Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

by Albert Pike

The Dadoukos also wore a long robe, his hair long, and a bandeau on his forehead. Callias, when holding that office, fighting on the great day of Marathon, clothed with the insignia of his office, was taken by the Barbarians to be a King. The Dadoukos led the procession of the Initiates, and was charged with the Purifications.

We do not know the functions of the Epibomos or assistant at the altar, who represented the moon. That planet was one of the two homes of souls, and one of the two great gates by which they descended and reascended. Mercury was charged with the conducting of souls through the two great gates; and in going from the sun to the moon they passed immediately by him. He admitted or rejected them as they were more or less pure, and therefore the Hieroceryx or Sacred Herald, who represented Mercury was charged with the duty of excluding the Profane from the Mysteries.

The same officers are found in the procession of Initiates of Isis, described by Apuleius. All clad in robes of white linen, drawn tight across the breast, and close-fitting down to the very feet, came, first, one bearing a lamp in the shape of a boat; second, one carrying an altar; and third, one carrying a golden palm-tree and the caduceus. These are the same as the three officers at Eleusis, after the Hierophant. Then one carrying an open hand, and pouring milk on the ground from a golden vessel in the shape of a woman's breast. The hand was that of justice: and the milk alluded to the Galaxy or Milky Way, along which souls descended and remounted. Two others followed, one bearing a winnowing fan, and the other a water-vase; symbols of the purification of souls by air and water; and the third purification, by earth, was represented by an image of the animal that cultivates it, the cow or ox, borne by another officer.

Then followed a chest or ark, magnificently ornamented, containing an image of the organs of generation of Osiris, or perhaps of both sexes; emblems of the original generating and producing Powers. When Typhon, said the Egyptian fable, cut up the body of Osiris into pieces, he flung his genitals into the Nile, where a fish devoured them. Atys mutilated himself, as his Priests afterward did in imitation of him; and Adonis was in that part of his body wounded by the boar: all of which represented the loss by the Sun of his vivifying and generative power, when he reached the Autumnal Equinox (the Scorpion that on old monuments bites those parts of the Vernal Bull), and descended toward the region of darkness and Winter.

Then, says Apuleius, came "one who carried in his bosom an object that rejoiced the heart of the bearer, a venerable effigy of the Supreme Deity, neither bearing resemblance to man, cattle, bird, beast, or any living creature: an exquisite invention, venerable from the novel originality of the fashioning; a wonderful, ineffable symbol of religious mysteries, to be looked upon in profound silence. Such as it was, its figure was that of a small urn of burnished gold, hollowed very artistically, rounded at the bottom, and covered all over the outside with the wonderful hieroglyphics of the Egyptians. The spout was not elevated, but extended laterally, projecting like a long rivulet; while on the opposite side was the handle, which, with similar lateral extension, bore on its summit an asp, curling its body into folds, and stretching upward, its wrinkled, scaly, swollen throat."

The salient basilisk, or royal ensign of the Pharaohs, often occurs on the monuments—a serpent in folds, with his head raised erect above the folds. The basilisk was the Phoenix of the serpent-tribe; and the vase or urn was probably the vessel, shaped like a cucumber, with a projecting spout, out of which, on the monuments of Egypt, the priests are represented pouring streams of the cruz ansata or Tau Cross, and of sceptres, over the kings.

In the Mysteries of Mithras, a sacred cave, representing the whole arrangement of the world, was used for the reception of the Initiates. Zoroaster, says Eubulus, first introduced this custom of consecrating caves. They were also consecrated, in Crete, to Jupiter; in Arcadia, to the Moon and Pan; and in the Island of Naxos, to Bacchus. The Persians, in the cave where the Mysteries of Mithras were celebrated, fixed the seat of that God, Father of Generation, or Demiourgos, near the equinoctial point of Spring, with the Northern portion of the world on his right, and the Southern on his left.

Mithras, says Porphyry, presided over the Equinoxes, seated on a Bull, the symbolical animal of the Demiourgos, and bearing a sword. The equinoxes were the gates through which souls passed to and fro, between the hemisphere of light and that or darkness. The milky way was also represented, passing near each of these gates: and it was, in the old theology, termed the pathway of souls. It is, according to Pythagoras, vast troops of souls that form that luminous belt.

The route followed by souls, according to Porphyry, or rather their progressive march in the world, lying through the fixed stars and planets, the Mithriac cave not only displayed the zodiacal and other constellations, and marked gates at the four equinoctial and solstitial points of the zodiac, whereat souls enter into and escape from the world of generations; and through which they pass to and fro between the realms of light and darkness; but it represented the seven planetary spheres which they needs must traverse, in descending from the heaven of the fixed stars to the elements that envelop the earth; and seven gates were marked, one for each planet, through which they pass, in descending or returning.

We learn this from Celsus, in Origen; who says that the symbolical image of this passage among the Stars, used in the Mithriac Mysteries, was a ladder, reaching from earth to Heaven, divided into seven steps or stages, to each of which was a gate, and at the summit an eighth, that of the fixed stars. The first gate says Celsus, was that of Saturn, and of lead, by the heavy nature whereof his dull slow progress was symbolized. The second, of tin, was that of Venus, symbolizing her soft splendor and easy flexibility. The third, of brass, was that of Jupiter, emblem of his solidity and dry nature. The fourth, of iron, was that of Mercury, expressing his indefatigable activity and sagacity. The fifth, of copper, was that of Mars, expressive of his inequalities and variable nature. The sixth, of silver, was that of the Moon: and the seventh, of gold, that of the Sun. This order is not the real order of these Planets; but a mysterious one, like that of the days of the Week consecrated to them, commencing with Saturday, and retrograding to Sunday. It was dictated, Celsus says, by certain harmonic relations, those of the fourth.