The wait is nearly over for Son of Prometheus: The Life and Work of Joséphin Péladan!

The book is at the printer’s, I have approved the cover design, and Theion Publishing are expecting delivery of the Standard Edition to their HQ on 8th November, after which they will begin fulfilling pre-orders. The sold out Auric Edition will be ready to ship a few weeks after that.

On 28th November I am holding what could only be called a Salon to celebrate the book release and to mark the opening of my art exhibition at Treadwell’s, London, where the book illustrations and an additional series I have called Genii de la Rose-Croix will be on display until 19th December.

I am honoured to be joined by my publisher, David Beth, renowned scholar Christopher McIntosh, and the multitalented Madeleine LeDespencer, each of whom will say a few words about Peladan, the book and the art from their unique perspectives. I will be using the opportunity to focus on Symbolism and Peladan’s vision for the arts, which I have tried to follow faithfully in the art displayed, and I will also be revealing the concepts and creative process that has gone into the illustrations. The art will be available for sale in both original and print form through a dedicated website.

The Salon takes place exclusively online on Zoom and the link will be shared nearer to the time. The physical exhibition takes place at Treadwell’s (33 Store Street, London), and is on view Wed-Sat, 12-7pm until 19th December.

After a long, long gestation, I’m delighted to announce that my research study of Péladan, drawn from my PhD thesis, will be published in July 2022 by Theion Publishing! 

This is the first of four books I will be publishing with Theion. Entitled Son of Prometheus: The Life and Work of Joséphin Péladan this is the first scholarly study of Péladan that places him in the context of the history of Western Esotericism while also providing a clear roadmap to the entirety of Péladan’s initiatory teachings and philosophy of the esoteric power of art. 

The other three books contracted by Theion and due for release over the next few years, will be 3 curated and annotated anthologies of Péladan’s work, each one dedicated to a different aspect of his output. The first focuses on his esoteric curriculum, the second on his prescribed methods for creating ensouled art to subvert society, the third anthologises his ritual theatre and literary works designed to lead the unsuspecting reader or spectator to spiritual awakening. Work is well under way for these and more announcements will be forthcoming in due course.

About Son of Prometheus

Responding to multiple cultural shifts in fin-de-siècle French society, Péladan authored over a hundred novels and monographs in an attempt to bring about the spiritual regeneration of society through mythopoetic art underpinned by esoteric thought. Best remembered for organising the short-lived, though influential Salons de la Rose et Croix in the 1890s, that provided a focal point for Symbolist art and sought to unite the arts into a revival of initiatory drama, Péladan’s enormous oeuvre of over a hundred books and several thousand articles, slipped into oblivion and has been overlooked ever since. Previous accounts highlight his eccentricity, or isolated elements of his work, but until now, none have explored the breadth of his work in its cultural context. The aim of this study was to fill that gap. It offers a solid biographical introduction which corrects long-standing misperceptions, followed by accessible but robust thematic presentations of the many facets of Péladan’s work, including many unpublished translated excerpts of his work. He called himself a novelist, a playwright, a philosopher, an art critic, a savant and a zelator; he was all these and more, predicting in an unpublished autobiography that one day he would be the object of detailed study. After a century of oblivion, that day has come. His work is of undoubted interest to scholars, artists, and esoteric practitioners alike. Chaitow’s approach is both interdisciplinary and reader-friendly, ensuring that Péladan’s vision for changing society through art and authentic living is accessible to all.

Features

The book features forewords by Professors Per Faxneld and Christopher McIntosh, and is endorsed by Professor Christopher Partridge and Professor Joscelyn Godwin (see excerpts below).

Sasha is illustrating the book herself, reworking images inspired by Péladan over the course of her research. These will be produced as a set of limited prints and made available along with the books (details TBA). 

Scholarly praise for the book

Interview

In this interview (released 1st May 2022) with Rudolf Berger of the Thoth-Hermes podcast, Sasha talks about the book, the process of researching Péladan, and answers several frequently asked questions she has received over the years.

More information

The late 19th-century Parisian occult community gave birth to an extraordinary initiatory system, hidden and obscure – until now. Joséphin Péladan (1858 –  1918) created a program for esoteric self transformation centred upon artistic creativity, personal individuality, and soul purification. Peladan is famous now as an eccentric author of the French occult revival, but his occult curriculum has never before been brought to an English speaking audience – until now.

In this groundbreaking course, Dr Sasha Chaitow, who is the world’s leading Péladan scholar and a professional artist, leads participants through the first level of the three-degree system, Péladan’s Order of the Rose+Croix of the Temple and the Grail.

The course distils the teachings in a guided workshop format, with both lectures and (optional) practices to enact the initiation. It is ideal for scholars of Western Esotericism, as the complex philosophy is explained clearly and authoritatively, with extensive references offered. It is equally aimed at practitioners who wish to undergo the initiatory process, as Dr Chaitow supervises the practical mystical exercises Péladan prescribes, for those who choose to do them. Finally, the course welcomes artists who want to undergo a supported process of transformation which places creativity at its centre, as artistic practice was sacred to Péladan. Regardless of background, everyone who joins will be part of an historic moment: the lived revival of a powerful mystical rite which was almost lost forever.

Resources Provided

• Guided interactive workshops with optional activities and discussion
• Video recordings of all sessions
• Excerpts from Péladan’s texts in English
• Excerpts from Péladan’s source materials
• Further reading lists
• Scholarly articles and additional free video lectures providing context and insight into Péladan’s thought and influences
• A dedicated Facebook group for further discussion

Course Format

Each session follows this format:

• 1-hour lecture
• 15 minutes break / open floor question time
• 45 minutes of structured activities in small groups over zoom
• 30 minutes group discussion/feedback time
• Optional additional written exercises and recommended reading between sessions.

The total duration of each full session is 2.5 hours. The activities and discussion section of each session is optional, so participants may come to the lectures and opt out of the interactive segments. Equally, those unable to attend the live lectures may instead view the recordings and use the dedicated Facebook group to follow up when their schedule permits. All participants receive the full package that includes written instructions for working with the material, so they can still enjoy the full benefit of the course.

Syllabus in Detail

Péladan’s initiatory programme is based loosely on three degrees, and for him, its goal was self-discovery, inner peace, and deliverance from the misery people are experiencing in modern society. The first level is a  ‘Neophyte’ programme of seven steps, to develop self-mastery and successfully shake off the strictures of society and conditioning. The second level has twelve steps of exploring the ‘arcana’ of the initiatory process. The third level involves exploring a triad of advanced spiritual elements: the ‘Triad of the Holy Spirit’ or ‘The Occult Triodos’ (three-way path).  As mentioned, this course goes through the Neophyte Level. Courses going through the two upper levels will be offered in future, with attendance on this course a pre-requisite.

Péladan detailed the Neophyte Level  in seven manuals collectively called Amphithéâtre des sciences mortes. Its first three manuals are respectively designed for men, women, and artists. The next three deal with the initiate’s life within society, looking at politics, mysticism, metaphysics, and individualism. The seventh , The Science of Love (1911), contains reflections and deeper discussions.

The course aims to stay as faithful as possible to Péladan’s original structure, content, and intentions, while translating his material in an accessible, usable format. It follows his Septenaries for Neophytes from the handbooks,  in chronological order of publication. Volume 7, though, is considered hors-serie and is discussed in the introductory lecture, then referred to when relevant.

1. Pre-recorded lecture: The Amphitheatre of dead sciences

This lecture introduces the key points of Péladan’s system and the worldview it is founded on. It provides a synopsis of the seven books, and an overview of how it is meant to be used according to Péladan himself. 

2. Septenary for exiting the Century

From Comment on devient Mage (1891), which Péladan designed for young men of his day, and in which he presents his definition of magic and how to attain it through mastery of will and self-discovery.

3. Septenary for exiting the World

From Comment on devient Fée (1892), for young women. Péladan believed that women of his time were forced into severely artificial roles by society, distorting and restricting their true nature. Though the world has changed since the book was written, many of the insights regarding human self-determination remain highly relevant, and the occult content and ideals reveal more of his vision for humanity.

4. Septenary for exiting Nature

From Comment on devient Ar(t)iste (1894), this reveals his vision for artists as the spearhead for the regeneration and spiritual awakening of humanity. Directed specifically at artists, Péladan exhorts them to embrace their calling and learn to balance their will with intelligence, proposing that this is the way towards true creative genius.

5. Septenary of the Macrocosm

From Le Livre du Sceptre (1895), this explores problems and questions surrounding how to live the life of an initiate while remaining within society, family life, and other calls on one’s priorities and conscience.

6. Mystical Septenary

From L’Occulte Catholique (1898). Here Péladan dives deep into religious and metaphysical concerns, relating them to the process of self-initiation and relating to the world as outlined in the previous works. Of all his works, this is perhaps his most complete synthesis of his occult philosophy, revealing his rationale in attempting this grand synthesis of occultism and world religion, for the modern world.

7. Ars Magna

From Traité des Antinomies (1901). In this volume Péladan aimed to reconcile and offer philosophical explanations for the contradictions that one might observe and experience when following the path of an initiate, providing guidance and examples on how to work with them, and he also offers deeper definitions of core metaphysical notions. Structured in five parts, this lecture will deal with the introductory section, while insight from the other sections will be drawn on when relevant to the other volumes.

Dr Sasha Chaitow

Dr Sasha Chaitow is the only modern, English-language scholar to have completed an in-depth, academic study of the life and work of Joséphin Péladan. This was the topic of her doctoral dissertation, completed at the University of Essex in 2014. Her work corrects a number of long-held misperceptions of Péladan, by going to the primary sources and placing the material in its context within the history of esoteric thought. Her scholarly study is due for publication with Kamuret Press in late 2022. She has also been contracted by Theion Publishing to translate, compile and edit three anthologies of Péladan’s work, due in the near future. Sasha has been studying Péladan’s work for over a decade, has published numerous articles on his work, and has lectured extensively on him at universities, public, and esoteric venues throughout Europe, including the Universities of Northampton, Zurich, Gothenburg, Madrid, Södertörn, Szeged; Masonic venues in Sweden, Greece, Lebanon, and Georgia, and cultural spaces in the UK and Greece. She is a member of the Council of Elders at Pansophers.com and her book Atalanta Unveiled: Alchemical Initiation in the Emblems of the Atalanta Fugiens (2020) forms the first in the Rosicrucian Tradition series sponsored by Pansophers. Sasha has applied Péladan’s ideas and instructions to artists in her artistic practice and has exhibited these works internationally. In 2013, three works from her Péladan Project were selected for exhibition at the 1st Neosymbolist Salon at the Autonomous University of Madrid; in 2016 she produced a dedicated collection of art illustrating Péladan’s ideas, exhibited in London and Northampton. In 2017 her Stained by the Light series, drawing on Péladan’s instructions, was exhibited in Corfu, Greece, and in Glastonbury; and in 2018 her Bijoux de la Rose+Croix collection was exhibited at the Crypt Gallery in London. She has since participated in several major group exhibitions in Athens and Salonica, Greece with compositions following the same aesthetic-esoteric approach. She is now working on illustrations for all of her upcoming books as well as several other commissions for esoteric publications. Sasha’s other activities include researching the history of medicine in relation to esoteric thought, and teaching in several different disciplines.

In my previous posts I outlined the structure and core concepts of Péladan’s esoteric curriculum designed for all self-aware seekers to awaken their latent spiritual potential, and explored his motivation and concepts in more depth. Read these first for more context on this piece.

Though I approached Péladan as a scholar, as I have written elsewhere, the primary reason I entered esoteric studies was because first, I was an artist. I didn’t get on well at art school: it was not intellectually stimulating enough for me, and Greek art schools tend to focus on a painterly form of expressionist modernism that I found very limiting. I wanted art to mean something, and after leaving art school, I began creating works that drew on my scattered knowledge of mythology and philosophy, and my long-standing obsession with the story of fallen angels – which I can’t really explain.

However, I was missing a system, a proper vocabulary that would enable me to tell stories with my art, that would connect it to a deeper current of meaning, and that would make it meaningful to the viewers who could read it. And my art was limited by my equally restricted experience and knowledge – so it largely reflected my limited worldview. For some artists, that is still rich in content. For me, it was not enough. I needed a purpose.

By chance, I discovered the MA in Western Esotericism, and the rest is history. By the time I came to study Péladan, I was a fully-fledged scholar. Yet I was still painting; dividing my time between my desk and my easel, exhibiting periodically as I continued my studies, and promising myself an overdose of art when I was finally done.

As I delved deeper into Péladan, I realised I’d really discovered a kind of Holy Grail for artists – precise instructions in how to make art everything I had thought it should be – long before I’d ever heard of either Péladan or esotericism. Then I realised the man had written a whole manifesto, and a separate handbook, especially for artists who thought that way. Surely then, this was a sign?

Scholars often get a bad rap from practitioners, and in the 18 or so years that I have been active in the esoteric community – scholarly and practical both – I have had many fraught discussions and fought many battles, especially when I am met with assumptions from either side – academic or practitioner – supposing that I have “gone native” on the “wrong” side. Since 2009 I have strongly asserted that scholars and practitioners do not need to be at odds, since they each have entirely different purposes and end-goals. This seemed quite obvious to me as an artist already, because learning art history does not mean you are “selling out” as a creative, and being an active artist does not mean you cannot also be well-read in art history. It would be preposterous to suggest as much. And it is quite honestly preposterous to suggest that a scholar cannot also be a practitioner, or vice versa. They will only be a good scholar, mind you, if they can respect the rules of academia when wearing their scholar’s hat, and be true to themselves when practicing. But the two are not mutually exclusive.

During this time, I have often been asked, sometimes furtively, sometimes timidly, often aggressively, “what is your practice?” My answer has always been “that is none of your business,” though enough people know that I have a certain amount of experience in an initiatory setting. However, another answer I give when I’m frustrated enough, is that “I am an artist, and if you really think about it, that is practice enough.”

That answer is usually met with blank gazes, at which point the conversation usually peters out. Unless there are other creatives in the room, at which point we exchange looks of mutual sympathy.

Unless you are an artist (of any stripe – writers, musicians, sculptors, craftspeople, and painters are all artists), you may not be aware of the deep meditative state that being in the “creative zone” entails. Icon painters in the Eastern Orthodox tradition are instructed to make good use of this zone, in which they are believed to be serving God and “writing” the icon, whereby their arm and paintbrush are “creating living theology.” It is truly trance-like, and something strange happens to your consciousness when you’re in that place. You know you’re there, because time slips by like water, your mind slows, and you begin to see with different eyes. Artists are born to this, but unless they harness it and develop their skills, it may not result in anything; indeed it may torment them. Going through the discipline of training your eye and hand is an initiation all in itself – not necessarily an esoteric one, but it disciplines the eye, the mind, and the hand, all the same. You become conscious of your body in a way you were not, of different kinds of seeing, and different layers of perception. You become intimately familiar with the workings of your mind, and how the physicality of creation interacts with it. You have no words, so you must generate an image that can speak. That’s something the ancient Greeks did as a matter of course, and it is something icon painters and Byzantine artists still do. I had been trained in that tradition, and turned away from it, in my late teens. At this point, just pushing 30, I returned to it, realising I had had the tools to achieve my aims, but had been too green to acknowledge their value.

Having already undergone the skills training, I found myself needing the mental discipline. That’s what academia gave me. It was never a case of either/or, it is a case of both/and – which, incidentally, every Rosicrucian adept from Maier to Péladan insist is vital anyway. This also gave me the keys to the visual vocabulary I needed to paint pictures that tell stories and touch places of inner knowing that cannot be reached by other means, and showed me the pathways to the sources that allowed me to build richly layered visual narratives.

It was after this realisation that I discovered Péladan, who gave me a set of instructions on how to make those pictures serve a specific purpose, and in so doing, turn my innate talent to something meaningful, that might inspire others.

In parallel, I continued my research. Switching from careful historical documentation of Péladan’s influences, life, and work, to creating art according to his instructions, was as easy as taking off a business suit and putting on an evening outfit. All it really requires is self-awareness and time management. The one is inappropriate for the office, the other looks ridiculous in a bar. It’s something we all do in different settings, and I therefore remain bemused by the animosity I often encounter towards academics on the part of practitioners – since it is obvious that it comes from a place of ignorance. 

Baptism of Christ, Sasha Chaitow, 2015In 2013 I was entering my final PhD year, but had endured family illnesses in the role of caregiver that had left my world shaken. I was given 6 months of leave from my university to deal with this. When circumstances improved, to pull myself together, I turned to art. At the time I hadn’t worked for over 6 months, had just moved house, and could only afford a basic set of pencils and a school sketchpad. But that was enough. I also had Péladan.

I went through his manifesto in L’art idéaliste and mystique, then I flicked through some of the aspects of his cosmology that I had found most inspiring. I looked for foundational concepts and ideas; elements that if seen in sequence, would narrate a story, lead the viewer to questions, encourage them to look for the answers. That’s what his instructions say, after all. Now I knew the path I needed to invite my viewer onto. So every night for several weeks, I brought forth a new drawing, faithfully referring to Péladan’s words, weaving little details that would only fully reveal themselves if someone read his work, but that could also stand alone if I was asked to explain them out of context.

This was “The Péladan Project 2013” and resulted in 10 drawings that I planned to make into large oil paintings when time allowed. Three of them were exhibited in Madrid at the 1st Neo-Symbolist Salon (2013); a further 3 in Corfu at my revival of Péladan’s Salons (2014), and the remainder in London and Northampton (2016). Most of them sold, and what surprised me the most was that several were bought by people who had never heard of Péladan – but to whom they spoke in a myriad ways.

I completed my PhD and ensconced myself in the studio with a vengeance. Heartened by the response to the sketches, it was time to level up. I repeated the process: went through Péladan’s writings, selected key passages, and brought forth illustrations that largely followed his instructions in my own style. Only this time, I worked in oils to professional standards. This became the “Saving the Lives of Angels” collection that I created throughout 2016, and brought to exhibition in the UK that autumn.

Once again, the responses from total strangers suggested I’d got something right. In 2017 I decided to go a step further, and to explore other esoteric concepts, still following Péladan’s main ideas, but broadening the thematic content, and following his line on combining world mythologies to construct more novel pieces. This became “Stained by the Light,” shown in Corfu and Glastonbury.

In 2018 I began work on the “Péladan Centenary Collection” to mark the centenary since his death. This was going to be a series of 7 portraits – reflecting Péladan in his role as novelist, playwright, esoteric adept, art critic, philosopher, and mage – titles he gave himself. However, it was not to be, as more family illness eventually led to tragedy and the loss of my father. I abandoned the project, but still somehow produced the Bijoux des Rose-Croix collection to mark the centenary, revisiting the emblems Péladan designed for his numerous books, and writing a short text outlining their symbolism. I did this one for my father… as he was dying he told me that seeing my new work was the only thing that gave him hope.

In parallel, since returning to my roots in icon-painting from the winter of 2014 onwards, I also produced several series of Greek icons – some traditional, some drawing on esoteric concepts; especially angelic imagery that Péladan favoured. From navel-gazing, I went to universal, evocative images, thought-forms and figures, traced their stories, and researched every detail before developing a composition. For the Aevum collection (pictured below), I read up on the Celestial Hierarchy of pseudo-Dionysius the Areopagite, cross-referenced with Agrippa, Maimonides, and even Mathers, found the original Greek text, then painted 3D portraits of the angels, with the extract of text describing their attributes featured as part of the composition. These were intended as personal meditation pieces, and have been well-received.

This is the external shape of what I did with Péladan’s ideas, but readers are probably more interested in what results this had as a form of esoteric practice. As with all esoteric practice, this is not easy to put into words. I can say that it has required, and therefore improved, my self-discipline when it comes to the purely technical side of art – for every line must matter, as Péladan explains. I became far more demanding of myself where the technical aspects are concerned. My paintbrush skills have improved in ways I did not think possible, and I have become more discerning about how to handle specific aspects of composition and rendering. I have developed a particular way of conceptualising images, and of working with the ideas and compositions that also draw on his instructions.

Internally, this has led me to peace in the midst of turbulence, has taught me to discern a form of artistic authenticity and honesty (in the work of others as well as my own), and has made me treat the artistic process as sacred – for it is. My more recent work has been for the purpose of healing from loss, and applying these techniques – making the invisible visible, giving it form and breath on the canvas, has been an exercise in Kabbalistic reparation and self-rediscovery. However, I’m finding it too self-indulgent and have already begun working in a new direction.

At the heart of Péladan’s guidance for artists is the Neoplatonic concept that to approach the divine, one must emulate the divine Creator. This is the same concept that rescued icon-painting from near-destruction a couple of centuries before the Great Schism, and remains a core precept of the production of sacred art. Péladan always said that the Eastern Orthodox tradition had remained more authentic than the Catholicism of his day: I do not pass judgement on this, but I have certainly seen the similarities in the respective approaches to art.

Péladan positions his guidance to artists as a pathway from discovering your raw talent, towards excellence (Aristie), hence the wordplay in the title of the specific manual for artists: Comment on devient Ar(t)iste. He considered that both art and literature are a praxis at the time of creation, and a second praxis (between viewer/reader) and creator at the time of viewing, and he designed his novels based on this belief. For Péladan, it was art, and art alone, that could lead to redemption and peace within this mortal lifespan. This is what I have tried to work with, offering viewers a generous breadcrumb trail to follow in the form of short texts to accompany my work.

I do not believe I have achieved excellence by any means – my time has been too diluted. But I have certainly seen for myself the value of art as practice, and I have also seen how conceptualising esoteric principles through the artistic path is filled with gifts. Péladan does make the point though, that it must be accompanied by theory and study, which I fell into incidentally, and whose value I stand by. It is not something that one can simply do opportunistically. The very real sacrifice is sleep, and back pain… a small price to pay for realising you can make the invisible visible, and discover the actual substance of the divine creative impulse. It is certainly occulted… and will only reveal itself to those who put in the work.

It is a lonesome path, and not for those who prefer to work alongside others, nor those who are not keen on reading. That is where Péladan has had the wisdom to propose several different paths depending on one’s psychological constitution and temperament. But for those loners who think in pictures or harmonies, and who are dexterous with a pencil or musical instrument, discovering Péladan’s perspectives can open whole new worlds, whole new ways of thinking about this one, and ourselves in relation to it.

Not a practice? Tell Péladan he wrote all those novels for nothing. And tell all those generation of icon-writers the same…

The Secret History of Western Esotericism Podcast (SHWEP) is a phenomenal resource for scholars and the incurably curious. In this week’s new episode, Sasha Chaitow tells all about Joséphin Péladan.

Access the episode here: https://shwep.net/oddcast/sasha-chaitow-on-josephin-peladan/

This episode is free for a limited time, after which it will move to the subscribers-only section of the SHWEP website. Please consider supporting this amazing resource!

Disclaimer: This essay was written in 2007 as part of my coursework for the MA in the History of Western Esotericism (awarded 2009) at the University of Exeter (EXESESO). It is the second essay, written for the first module The Western Esoteric Traditions: Historical Survey and Research Methods, and in many ways reflects both my naiveté regarding the nuances of this field, and my earlier background as a scholar of literature and communications. Nevertheless, it was awarded a Merit, so can’t have been that bad (!). Looking over it with the benefit of over a decade in this field, and a PhD under my belt, I see much that could be updated in view of more recent scholarship. However, I remain pleased with the train of thought it expresses and the connections made between the historical material and modern times. Despite its shortcomings, I have chosen to post it now as it reflects, to some extent, my current (May 2020) interest in the influences of esoteric thought on the sciences, particularly on holistic models of health and disease, as well as in communication and narratives. However, it is an early piece not originally intended for publication, so rough edges and lacunae should be viewed in this context. Please note that this is a piece of historical, academic scholarship originally written to pass a module requirement, and is not an “esoteric” nor a personal perspective. 

The Quest for a Science of Sciences:
The Heritage of Rosicrucianism to Modern Esotericism

In his Via Lucis, completed in 1641, Jan Amos Comenius (1592-1670) wrote:

When all instances and rules have been collected, an Art of Arts, A Science of Sciences, a Wisdom of Wisdom, a Light of Light shall at length be possessed. […]The book of Pansophia will be completed.  The schools of universal wisdom advocated by Bacon will be founded. And the prophets of universal wisdom in all countries must be accessible to one another. […] The world has not entirely lacked intercourse, yet such methods of intercourse as it has enjoyed have lacked universality. […] There should be a College, or a sacred society, devoted to the common welfare of mankind, and held together by some laws and rules. A great need for the spread of light is that there should be a universal language which all can understand. [1]

Frances Yates has clearly detailed her perspective of Comenius’ place in the spread of the Rosicrucian idea, which as many scholars have noted, is notoriously elusive to define. (2020 UPDATE: Yate’s work has been established as problematic in some respects, but this essay preceded that debate. Elaborating further on this is outside the scope of this paper, but those seeking accurate historical references on this should handle Yates with caution).

One of its central and most powerful concepts however, is that of Pansophia, or universal wisdom, as so eloquently delineated above. It demonstrates a holism unparalleled in other philosophies, and it is this element that can be considered the focal point which later established the further Rosicrucian characteristics.

Comenius’ words place art, with its alchemical subtext[2] and expression through archetypal symbols and literature, on an equal level to science, with its language of scholarship and ensuing enlightenment. Thus microcosmic expression merges with the macrocosm, a horizontal and vertical unification concomitant with the infinite possibilities latent therein.

Simultaneously he advocates the need for an ordered rule together with philanthropy, a balancing of the two kabbalistic pillars, to propagate the processes through which these potentialities may unfold; this having manifested visibly since his time. Though he says nothing of secrecy here, it may be implicit in the use of ‘sacred’, with regard to the later form acquired by esoteric societies inextricably linked to the Rosicrucian ideal.

Finally he calls for a universal language – the middle pillar perhaps, to link them. The quasi-universal nature of delocalized electronic communication bizarrely echoes this concept. It is not proposed that the latter was a Rosicrucian endeavor, yet its demonstration of precisely the multifaceted accessibility across the globe which Comenius envisaged, facilitating the continued propagation of ideas and preservation of a wealth of material in a way heretofore unimagined, renders it worthy of remark.

Therefore, in attempting to trace the Rosicrucian legacy to modern esotericism, it is the manifestation of these elements that will be of primary consideration.

Scientific Pantheism

To one modern Rosicrucian, ‘a worldview of scientific pantheism’ is the single most important legacy of Rosicrucianism.[3] This concise phrase collates precisely with Rosicrucian literature and commentary, elucidating the concept of pansophia and continuing to emphasize the significance of holism. Any attempt to define Rosicrucianism or reduce it to its component parts, however, is not so straightforward; yet herein may lie its capacity for endurance. Christopher McIntosh suggests:

Reducing Rosicrucianism to its basic elements leaves little more than a name, a symbol, a legend, certain occult associations, and a Gnostic type of outlook. Yet, somehow, this strange organism has succeeded in surviving and growing over a period of more than three centuries. How and why? One answer is that its very vagueness has helped it to survive. Rosicrucianism has frequently changed its colour and shape to suit its environment, yet has still remained identifiable. [4]                                         

More than a sum of its parts then, this curious hydra has had far-reaching effects many of which bear startlingly close echoes to Comenius’ vision – grounded in practicality for all its scope – and perhaps another of the many interpretations of the cross as the unity between earth and the heavens, the numinous and the material.

Sacred Societies

Comenius urged the formation of structured societies to preserve the cause, and in the plethora of modern-day esoteric societies, Rosicrucian elements are indeed clearly present. Debate continues regarding order of precedence and antiquity of lineage among many of these, this bearing little significance for the current discussion.  

Since its inception, the relationship between Freemasonry and Rosicrucianism has been bilateral and immensely fruitful, not least due to the firm hierarchical constitution of the former which in true Masonic fashion offered the elements composing the Rosicrucian phenomenon an edifice upon which to build a lasting construction.

The initial commotion caused by the publication of the manifestos, the ensuing furore in France, and the spread of Rosicrucian ideals across Europe in the 17^th and 18^th centuries[5] were the product of an exigency for change on multiple levels: “politics, teaching, religion and morality”[6] first and foremost; and manifested via the best aspects of human idealism and action-reaction dynamics. These would have been relegated to the realm of folklore while other geopolitical events overtook them in terms of significance in the public and intellectual psyche had there not been an orderly construction to ensure their survival.

Whether the first appearance of a ‘methodised rule[7]’ as such is that of the Unzertrennlichen as suggested by McIntosh,[8] the Gold-und Rozenkreuzer brotherhood which demonstrates a more formalized structure, or is hallmarked by the change from operative to speculative Masonry around the mid-17^th century, the elements of symbolism, ritual initiatory practice and ideals became systematized in a stolid, primarily Masonic structure which offered an ideal vehicle for the sustenance of higher ideals, and a common language of architecture – a combination of art and science – thus flexible enough to cross borders and transcend the many institutions hostile to the Rosicrucian utopian ideal, from church to state, witch-hunts notwithstanding.[9]

            A final element, perhaps carrying over from Renaissance Hermeticism and the very element which inspired Pico della Mirandola, Marsilio Ficino and Giordano Bruno to delve so deeply into hermetic thought[10], is that of antique lineage, offering nearly indisputable authority to the teachings of a given tradition, and presented as a philosophia perennis. The aura of mystery generated by this mythology, regardless of actuality, seems to have been one of the keys to the success of the original manifestos,[11] and is likely to be the main reason for which these systems have functioned so well in preserving these traditions, whatever their current form. Besides canonizing elements of esoteric thought and providing a structure for their application or furtherance, this system created a ‘quest’ well-suited to maintaining the interest of innate human curiosity.

            Superimposed onto this framework without extraneous trappings, various Rosicrucian elements can be recognized. The “Gnostic type of outlook” as posited by McIntosh can be delineated as “the idea of a divine spark in man, deriving from the divine realm, fallen into this world of fate, birth and death, and needing to be awakened by the divine counterpart of the self in order to be finally reintegrated”.[12]  This includes the idea of the material world as a creation of a demiurge, clearly differentiated from the ultimate divinity – though whether evil, unfortunate, or part of the divine plan varies depending on tradition and interpretation. In any case it can safely be said that the Rosicrucian aim – and that of the various societies exhibiting Rosicrucian characteristics – is that of reintegration with the divine via the reacquaintance with ones own transcendent or higher self, this path to enlightenment also demonstrating a clearly hermetic perspective[13].

The Rose-cross appears in the rituals of many societies, with generally similar interpretations of its symbolism. The cross may be variously seen as the Christian cross of sacrifice and rebirth, as a symbol of unity between heaven and earth, or, according to John Dee, as inclusive of the point of juncture where the two lines meet. It is also considered a hieroglyph for light, as the letters LVX (light) can be found in the angles between the component lines. The rose variously represents ‘spiritualized matter’, a Grail symbol of regeneration and the ultimate flowering of man into his spiritual inheritance. [14] Alternatively the alchemical connotation of ‘ros’ as the Latin for dew brings the enduring significance of alchemy in the Rosicrucian tradition to the forefront;[15] “A Rosicrucian philosopher is one who, by the assistance of the dew, seeks for the light, or the philosopher’s stone”.[16] Another example of this is found in the writings of Fulcanelli, who, despite his ambiguity, gives an interesting exposition which echoes the Masonic understanding of the Rose-Croix as will be discussed below:

The Wise gave it [gold] the name of the Dew of May. Similarly we are not surprised to find Thomas Corneille asserting that the great masters of the Rose-Cross were called Frerès de la Rosée Cuite (Brothers of the boiled dew), a meaning which they themselves gave to the initials of their order, F.R.C. […] We are touching on the greatest secret of the Work […] It is the Verbum dimissum of Trevisan, the Lost Word of the medieval freemasons, what all the hermetic fraternities were hoping to find. Its discovery was the aim of all their work and the raison d’être of their existence. Post tenebras lux. Let us not forget that light comes out of darkness.[17]

Fulcanelli footnotes this account, naming some of these ‘hermetic fraternities’, ‘the Illuminates’ and the ‘Elected Coens’ (sic) among them. It is unclear whether he means Weishaupt’s Illuminaten who if hostile to occultism remained proponents of scientific learning and retained a Masonic structure, the romantically inspired New Illuminati of the 19^th century, or even the short-lived Illuminés d’Avignon.[18] The latter are documented as working with alchemy and performing a ritual known as “la Sainte Parole”, the Sacred Word.[19] Unlikely coincidence or direct influence, this serves to illustrate the continuing delocalized and almost deliberately vague manner in which the various Rosicrucian ideas continued to propagate themselves.

2020 UPDATE: Elements of Rosicrucian thought touched many “secret” fraternities, and developed in different ways. A brief summary of the better known ones follows, though this is neither exhaustive, nor comprehensive. It may be of interest to those new to these topics.

Freemasonry

This is further illustrated in the Eighteenth or Rose Croix of Heredom Degree of Freemasonry.[20] Originally the “seventh grade of the Knight of the Rose Cross or the ‘unknown philosopher’”[21]; besides its name, its whole philosophy echoes the Rosicrucian ideal.[22] In learning the “name of the Grand Architect of the Universe” [23] the initiated individual comes to realize that “all men are one within [God], and there is no spiritual height which man cannot hope to attain”, a truly Hermetic standpoint[24]. Through the pronouncement and full understanding of the significance of the ineffable Name (Fulcanelli’s lost word or the Illuminé’s Sainte Parole?), the initiated candidate is taught that “the true knowledge of God, His nature and attributes, have been written by Him in the pages of the great Book of Universal Nature, and can be read there by all those who are gifted with the necessary intellect and acumen,”[25]once again a clearly Hermetic worldview.

Regarding the Rose-cross emblem, Leadbeater offers this triadic interpretation:

“The Rose blossom has a triple meaning, symbolizing Love, Secrecy and Fragrance. The Cross also has a triple meaning, that of Self-sacrifice, Immortality and Sanctity. Hence, when these two symbols are combined – as always occurs with the names Rose and Cross – they symbolize the Love of Self-sacrifice, the Ineffability of Immortality and the sweet Fragrance of Sanctified life”[26].

This degree also marks the entrance into the ‘inner circle’, or Black Masonry; the philosophical initiatory progression dealing mainly with karmic laws and retribution, or the necessary ‘shadow side’ of God’s actions.[27] At this level within Freemasonry the initiate is intended to experience a sense of rebirth modeled on, though deeper than that of the 3^rd degree of Master Mason. This again echoes Fulcanelli (Post tenebras Lux), and may even lead back to Comenius’ promise of ‘Light of Light’. Furthermore, the concept of an inner, or privileged circle privy to deeper knowledge than lower ranking members reflects that of the RC brotherhood as originally posited in the Manifestos. It is also a characteristic of ancient Egyptian and Greek mystery ‘schools’ and orders[28] from which both Freemasonry and Rosicrucianism certainly drew inspiration, if not lineage. Finally, the denotation of ‘Black’ for this level of Freemasonry may also, due to its philosophical content, bear some relation to the alchemical stages of nigredo and putrefactio, since in both cases the goal is deeper insight into the darker side of existence.

Societas Rosicruciana and the Hermetic Order of the Golden Dawn

The Societas Rosicruciana in Anglia (SRIA) is the oldest (established in 1867) surviving Rosicrucian order[29] and the direct inspiration for the Golden Dawn as well as a plethora of other groups. Its roots were Masonic as only Master Masons could, and can join, its intent “to afford mutual aid and encouragement in working out the great problems of Life, and in discovering the secrets of nature; to facilitate the study of the systems of philosophy founded upon the Kaballah [sic] and the doctrines of Hermes Trismegistus.”[30] Comprising of ‘a combination of quasi-masonic ritual, ostensible secrecy and academic discussion,’[31]debate continues regarding precedence and purpose of the relevant parties. Posited as a Rosicrucian initiative intending to extend and deepen ‘Craft’ work, based on the concept that “Master Masons possessed no more ‘than a reflection of the Light’ and had therefore access only to the outer Temple,”[32] Rosicrucian precedence and superiority are emphasized.

Its main significance involves its nature as a Rosicrucian society both in name and, apparently, ideals, and the massive influence it seems to have exerted, both negative and positive, in spawning the various splinter groups which not only furthered the spread of knowledge but broadened it, adapting to the circumstances of the time. A main contributing factor to the proliferation of these splinter groups was, first and foremost, a thirst for deeper occult knowledge and magical practice, unavailable in SRIA, which in true Masonic fashion retained a much more philosophical application. Another social factor most likely to have played a part is the women’s movement, heightening more than ever awareness of women’s rights – a male-only society would naturally have come under fire during this time, and the inclusion of women on an equal basis is characteristic of the Golden Dawn and the majority of groups founded in the late 19^th – early 20^th century, inclusive of Droit Humain Co-masonry; significant in that it followed the Scottish Rite, resembling Freemasonry in all things apart from the inclusion of women.

The Hermetic Order of the Golden Dawn

Numerous Rosicrucian elements are evident in the Golden Dawn, despite – or including – its tremendously complex synthesis of correspondences which draw on numerous traditions, thus demonstrating a kind of holistic though simultaneously eclectic approach. The rudiments however, are there; once again the statement of purpose stresses self-betterment and self-awareness as the ultimate goal: “the system of the Golden Dawn acts as a precise catalytic agent which accelerates this growth toward Soul.”[33] Similarly with earlier Rosicrucian brotherhoods, it comprises of an outer and inner circle, respectively ‘The Rosae Rubae and Aureae Crucis’ and the ‘Vault of the Adepts’ within a Masonic degree system.  A number of overtly Rosicrucian elements are found in their rituals; the Vault is modeled precisely after the description of the tomb of Christian Rosenkreuz in the Fama Fraternitatis, and used variously for meditation, ritual and initiation,[34] while specific Rose Cross rituals exist for the higher degrees. Despite the tumultuous early days of the Golden Dawn, it has played an unarguable role in ensuring the survival of a version of Rosicrucianism and the preservation of many of its ideals.

Martinism and the Ordre des Élus Coëns

The relationship of this movement to Rosicrucianism is at once parallel and overlapping, apparently instrumental in the establishment of the Rose-Cross degree into Freemasonry via de Pasqually’s disciple Willermoz in his construction of Régime Ecossais Rectifié, or Scottish Rite. This is the first point of intersection with Rosicrucianism; as the Fama admonished the Rosicrucian ‘brethren’ to ‘follow the custom of the country’ in which they lived, so Willermoz ‘concealed [Martinist doctrine] within the hybrid System, both Masonic and chivalric, that he himself invented’[35]and is considered to be the “heart”[36] of that system. Pasqually’s attitude towards Freemasonry as a system for spiritual purification seems to have been akin to the Rosicrucian attitude, in that he thought them to belong to ‘the profane’,[37]seeking to ‘recall men to their first masonic state’[38]via a ‘science of God’, or spiritual alchemy aiming to restore man to his original state of purity.

Broadly speaking, the parallels with Rosicrucianism in terms of a Gnostic worldview and Hermetic philosophy are clearly visible, as is the similarity of the initiatory system, despite the connection with masonry being more utilitarian than otherwise. It seems no coincidence that the Rose-Cross, or Eighteenth Masonic degree, symbolizes entrance to the ‘inner circle’ in Freemasonry; the degree of Réau-Croix was the highest degree of Pasqually’s original order, placed in the fourth and last ‘circle’ of initiation, and equally in Willermoz’ R.E.R, the fourth and final initiatory ‘circle’ retained elements of the theurgical processes of the original Élus Coëns.[39]

The greatest commonality with Rosicrucianism is that of philosophy, although Pasqually’s worldview was more spiritual and overtly religious than that of the professed Rosicrucian ‘brethren’. Pasqually’s ‘science of man’ may have been more a theosophy than science as commonly understood, yet its similarities with spiritual alchemy are undeniable. At least partially due to Willermoz’ practicality, its archetypal vestiges continue to survive within a ‘sacred society’.

Ancient and Mystical Order Rosae Crucis[40]

Rosicrucian in ideal, structure, ritual, philosophy and scope, despite or maybe even due to the notoriety surrounding the name of its founder, H. Spencer Lewis, AMORC has single-handedly done the most for the establishment of Rosicrucianism in the public eye, particularly due to its secular packaging and palatable presentation[41]. It should be credited with the preservation and perpetuation of a wealth of knowledge, via the foundation of a museum, research library, and international character. AMORC also publishes an international peer-reviewed journal, scholarly in character and invaluable for the furtherance of research relating but not limited to esoteric matters. Its inter – and transdisciplinary nature[42]is strongly reminiscent of the early Rosicrucian influence via the Invisible College and Royal Society, and demonstrates its holistic approach to learning[43].

In this brief outline it is clear that not all these societies stand for the original purpose or display the same character to that of the original Rosicrucians of the Fama. From the Gold-und Rosenkreuz brotherhood to modern Rosicrucian societies, sometimes only an echo remains, yet identifying elements are still present, this basis rendering them noteworthy. Willermoz’ concealment of the Martinist doctrine within the R.E.R. illustrates perhaps most clearly the way in which such a phenomenon may thoroughly alter in form and apparent purpose, yet remain the same in its essence – and the same seems to be true for the Rosicrucian ideal.   

Art of Arts

If the universal language of scientists is mathematics, and the lingua franca in our century, thanks in part to the British Empire, is English, the power of the archetypal image as passed down since humanity began to create images seems to remain the most universal of all. It hardly seems surprising that the enigmatic emblems adorning alchemical and Hermetic texts are so complex – and often indispensable for the interpretation of many of these writings. Appearing in the initiation ceremonies of all the aforementioned fraternities, this imagery is intended to prompt a reaction in the subconscious mind of the initiate which bypasses rational processes, facilitating a direct comprehension of the essence of the initiation.

In terms of literature, the Chemical Wedding itself, Campanella’s Citta del Sol, and Bacon’s Utopia are all examples of overtly Rosicrucian literary texts, whether in spirit (Campanella), direct reference (Chemical Wedding) or more subtle suggestion (Bacon). Maier combined image and word in his works, Böhme single-handedly produced an aesthetics and worldview which would later influence the Romantic movement while confounding the rationalists of his time,[44]and Ashmole’s Theatrum Chemicum Britannicum is a paean to alchemical allegory in poetry. Others in the canon include Goethe, Blake, Donne and Wotton, all of whom include Rosicrucian themes in their work,[45] and this brief catalogue would be incomplete without the mention of Mozart and the Masonic influence and indeed symbolism present in much of his work. The Romantic Movement is the most blatantly Rosicrucian in outlook, and unsurprisingly, its appearance is contemporaneous with the spate of societies of various occult persuasions appearing in the 19^th-early 20^th centuries.

Beyond the ‘sacred society’ and enlightened scholar is the layperson. The Druidic bards and the troubadours of medieval Europe knew well the power of a good story. It is said that there are only seven basic plots,[46] all of which hold basic common elements. The popularized Rosicrucian is all too attractive a hero – or antihero – to have escaped the fate of Parzival – or in some cases, being named as such. It is the ‘fatal flaw’ characteristic of the heroic archetype, however, which the Rosicrucian seeks to reconcile, metaphorically and spiritually. Equally, the quest motif is one of the most compelling to be found in literature, in part due to its universality, and the Rosicrucian or alchemical quest certainly offers itself to adaptation in numerous ways to a more innocuous version of its true self.  

Whether the compelling nature of these archetypal motifs were comprehended by the ‘invisible philosophers’ and thereby built upon to lend power to their image in the popular mind – Templar lineage included – or whether this was the work of later visionary writers, poets, artists and musicians, the fact remains that when the spiritual essence of the various societies was forced underground in the face of the Inquisition, the Age of Reason, or pure cynicism, the ‘harmless’ and humble fairy-tale served as a vehicle for the knight in search of a Grail, a princess, or a dragon, and so kept ‘him’ alive in the minds of countless generations.

The significance of this should not be underestimated. Countless children have grown up with fairy-tales bearing elements such as these, and truly the vast majority goes on to lay them aside in adulthood. Even though these tales are but ghosts of the originals, their archetypal power nonetheless remains.[47]

As demonstrated in Blue Freemasonry, stories are told, a symbolic value is given, but very little explanation is proffered. How far the Master Mason will choose to extend their understanding of the symbols and archetypes provided will depend on whether they wish to undertake that quest pertaining to the later philosophical degrees, hence their designation as part of the inner circle.

With reference therefore to the Rosicrucian ideal, though not, it is stressed, its direct influence, this universal language of archetypes is taught in childhood, and those individuals who sense a calling to delve deeper, believing perhaps that somewhere there is a Utopia, or City of the Sun, or that they too can be a knight and find the grail, have a ready-made set of directions laid out for them. In this sense it is no surprise that the early Rosicrucians sought to link their lineage to these archetypes, yet another vehicle with which to establish their ideal in the collective unconscious.

Science of Sciences

Beginning its journey with Aristotle and the pre-Socratics, science passed to the medieval and renaissance alchemists, traveled through Rosicrucianism, crystallized in the Royal Society and the Age of Reason characterized by mechanistic thought – the darkest time for holism. Now, ironically enough, it is returning full circle. Perhaps it was inevitable[48] in view of the cyclical behaviour of history, but ‘holistic theory’ or ‘holomovement’ as described extensively by Bohm[49] seems as close to Comenius’ vision as science has been for centuries. It might be considered that Cartesian logic and mechanistic thought was essential – for in the attempt to reduce natural phenomena to their constituent parts in a linear fashion that the greatest minds of science came to discover that this was not, in fact, possible, as proven by the phenomena themselves.[50] This in turn may suggest that the direct Rosicrucian influence in the formation of the Royal Society, and the ensuing form of research which was eventually to give birth to modern science, albeit indirectly and/or unintentionally, can be seen as characteristic of the Rosicrucian modus operandi.

            It is too easy to project metaphysical or philosophical concepts onto such phenomena, with the intent of using them as ‘proof’ of a given theory. In this case however, it seems that evidence thus far points in a direction of de-localized interconnectedness of matter, anti-matter – and its possession of consciousness. We must briefly return to the previous discussion of the Rose-Croix degree of Freemasonry, in which much is made of the significance of the initiate comprehending the necessity of love and self-sacrifice for one’s fellow-man, as symbolized by the pelican on the jewel bestowed at this initiation[52]. Comenius, too, makes mention of ‘philanthropy and the common welfare of man’ as a condition for achieving the ‘Light of Light’. The Fama admonished the RC brothers to be healers first and foremost. This series of correlations echoing a vision of Pansophia, would indeed be a joyous ludibrium to the original RC brethren, or at least to Andreae.[53]

A Universal Language

A further dimension of scientific progress is the development of all-pervasive technology, demonstrating an unprecedented ‘extension of man’.[54] Particularly with reference to the internet, we have a global communication network, delocalized by design. This universal platform, if not precisely language, nonetheless allows for a furtherance of Rosicrucian ideas among many others, permitting armchair occultists, solitary spiritualists and serious scholars to mutually enrich the marketplace of ideas on a massive scale. Despite the amount of worthless information on any such subject it may be argued that the analytical capacity necessary to glean meaningful material is the same as that needed to unlock emblematic alchemical allegories.

One may approach a given society by email; the thorny path of initiation will be just as circuitous. Simultaneously the re-emerging scholarship in this field benefits considerably as it takes on the challenge of preserving material and reinterpreting it in the context of our time. In a sense, this reflects the Invisible College in a new form, allowing those who would follow the symbolic journeys of Christian Rosenkreuz for the acquisition of knowledge (or gnosis) to do so, if not in body then in mind; a fitting progression, mirroring our zeitgeist and its evolution. Witch-hunts have given way to reams of useless information; yet even the action-reaction dynamic, to say nothing of duality, demands this. Through it all, the Rosicrucian ideal of Pansophia has survived as an underlying pattern.

As initially highlighted, more than anything, Rosicrucianism is an idea. It has influenced multiple facets of Western society and esotericism in particular, to a far greater degree than has perhaps been recognized until now. The most startling fact, expounded by many modern scholars, is its all-pervasive nature encapsulated in the central concept of Pansophia, but in transition to Rosicrucianism, its acquisition of a particular kind of packaging seems to be that which ensconced it in the collective imagination and allowed for its endurance.

Comenius’ ‘Light of Lights’ may not yet have been illumined, but nor has it been extinguished.

Continue reading “Quest for a Science of Sciences” →

The 27th June 2018 marked the centenary of the death of Josephin Peladan, the mysterious French visionary author who dreamed of igniting a cultural renaissance through symbolic art containing esoteric messages and who masterminded the Salons de la Rose + Croix. Regular readers will know my ongoing connection with Peladan through my doctoral research and, since 2014, my exploration of his ideas through art.

The “Bijoux de la Rose+Croix” collection is my way of marking the centenary. It has also been produced as a luxury portfolio by Hellfire Books. Made in black kidskin and purple silk, the portfolio contains fifteen giclee art prints from the ‘Les bijoux de Rose+Croix’ collection printed on superior quality 300gsm buttermilk laid paper, and includes a booklet with an introduction to Peladan and the Salons, as well as information on the original designs that inspired this collection.

See below for the full collection of original “Bijoux” images. Some originals are still available for purchase directly from me. Click the photos to see pricing, dimensions, and availability. Please email me directly at sashachaitow@gmail.com for inquiries. To order the portfolio, see this link at Hellfire Books.

The entire collection, with several other pieces, will be exhibited for the first time in London later in July 2018. More news on that soon…

Les bijoux de la Rose+Croix originals by Sasha Chaitow 2018

These images are inspired by emblems and frontispieces that Peladan  commissioned and used in his work, each with their own special symbolism. Each piece took 12-15 hours to complete. They are all drawn freehand, coloured using antique inks, and mounted on hand-made marbled paper on a wooden base (apart from 2 larger pieces which are tipped in card). They are sealed on all sides with varnish which gives an enamel-like effect, creating a small “gem” of artwork (hence the collection title. Each piece bears a handwritten note on the back with information about the piece (see last photo in gallery).

Frontispiece of L’Art idealiste et mystique” by Josephin Peladan featuring the blazon of the Outer Order of Le Rose+Croix du Temple et du Graal. Blazon design by Francois Merintier. This design by Sasha Chaitow 2018. Ink and mixed media on wood. Image size: 15 x 21 cm. Total size: 32 x 20 cm. Price: £ 120. Available.

Blazon of the outer order of L’Ordre de Rose+Croix du Temple et du Graal. Blazon design by Francois Merintier (1895). This design by Sasha Chaitow. Ink and mixed media on wood. Image size: 20 x 20 cm. Total size: 26 x 29 cm. Price: £ 120. Available.

Josephin Peladan’s personal seal. Ink and mixed media on wood. Image size: approx. 10 x 14 cm. Total size: 27 x 17.5 cm. Price: £ 60. Available.

Frontispiece for Josephin Peladan’s Amphitheatre des Sciences Mortes & Salons de Rose+Croix catalogues. Original design by Alexandre Seon (1855-1917). This design by Sasha Chaitow 2018. Ink and mixed media tipped on card. Image size: 21 x 29 cm. Total size: 38 x 29 cm. SOLD

Detail from frontispiece for Josephin Peladan’s Amphitheatre des Sciences Mortes & Salons de Rose+Croix catalogues. Original design by Alexandre Seon (1855-1917). This design by Sasha Chaitow 2018. Ink and mixed media on wood. Image size: 20 x 20 cm. Total size: 26 x 29.5 cm. SOLD

Detail from frontispiece for Josephin Peladan’s Amphitheatre des Sciences Mortes & Salons de Rose+Croix catalogues. Original design by Alexandre Seon (1855-1917). This design by Sasha Chaitow 2018. Ink and mixed media on wood. Image size: 21 x 29 cm. Total size: 27×39 cm. Price: £ 150. Available.

“Objets d’art pour cadeau de noces” in Supplement a la Plume du 15 decembre 1895. Original satyrical design by Frederic Auguste Cazals (1865-1941). This design by Sasha Chaitow. Ink and mixed media on wood. Image size: 20 x 20 cm. Total size: 26 x 25.5 cm. Price: £ 120. Available.

Official emblem of L’Ordre de la Rose+Croix du Temple et du Graal. This design by Sasha Chaitow. Ink and mixed media on wood. Image size: 15×21 cm. Total size: 22.5 x 29 cm. Price: £ 120. Available.

Official emblem of L’Ordre de la Rose+Croix du Temple et du Graal. This design by Sasha Chaitow. Ink and mixed media on wood.Image size: 10 x 14 cm. Total size: 17.5 x 21 cm. SOLD

Seal of the Grail, designed by Francois Merintier for Josephin Peladan’s Salon de Rose+Croix (1892 onwards). This design by Sasha Chaitow, 2018. Ink and mixed media tipped on card. Image size: 21 x 29 cm. Total size: 39.5 x 29 cm. SOLD

Seal of the Grail, designed by Francois Merintier for Josephin Peladan’s Salon de Rose+Croix (1892 onwards). This design by Sasha Chaitow, 2018. Ink and mixed media on wood Image size: 15 x 21 cm. Total size: 30 x 24.5 cm. SOLD

“Black, white, gold Sphinx”. Sphinx emblem used in Peladan’s early novels from La decadence latine:ethopee. Original design by Felicien Rops (1833-1898). Legend reads “Vives Unguibus et Morsu” (Live under her tooth and claw). This design by Sasha Chaitow, 2018. Ink and mixed media on wood Image size: 20×20 cm. Total size: 25.5×26 cm. Price: £120 Available

“Multicoloured Sphinx”. Sphinx emblem used in Peladan’s early novels from La decadence latine:ethopee. Original design by Felicien Rops (1833-1898). Legend reads “Vives Unguibus et Morsu” (Live under her tooth and claw). This design by Sasha Chaitow, 2018. Ink and mixed media on wood Image size: 20×20 cm. Total size: 26×26 cm. Price: £120 Available

“Blue-green Sphinx”. Sphinx emblem used in Peladan’s early novels from La decadence latine:ethopee. Original design by Felicien Rops (1833-1898). Legend reads “Vives Unguibus et Morsu” (Live under her tooth and claw). This design by Sasha Chaitow, 2018. Ink and mixed media on wood Image size: 20×20 cm. Total size: 27.5×26 cm. Price: £120 Available

Frontispiece of Josephin Peladan’s first novel, “Le vice supreme” (a884). Original drawing by Felicien Rops (1833-1898). This design by Sasha Chaitow 2018. Ink and mixed media on wood Image size: 14.8 x 21 cm. Total size: 30×24.5 cm. Price: £120 Available

I am delighted to finally see in print several Peladan-related papers and chapters that I have been working on over past years. Here’s the crop for 2018, with two more (one a book) slated for either the end of 2018 or early 2019. For my full list of publications/lectures on Peladan since 2011, see this page. 

The Theodicy of Art: Peladan’s Promethean Lucifer in La Rosa di Paracelso (Mimesis Edizione, Italy).
Link to full article:  http://www.larosadiparacelso.com/index.php/rosa/article/view/30/47  

The monstrous Satan languishing in Dante’s Ninth Circle of Hell and Milton’s disgraced rebel angel may be among the most familiar forms given to Lucifer in Western culture, but from the eighteenth century onwards, a more Promethean figure emerged, whom many Romantic poets, artists and authors sought to redeem. The phenomenon of “Literary” or “Romantic Satanism” was the product of sociocultural ferment throughout the “long eighteenth century” and the cultural impact of the French revolution. This Promethean Lucifer lay at the heart of much of the thought of visionary occult author Joséphin Péladan (1858-1918), who reinterpreted Scripture, conflating it with Platonic thought and ancient theogonies to produce his own syncretic cosmology in which it is the task of humanity to redeem and liberate a slandered and misunderstood Light-bringer along with his offspring. While very much in the spirit of his time, Péladan’s perspective clearly diverges from the Romantic Satanism and the heroic, revolutionary Lucifer of many of his contemporaries. He acknowledges that Lucifer and his angels sinned, but considers it to have been an error “made out of love,” going so far as to deny the existence of evil itself. He could fathom neither the concept of original sin as an immutable curse, nor the eternal condemnation of Satan or mankind. This preoccupation is central to his work, resting on his conviction that the true cause of the Fall was the misguided love of the creator-angels for their human creations. Believing that the great thinkers and artists of history were descendants of the fallen angels, Péladan’s approach is one of heartfelt Christian compassion and faith in liberation through repentance, drawing on diverse sources including apocryphal Scripture and Aeschylean drama to flesh out his theory. This paper untangles the complex, and often misperceived web of Péladan’s complex reimagining of a Promethean Lucifer as forefather of the arts and, by extension, his influence on the artists of the Salons de la Rose + Croix as well as other authors and occultists of his time.

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Re-enchanting the Fin-de-siecle (in Spanish) in PARIS 1900 (MISTERICA)

Link to book details: https://www.misterica.net/producto/paris-1900-impreso/   

 Paris 1900 is a collection of eight essays about different relevant cultural manifestations in the City of Light in the period approximately between 1880 and 1920. That short period of time illuminated novelties such as cinema, saw the birth of the Art Nouveau, the works of Auguste Rodin and produced spectacular displays thanks to the Universal Exhibition. Music is also present, with Satie and Wagner. And, of course, fashion. We also explore a relevant character in the dissemination of symbolist art, Joséphin Péladan, a Rosicrucian, dramatist and lover of art. This book is born from the first edition of the seminar series”A look at the end of the century” organized by the Autonomous University of Madrid and Heresy and Beauty Culture. This series began with the aim of highlighting the cities that were relevant at the end of the century and of course, the first of its milestones was the city of Paris. For this, we have professors from various Spanish universities as well as a foreign speaker. The course closed with a session at the Thyssen-Bornemisza Museum, where Professor Guillermo Solana presented us with a lecture on Renoir and a visit to the artist’s exhibition that took place in the museum.

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Return from Oblivion: Josephin Peladan’s Literary Esotericism, in: The Occult in Modernist Art, Literature, and Cinema (ed. by Tessel Bauduin & Henrik Johnsson, Palgrave Macmillan).

Link to preview and book information: https://www.palgrave.com/de/book/9783319764986

Joséphin Péladan (Sâr Merodack, 1858-1918) was a key figure in the inception and development of French Symbolism. Responding to multiple cultural shifts experienced by fin-de-siècle French society, he authored over a hundred novels and monographs in an attempt to bring about the spiritual regeneration of society through mythopoetic art underpinned by esoteric thought. Based on an eclectic esoteric cosmology, expressed through art, literature, and philosophical monographs, his vast, yet coherent oeuvre was intended to bring this call for regeneration to as wide an audience as possible, and thus to spark a social renaissance. Péladan’s intellectual pattern is embedded within the ideas formed at the intersections of Illuminism, Romanticism, and the anti-philosophe movement, drawing on numerous aspects of esoteric thought. The post-Enlightenment quest for a new understanding of human origins and history, informed by allegorical mythography and philosophical historiography coalesce in his oeuvre, which can also be shown to represent the act of stepping over the threshold of Modernism in response to the challenges of his time. Péladan’s originality lies in the synthesis and its highly individual—and individualistic—nature. However, vilified by his contemporaries, Péladan’s work slipped into oblivion. Extant scholarly accounts of his life and work have tended to focus on his eccentricity or decontextualised elements of his oeuvre. Until recently, scholarly studies had neither explored the content of his work, nor its cultural context and intellectual precedents, resulting in the perpetuation of misconceptions regarding his esoteric philosophy, its role in his work, and its relationship to the wider history of ideas within his historical context. Péladan’s output represents possibly the largest single body of “literary esotericism,” which is to say, the specific category of literature as an esoteric symbol and vehicle of esoteric praxis. Literary esotericism has never been fully mapped as a genre, since overtly occult works are frequently dismissed as insignificant, and those with more covert references are treated in more conventional ways. Literary studies of works influenced by esotericism have rarely incorporated the contextual material available from the field of Esoteric Studies, nor paid due attention to matters of historical context, definition and terminology, so that literary scholars dealing with notions of occultism, esotericism, and magic do not always grasp their nuances and significance. Simultaneously, the methodological toolboxes of historiography and sociology of religion may lack the specialised methodologies and vocabulary to approach literary material effectively. This has led to various lacunae in the understanding of many bodies of work, and in the case of Péladan, to his neglect and the perpetuation of severe misinterpretations. Nonetheless, sufficient contextualisation and the judicious use of interdisciplinary approaches may provide a foundation for the decipherment of such texts. In this chapter, following a brief survey of Péladan’s life and work, I highlight their points of interest alongside the methodological problems of working with such material from monodisciplinary perspectives. Following a justification of the term “literary esotericism” in the context of Modernist literature, I propose both possible ways forward in terms of methodology, as well as specific examples of potential future research in relation to Péladan that may hold import for the wider field.

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Salon de la Rose+Croix: the mystical artworks of Sasha Chaitow (Hellfire Club Books)

A luxury portfolio of prints from my Bijoux de la Rose+Croix Centenary collection. Link to book information: http://hellfireclubbooks.com/shop/rose-%E2%80%A0-croix/ 

Péladan Centenary Collection: Les Bijoux de Rose+Croix: a collection of fifteen art prints from the original coloured drawings and accompanying historical booklet, both by Sasha Chaitow PhD.Limited to 200 silk and black kidskin portfolios with fifteen giclee art prints from the ‘Les bijoux de Rose+Croix’ collection printed on superior quality 300gsm buttermilk laid paper.
Sasha Chaitow has rendered these designs freehand, adding her own design, colour, and textural elements, whilst staying true to the symbolic and aesthetic qualities of the originals. First done in pen and reproduction antique inks on handmade deckle paper, the original miniature paintings were then tipped in hand-marbled paper and mounted on wood. The original finished pieces were sealed with several coats of varnish to produce an enamel-like effect that nonetheless retained the paper texture. The finished pieces resembled jewels through their vibrant colouring, texture and weight.

This collection of high-quality prints includes 15 works from the “Bijoux” series, produced onto 300gsm buttermilk laid paper especially to mark the centenary.

Accompanying historical and biographical booklet by Sasha Chaitow, printed onto laid buttermilk paper, hand sewn with purple ribbon to match the binding of the portfolio.

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It is a common phenomenon to see political supporters of all stripes reaching to thinkers of the past to somehow strengthen their claim to “truth,” such as it may be. It is an often overlooked, though effective tactic that constitutes a double logical fallacy of the first order – an argumentum ad antiquitatem, and an argumentum ad verecundium. 

Such appropriations of historical figures are often used  to bolster all manner of modern issues.

My workload forces me to keep this post brief, but I write it having recently come across some material that quotes Peladan (and in fact quotes me as well), but utterly misrepresents him, co-opting a snippet of his words to support a particularly strong – and completely unrelated – political position.

I do not currently have the time to enter a lengthy refutation of the piece here, but will instead offer the following notes that should offer a clear outline of Peladan’s political views in his own words, so that perplexed readers, (or writers feeling the need to quote Peladan), can ensure they get the story right.

When time allows I will attempt to formulate these notes into a slightly more structured form, but this should suffice for now.

***

• In his books Peladan emphasises deeds—as opposed to birthright—as an indication of “true” aristocracy, alongside fervent pacifist, anti-military, and anti-nationalist sentiments.[1] Towards the end of his life, as World War I still raged, Péladan repeatedly stressed his universalist convictions, expressing his “infinite tolerance for all religious beliefs.”[2]  
• There are political dimensions to many of Péladan’s commentaries, particularly those regarding non-violence, and he admonishes his reader to “Detest all force without justice, detest in the State what you would blame in the individual, […] but detest in spirit and don’t explain to the glorious French officers […] that they are wretches.”[4] There are many such references throughout his oeuvre, written with varying degrees of disgust towards the political status quo. Though Péladan frequently cites a “theocracy”[5] as the ideal form of government, care should be taken with the definition, as he was not speaking of authoritarianism—and this would be an anachronistic interpretation—but follows the pattern of Fabre d’Olivet’s harmonious “universal, natural religion.”[3] 
• As a corollary: Peladan’s “Catholicism” was frequently (by his own admission and clearly spelled out) a reference to what we would today call “Universalism,” or “ecumenicism”. He used the term with reference to all of humanity, and not to the Roman Catholic Church alone – and when he did so he specified as much.
• Although Peladan indeed used the motto “Ideal, Tradition, Hierarchy” as the catchphrase for his order, the “hierarchy” he was referring to was a cosmological, divine hierarchy, beginning with God and ending in humanity, with all sorts of divine beings in between. He did indeed believe that there was a further, social hierarchy, but all of his teachings sought to prove that every individual could achieve reunification with the divine within the human lifespan, as long as they worked on cultivating their inner self, and renounced …. politics, nationalism, too much socialising, and …. red wine. This has absolutely nothing to do with racial or class distinctions, and most certainly cannot be connected to modern political concerns which inhabit an entirely different sociopolitical context to Peladan’s.

NB. Most of the documentation for these points is found in the sources cited below. The majority of these are freely available on www.gallica.bnf.fr, or if  you need a precise reference, feel free to email me (I’m happy to help with references, but I won’t do research for other people and I am too busy to joust). 

[1] Péladan, Mage, 259; cf. 189–191.

[2] Péladan, Mage, 259, cf. L’art idéaliste et mystique, 261–2.

[3] Harvey, Beyond Enlightenment, 57, 188–9. The term theocracy was coined by Josephus in the first century CE, designating “a form of civil government in which God himself is recognised as the head.” J.F. Driscoll, “Theocracy,” The Catholic Encyclopedia vol. 14 (New York: Robert Appleton  Co., 1912). Online, available: http://www.newadvent.org/cathen/14568a.htm. Accessed 21 May 2014. The term should not be interpreted in light of twentieth-century events. The roots of Péladan’s “theocracy” can partly be traced to a form of “liberal theocracy” espoused by Ballanche and Chateaubriand, comprising a compromise with post-Revolutionary reality. See Nora E. Hudson, Ultra-Royalism and the French Restoration (Cambridge: CUP, 1936), 41; Roger Magraw, France, 1815–1914: The Bourgeois Century, (Oxford: OUP, 1983), 258; on the interrelationship between theocratic ideas and esoteric thought see Darnton, Mesmerism and the End of the Enlightenment in France, 127–128.

4] Péladan, Pereat!, 64; idem, Istar, vol. 1, 295–7; Bertholet, La pensée et les secrets, vol. IV, 62, 195.

[5] Bertholet, La pensée et les secrets, vol IV, 249, citing Péladan, La torche renversée.