly
inundation and sunk again leaving fresh fertile mud over the fields; how to tend
and water the crops; how to cut the corn when it was ripe, and how to thresh the
grain on the threshing floors, dry it and grind it to flour and make it into bread.
He showed them also how to plant vines and make the grapes into wine; and they
knew already how to brew beer out of the barley.

When the people of Egypt had learned to make bread and cut only the flesh of
such animals as he taught them were suitable, Osiris, went on to teach them laws,
and how to live peacefully and happily together, delighting themselves with
music and poetry. As soon as Egypt was filled with peace and plenty, Osiris set
out over the world to bring his blessings upon other nations. While he was away
he left Isis to rule over the land, which she did both wisely and well.

But Set the Evil One, their brother, envied Osiris and hated Isis. The more the
people loved and praised Osiris, the more Set hated him; and the more good he
did and the happier mankind became, the stronger grew Set's desire to kill his
brother and rule in his place. Isis, however, was so full of wisdom and so
watchful that Set made no attempt to seize the throne while she was watching
over the land of Egypt. And when Osiris returned from his travels Set was among
the first to welcome him back and kneel in reverence before "the good god
Pharaoh Osiris".

Yet he had made his plans, aided by seventy-two of his wicked friends and Aso
the evil queen of Ethiopia. Secretly Set obtained the exact measurements of the
body of Osiris, and caused a beautiful chest to be made that would fit only him. It
was fashioned of the rarest and most costly woods: cedar brought from Lebanon,
and ebony from Punt at the south end of the Red Sea for no wood grows in Egypt
except the soft and useless palm.

Then Set gave a great feast in honour of Osiris; but the other guests were the two-
and-seventy conspirators. It was the greatest feast that had yet been seen in
Egypt, and the foods were choicer, the wines stronger and the dancing girls more
beautiful than ever before. When the heart of Osiris had been made glad with
feasting and song the chest was brought in, and all were amazed at its beauty.

Osiris marveled at the rare cedar inlaid with ebony and ivory, with less rare gold
and silver, and painted inside with figures of gods and birds and animals, and he
desired it greatly.

"I will give this chest to whosoever fits it most exactly!" cried Set. And at once
the conspirators began in turn to see if they could win it. But one was too tall and
another too short; one was too fat and another too thin - and all tried in vain.

45
"Let me see if I will fit into this marvelous piece of work," said Osiris, and he
laid himself down in the chest while all gathered round breathlessly. "I fit
exactly, and the chest is mine!" cried Osiris.

"It is yours indeed, and shall be so forever!" hissed Set as he banged down the
lid. Then in desperate haste he and the conspirators nailed it shut and sealed
every crack with molten lead, so that Osiris the man died in the chest and his
spirit went west across the Nile into Duat the Place of Testing; but, beyond it to
Amenti, where those live for ever who have lived well on earth and passed the
judgments of Duat, he could not pass as yet. Set and his companions took the
chest which held the body of Osiris and cast it into the Nile; and Hapi the Nile-
god carried it out into the Great Green Sea where it was tossed for many days
until it came to the shore of Phoenicia near the city of Byblos. Here the waves
cast it into a tamarisk tree that grew on the shore; and the tree shot out branches
and grew leaves and flowers to make a fit resting place for the body of the good
god Osiris and very soon that tree became famous throughout the land.

Presently King Malcander heard of it, and he and his wife, Queen Astarte, came
to the seashore to gaze at the tree. By now the branches had grown together and
hidden the chest which held the body of Osiris in the trunk itself. King
Malcander gave orders that the tree should be cut down and fashioned into a
great pillar for his palace. This was done, and all wondered at its beauty and
fragrance: but none knew that it held the body of a god. Meanwhile in Egypt Isis
was in great fear. She had always known that Set was filled with evil and
jealousy, but kindly Osiris would not believe in his brother's wickedness. But Isis
knew as soon as her husband was dead, though no one told her, and fled into the
marshes of the delta carrying the baby Horus with her. She found shelter on a
little island where the goddess Buto lived, and entrusted the divine child to her.
And as a further safeguard against Set, Isis loosed the island from its foundations,
and let it float so that no one could tell where to find it.

Then she went to seek for the body of Osiris. For, until he was buried with all the
needful rites and charms, even his spirit could go no farther to the west than
Duat, the Testing-Place; and it could not come to Amenti. Back and forth over
the land of Egypt wandered Isis, but never a trace could she find of the chest in
which lay the body of Osiris. She asked all whom she met, but no one had seen it
- and in this matter her magic powers could not help her. At last she questioned
the children who were playing by the riverside, and at once they told her that just
such a chest as she described had floated past them on the swift stream and out
into the Great Green Sea.

Then Isis wandered on the shore, and again and again it was the children who had
seen the chest floating by and told her which way it had gone. And because of
this, Isis blessed the children and decreed that ever afterwards children should
speak words of wisdom and sometimes tell of things to come.

At length Isis came to Byblos and sat down by the seashore. Presently the
maidens who attended on Queen Astarte came down to bathe at that place; and

46
when they returned out of the water Isis taught them how to plait their hair -
which had never been done before. When they went up to the palace a strange
and wonderful perfume seemed to cling to them; and Queen Astarte marveled at
it, and at their plaited hair, and asked them how it came to be so.

The maidens told her of the wonderful woman who sat by the seashore, and
Queen Astarte sent for Isis, and asked her to serve in the palace and tend her
children, the little Prince Maneros and the baby Dictys, who was ailing sorely.
For she did not know that the strange woman who was wandering alone at
Byblos was the greatest of all the goddesses of Egypt. Isis agreed to this, and
very soon the baby Dictys was strong and well though she did no more than give
him her finger to suck. But presently she became fond of the child, and thought
to make him immortal, which she did by burning away his mortal parts while she
flew round and round him in the form of a swallow. Astarte, however, had been
watching her secretly; and when she saw that her baby seemed to be on fire she
rushed into the room with a loud cry, and so broke the magic.

Then Isis took on her own form, and Astarte crouched down in terror when she
saw the shining goddess and learned who she was. Malcander and Astarte offered
her gifts of all the richest treasures in Byblos, but Isis asked only for the great
tamarisk pillar which held up the roof, and for what it contained. When it was
given to her, she caused it to open and took out the chest of Set. But the pillar she
gave back to Malcander and Astarte; and it remained the most sacred object in
Byblos, since it had once held the body of a god.

When the chest which had become the coffin of Osiris was given to her, Isis
flung herself down on it with so terrible a cry of sorrow that little Dictys died at
the very sound. But Isis at length caused the chest to be placed on a ship which
King Malcander provided for her, and set out for Egypt. With her went Maneros,
the young prince of Byblos: but he did not remain with her for long, since his
curiosity proved his undoing. For as soon as the ship had left the land Isis retired
to where the chest of Set lay, and opened the lid. Maneros crept up behind her
and peeped over her shoulder: but Isis knew he was there and, turning, gave him
one glance of anger - and he fell backwards over the side of the ship into the sea.

Next morning, as the ship was passing the Phaedrus River, its strong current
threatened to carry them out of sight of land. But Isis grew angry and placed a
curse on the river, so that its stream dried up from that day. She came safely to
Egypt after this, and hid the chest in the marshes of the delta while she hastened
to the floating island where Buto was guarding Horus.

But it chanced that Set came hunting wild boars with his dogs, hunting by night
after his custom, since he loved the darkness in which evil things abound. By the
light of the moon he saw the chest of cedar wood inlaid with ebony and ivory,
with gold and silver, and recognized it. At the sight hatred and anger came upon
him in a red cloud, and he raged like a panther of the south. He tore open the
chest, took the body of Osiris, and rent it into fourteen pieces which, by his
divine strength, he scattered up and down the whole length of the Nile so that the
crocodiles might eat them.

47
"It is not possible to destroy the body of a god!" cried Set. "Yet I have done it -
for I have destroyed Osiris!" His laughter echoed through the land, and all who
heard it trembled and hid.

Now Isis had to begin her search once more. This time she had helpers, for
Nephthys left her wicked husband Set and came to join her sister. And Anubis,
the son of Set and Nephthys, taking the form of a jackal, assisted in the search.
When Isis traveled over the land she was accompanied and guarded by seven
scorpions. But when she searched on the Nile and among the many streams of the
delta she made her way in a boat made of papyrus: and the crocodiles, in their
reverence for the goddess, touched neither the rent pieces of Osiris nor Isis
herself. Indeed ever afterwards anyone who sailed the Nile in a boat made of
papyrus was safe from them, for they thought that it was Isis still questing after
the pieces of her husband's body.

Slowly, piece by piece, Isis recovered the fragments of Osiris. And wherever she
did so, she formed by magic the likeness of his whole body and caused the priests
to build a shrine and perform his funeral rites. And so there were thirteen places
in Egypt which claimed to be the burial place of Osiris. In this way also she made
it harder for Seth to meddle further with the body of the dead god

One piece only she did not recover, for it had been eaten by certain impious
fishes; and their kind were accursed ever afterwards, and no Egyptian would
touch or eat them. Isis, however, did not bury any of the pieces in the places
where the tombs and shrines of Osiris stood. She gathered the pieces together,
rejoined them by magic, and by magic made a likeness of the missing member so
that Osiris was complete. Then she caused the body to be embalmed and hidden
away in a place of which she alone knew. And after this the spirit of Osiris
passed into Amenti to rule over the dead until the last great battle, when Horus
should slay Seth and Osiris would return to earth once more

But as Horus grew in this world the spirit of Osiris visited him often and taught
him all that a great warrior should know - one who was to fight against Set both
in the body and in the spirit.

One day Osiris said to the boy: "Tell me, what is the noblest thing that a man can
do?" And Horus answered: "To avenge his father and mother for the evil done to
them." This pleased Osiris, and he asked further: "And what animal is most
useful for the avenger to take with him as he goes out to battle?" "A horse,"
answered Horus promptly. "Surely a lion would be better still?" suggested Osiris.
"A lion would indeed be the best for a man who needed help," replied Horus;
"but a horse is best for pursuing a flying foe and cutting him off from escape."

When he heard this Osiris knew that the time had come for Horus to declare war
on Set, and bade him gather together a great army and sail up the Nile to attack
him in the deserts of the south.

Horus gathered his forces and prepared to begin the war. And Ra himself, the
shining father of the gods, came to his aid in his own divine boat that sails across
the heavens and through the dangers of the underworld.

48
Before they set sail Ra drew Horus aside so as to gaze into his blue eyes: for
whoever looks into them, of gods or men, sees the future reflected there. But Set
was watching; and he took upon himself the form of a black pig - black as the
thunder-cloud, fierce to look at, with tusks to strike terror into the bravest heart.

Meanwhile Ra said to Horus: "Let me gaze into your eyes, and see what is to
come of this war." He gazed into the eyes of Horus and their color was that of the
Great Green Sea when the summer sky turns it to deepest blue.

While he gazed the black pig passed by and distracted his attention, so that he
exclaimed: "Look at that! Never have I seen so huge and fierce a pig." And
Horus looked; and he did not know that it was Set, but thought it was a wild boar
out of the thickets of the north, and he was not ready with a charm or a word of
power to guard himself against the enemy. Then Set aimed a blow of fire at the
eyes of Horus; and Horus shouted with the pain and was in a great rage. He knew
now that it was Set; but Set had gone on the instant and could not be trapped.

Ra caused Horus to be taken into a dark room, and it was not long before his eyes
could see again as clearly as before. When he was recovered Ra had returned to
the sky; but Horus was filled with joy that he could see, once more, and as he set
out up the Nile at the head of his army, the country on either side shared his joy
and blossomed into spring.

There were many battles in that war, but the last and greatest was at Edfu, where
the great temple of Horus stands to this day in memory of it. The forces of Set
and Horus drew near to one another among the islands and the rapids of the First
Cataract of the Nile. Set, in the form of a red hippopotamus of gigantic size,
sprang up on the island of Elephantine and uttered a great curse against Horus
and against Isis:

"Let there come a terrible raging tempest and a mighty flood against my
enemies!" he cried, and his voice was like the thunder rolling across the heavens
from the south to the north. At once the storm broke over the boats of Horus and
his army; the wind roared and the water was heaped into great waves. But Horus
held on his way, his own boat gleaming through the darkness, its prow shining
like a ray of the sun.

Opposite Edfu, Set turned and stood at bay, straddling the whole stream of the
Nile, so huge a red hippopotamus was he. But Horus took upon himself the shape
of a handsome young man, twelve feet in height. His hand held a harpoon thirty
feet long with a blade six feet wide at its point of greatest width.

Set opened his mighty jaws to destroy Horus and his followers when the storm
should wreck their boats. But Horus cast his harpoon, and it struck deep into the
head of the red hippopotamus, deep into his brain. And that one blow slew Set
the great wicked one, the enemy of Osiris and the gods - and the red
hippopotamus sank dead beside the Nile at Edfu. The storm passed away, the
flood sank and the sky was clear and blue once more. Then the people of Edfu
came out to welcome Horus the avenger and lead him in triumph to the shrine
over which the great temple now stands. And they sang the song of praise which

49
 the priests chanted ever afterwards when the yearly festival of Horus was held at
Edfu:

 "Rejoice, you who dwell in Edfu! Horus the great god, the lord of the
sky, has slain the enemy of his father! Eat the flesh of the vanquished, drink the
blood of the red hippopotamus, burn his bones with fire! Let him be cut in pieces,
and the scraps be given to the cats, and the offal to the reptiles!
 "Glory to Horus of the mighty blow, the brave one, the slayer, the
wielder of the Harpoon, the only son of Osiris, Horus of Edfu, Horus the
avenger!"

But when Horus passed from earth and reigned no more as the Pharaoh of Egypt,
he appeared before the assembly of the gods, and Set came also in the spirit, and
contended in words for the rule of the world. But not even Thoth the wise could
give judgment. And so it comes about that Horus and Set still contend for the
souls of men and for the rule of the world.

There were no more battles on the Nile or in the land of Egypt; and Osiris rested
quietly in his grave, which (since Set could no longer disturb it) Isis admitted was
on the island of Philae, the most sacred place of all, in the Nile a few miles
upstream from Elephantine. But the Egyptians believed that the Last Battle was
still to come - and that Horus would defeat Set in this also. And when Set was
destroyed forever, Osiris would rise from the dead and return to earth, bringing
with him all those who had been his own faithful followers. And for this reason
the Egyptians embalmed the dead and set the bodies away beneath towering
pyramids of stone and deep in the tomb chambers of western Thebes, so that the
blessed souls returning from Amenti should find them ready to enter again, and
in them to live for ever on earth under the good god Osiris, Isis his queen and
their son Horus.98

98
‘The Story of Isis and Osiris,’ The Encyclopedia Mythica, (Accessed [27 May 2008]),
http://www.angelfire.com/realm/shades/egypt/storyofisisandosiris.htm.

50
 X.
Appendix c
The Lost City of Atlantis
Hall states that Freemasonry is “a shadow of the great Atlantean Mystery
School, which stood with all its splendor in the ancient City of the Golden Gates
[Atlantis], where now the turbulent Atlantic rolls in unbroken sweep.” 99 Unlike
most religions, the Mystery School does not relate itself to any other systems of
belief. Man must bring his own light into this world, as his ideals are idols. A
mason [in this context,] is “a builder of…character. He is the architect of a
sublime mystery-the gleaming, glowing temple of his own soul.” 100 Such beliefs
and values are believed to have been traced all the way back to the lost city of
Atlantis.
Contrary to popular belief, the lost city of Atlantis was not the
underwater utopia that most people imagine when the city’s name is mentioned.
According to modern day Atlantean scholars, this famous now lost city actually
did exist, and above water. Unfortunately that is just about the only thing that all
of them can agree on.
Around 370BC, Philosopher Plato wrote his dialogues Timeaus and
Critias, which contain the only known written history specifically referring to
Atlantis. In these dialogues, Timeaus and Critias amuse Socrates by telling him
the story of Atlantis. They tell it as a true story, and not a work of fiction. 101
Most Atlantean scholars fall into one of two categories: historical
scholars and metaphysical scholars. Modern day historical scholars and
archeologists have long since been searching for possible locations and remains
of this famous lost city. They believe it to have been located somewhere near the
island of Crete, consisting of multiple islands. They also place the city of
Knossos as the center of activity, providing a link to the Minoan Civilization, and
naming the Minoans as possible early Atlanteans. (See map on page 54) These
scholars have placed the date of destruction around 1500BC. According to their
research and findings, the city was torn apart by sudden, violent earthquakes,
accompanied by massive deadly tsunamis.102 However there is much controversy
among these scholars, most of which is centered on time and location.
The website www.world-mysteries.com has posted multiple cases of
physical evidence of the lost city of Atlantis.
A pyramid explored by Dr. Ray Brown [naturopathic practitioner]on the
sea floor off the Bahamas in 1970. Brown was accompanied by 4 divers who
also found roads, domes, rectangular buildings, unidentified metallic instruments,
and a statue holding a “mysterious” crystal containing miniature pyramids. The
metal devices and crystals were taken to Florida for analysis at a university there.
What was discovered was that the crystal amplified energy that passed through it.

Ruins of roads and buildings found off Binini [sic] Island in the 1960s...
Similar underwater ruins were also photographed off Cay Sal in the Bahamas.
Similar underwater ruins were found off Morocco and photographed 50 to 60 feet
underwater.

99
Hall, 17.
100
Ibid, 17.
101
http://www.activemind.com/Mysterious/Topics/Atlantis/timaeus_and_critias.html. (Accessed 4 August
2007).
102
Lost Worlds: Atlantis, dir. Matthew Skilton, 60 min., The History Channel, 2006, television program.

51
 A huge 11-room pyramid found 10,000 feet underwater in the mid Atlantic
Ocean with a huge crystal top....

A 1977 report of a huge pyramid found off Cay Sal in the Bahamas…about
150 feet underwater. The pyramid was about 650 feet high. Mysteriously, the
surrounding water was lit by sparkling white water flowing out of the openings in
the pyramid surrounded by green water, instead of the black water everywhere
else at that depth.

A sunken city about 400 miles off Portugal found by Soviet expeditions led
by Boris Asturua, with buildings made of extremely strong concrete and
plastics. He said, “The remains of streets suggests [sic] the use of monorails for
transportation.” He also brought up a statue.

Heinrich Schliemann, the man who found and excavated the famous ruins of
Troy (which historians thought was only a legend), reportedly left a written
account of his discovery of a bronze vase with a metal unknown to scientists who
examined it, in the famous Priam Treasure. Inside it are glyphs in Phoenician
stating that it was from King Chronos of Atlantis. Identical pottery was found in
Tiajuanaco, Bolivia.103

Metaphysical scholars have quite a different outlook on this famous lost

city. Their information comes not from physical scientific evidence, but that of
spirit guides as well as journeys to the actual city, which is done through deep
meditation and past-life regressions, a process of hypnosis in which memories
from past lives can be accessed. Although somewhat controversial, there seems
to be more of an agreement on the information from these types of scholars.
They place its date of existence beginning approximately 500,000 years ago, with
its destruction occurring nearly 15,000 years ago. (This makes for a difference of
13,500 years in the opinions between the historical and metaphysical scholars.)
Metaphysical scholars also believe that the Atlanteans actually contributed to
their own demise, it having nothing to do with any type of natural disaster. Their
downfall came as a result of their vast knowledge of atomic energy and nuclear
physics. They believe the majority of the continent to have been destroyed by
the electromagnetic energy of their experiments. There were, however a few
Atlanteans that managed to escape to areas such as Spain, Egypt and the
Yucatan.104
Life on Atlantis was much different from anything we would imagine
today. It is believed that life spans lasted up to 800 years, and Atlanteans were
generally from 8 to 12 feet tall. Interestingly enough, there is actual physical
evidence of such people existing. Various skeletons measuring from 8 to 12 feet
in height have been located throughout the world. Diaries of Spanish explorers
also mention “blond-haired giants 8 to 12 feet tall running around the Andes
during the conquest of the Incas.” Let us not forget Chapter 6 of Genesis in the
Bible, which also speaks of giants.105

103
Sylvia Browne, Secrets and Mysteries of the World (Carlsbad, California: Hay House, Inc, 2005),
32-3.
104
Ibid, 32.
105
Ibid, 35.

52
 As previously mentioned, it was the Atlanteans’ love and pursuit of
technology, spinning out of control, which led to their ultimate downfall. They
used the electromagnetic energy of crystals in a process for rejuvenating the
body. The results of such experiments enabled them to live such long lives.
They also experimented with artificial organs. They were also able to control
things such as weather and earthquakes. They had amazing gardens and
waterways, and lived in breathtaking homes. Their architecture contained many
pyramids, as well as columns and arches that resemble what we know to be
Greek and Roman styles.106
Towards the end of their existence, the Atlanteans began to use their
technology to gain power in other aspects of life, which led to greed. This led to
the use of crystals not only for healing purposes, but for destructive purposes as
well.107
As mentioned previously, much of this information, along with its
sources are highly controversial, considering the fact that the majority of
information we have has come from the metaphysical scholars. Many of the
historical scholars, as well as the general public, tend to be extremely closed-
minded, needing actual physical evidence before they can believe anything.
Perhaps a merge between these two different methods of study would prove more
beneficial.

106
Ibid, 38.
107
Ibid, 38.
108
Map of Knossos: http://condor.depaul.edu/~sbucking/egyptlink.html (Accessed 13 August 2007).

53
54
 XI.
Appendix d
Visual Examples of Masonic Symbolism

109 110

109
Masonic Apron: http://www.ram-il.org/Freemasonry.htm (Accessed 13 May 2008).
110
Level and Square:http://www.delusionresistance.org/christian/mason_pics.html (Accessed 7 May 2008).

55
 111 112

113 114

111
All-Seeing Eye: http://www2.srmason.net/images/uploads/macnulty.jpg (Accessed 7 May 2008).
112
Level and Square: http://www.covington188.org/SC_53.JPG/SC_53-large.jpg (Accessed 7 May
2008).

113
Pillars of Jachim and Boaz: http://prizmoflight.blogspot.com/2007/03/make-your-own-links.html
(Accessed 7 May 2008).
114
All-Seeing Eye atop steps: http://cantontruth.blogspot.com/2008/02/secretary-of-state-
condoleezza-rice.html (Accessed 7 May 2008).

56
 115 116

115
Grandpa Simpson was also a Freemason: http://www.lafraternite54.be/usaindex.html (Accessed
30 July 2008).
116
Baby Stewie from Family Guy wearing a fez: Ibid.

57
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