The Rosicrucian Revolution

A Call for Renewal

‘I wish the world was my school, various countries my teachers, human actions my books, the exchange of thought my alphabet, princely courts my classrooms, and I the touchstone of everything. (…) We are besotted with book learning and pay no attention to the things themselves. We know something is happening, but we have no idea why.’
Daniel Mögling (1596–1635)

At the beginning of the 17th century, Europe was in crisis; political and religious tensions mounted and would eventually lead to the Thirty Years’ War. The realisation grew that something had to change, not only in society, but also in people themselves. In a few years, from 1614–1616, three writings were published anonymously: the Fama Fraternitatis, the Confessio Fraternitatis (The Call and Confession of the Rosicrucian Brotherhood) and Die Chymische Hochzeit Christiani Rosenkreutz (The Alchemical Wedding of Christian Rosicrucian). These writings called for a complete renewal of religion, science and society based on the ‘Hermetic philosophy’ and the latest scientific insights. They stirred up the minds of thinkers and scholars throughout Europe and inspired groups of people to study their ideas for centuries to come.

In the exhibition The Rosicrucian Revolution: Tradition and Renewal, the visitor is taken into the story of a mysterious brotherhood that published the three writings on the basis of the myth surrounding Christiaan Rozenkruis. Who were they? What did they want to achieve? Why did they have to do so anonymously? Why did their peaceful message evoke not only support, but also resistance? And why is it still relevant today?

Geheime Figuren der Rosenkreuzer

One of the key images in the exhibition derives from the book Studium universalis by Valentin Weigel (1533–1588) and has been copied and coloured many times over the centuries. Weigel was a village preacher, but secretly wrote spiritual texts that were not published until after his death. Although the authorities banned his writings, their influence was far-reaching. Weigel criticised the Church’s emphasis on dogmas rather than an inner spiritual experience. Also controversial was his claim that all people, not just Christians, were children of God — an idea that Jacob Böhme also adhered to. Gradually, the public mixed Weigel’s ideas with Böhme’s, though there are differences.

The image relies heavily on Böhme’s philosophy. The three large spheres refer to Böhme’s concept of ‘three principles’ in the cosmos — light, darkness and nature. The ‘tree of the soul’ is also depicted, another idea of Böhme. According to this idea, our tree of the soul can blossom and produce good fruits only by divine help, symbolised by the hand reaching from heaven.