My-Mu Blog

In parts one and two, we examined what James Churchward wrote about the Cosmogonic/Cosmic Diagrams in his books, then in part three, we looked at the same symbol and interpretation as postulated by Augustus Le Plongeon in his 1896, Queen Moo and the Egyptian Sphinx. In this part, we examine the second half of the footnote from Lifting the Veil on the Lost Continent of Mu Motherland of Men that references the ‘Cosmogonic Diagram of Mu.’

Albert Churchward was James’ younger brother, was an author of books on Freemasonry and an accomplished surgeon. In the 1910 Signs and Symbols of Primordial Man, being an explanation of the Evolution of Religious Doctrines from the Eschatology of the Ancient Egyptians, Albert also has the symbol sometimes called the Cosmic Diagram, as well as Cosmogonic Diagrams from Egypt and Assyria.

Beginning on page 22:

We would call your attention to these photos, one from Egypt, one from Assyria and one from Mexico, identically the same and identical with our P.Z. jewels. The full explanations of these signs must be apparent to all R.A.C.’s.

The division here in twelve parts, the twelve signs of the Zodiac, twelve tribes of Israel, twelve gates of heaven mentioned in Revelation, and twelve entrances or portals to be passed through in the Great Pyramid, before finally reaching the highest degree, and twelve Apostles in the Christian doctrines, and the twelve original and perfect points in Masonry.

The twelve divisions of the Tuat, the original, were the twelve signs of the Zodiac, worked out by the Astro-Egyptian mythologists during their Mythos; then they converted their mythology into Eschatology, which must have taken many years. We find they had, so to speak, “ dug out ” the Underworld, and had, by divine inspiration or the study of the laws of the celestial bodies, come to the conclusion that after the death of this perishable body, the soul, which is imperishable, had to travel through many dangers and difficulties before it could join or be received again by its Divine Creator. This the Egyptians depicted most graphically, and the records are still extant in the book of “That which is in the Underworld,” which they have divided into

Signs and Symbols of Primordial Man
Figure 10 page 23

twelve divisions : “The Tuat and the Twelve Hours of the Night,” which is hewn in stone in the Great Pyramid of Gizeh. In the Christian doctrine the twelve gates of heaven were taken from this. Here, in the Pyramid, the old Theopneustics taught the initiate step by step and degree after degree what the soul had to encounter and pass through before it could arrive and pass Amenta and receive the Crown of Glory in the presence of its

Signs and Symbols of Primordial Man
Figure 12, page 25

Divine Author, thus teaching him the life he must lead here on earth, and the sacrifices he must make—“ to do unto others as he would they should do unto him ” in his earthly corporate body that he might receive the Crown of Illumination in his spiritual. All these ceremonies were illustrated and carried out in a dramatic form, more especially to impress upon the initiate the seriousness of the subject; and “ each portion of the Tuat,” and “each hour of the night” constituted a so-called “degree” or gate or door to pass. That all this was worked out at an early period – pre-Dynastic – we have ample proof in the fact that we find Khepera is represented as a Hawk – the Spirit – issuing from

Signs and Symbols of Primordial Man
Figure 11 page 24

a mummy. This would denote that they had worked out a part at least of their Eschatology. In our opinion the Great Pyramid of Gizeh was built as soon as this was completed. We know that many Egyptologists do not agree that these earlier people had any ideas or beliefs at this remote period of “life and spirit hereafter” but we must insist upon the fact, that it must have been so, because here is the proof – “The spirit issuing from the mummy.” This alone is conclusive.

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…