Category Archives: References to James’ work

In parts one and two, we examined what James Churchward wrote about the Cosmogonic/Cosmic Diagrams in his books.

The fact that James never mentions the Naacal Tablets or Niven’s tablets with regard to the Cosmogonic/Cosmic diagram perhaps indicates that those treasure troves of information were not the source of the ancient wisdom concerning Cosmic diagrams.

Individuals that are familiar with my book, Lifting the Veil on the Lost Continent of Mu Motherland of Men may remember the footnote attached to the illustration, “The First Book Ever Written – The Cosmic Diagram of the Land of Mu. Over 35,000 years old” as it is called in the Lost Continent of Mu Motherland of Men page 141 and subsequently referred to as the ‘Cosmic or Cosmogonic Diagram.’

Same as Plate XVII on page 17 of Queen Moo & the Egyptian Sphinx; LePlongeon, Augustus; 1896; Same as drawing on page 25 of Signs and Symbols of Primordial Man, being an explanation of the Evolution of Religious Doctrines from the Eschatology of the Ancient Egyptians; Albert Churchward, 1910. Captioned: “from Mexico”.

The same illustration is presented in earlier published works with individuals that James knew quite well. From the unpublished ‘My Friend Churchey And His Sunken Island of Mu’ by Percy Tate Griffith, the author reveals that both Alice and Augustus Le Plongeon, as well as James Churchward and other NYC Theosophists would gather for tea and discussions on Sunday afternoons in the late 1880s. Albert Churchward was a respected author on Freemasonry, successful surgeon, and James’ younger brother.

First, from Le Plongeon and Queen Moo & the Egyptian Sphinx
from pages 14-16:

ON examining the adornments of the atlantes that supported the altar, we could not help exclaiming, “Why, this is Burmah!” And so it is. But it is also America. Yes, ancient America. brought back to light after slumbering many ages in the lap of Time, to show the people of the nineteenth century that, long, long ago, intimate communications existed between the inhabitants of the Western Continent and those of Asia, Africa, and Europe, just as they exist to—day; and that ancient American civilization, if not the mother of that of historical nations of antiquity, was at least an important factor in the framing of their cosmogonic notions and primitive traditions.

Of that fact no better proof can be obtained than by comparing the symbols of the universe found among the Mayas, the Hindoos, the Chaldees, and the Egyptians.

The simplest is that of the Mayas. It seems to have served as model for the others, that evidently are amplifications of it. We find it many times repeated, adorning the central fillet of the upper cornice of the entablatures of the eastern and western facades of King Can’s palace at Uxmal. This edifice was also the residence of the pontiff.

A knowledge of antique geometric symbology makes it easy to understand these cosmic diagrams. In the centre of the figure we see a circle inscribed within the hexagon formed by the sides of two interlaced equilateral triangles.

The Egyptians held the equilateral triangle as the symbol of nature, beautiful and fruitful. In their hieroglyphs it meant “worship.” For the Christians the equilateral triangle, containing the open eye of Siva, is the symbol of Deity. The Hindoos and the Chaldees regarded it as emblem of the spirit of the universe. Exoterically this central circle represents the sun, the light and life—giver of the physical world, evolved from fire and water.

It is well known that among the ancient occultists, of all nations, the triangle with the apex upward symbolized “fire;” that with the apex downward, “water.” The outer circle that circumscribes the triangles is the horizon, that apparent boundary of the material world, Within which, in his daily travels, the sun seems to be tied up. Hence the name Inti-huatama, “sun’s halter,” given by the ancient Peruvians to the stone circles so profusely scattered over the high plateaus of the Andes, along the shores of Lake Titicaca, in India, Arabia, northern Africa, northern Europe, where they are known as druidical circles. Their use is still a matter of discussion for European antiquaries. They disdain to seek in America for the explanation of the motives that prompted their erection and that of many other constructions, as well as the origin of customs and traditions that continue to be among them the themes for useless controversies.

The twelve scallops which surround the outer circle are the twelve houses or resting—places of the sun; that is, the twelve months of the solar year, or twelve signs of the zodiac. As to the four double rays, those nearest to the houses of the sun typify the primordial Four, direct emanations from the central sun—-the four Heavenly Giants who helped in fashioning the material universe. The lower ones symbolize the four primordial substances known to modern scientists as nitrogen, oxygen, hydrogen, and carbon, Whose various combinations form the four primitive elements – fire, water, air, and earth – into which these can again be resolved.

In the Appendix the esoteric explanation of the diagram is presented as it was given by the Maya sages to their pupils in the secrecy of the mysterious recesses of their temples. It corresponds precisely to the doctrine of the cosmic evolution contained in that ancient Sanscrit book of “Dzyan,” which forms the groundwork of Madame H. P. Blavatsky’s “The Secret Doctrine.”

It is quite unfortunate that the Appendix is without the esoteric explanation, however you could check out the “ancient Sanscrit book of Dyzan” since it corresponds precisely, however it does not appear to line up with what James wrote in his books.

In subsequent pages, Le Plongeon also shows other Cosmic Diagrams, here are comparisons against those that James provided in the Sacred Symbols of Mu.

There wasn’t a Babylonian Cosmogonic Diagram in Queen Moo and the Egyptian Sphinx.

Next time, we’ll look at the references by Dr. Albert Churchward…

In the first part, the Cosmic Diagram was discussed that appeared in the 1926 Lost Continent of Mu Motherland of Men and the 1931 Lost Continent of Mu. This posting covers the 1933 Sacred Symbols of Mu.

And the accompanying description in the text:

MU’S COSMOGONIC DIAGRAM.–The Cosmogonic Diagram of Mu was the mother of all the various cosmogonic diagrams found throughout the world. All subsequent diagrams were based on that of the Motherland.

Inventions, alterations, additions in lines to adapt them to new meanings, made nightmares of them all.

One of the most prominent additions in the Hindu, Babylonian, Assyrian, Chaldean and Egyptian was the addition of a hell. This hell is shown in various diagrams as a small circle below the main figure, the outside of the circle symbolizing the Universe, which was putting it far away from the earth. As the devil was unknown in Mu, no hell appears in her cosmogonic diagram.

DECIPHERING MU’S DIAGRAM.–In Mu the novice was taught to learn the diagram thoroughly and repeat what was written upon it as his spiritual convictions. just as children are taught the Bible today, the children of lost Mu were instructed in this diagram.

THE CONSTRUCTION OF THE DIAGRAM.–In the center is a circle within two crossed and interwoven triangles. Being interwoven or interlaced, these triangles form but one figure.

These two triangles are enclosed within a second circle, thus leaving twelve divisions.

Beyond this circle is a third, leaving a space between the two.

On the outside of this third circle are 12 scallops. Falling from the outside of the scallops is a ribbon which has 8 divisions.

THE MEANINGS OF THESE FIGURES.–The central circle is a picture of the Sun and the symbol of the Deity whose abode is Heaven.
The twelve divisions, formed by the crossing of the two triangles, are the gates to Heaven where dwells the Heavenly Father. These gates symbolize virtues, the twelve great earthly virtues, which man must possess before he can enter the gates, among them being Love, Hope, Charity, Chastity, Faith, et cetera. Love stands at the head of the list.

The space between the second and third circles is the world beyond, which the soul must pass through to reach the gates of Heaven.

The twelve scallops on the outside of the outer circle are the gates to the world beyond and symbolize the twelve great earthly temptations which must be overcome by the material body, before the soul can pass through these gates to the world beyond.

The ribbon with the eight divisions symbolizes the eight roads to Heaven and tells what man’s actions and thoughts must be to ascend to the gates of the world beyond. Put into present language the foregoing would read:

THE BELIEF.–I believe there are eight roads to travel to reach Heaven (mentioning them). My soul will first arrive after travelling these roads at the gates to the world beyond. To enter these my soul must show that my earthly body overcame the twelve great earthly temptations (mentioning them). Having shown that it had done so, my soul will be allowed to Pass into the world beyond. This I must traverse until I reach the gates of Heaven. Here my soul must prove that my earthly body possessed the twelve great virtues (mentioning them). Having shown that it did, my soul will then be passed through the gates into Heaven to the Throne of Glory, where sits the Heavenly Father waiting to receive it.

Have we anything today in any of our religions and religious sects that will compare with this beautiful conception so simply worded?

This was the Religion of Mu, the Motherland, and the First Religion of Man.

Comparing the differences between the versions:

Lost Continent of Mu (1926 & 1931)	Sacred Symbols of Mu
I believe there are eight roads which I must travel in order to reach Heaven.	I believe there are eight roads to travel to reach Heaven (mentioning them).
After having traveled the eight roads (mentioning them), I arrive at the twelve gates leading to the world beyond.	My soul will first arrive after travelling these roads at the gates to the world beyond.
Here I must prove that I have overcome the twelve earthly temptations (mentioning them)	To enter these my soul must show that my earthly body overcame the twelve great earthly temptations (mentioning them).
I shall then pass through into the world beyond and reach the gates of Heaven.	Having shown that it had done so, my soul will be allowed to Pass into the world beyond. This I must traverse until I reach the gates of Heaven
There I must show that I learned and practised the twelve virtues on earth (mentioning them).	Here my soul must prove that my earthly body possessed the twelve great virtues (mentioning them).
Then I am taken through the gates of Heaven to the throne of glory, where sits the Heavenly King.	Having shown that it did, my soul will then be passed through the gates into Heaven to the Throne of Glory, where sits the Heavenly Father waiting to receive it.

In part 1, both versions (1926 Lost Continent of Mu Motherland of Men and the 1931 Lost Continent of Mu) supplied the following:

What the twelve temptations and the twelve virtues were I was never able to discover collectively.

However, in the 1933 Sacred Symbol of Mu it appears that he was able to discover some of the virtues:

the twelve great earthly virtues, which man must possess before he can enter the gates, among them being Love, Hope, Charity, Chastity, Faith, et cetera. Love stands at the head of the list.

James also includes other Cosmogonic Diagrams in the Sacred Symbols of Mu, as shown below:

In the next installment, some possible sources for the Cosmogonic/Cosmic Diagrams will be examined.

Recently, I was asked in an email to provide further information about the “Cosmic/Cosmogonic Diagram.” I subsequently offered the individual the opportunity to place their research into the subject on the My-Mu.com Guest blog and this was followed up with a post to the My-Mu.com Guest blog entitled, “Ancient Pictograph Cypher.”

This post (and those following on the same subject) is a follow-up to examine the “Cosmogonic/Cosmic” Diagrams that James Churchward wrote about and some of their possible origins.

In the 1926 Lost Continent of Mu Motherland of Men the figure below was captioned:

"The First Book Ever Written
The Cosmic Diagram of the Land of Mu. Over 35,000 years old"

The text describes the Cosmic diagram as follows (text in red are differences between the 1926 and 1931 versions):

THE Cosmic Diagram of the land of Mu was the first book ever written by man. I have traced this diagram back to more than 35,000 years ago. Just how long it had been in use before that, no one can say or even estimate.

All of the ancient nations copied the Motherland’s diagram-the Mayas of Yucatan, the Naga-Mayas of India, the Babylonians, the Assyrians, the Egyptians and the Pueblo Indians of southwestern North America.

Only one retained its simple character with its original meanings: the Yucatan Mayas. The rest, except the Pueblos, added figures and introduced dogmas. They gave some of the original figures different meanings, so that the simple and beautiful symbol of the Motherland became sadly distorted. This was brought about by the unscrupulous Egyptian priesthood. They first invented the devil, then they had to find an abode for him, so they invented hell. Five thousand years ago the devil and hell were unknown. The priesthood of India, seeing the effects on the people of these inventions, were quick to follow Set with Siva.

In Mu the novice was taught to learn this book thoroughly and to repeat it as his belief in God and the hereafter. Just as children are taught their Bibles today, so was the child of this lost continent instructed in this book in ancient times. In Mu the novice was taught to learn this book thoroughly and to repeat it as his belief in God and the hereafter, just as children are taught their Bibles today.

In deciphering this cosmic diagram it will be seen that there is a central circle enclosed within two interlaced equilateral triangles. They form one single figure, having but one meaning. These two triangles are enclosed within an outer circle, which leaves twelve divisions between the two circles. Again, this outer circle is enclosed within twelve scallops. Falling from the main figure and downward is a ribbon that has eight divisions.

The central circle is a picture of the sun, Ra, who is the collective symbol of the Deity, and as the Deity is in Heaven, the Deity and Heaven are symbolized by this circle.The central circle is a picture of the sun, Ra, who is the collective symbol of the Deity, and as the Deity is in Heaven, the Deity and Heaven being symbolized by this circle.

The twelve divisions formed by the two interlaced triangles, between the two circles, symbolize the twelve gates to Heaven. Each gate symbolizes a virtue, so that the soul must possess the twelve virtues in order to enter the gates of Heaven.

The outer circle symbolizes the intermediate world, the world beyond, the Amenti of the Egyptians. The twelve scallops surrounding the intermediate world symbolize twelve temptations. The soul must prove that it has overcome the twelve earthly temptations before it can enter the twelve gates of the world beyond.

The ribbon falling downward symbolizes that the soul must ascend in order to reach Heaven. The ancient meaning of the word “ascend” as used here did not signify rising to an altitude. It meant to rise to a higher level towards perfection. The ribbon has eight divisions. These signify the eight roads that man must traverse before his soul may enter the world beyond.

I have given a description of what the eight roads to Heaven are in the previous chapter.

What the twelve temptations and the twelve virtues were I was never able to discover collectively.

This ancient religious belief of the people of Mu, freely given in modern language, would read:
“I believe there are eight roads which I must travel in order to reach Heaven. After having traveled the eight roads (mentioning them), I arrive at the twelve gates leading to the world beyond. Here I must prove that I have overcome the twelve earthly temptations (mentioning them). I shall then pass through into the world beyond and reach the gates of Heaven. There I must show that I learned and practised the twelve virtues on earth (mentioning them). Then I am taken through the gates of Heaven to the throne of glory, where sits the Heavenly King.”
Have we today among all our sects and religions any that is purer and more simple than this of the lost people of the Motherland of Man?

Lost Continent of Mu Motherland of Men pages 140-143

In the first edition of the 1931 Lost Continent of Mu, the first sentence was the same as the 1926 version, but in subsequent editions, the “Cosmic Diagram” was replaced by “Cosmogonic Diagram,” as seen in the paperback version today. Additionally, James added the following illustration immediately after the fifth paragraph.

Next, we’ll look at the 1933 Sacred Symbols of Mu, where the figure was captioned “Mu’s Cosmogonic Diagram.”
And in further posts, we’ll examine the roots of the “Cosmogonic Diagram.”