The 9 parts of the human soul according to Ancient Egypt

In ancient Egypt, a person’s soul was thought to consist of nine separate parts which were integrated into a whole individual but had very distinct aspects.

In many ancient cultures such as those found in Asian, African, and even America, we find a Soul concept analogously similar to the concept developed by the religions of the Judeo-Christian group (including Islam) and European philosophy.

The soul, from the Vedic or Veda point of view, is the being, which by nature is eternal (without birth or death or without beginning or end) of a substance different from that of the physical body and which has its own consciousness.

From this point of view, material science or that which studies physical or material phenomena is limited because it cannot study spiritual phenomena since its nature is different from physics.

This chapter of Bhagavad Gita deals with the nature of the soul.

But just as those ancient cultures explain in detail the concept of the human soul, the ancient Egyptians, known to have been one of the most advanced ancient civilization to ever exist on Earth developed an extremely interesting concept that explains the human soul.

THE SOUL WAS NOT ONLY ONE’S CHARACTER BUT A COMPOSITE BEING OF DIFFERENT ENTITIES, EACH OF WHICH HAD ITS OWN ROLE TO PLAY IN THE JOURNEY OF LIFE AND AFTERLIFE.

The ancient Egyptians were convinced that the human soul was composed of NINE main parts: the Ren, the Ba, the Ka, the Shuyet, and the Jb, the Akh, the Sahu, the Khat and the Sechem.

(Note) In some eras, the soul was thought to be comprised of fiveparts and in others seven, but, generally, it was nine. Here we take a look at the NINE parts.

In addition to the components of the human soul, there was the human body referred to as the Ha—Haw—which was interpreted as the sum of bodily parts.

Jb (The heart) was an extremely important part of the Egyptian soul. It was believed to form from one drop of blood from the child’s mother’s heart, taken at conception. In ancient Egyptian mythology, the heart was the key to the afterlife.

Shuyet (The Shadow) is always present. The ancient Egyptians believed the shadow summarized what a person represents.

Ren (The name) was another crucial part of the soul. A person’s Ren was given to them at birth and the Egyptians believed that it would live for as long as that name was spoken.

Bâ (The personality) Resumed, the ancient Egyptians believed that Bâ was everything that makes a person unique.

Ka (The vital spark) According to the Ancient Egyptians the Ka was a vital concept in the soul as it distinguishes the difference between a living and a dead person.

Khat (The Body) the Khat was referred to by the Ancient Egyptian as the physical body which when deceased, provided the ling between the soul and one’s earthly life.

Akh (The Immortal Self) according to ancient Egyptians, the Akh was the transformed immortal self which offered a magical union of the Ba and Ka.

Sahu (The Judge) The Sahu was the aspect of Akh which would come to a person as a ghost or while asleep in dreams. Sahu was differentiated from all other aspects of the soul once the person was ‘justified’ by the God Osiris and judged worthy of eternal existence.

Sechem (Another aspect of Akh) The Sechem was another aspect of the Akh which allowed it mastery of circumstances. It was considered the vital life energy of the person which manifested itself as the power that had the ability to control one’s surroundings and outcomes.

Furthermore, according to the ancient Egyptians the human being, has eight degrees in personality:

“Ren“, or “he name, being able to keep existing according to the care of a correct embalming.

“Sejem” is the energy, the power, the light of the deceased.

“Aj” is the unification of “Ka” and “Ba”, in view of a return to existence.

“Ba“, which makes of an individual being what it is; it also applies to inanimate things. It is the closest concept to the Western “Soul”.

“Ka,” the life force. Sustained by food offerings to the deceased.

“Sheut or Shuyet” is the shadow of the person, represented by a completely black human figure.

“Seju” means the physical remains of the person.

“Jat” is the carnal part of the person.

The Masonic Teachings of the rosettes

The origin of rosettes on the F.C. and M.M. aprons is, believe it or not, unknown. In England they were a comparatively late introduction, and were not prescribed officially until 1815, when they were specifically designed to differentiate the three grades. It is probable, however, that their original purpose was purely ornamental. However, there is extant a German Masonic medal or jewel, from mid 18th century, which shows an apron with three rosettes.

Unfortunately, there is no trace of a Grand Lodge during this period, either English or European, which prescribed the use of rosettes, and in the circumstances one is compelled to assume that they were purely decorative. This does not exclude the possibility that they may have had a more practical significance in the Lodges in which they were worn but a likely suggestion is that they were adopted then as a means of distinguishing the grades of Brethren. The love of ornamentation was possibly another factor as will be seen later.

First let us define today's understanding of what may be considered a Rosette with examples.

Then my intention is, I hope, to inform you as to how the worn rosette entered public life in general and how it may have arrived into Masonic tradition in particular. Comment will also be made on the other decorative elements, tassels and Taus [levels], to be found on the apron as they seem to have been adapted into regular usage from about the same period.

I shall be discussing mythology, astrology, Phoenician and Classical Greek art motifs, chivalry, Masonic philosophy and symbolism, botany and linguistics, both of which are heavily influenced by the Hebrew language and the world of colour and culture.

Rosette- Rosette,. [F., dim. of rose, a rose. Cf. {Roset}.]

1. A imitation of a rose by means of ribbon or other material, -- used as a ornament or a badge. [1913 Webster] 2. (Arch.) A ornament in the form of a rose or roundel, -much used… (The Collaborative International Dictionary of English)

Rosette -Etymology: French, literally, small rose, from Old French, from rose, from Latin rosa. Date: 1790 an ornament usually made of material gathered or pleated so as to resemble a rose and worn as a badge of office, as evidence of having won… (New Collegiate Dictionary)

Rosettes are also sometimes called bowknots, due to their shape.

From the latter definition let me expound on "Worn as a badge of office, as evidence of having won…"

A rosette worn, more often than not, is a symbol of recognition and it announces uniquely, with subtle

dignity, the affiliations or associations of your life. They are an enduring symbol of pride and achievement.

Obviously I shall end this paper in reference to Masonry but first and foremost we all know that one of the better known applications of this is within the Chivalric Orders where a civilian may wear the rosette only as a boutonniere. This is a small round lapel button covered with the colours of the Order. A cloth or metal bar of different ribbons may be worn at the same time BUT only one rosette may be worn.

Note the following examples:

In the United States, the only medal today currently issued with a rosette is the Medal of Honour. The rosette is authorized for civilian wear. The rosette is presented with the Medal of Honor neck ribbon and ribbon bar at the same time. In times past, the Purple Heart was also presented with a rosette, but now has been replaced by a metallic lapel pin.

RIBBON AND ROSETTE

On May 2, 1895 Congress authorized "a rosette or knot to be worn in lieu of the medal and a ribbon to be worn with the medal." Today's Medal of Honor Ribbon is blue with FIVE stars, 2 at the top and 3 at the bottom. (One of the most common mistakes people make when displaying Medal of Honor graphics is to display the ribbon up-side down.)The six-sided blue silk rosette bears 13 stars and is worn on civilian attire. Medal of Honor recipients also wear the Medal itself around the neck of civilian attire for special occasions.

France

Several of the top decorations of France, including the Légion d'honneur , La Patrie Reconaisance Honneur Medal and the Ordre national du Mérite, are presented with a rosette along with the medal. The Legion of Honor authorized a rosette for those who have the rank of officer or above. If the grade is higher, the rosette is adorned with gold and/or silver bars (or "half-knots") which are place beside each side of the rosette. The officer wears the badge on a ribbon with rosette on his left chest.

Award ribbons can be simply a flat piece of ribbon, a flat-folded ribbon, or fancier manipulations of the ribbon material, such as rosettes. A rosette consists of ribbon that is pleated or gathered and arranged in a circle so that it resembles a rose, usually with streamer ribbons attached.

Ribbons are usually, although not always, imprinted with information about the award, such as the name of the event, the sponsoring organization, the placement (such as first place, second place, etc.), and the date. Some sophisticated awards also include the name of the recipient. See examples of modern day rosettes can be seen below:

The single rosette is the most basic motif of hex signs and it is one of the most ancient designs in western culture. The rosette appears on buildings, furniture, gravestones and pottery. The rosette design is a symbol for luck and the scalloped border symbolizes smooth sailing. The color red is used to symbolize strength and green is a life color. This sign with the red rosette is a potent safeguard against harm and portends good luck in life.

I wish to discuss ancient Jewish literature as our starting point in this paper because Hebrew is a very ancient , if not the original source language for other languages, and it may be wise to peruse the linguistic influence on the word we are about to discuss.

Before I enter the world of linguistics I wish to embellish the word rosette with its major component, namely the word ROSE, for a rosette is nothing more than a diminutive of rose, as seen from the dictionaries above. Also please bear in mind not only the shape of such a flower but its coloration as we know it today.

In the Jewish world of celebration, one month before Passover, the story of Esther and Mordechai [Purim] in ancient Iran is recited, and in the prayers following, the phrase שושנת יעקב 'shoshanat yaakov' is mentioned.

Literally this means "rose of Jacob". But other translations have "lily of Jacob".

So is it a rose or a lily? Does it matter? Are they related?

In referring to dictionaries it becomes more interesting. Some scholars identify shoshan with the lotus and ranunculus. [Related to Aramaic שושנתא (whence Ugaritic twt, Arabic sausan, Vulgar Arabic susan), Akkadian sheshanu (= lily), Syriac shishno (= butomus flowers).

Several scholars derive these words from Egyptian sshshn and sshn, Coptic shoshen (= big flower; lotus). According to others the above, such words go back to Akkadian shushu (six-sided), shishshu (= sixth). Greek souson, from whence Latin Susanna, are Semitic loan words.]

Note the influence of the worldly shesh meaning a reference to the number six in several languages.

And before you check in your own dictionaries please ignore any references to shesh (the fabric) and

shayish שיש (marble). It is agreed by linguistic scholars that shesh (linen) and shayish are originally Egyptian words. (Homonystic, both being white)

One famous Hebrew commentator, Ibn Ezra, connects shoshana to shesh in his commentary on Shir HaShirim [ Song of Songs] 2:2 stating "It is a white flower of sweet but narcotic perfume, and it receives its name because the flower has, in every case, six [shesh] petals, within which are six long filaments."

So if a fairly modern day commentary on the biblical shoshan(a) indicates very strong preferences to the lily, when did it become associated with the rose?

Of interest I would like to point out that the symbolism of the lily has passed from the Jews to the Christians, so that the angel of the Annunciation is conventionally represented as bearing lilies without filaments.

But prior to this period the diminutive rose, the rosette, has been a symbol associated with many Goddesses, but it is especially sacred to Inanna, Ishtar and Astarte. Some scholars think that the Rosette is a symbol for the star of Venus. The Rosette is the "Star of the Earth" and grows up from the underworld beneath the ground. It is the Earth's star, as Venus is the star of the heavens. Many carved rosettes have survived, they vary widely in their patterns, but all are clearly representations of the rosette.

The lily, in Modern Hebrew, shoshanah, is used generically, as it embraced other related flowers. Lilies grow on hills and in the field. The choicest of lilies were those that grew in the valleys, in the proximity of water. Perah - flower in the Bible - is often rendered shoshanah - i.e. lily in the Targum. [An Aramaic commentary]

Targum Onkelos to Exodus 25:31-34 and Deuteronomy 8:4 there are examples of perach being translated as shoshana.

This seeming inaccuracy is explained by the generic term of shoshan which might have included such flowers as the lotus [see later] and even the rose.

In fact, the Midrash [a compilation of homiletic teachings (commentaries) on the Tanakh (Hebrew Bible)], contains a few passages which speak of a soft lily, and the choicest of this kind is the lily of the valley, paralleling the rose of the valley.

Besides these allusions, the Midrash specifically mentions a shoshanah shel wered -a lily-rose - which grows in orchards, which is also the symbol of Israel. This indicates that the shoshana shel vered שושנה של ורד was a subset of the more generic shoshana.

Now we come to a word familiar to all modern Hebraists, namely vered ורד.

Vered is a post-biblical word, its etymology being from the Aramaic ורדא, borrowed from Iranian *wrda, whence Greek rodon, whence Latin rosa (= rose)

Ben Yehuda [the person who introduced Hebrew back into modern day Israel] says that the association of the rose with the shoshana eventually led to later commentators to identify the shoshana with the rose in general. He gives two reasons:

a) because the rose was viewed as the most beautiful flower and
b) the rose was well known to them, whereas they had difficulty initially in identifying the Biblical shoshana.

Another two possible reasons:

a) the shoshana is described as the queen of the flowers - which could apply to the rose, and
b) the word vered doesn't appear in the Tanach, so they didn't need to say that shoshana = lily and vered = rose.

Notice that there is no verse in the Hebrew writings stating definitively the colour of the shoshana or shoshan mentioned - leaving room for it to be either the white lily or the red rose.

Rashi [a well known biblical commentator] in particular reinforced the identification of shoshana with the rose in his commentary on Shir HaShirim 2:2, [Song of Songs] where he describes it as always remaining red (although he doesn't mention the word rose or vered.) The kabbalistic book of Zohar also identifies the shoshana as a rose.

From a human point of view it is interesting to note that female immigrants to Israel from Europe with names related to Rose - Raisel, Rosa, etc often changed their names and generally adopted the name Shoshana. So while vered was still known to be "rose", we can assume that it was more of a technical term, and less of a popular one. However, today the name Vered is also quite popular - probably because the flower rose is generally and more popularly known as vered.

Which translation is right? We now live in a scientific age, where every plant and animal is classified and sub-classified into genus and species. So we could expect that the Hebrew names should reflect that level of precision.

But the ancients weren't as concerned with that level of detail as we are today, and therefore shoshana could refer to a number of different flowers - even those fairly distantly related botanically - as mentioned above, to the extent that lily and rose became interchangeable.

At this point I wish to elaborate on the Egyptian 'sesen' or the Coptic shoshen i.e. the lotus.

The Lotus is not a separate genus. In fact it is THE lily family and a short discussion of this flower ensues.


Water lilies encompass 5 species of Lotuses, three in the genus Nymphaea and two in Nelumbo; both genera are members of the water-lily family, Nymphaea lotus, and the Egyptian white lotus is believed to be the original sacred lotus of ancient Egypt. It and the Egyptian blue lotus, N. caerulea, were often pictured in ancient Egyptian art. The common Egyptian "lotus" is actually correctly called a water lily: the white lotus opens at dusk; the blue water lily opens in the morning. The white lotus is a shallow-water, night-blooming plant with a creeping rootstock (rhizome) that sends up long-stalked, nearly circular, dark green leathery leaves, which float on the surface. The flowers, up to 25 cm (10 in) across, remain open until midday. The blue lotus [centre] is a smaller, less showy day-blooming plant.

The Lotus flower has for thousands of years symbolized spiritual enlightenment. Indeed, this flower essence's purpose is to accelerate spiritual evolvement and enhance healing on every level within the system. The blue lotus was native to the Nile and used to be abundant. Its narrow, pointed petals and round, spotted leaves appear as the more common lotus in every conceivable opportunity for Egyptian artistic imagery. And more than often the leaf and spots are not shown.

The white lotus' rounded petals appear with round, scalloped edge leaves.

Mythology

The Rosette has been a symbol associated with many Goddesses, but it is especially sacred to Inanna, Ishtar and Astarte. Some scholars have concluded that the Rosette is a symbol for the star of Venus. The Rosette is the "Star of the Earth" and grows up from the underworld beneath the ground. It is the Earth's star, as Venus is the star of the heavens. Many carved rosettes have survived, they vary widely in their patterns, but all are clearly representations of the rosette. The rosette is also considered to have royal symbolism.

The lotus is a very important flower for Eastern civilizations. The Hindus believed that Brahma, their creator god, was born from a golden lotus [see fig. 14] and so the flower is often associated with the spirit being elevated from one realm to another.

Moreover, because it has buds, blossoms, and seed pods simultaneously on the same plant, it has symbolized the past, present, and future.

The lotus flower appeared in legends originating from ancient Egypt. It played an important part in ancient Egyptian religion. The pure white lotus flower, the only plant to fruit and flower simultaneously, emerges from the depths of the muddy swamp. Growing from the mud at the bottom of ponds and streams, the exquisite Lotus flower rises above the water and is usually white or pink with 15 or more oval, spreading petals, and a peculiar, flat seedcase at its center.

Sesen: A Lotus Flower. This is a symbol of the sun, of creation and rebirth. Why? Because at night the flower closes and sinks underwater, and at dawn it rises and opens again. According to one creation myth it was a giant lotus which first rose out of the watery chaos at the beginning of time. From this giant lotus the sun itself rose on the first day.

A symbol of Upper Egypt.

The lotus flower played a prominent role in the version of the creation story that originated in Heliopolis. Before the universe came into being, there was an infinite ocean of inert water which constituted the primeval being named Nun. Out of Nun emerged a lotus flower, together with a single mound of dry land. The lotus blossoms opened, and out stepped the self-created sun god, Atum, as a child. In another version originating in Hermopolis, the sun god who formed himself from the chaos of Nun emerged from the lotus petals as Ra. The lotus is a flower which opens and closes each day. His history went on to say that the petals of the lotus blossom enfolded him when he returned to it each night. The lotus flower has been featured extensively throughout the art of ancient Egypt. In various works of art, you may see it held in the hand of a god or human, serving as a border to outline a section of the artwork, unfolding to reveal various gods or humans, and many other depictions. The ancient Egyptians from the 4th dynasty greatly valued the sacred lotus, in religious ceremonies and funerals. To the ancient Egyptians the symbol of three sacred lotus lilies represented "plant" meaning Tree of Life". They have tree stems curving to the left as though blown into Life by the breath of Hu, the Celestial Sphinx. On top of each stem is the Lotus flower [fig.15] which was used in Ancient Egypt to represent Life and Resurrection.

It is from this hieroglyph that the French "fleur de lis" [fig.16] traces its origin. The "fleur de lis" represents the Tree of Life.

The glyph which denotes the sacred knowledge associated with Hu is also formed by the three stems of the three sacred lotus lilies. The Osiris Crown can be similarly considered in these terms.

Following the role model of Osiris, in 1346 AD Edward the Black Prince won three feathers at Crecy which he adopted as his emblem. If the three feathers are gathered at the stems a 'fleur de lis' is created. [fig.17]

But Edward was not the first. Crusaders introduced lilies into European Christian art; because of its association with the Crusaders, the lily came to stand for chivalry, and the French nobility adopted the fleur-de-lis as its symbol. The motif was first used by King Philip I (1052-1108) of France in the 11th century. The 'Lilies' are said not to have appeared in the French arms until the time of Philip Augustus (1165-1223). In Christian symbolism, the fleur-de-lis is used as a symbol of the Holy Trinity and as an ensign of the Virgin Mary, mimicking the rose.

The ancient Egyptians developed the art of counting to a high degree, but their system of numeration was very crude. For example, the number 1,000 was symbolized by a picture of a lotus flower, and the number 2,000 was symbolized by a picture of two lotus flowers growing out of a bush.

Hindus associate the lotus blossom with creation mythology, and with the gods Vishnu, Brahma, and Lakshmi. From ancient times the lotus has been a divine symbol in Hindu tradition. The growth of its pure beauty from the mud of its origin holds a benign spiritual promise. Borrowing from Hinduism, in Buddhist symbolism, the lotus represents purity of body, speech, and mind, floating above the muddy waters of attachment and desire. The Buddha is often depicted sitting on a giant lotus leaf or blossom, as seen above.

What of the rose?

A rose is a perennial flower shrub or vine of the genus Rosa, within the family Rosaceae, which contains over 100 species and comes in a variety of colors

The rose is the traditional flower of lover and romance since the Victorian era. The praise of roses goes back to ancient times and across many civilizations. A Roman legend claims that this flower received its color when Jupiter caught Venus bathing and a white rose turned red in her reflection. The Greeks believed that red roses sprang forth from the ground where Adonis and Aphrodite spilled their blood. By Christian times, the red of the rose had come to also symbolize the blood of martyrs, the rose itself being a symbol of the Virgin Mary, the 'Mystic' rose.

The rose has always been valued for its beauty and has a long history of symbolism. The ancient Greeks and Romans identified the rose with their goddesses of love referred to as Aphrodite and Venus. In Rome a wild rose would be placed on the door of a room where secret or confidential matters were discussed. The phrase sub rosa, or "under the rose", means to keep a secret - derived from this ancient Roman practice. (more about this later)

Modern times

The rose is the national flower of England and the United States, as well as being the symbol of England Rugby, and of the Rugby Football Union. It is also the provincial flower of Yorkshire and Lancashire in England (the white rose and red rose respectively), of Alberta (the wild rose) in Canada, and of Islamabad Capital Territory in Pakistan. It is the state flower of four US states: Iowa and North Dakota (R. arkansana), Georgia (R. laevigata), and New York (Rosa generally). Portland, Oregon counts "City of Roses" among its nicknames, and holds an annual Rose Festival. The Greek island of Rhodes is known as the Island of Roses or Rose of the Aegean, but does not use the rose as its symbol.

More recently, from the last century [Paris 1968] a red rose (often held in a hand) became a symbol of socialism or social democracy: it is used as a symbol by British, Irish, French, Spanish, Portuguese, Norwegian, Danish, Swedish, Finnish, Brazilian, Dutch and other European labor, socialist or social democratic parties. The White Rose was a World War II non violent resistance group in Germany.

I have already spoken of the SIX leafed flower. There are also references to eight-petal rosettes

Eight-petalled rosettes can be found on various ancient game boards as well as on many other objects. They were generally a symbol for the sun, or more precisely its cycle of birth, death, and rebirth, and so indicated the passages from one state of existence into another.

We know that the eight-leaf rosette was also the emblem of the fertility in Mesopotamia goddess Ishtar and her planet Venus. In a well-known myth, Ishtar descended into the underworld and was held there as dead before she returned to life and to life-giving, just as Venus the evening star disappears from the sky for some time and then heralds as morning star the return of the life-giving light. The symbolism is the same as that derived from the cycles of the sun.

A tentative astrological connection can be noted as follows bearing in mind the number eight. Venus and the sun also both match the eight leaves of the rosette with their observable behaviors. Venus disappears for an average of eight days in the glare of the sun during its transition from evening to morning star. Furthermore, five complete Venus cycles of 583.92 days each come close to eight solar years of 365.2422-days each, and they match them exactly, at 2920 days, when both periods are rounded to whole numbers.

In general, the contexts in which we find the eight-leaf rosette suggest that it represented the birth, death, and rebirth of the sun (and/or of the planet Venus), in many of the ancient Near Eastern religions which could have influenced the maker of the Disk.

Symbol

An idea, sign, device or object which has within itself something else ; an idea, or fact, even a proposition - which it guards from facile scrutiny, but which it may yield, if it be studied. Some symbols are simple, others very complex. In Freemasonry, certain symbols denote somewhat vaguely certain "virtues" or "facts', while others are capable of a wide interpretation.

Emblem

A symbolic device, but its meaning does not have to be discovered; its meaning is obvious, known and accepted by common agreement: e.g., a crown means royalty, white means purity.

Badge

A mark or sign by which a person or object is distinguished. In other words it is a device used to make known membership of any corporate body serving its owner to establish his identity, as indeed his own name does.

Masonry uses all three, symbol, emblem and badge, and in some cases symbol and emblem seem to be the same.

That the apron is a 'badge' is without question.

Are the blue edged ribbon, the rosettes, the seven-chained tassels symbols or emblems? Have they any worth apart from artistic forms or embellishments?

The Masonic apron varies according to the constitutions. For example, the Dutch wear an apron bordered with black and with skull and crossbones on the flap. Scottish lodges each have their individual right to choose the design, colour and shape of their aprons; some employ a tartan, while many others have a circular rather than a triangular flap. This is the reason why all four Scottish lodges dress in different regalia whilst all English lodges have adopted the same model. Irish aprons appear to be a bizarre attempt at standardization with tinges of individualisation in the apron borders and embroidery.

The colour of the Master Mason's apron, which is that of Cambridge University, and likewise that used by Parliament when fighting King Charles, has a much deeper significance than is generally known. It is closely related to the colour of the Virgin Mary, which in itself has been brought forward from Isis, Astarte and other Mother Goddesses of the ancient world, whose symbol was always the moon and seven stars. You may have noticed that many statues of the Virgin Mary show her wearing a diadem or crown of seven stars on her head and her cloak is light blue, the colour of the English Constitution Masonic apron.

In contrast, the aprons of District and Grand Lodge Officers have Garter Blue, often connected with certain Orders of Knighthood, but note that this blue is the colour of Oxford University, and the colour associated with the Royalist cause during the Civil War. Thus the two aprons in use amongst Brethren of the English craft employ the colours of the two great Universities of England. The dark blue colour [which I wear as we practice a South African- modified Dutch ritual which had evolved from the Rites Francaise, operating in Israel under Scottish Rite with special dispensation from the Grand Lodge of the State of Israel] therefore can be said to represent the rulers in the Craft, and represent the masculine element. Light blue, on the other hand, represents the feminine or passive aspect, and is most appropriate for the ordinary Master Mason, whose duty it is to obey and not to command.

The other significant emblems representative of the female aspect are the three rosettes, symbol of the rose itself and itself a well known substitute for the Virgin Mary herself as the Mystic Rose, as aforementioned. The three rosettes on a Master Mason's apron are arranged so as to form a triangle with the point upwards, interpenetrating the triangle formed by the flap on the apron, alluding to the square and compass. The two rosettes on a Fellow Crafts apron stress the dual nature of man and could have a clear reference to the two Pillars. The two rosettes also point out that the Fellow Craft has not yet a complete Freemason as it requires a third rosette to form a triangle. The Fellow Craft's apron thus represents the wearer's status as being superior to an Entered Apprentice but inferior to that which in due time he will attain and which the third rosette will invariably complete in the form of the interlaced square and compass. As the Master Mason advances and becomes Master of his Lodge, the rosettes of his apron give way to three Tau or levels as they are generally called.

Before discussing the Tau, a short word about the appearance of the rosette in Scottish Rite masonry, the Lodges of Perfection, is apt. The 18th Degree in Scottish Rite masonry is the Rose Croix Chapter and is essentially an intrinsic Christian degree and as such, based upon which I have already mentioned, utilizes the rose as its main emblem.

In Israel the degree has been modified to permit our Jewish brethren to advance the Perfection ladder, and rightly so. Some say that the rose in Kabbalistic Judaism also represents the Garden of Eden and the expulsion wherefrom of Adam and Eve.

This beautiful image of the Hermetic Rose Cross (fig.23), obtained with grateful thanks from the Hermetic Fellowship, will clearly show to anyone familiar with the common colour attributions of the Kabbalistic Tree of Life how closely related are the disciplines of Kabbalah and Rosicrucianism.The apparent central rosette is actually 'bricks' of Hebrew letters. The four arms of the cross represent fire [red],water[blue], air[yellow] and earth[colour mixture].The 4*3 =12 prominences symbolise the twelve planetary signs.

Below is an example of The Cross of Kabbalah and two illustrations of the kabbalistic tree of life. They too are composed of lookalike rosettes.

The Zohar introduces Rabbi Chezkiah who opened [his discourse] and said: "It is written: 'As a rose among the thorns, so is my beloved amongst the daughters' (Songs 2:2). Who is the rose? This refers to ' Knesset Yisrael' - the Collective soul roots of Israel, malchut. (For there is one level of a rose and there is another level of a rose - i.e. duality) (Zohar I, Intro. pg 1)

In its opening discourse, the Holy Zohar explains how the Shechina (otherwise known as the Divine Presence, referred to as Knesset Yisrael, the "Community of Israel") is compared to a rose that has the two colors, white and red, within it. In addition, the rose has thirteen petals and five sepals surrounding her to protect from the thorns. Similarly, the Shechina possesses two general qualities: loving kindness and judgment corresponding to white and red, respectively.

So in the same manner is the lily which sits upon 5 sepals - resembling the 5 fingers. And this lily corresponds to the goblet of blessing.

We have already made mention of the word 'sub-rosa' - keeping a secret. This is very relevant in Freemasonry. How did this arise? It would appear that the whole is based on the mythological Horus.

Horus is the Falcon headed god of ancient Egyptian mythology. Like many other gods the nature of what he was and the legends and stories that went with him changed over the course of history. Horus was an amalgamation of other, related deities, all of whom where sun gods and associated with the royal prerogative and the sky. Because Horus was a combination of other gods, it is rarely correct to refer to "Horus" as Horus was as much a family of related deities (though many had differing parentages) unified in one being; something similar occurs in many Christians' interpretation of the one God who manifests in three parts.

Heru-ur (also called Harmerti) is the oldest version of Horus, and was a falcon creator-god who was known for restraining Apep. His eyes were the sun and the moon; during a new moon, he was blind and was called Mekhenty-er-irty ("he who has no eyes") and open the return of his sight, he was called Khenty-irty ("he who has eyes").

As a child, Horus was called Har-pa-khered ("Horus the child" and called Harpocrates by the Greeks) and was a son of either Osiris and Isis or Banebdjetet and Hatmehit. He was depicted as a naked boy with a finger in his mouth, sitting on a lotus with his mother. In this form, he was a fertility god and was depicted with a cornucopia.

The story is as follows:

Aphrodite gave a rose to her son Eros, the god of love; he, in turn, gave it to Harpocrates, the god of silence, to ensure that his mother's indiscretions (or those of the gods in general, in other accounts) were kept under wraps. Paintings of roses on the ceilings of Roman banquet rooms were also a reminder that things said under the influence of wine (sub vino) should also remain sub rosa. In Christian symbology the phrase "sub rosa" has a special place in confessions. Pictures of file-leaved roses were often carved on confessionals, indicating that the conversations will maintain secrecy. The phrase has also understood to make reference to the mysterious virginal conception of Christ, which will remain a secret to a rational mind.

More recently, "sub rosa" activities have become a byword for covert operations, usually by security services. Originating primarily in the Canada and the USA Special Forces, this meaning has been gradually spreading to other countries and in particular the United Kingdom.

Har-pa-Khered became very popular during the time of the Roman Empire, when he was depicted riding a goose or ram (note Banebdjetet, his father, was a ram god).

In the above we already can see an inkling of Masonic symbolism. [ ..and maybe anti-Masonic ]

At this point I would like to add an observation of my own which I have never seen recorded elsewhere.

Under the history of Egyptian mythology I discussed the symbol of the three sacred lotus lilies representing "plant" meaning "Tree of Life".

Another picture of the Osiris Crown and hieroglyphics will help explain my thoughts.

If one looks carefully at the glyph there is an uncanny resemblance to the Hebrew letter 'SHIN' pronounced 'SH'; and as we know 'SH' [ or 'shush'] is the sound made by the human when requesting silence, invariably placing the finger to ones lips at the same time!

In Hebraic literature the Rabbis [especially the famed Chofetz Chaim, Rabbi Yisrael Meir Kagan, born 1839 ] placed great stress on NOT gossiping, implying 'silence is golden'. The Vilna Gaon quotes a Midrash saying that for every instant that a person holds his silence he will receive the highest rewards. In effect silence will guarantee one a 'long life' because often it is the spoken word which causes the human the most pain.

I suspect that this is a coincidental observation but nevertheless a very important one. I make mention of this as a 'figure of silence' is used in the initiation ritual of our South African- modified Nederlandic ritual.

The Additional Decorations

The Tau is the symbol of the Creator and also the symbol of the Royal Arch. At one time all Masters had to be exalted to that supreme degree before he could accept the Chair in a Craft lodge.

Now a short word about another important feature of the apron, namely the tassels, which originally represented the ends of the string used to tie the apron round the waist.

It was only a matter of time before these strings were decorated with tassels and even today certain aprons, such as those worn by members of the Royal Order of Scotland use this type of string with ornamental tassels which when properly tied together at the front cause the two tassels to stick out from under the flap. Craft aprons have now replaced the string or cord with a band attached to a hook and eye and so tassels have been replaced by two strips of ribbon on which are attached seven chains. The seven chains themselves are full of symbolic meaning and represent various Masonic allegories such as the seven liberal Arts and Sciences; the number of Masons needed to form a perfect lodge and the number of years it took King Solomon to build the temple, etc. The two ribbons and chains might also be representative of the old pillars that used to adorn the apron before these were replaced with the existing form.

Finally we arrive at the band with the hook and eye attachment that perhaps nobody may be aware is also full of symbolic significance. It is no accident that the snake was selected for this purpose. The snake is the traditional symbol of evil, but it is also associated with wisdom. Thus the serpent in our apron denotes that we are encircled by Holy wisdom. You will also notice that the serpent is biting its own tail, thus forming a circle which has always been regarded as the emblem of eternity, and more especially the Eternal Wisdom of God.

I would like to state at this juncture that it is my belief that the rosette entered Freemasonry as a direct result of the passionate love by the French for rosettes adorned to indicate status. I refer back to their medals. No one else uses them the way they do, past or present. As an award, their Medal of Honor has existed since the days of Louis XIV. In addition, we see the influence of the fleur-de-lis, as aforementioned, in early coats of arms e.g. Paris, which dates back to 1358, (see fig. 26) and in association with French monarchy from early times.

In addition we also know that in 1797, the first Chapter of Rose Croix was formed in New York City by a group of Frenchmen. In other words I believe that it was the French who influenced the British. We know that there was a marked two-way traffic of masons from the 18th and 19th centuries from England to mainland Europe.

Brethren, I hope I have been able to clarify some of the background to the nature of what is referred to as a rosette and at the same time show how it adds to the symbolism of the apron. The apron is an important piece of regalia which happens to be, by virtue of the rosette and tassels etc decorative and colourful. Indeed the apron is a vital part of our ritual and any Mason who is not wearing his Masonic apron in a lodge is considered quite rightly to be improperly dressed. Thus we accept that our apron is a very honourable garment, one that we should treasure. It is an apron made of lambskin, pure white, without fault or stain - the colour of the Soul as mortal man sees it. It is ours and it now depends upon each of us to keep it without blemish - to keep it as a mirror of our behaviour that we may stand the final test when we reach that spiritual edifice - not built by hand, eternal in the Heavens.

Lecture: Egyptian Mythology Ptah

From Wikipedia, the free encyclopedia

Ptah
God of creation, the arts, fertility, and of craftsmen
Ptah, in the form of a mummified man, standing on the symbol for Ma'at, holding a scepter or staff that bears the combined ankh-djed-was symbols
Name in hieroglyphs
Major cult center	Memphis
Symbol	the djed pillar, the bull
Consort	Sekhmet and Bast
Offspring	Nefertem, Maahes
Parents	none (self-created or un-created)

In Egyptian mythology, Ptah (/pəˈtɑː/; Egyptian: ptḥ, probably vocalized as Pitaḥ in ancient Egyptian) is the demiurge of Memphis, god of craftsmen and architects. In the triad of Memphis, he is the spouse of Sekhmet and the father of Nefertum. He was also regarded as the father of the sage Imhotep.

Origin and symbolism

Statue of Ptah - Egyptian Museum of Turin

Ptah is an Egyptian deity and considered the demiurge who existed before all other things and, by his will, thought the world into existence. It was first conceived by Thought, and realized by the Word: Ptah conceives the world by the thought of his heart and gives life through the magic of his Word. That which Ptah commanded was created, with which the constituents of nature, fauna, and flora, are contained. He also plays a role in the preservation of the world and the permanence of the royal function.

In the Twenty-Fifth Dynasty, the Nubian pharaoh Shabaka would transcribe on a stela known as the Shabaka Stone, an old theological document found in the archives of the library of the temple of the god at Memphis. This document has been known as the Memphite Theology, and shows the god Ptah, the deity responsible for the creation of the universe by thought and by the word.

Ptah is the patron of craftsmanship, metalworking, carpenters, shipbuilders, and sculpture. From the Middle Kingdom onwards, he was one of five major Egyptian deities with Ra, Isis, Osiris and Amun.

He bears many epithets that describe his role in ancient Egyptian religion and its importance in society at the time:

• Ptah the beautiful face
• Ptah lord of truth
• Ptah master of justice
• Ptah who listens to prayers
• Ptah master of ceremonies
• Ptah lord of eternity

Representations and hypostases

Like many deities of ancient Egypt he takes many forms, through one of his particular aspects or through syncretism of ancient deities of the Memphite region. Sometimes represented as a dwarf, naked and deformed, his popularity would continue to grow during the Late Period. Frequently associated with the god Bes, his worship then exceeded the borders of the country and was exported throughout the eastern Mediterranean. Through dissemination by the Phoenicians, we find figures of Ptah in Carthage.

Ptah is generally represented in the guise of a man with green skin, contained in a shroud sticking to the skin, wearing the divine beard, and holding a sceptre combining three powerful symbols of ancient Egyptian religion:

• The Was sceptre
• The sign of life, Ankh
• The Djed pillar

These three combined symbols indicate the three creative powers of the god: power (was), life (ankh) and stability (djed).

Stucco relief of Ptah holding a staff that bears the combined ankh and djed symbols, Late Period or Ptolemaic Dynasty, 4th to 3rd century BC

From the Old Kingdom, he quickly absorbs the appearance of Sokar and Tatenen, ancient deities of the Memphite region. His form of Sokar is found contained in its white shroud wearing the Atef crown, an attribute of Osiris. In this capacity, he represents the patron deity of the necropolis of Saqqara and other famous sites where the royal pyramids were built. Gradually he formed with Osiris a new deity called Ptah-Sokar-Osiris. Systematically, statuettes representing the human form, half-human, half-hawk, or simply in its falcon form of the new deity, began to be placed in tombs to accompany and protect the dead on their journey to the West.

His Tatenen form is represented by a young and vigorous man wearing a crown with two tall plumes that surround the solar disk. He thus embodies the underground fire that rumbles and raises the earth. As such, he was particularly revered by metalworkers and blacksmiths, but he was equally feared because it was he who caused earthquakes and tremors of the earth's crust. In this form also, Ptah is the master of ceremonies for Heb Sed, a ceremony traditionally attesting to the first thirty years of the pharaoh's reign.

The god Ptah could correspond with the sun deities Re or Aten during the Amarna period, where he embodied the divine essence with which the sun god was fed to come into existence, that is to say to be born, according to the Memphite mythological/theological texts. In the holy of holies of his temple in Memphis, as well as in his great sacred boat, he drove in procession to regularly visit the region during major holidays. Ptah was also symbolized by two birds with human heads adorned with solar disks, symbols of the souls of the god Re: the Ba. The two Ba are identified as the twin gods Shu and Tefnut and are associated with the djed pillar of Memphis.

Finally, Ptah is embodied in the sacred bull, Apis. Frequently referred to as a herald of Re, the sacred animal is the link with the god Re from the New Kingdom. He even received worship in Memphis, probably at the heart of the great temple of Ptah, and upon the death of the animal, was buried with all the honors due to a living deity in the Serapeum of Saqqara.

Pooh, Phoh, Loh (Lunus, le dieu-Lune, Sélène), N372.2, Brooklyn Museum

Development of the cult

Colossal statue of the god Ptah-Tatenen holding hands with Ramses II found at Memphis - Ny Carlsberg Glyptotek, Copenhagen

As god of craftsmen, the cult of the god Ptah quickly spread throughout Egypt. With the major royal projects of the Old Kingdom, the high priests of Ptah were particularly sought after and worked in concert with the vizier, filling the role of chief architect and master craftsman, responsible for the decoration of the royal funerary complexes.

In the New Kingdom, the cult of the god would develop in different ways, especially in Memphis, his homeland, but also in Thebes, where the workers of the royal tomb honored him as patron of craftsmen. For this reason, the oratory of Ptah who listens to prayers was built near the site of Deir el-Medina, the village where the workers and craftsmen were housed. At Memphis, the role of intercessor with humans was particularly visible in the appearance of the enclosure that protected the sanctuary of the god. Large ears were carved on the walls, symbolizing his role as god who listens to prayers.

With the Nineteenth Dynasty, his cult grew and he became one of the four great deities of the empire of Ramses. He was worshiped at Pi-Ramesses as master of ceremonies and coronations.

With the Third Intermediate Period, Ptah returned to the center of the monarchy where the coronation of the Pharaoh was held again in his temple. The Ptolemies continued this tradition, and the high priests of Ptah were then increasingly associated with the royal family, with some even marrying princesses of royal blood, clearly indicating the prominent role they played in the Ptolemaic court.

Main places of worship

Temple dedicated to	Location
Ptah	Pi-Ramses
Ptah	Memphis
Ptah who listens to prayers	Memphis
Ptah who is south of his Wall	Memphis
Ptah-Sokar	Abydos
Ptah-Sokar	Kom el-Hettan (Thebes)
Ptah who listens to prayers	Deir el-Medina (Thebes)
Ptah	Karnak (Thebes)
Ptah	Gerf Hussein (Nubia)
Ptah lord of truth	Abu Simbel (Nubia)

Photographs

• 

  Crenelated model tower depicting god Ptah holding a was-sceptre before an offering tabel, on the reverse is a woman (? high priestess) in adoration before ears symbolizing the deity, 18th Dynasty, from Harageh, Egypt, the Petrie Museum of Egyptian Archaeology, London
 
• 

  Stela of Irinefer, Servant in the Place of Truth. 19th Dynasty. From Tomb 290 at Deir el-Medina, Egypt. The Petrie Museum of Egyptian Archaeology, London
 
• 

  Profile of the god Ptah - Relief of the small temple of Hathor at Memphis
 
• 

  Colossal triad representing Ptah-Ramses II-Sekhmet – Gardens of the Egyptian Museum of Cairo
 
• 

  Pectoral of Tutankhamun representing the young king between the goddess Sekhmet and Ptah – Egyptian Museum of Cairo
 
• 

  Statuette of Ptah-Sokar-Osiris – The Louvre
 
• 

  Votive stele dedicated to the god Ptah in the temple of Deir el-Medina. New Kingdom, XX Dynasty, c. 1150 B.C.