Hello.
This is the first booklet of a serial written by Diana Vaughan. She was a french-american woman who converted to catholicism in the XIXth century and then wrote her
Memoirs about her former luciferian education.
Symbols of Palladism
The docuмent that most completely contains the principal symbols of Palladism is the Patent of Hierarch and Mistress Templar in the direct title of Charleston. The frame of this diploma was designed by Albert Pike and is also used as an ornament to the Patents of the Permanent Sovereign Delegate Inspectors, accredited by any of the four Great Central Directorates of Fɾҽҽmαsσɳɾყ (Washington, Montevideo, Naples and Calcutta).
The Federal Committee of the Independent Palladium has adopted this framing design for this reason, in order to decorate in a uniform way all its Diplomas, Briefs and Patents. In those is the Brief of Authorization in Activity issued to whoever, even layman, commits himself to found a Family Group But the explanation of the symbols is not given to the founders of Family Groups: it is only a matter of familiarizing them with these emblems since the meaning of which should be communicated only on the day when the well deserving and truly active Family Group will have been erected in Triangle and admitted to the regular correspondence of the Federation.
At my insistence and not without lively debates, the Independence had taken the title of Regenerated and Free Palladium. All wanted freedom from the yoke of Lemmi but few wanted regeneration, that is to say the abandonment of certain practices grouped in three categories, always reprobated by me. It was argued that this drawing executed by order of the Great Albert, should be left untouched: it was declared that the Palladic symbols were sacred in themselves and I had to give in to this consideration. Nevertheless, I obtained that the interpretation of those that repelled me would be changed. It was agreed that I would have the mandate to fix a new meaning. The accomplishment of this mission did not seem impossible to me. However, God in his goodness and mercy had decided that my eyes would be opened before I had carried out my entire project. I wonder if the closer examination of this symbolism did not help to prepare my conversion for I couldn’t bear this examination. It was in a way that I saw the difficulty - would I say the impossibility? - to pull out of the dunghill the unfortunate people who were wallowing in it with such complacency.
Let's come to this ornamental design and its symbols.
The Writs of Authorization in Activity are my rightful property since I have been charged for them. I can therefore dispose of them as I wish. The Federal Committee in London will only have to execute others if they pursue their project of creating Family Groups. I reserve for my subscribers these docuмents in my possession. Thus, they will have in hand the authenticity of Palladism.
Dr. Bataille published in his considerable work - in booklet number 60 - , a reproduction of this drawing but he did not explain it. In fact, many of the symbols probably exceeded his palladist instruction by subterfuge since he did not have the initiation of the Chosen Magus.
What he reproduced was the diploma of Mistress Templar. A close look at his publication shows how his designer operated. The diploma of a Sister of this rank was available only to a limited extent. Without a doubt, this Sister did not allow it to leave her house and this is understandable. If it were, the diploma would have been photographed. But it was not. Look closely: it has been decaled. The artist has a wonderful talent I agree. But various small details have escaped him. I will point out these differences. Now, there would be none and one would even distinguish on the doctor's book that the plate is a woodcut if the docuмent had been taken in photography.
I had at my disposal one of the plates of Charleston itself, so it was possible for me to make an identical reproduction. My subscribers will see it. It is indeed a woodcut which was used to draw these docuмents.
I quote a first example demonstrating the inattention of the draftsman who transferred and the forced omission of Bataille, not being Elected Magus. Let us compare on the two reproductions the painting of the Resurrection of Lazarus. In a small detail unnoticed by those who do not have this initiation, this painting shows very clearly the three points in a triangle the point downwards, which figures on the resurrected body the "sign of the triangle". This symbol is used by the Chosen Magi at the opening and closing of the works. The accuracy of the decal taken by Bataille's draftsman is striking expect for this detail: the three points are barely indicated there. They are not there as points that should attract attention but because the human body includes them. On the contrary these three symbolic points of Palladism, the last degree, are, expressly accentuated in the original drawing.
Dr. Bataille will not mind me pointing out a few minor defects: they are of little importance and moreover, they prove that his draftsman has indeed reproduced an authentic docuмent with the merit of a first-rate artist but that the lending Sister wanted to ensure her incognito and did not let him photograph it.
The drawing is dominated in the upper center, by a cartouche, the most prominent of which is the name of the so-called Good-God (L.U.C.I.F.E.R), written in letters of the Egyptian Alphabet known as the Palladian Magism or Alphabet of the Magi of Alexandria. The frame is composed of eleven paintings or subjects.
Here are their titles in their ritual order, not in their order of placement:
1. The Holy Sepulchre.
2. The Resurrection of Lazarus.
3. The Crosses.
4. The Triumph of Astarte over the Evil Serpent.
5. The flesh and blood of the Traitor.
6. The Cursed Fig Tree.
7. The Masonic Dove.
8. The Good Snake.
9. The Palladic Scale.
10.The Mystery of the Two Columns.
11.The Supreme Being.
⁂
The cartouche in the upper center is dedicated to Lucifer. All its inscriptions are in characters engraved on the wood.
The first line is remarkable for its originality. It bears the motto DOMAG, each letter followed by five dots (∶-∶). The meaning of these five letters is known: Dei Optimi Maximi ad Gloriam, to the glory of the best and greatest God. Its indicates that this God is not the only one and that to this one belongs the excellence of goodness and the sublimity of greatness. The five points, let us understand by their disposition the existence of two triangles colliding by their point. One has its base at the top and plunges on the other (it is Lucifer). The other has its base at the bottom (it is Adonai who threatens Lucifer). In addition, the five points remind the initiate that the rite is androgynous because in all masonries the five points are special to the workshops where the sisters are mixed with the brothers.
Below, a five-pointed star breaking a thick horizontal line. This represents the morning star (Lucifer again) announcing the light of day. The black line of darkness will be overcome.
In the middle of the cartouche, the seven Egyptian and palladic letters form the word LUCIFER in monstrous magic characters. My readers have the alphabet in this issue. Thus, it will be easy for them to find the letters that go from left to right: Luzain, Ur, Caithea, Ioithi, Pilon, Eni and Rasith.
But these letters are strewn with various small secret signs known only to the Chosen Magi and the Sovereign Templar Mistresses, and which designate the great superior geniuses.
Between Ioithi and Pilon, above: the cut cross which is one of the signs of Baal-Zebub. - To the left of Luzain: the headless serpent with two stings which is one of the signs of Astaroth. - Between Eni and Rasith, below: the heart of Christ in reverse which is one of the signs of Astarte. - Between Luzain and Ur, above and below and to the right of Ur: three signs arranged in a triangle, known as the tip of a cut arrow. The lying triangle (point up) and the lozenge of ether, all of which are signs of Moloch. It should be noted that the large round dots belong to the magic alphabet and do not count in this explanation. - Between Pilôn and Eni, above: the obscured triangle. It is a black triangle with the point below which is one of the signs of Ariel. - Under Rasith: the line of science between cubes which isone of the signs of Hermes It is the sign most frequently drawn to evoke this daimon. - Between Pilôn and Eni, in the middle: in an up and down direction is the wet arrow which is one of the signs of Leviathan. - In the center of Ioithi: the regenerated maleach, a large comma in an upward direction which is one of the signs of Behemoth.
Under the magic name of the so-called Good-God are two Latin words in monumental letters: Excelsus Escelsior, the Most High higher. This is a new indication of rivalry between supreme principles. The palladic dogma is affirmed: the Most High Lucifer is higher than the Most High Adonai.
Below, in the central point of the cartouche is the mysterious number 77, multiplication of the simplistic luciferic number 7 by the kabbalistic luciferic number 11. Dr. Bataille devoted a whole chapter to explain this mysterious number 77 which represents the hierarchy of the kingdom of Fire. His chapter is interesting and true.
Pike's fantasy mixed with this 77 a three-ball tau which is a figure that was familiar to him and which was his key to calling Lucifer. Five points again, but these arranged in a Luciferian triangle.
Finally, there is below the large cartouche a garland of fresh roses suspended. It is the symbol of the numerous phalanx of the Sisters of the Palladium, consecrated to Lucifer. Unfortunate victims, - and I was among them, - of the most lamentable error!
An observation: the designer of Bataille neglected to transfer the first and third lines. An oversight, no doubt. And, typographic characters have been used instead of the letters engraved on the wood. This difference does not have reason to be. But it is nothing; let us leave.
Topic: Symbols of Palladism (Read 367 times)