The Invisible History of the Rosicrucians: The World's Most Mysterious Secret Society
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The first complete historical and philosophical investigation into the “invisible fraternity” of the Rosicrucians
• Contains the latest research on the origins of the Rosicrucian movement
• Presents the ties between Rosicrucianism, Freemasonry, and the Templars
• Written by a “perfected” Knight of the Rose Croix and the Pelican (18th degree, Ancient and Accepted Rite)
For nearly 400 years, incredible myths and stories have been woven around the “invisible” Brothers of the Rose Cross, the Rosicrucians. It is said that they possessed the secret of man and God, that they could turn lead into gold, that they governed Europe in secret, that theirs was the true philosophy of Freemasonry, and that they could save--or destroy--the world. In The Invisible History of the Rosicrucians, Tobias Churton, a “perfected” Knight of the Rose Croix and the Pelican (18th degree, Ancient and Accepted Rite), presents the first definitive historical and philosophical view of this mysterious brotherhood.
Starting at its beginnings in Germany in 1603, Churton unveils the truth behind the complex story that underlies the Rosicrucian movement. He explains its purpose, the motives of its earliest creators, and the manifestos “accidentally” published in the 17th century that emerged at precisely the time when modern science was emerging. He details the people who influenced its development--including Johannes Kepler, Robert Fludd, and Sir Francis Bacon--and the ties between the Rosicrucians, Freemasons, and Templars. He also shows how Rosicrucianism shaped the mythology and spiritual consciousness of both North and South America and reveals that there are many Rosicrucian fraternities still active throughout the world today.
whom the Oxford Dictionary of National Biography describes unequivocally as a Rosicrucian? William Backhouse (1593–1662) was a younger son of Samuel Backhouse, Esq., of Swallowfield Park in Berkshire. He entered Christ Church, Oxford, as a commoner in 1610, at the age of seventeen. Leaving without a degree (as was not uncommon for gentlemen in those days), he devoted his time to occult studies and became a renowned alchemist, Rosicrucian, and astrologer. He was also a collector of mechanical
Almighty’s solar regent—though in a spiritually perfect circle. Nevertheless, the theologians, by and large, did not like the idea, and even many an honest scientist found it hard to adjust to a concept that appeared counterintuitive when everyone could see the sun (not the Earth) rising in the east and setting in the west. The sun moved; you could watch it. If the Earth moved, why don’t we feel it, or fall off? Kepler demonstrated that mathematics worked better than the human eye alone. This
4. Correspondence de Mersenne, ed. Paul Tannery (Paris: Presse Universitaire, 1945), vol. 1, 154n. 5. Robert Fludd, Utriusque cosmi . . . Historia, vol. 1 (Oppenheim, 1617), 390. CHAPTER TEN. ROSYMANIA II: EDUCATING THE WORLD 1. Francis bacon, The Advancement of Learning, vol. 2, xiv, 9–11. 2. Oeuvres de Descartes (Works of Descartes), vol. 10, ed. Charles Adam and Paul Tannery, 1964–1975 (Paris: Vrin, 1996), 214–15. 3. Ibid., vol. 6, 13–17. 4. William R. Shea, “Descartes and the
the Tyrol, Adam Haslmayr sent a manuscript copy of the Fama, along with a manuscript of his response to it, to his friend the Schwenckfeldian and fellow-Theophrastian alchemist Carl Widemann. Widemann, by agreement, sent the material on to Prince Augustus von Anhalt, his patron, based at Plötzkau on the Anhalt plain. The nominally Calvinist Augustus was deeply involved in alchemy and had a secret printing press at Plötzkau, ready for dangerous Theophrastian manuscripts, condemned by Protestants
could hardly have been unfamiliar with Boccaccio’s classic story of lewd sense and raw goodness. As was his style, he subsumed it into his own allegory of a cure for Europe. Like Juliet, he was motivated by love. Another literary genius, known to the world as Shakespeare, did not even bury the allegory. All’s Well That Ends Well (published nine years after the Fama) is a straightforward lifting of Boccaccio’s story into a theatrical setting. Julia Cleave’s paper “Burlesquing the Brotherhood,”