Readers familiar with the early history of the Theosophical Society will know that besides the two founders, H.P. Blavatsky and Colonel H.S. Olcott, there were two other founders — the Mahatmas Morya and Koot Hoomi (Kuthumi) often referred to simply as the Master M. and K.H. respectively. These two Mahatmas were part of a larger Brotherhood, called sometimes the Occult Hierarchy or the Great White Lodge. Many of the Elder Brothers lived in isolated regions of the Himalayan Mountains.

Several portraits were made of the Mahatmas M. and K.H. as well as others of the Brotherhood. Franz Hartmann, Katherine Tingley, Manly P. Hall, Elizabeth Clare Prophet, Isabella and John Varley, Miss Florence Fuller, David Anrias (Brian Ross) and others have published photographic reproductions of some of these portraits in different books. Some may be seen displayed in New-Age shops or printed in their publications. References are also made in theosophical literature to the portraits.

In the latter part of the 19th century, we are told, the Brotherhood discussed among themselves the possibility of bringing forth to the public a little more of the occult truths, hitherto preserved in secrecy, in the hopes of giving impetus to more brotherly feeling and understanding among the races of mankind. Many of the Brotherhood doubted that the time was propitious, seeing the great selfishness of most of the humanity. However, the two Mahatmas M. and K. H. were given permission to try. They therefore chose as Their agent, H.P.B. [Helena Petrovna Blavatsky], a pupil of the Mahatma M., and brought her into contact with Col. Olcott at a spiritualist gathering.

The two of them, with several others, soon organized the Theosophical Society in 1875, and during the formative years, H.P.B. began the first of her major literary works, Isis Unveiled. In addition, during that time she demonstrated to Olcott and selected friends certain occult phenomena, such as the materialization of handkerchiefs, sugar tongs; rings, etc., and the precipitation1 of writings and pictures. Olcott admits, writing twenty years later, that he cannot recall the first phenomenon done by H.P.B. However, he describes, as possibly the first, an occurrence during a visit of Signor B., an Italian artist.2 Signor B. went, opened one of the French doors, made some beckoning passes, and a pure white butterfly came in and flew about the ceiling. H.P.B. laughed and said, "I can also do it." She went to the window, made similar passes, and a second white butterfly fluttered in, played with the first one, and presently both flew into a corner and disappeared.

Gradually, H.P.B. revealed to Olcott her knowledge of the Eastern adepts and Their powers. She also did many phenomena demonstrating her control over the occult forces of nature. Soon Olcott came into personal correspondence with the Masters. It would be noteworthy to reprint what is said in The "K. H." Letters to C. W. Leadbeater with a commentary by C. Jinarajadasa:

Drawing attention to the fact that the Adepts have never called themselves "Masters" but simply "Brothers." Naturally enough when the communications began between Messrs. A.P. Sinnett and A.O. Hume and the Adepts, the word Master was applied to them, perhaps because both H.P.B. and Colonel Olcott used that word. But the Great Ones are not teachers, whose primary task is to give instruction in philosophy and to explain the problem of Liberation. They have made clear to us that their task is that of helping to diminish human misery, and that they concern themselves primarily with the millions of mankind en masse. Indeed, one difficulty which arose between the European Theosophists and the Masters in 1880-4 was due to the fact that the former seemed constitutionally unable to realize that the Master’s are not teachers to perform occult phenomena to convince a skeptical Western world, but the purest of philanthropists whose tireless work is to "lift a little of the heavy karma of the world".

How the Portraits came about:

One evening in autumn of 1876, H.P.B. and Olcott were working on Isis Unveiled. She precipitated a picture of the aura of an acquaintance to demonstrate a point to Olcott. Olcott had expressed a wish to have a portrait of his revered teacher, the Master Morya, but H.P.B. was not permitted to procure it for him herself, though she promised it in due time. A few days later, Monsieur Harrisse, their artistic French friend, was visiting them. H.P.B. whispered to Olcott that she would try to get him to draw the Master’s portrait if Olcott would supply the materials. Olcott described what happened:

I went to a shop close by and purchased a sheet of suitable paper and black and white crayons. The shopkeeper did up the parcel, handed it to me across the counter, took the half-dollar coin I gave him, and I left the shop. On reaching home I unrolled my parcel and, as I finished doing it, the sum of half a dollar, in two silver pieces of a quarter-dollar each dropped on the floor! The Master, it will be seen, meant to give me his portrait without cost to myself. Harrisse was then asked by H.P.B. to draw us the head of a Hindu chieftain, as he should conceive one might look. He said he had no clear idea in his mind to go upon and wanted to sketch us something else; but to gratify my importunity went to drawing a Hindu head. H.P.B. motioned me to remain quiet at the other side of the room, and herself went and sat down near the artist and quietly smoked. From time to time, she went softly behind him as if to watch the progress of his work, but did not speak until it was finished, say an hour later. I thankfully received it, had it framed, and hung it in my little bed-room. But a strange thing had happened. After we gave the picture a last glance as it lay before the artist, and while H.P.B. was taking it from him and handing it to me, the cryptograph signature of my Guru came upon the paper; thus affixing, as it were, his imprimatur upon, and largely enhancing the value of his gift. But at that time, I did not know if it resembled the Guru or not, as I had not yet seen him. When I did, later, I found it a true likeness and, moreover, was presented by him with the turban which the amateur artist had drawn in the picture as his head-covering. Here was a genuine case of thought-transference, the transfer of the likeness of an absent person to the brainconsciousness of a perfect stranger.

Colonel Olcott also received letters from the Master K.H. and from the Master Serapis, an Egyptian Brother.

Patience, good friend, work[s] miracle[s]. Patience severe teacher[s] themselves will soften. I thank Mr. Olcott for the benevolent honour done my unsuccessful face. [Signature in Script].

C. Jinarajadasa’s foreword to that letter written states:

The short letter which follows is not in the narrow and pointed script of the Master Serapis. The script is round and large. It will be seen that the language is defective. On the other hand, the letter evidently refers to a picture of the Master Serapis which is among these early letters. It is painted on thin paper, and its size is 3½ by 2 5/8 inches. It is drawn in pencil and painted with a brush in a brown which is now faded. The background is blue. The picture shows an ascetic face, somewhat resembling Cardinal Manning's [reprinted in 2nd ed. as Cardinal Newman’s] with brown flowing hair and short rounded beard. The Master wears a triangular jewel, within it a radiating sun surmounted by a cross, and at the apex of the triangle a crown and stars.

It was not until 1947 that David Anrias (Brian Ross) published his book Through the Eyes of the Masters, with portraits that C. Jinarajadasa wrote a private letter to the E.S.T. American Division:

The name of this gentleman is Mr. Brian Ross. He lived in Adyar two years and was at the time a member of the Esoteric School. He was supported in his expenses by Dr. Besant, and she used his artistic ability for drawing various illustrations for the journals she was directing. He had been an aviator in the last war but was invalided out of the army after a bad accident. I am told that he is an excellent astrologer. As he had no means of his own, and Dr. Besant and other friends had to support him, they finally arranged to pay his return passage to England. Mr. Ross, of course, has seen the pictures at Adyar of the Masters. Evidently, he is a psychic and so draws his information along that line. As the general public has no criterion of judging whether the pictures do resemble the Master’s or not, the best plan is to consider them as an artistic production which may or may not have some resemblance to the originals.

In December 1878, H.P.B. and Olcott sailed to India where Olcott's lectures and H.P.B.’s marvelous conversational skills and phenomenal displays attracted both Indian and British residents. Two Englishmen, A.P. Sinnett and A.O. Hume, were drawn into their circle and became extremely desirous of maintaining some correspondence with the Mahatmas. This was affected from 1880 to 1884 through H.P.B. and other pupils of the Mahatmas Letters written to the Master’s were dematerialized out of closed drawers, for example, and responses from the Mahatmas dropped from the ceiling, appeared on the mantel, in closed cabinets and various places. After considerable correspondence, Sinnett, and very likely others in the privileged circle wished to see a portrait of the Masters.

A letter to Sinnett received autumn 1882 describes cryptically (to us, because we do not have Sinnett’s letter to which this is a reply) the circumstances in which H.P.B. attempted to produce a likeness of the Mahatma K.H. She was assisted by a Tibetan pupil, Djual Khool (sometimes Gjual Kul), or D.K. The first attempt "was a failure, he [D.K.] says ‘with the eyebrow like a leech,’ and it was finished only during the evening. . . . And it was he again G.K. ‘great artist’ who had to make away with the ‘leech’ and to correct cap and features, and who made it ‘look like Master’. . ."

Another letter received August 1882 refers to a second attempt by D. Khool to make a portrait phenomenally for another gentleman, Colonel Chesney. K.H. called it "an act of occultism — the likeness of your humble servant the best of the two productions of D. Khool."9 And a third portrait by D. K. is mentioned in a letter from the Mahatma K.H., who says, "the picture was ready three minutes after I had consented to it, and D.K. seemed enormously proud of it. He says and he is right, I think, that this likeness is the best of the three."

The portrait by, Harrisse was done by painting the impression of the subject transmitted telepathically into him by H.P.B. The portraits done by D.K. were precipitations. Now we come to a third procedure. In this case, the artist is painting from his own vision of the subject, a subtle difference from the method used in the Harrisse portrait. The occasion is described by Laura C. Langford Holloway, a promising but untrained clairvoyant in whom the Master’s had taken an interest.

A young German artist, Hermann Schmiechen, residing in London in 1884 was to paint portraits of the Mahatmas M. and K.H. H.P.B. was in London at the time. She received instructions from her Master, M.: "Take her [Mrs. Holloway] with you to Schmiechen and tell her to see. Yes, she is good and pure and chela-like; only terribly flabby in kindness of heart. Say to Schmiechen that he will be helped. I myself will guide his hands with brush for K’s portrait.

Mrs. Holloway’s account follows:

At the appointed time, a number of Theosophists gathered at his studio. Chief among Mr. Schmiechen’s guests at that first sitting was H.P.B. who occupied a seat facing a platform on which was his easel. Near him on the platform sat several persons, all of them women, with one exception. About the room were grouped a number of well-known people, all equally interested in the attempt to be made by Mr. Schmiechen. The most clearly defined memory of that gathering, always in the mind of the writer, is the picture of Madame Blavatsky placidly smoking cigarettes in her easy chair and two women on the platform who were smoking also. She had "ordered" one of these women to make a cigarette and smoke it, and the order was obeyed though with great hesitation, for it was a first attempt and even the mild Egyptian tobacco used was expected to produce nausea. H.P.B. promised that no such result would follow, and encouraged by Mrs. Sinnett, who was also smoking, the cigarette was lighted. The result was a curious quieting of nerves, and soon all interest was lost in the group of people about the room, and only the easel and the hand of the artist absorbed her attention.

Strange to relate that though the amateur smoker considered herself an onlooker it was her voice which uttered the word "beginner," and the artist quickly began outlining a head. Soon the eyes of everyone present were upon him as he worked with extreme rapidity. While quite reigned in the studio and all were eagerly interested in Mr. Schmiechen’s work, the amateur smoker on the platform saw the figure of a man outline itself beside the easel and, while the artist with head bent over his work continued his outlining, it stood by him without a sign or motion. She leaned over to her friend- and whispered: "It is the Master K.H.; he is being sketched. He is standing near Mr. Schmiechen."

"Describe his looks and dress," called out H.P.B. And while those in the room were wondering over Madame Blavatsky’s exclamation, the woman addressed said: "He is about Mohini’s height; slight of build; wonderful face full of light and animation; flowing curly black hair, over which is worn a soft cap. He is a symphony in greys and blues. His dress is that of a Hindu-though it is far finer and richer than any I have ever seen before — and there is fur trimming about his costume. It is his picture that is being made, and he himself is guiding the work."

. . .H.P.B.’s heavy voice arose to admonish the artist, one of her remarks remaining distinctly in memory. It was this: "Be careful, Schmiechen: do not make the face too round; lengthen the outline and take note of the long distance between the nose and the ears." She sat where she could not see the easel, nor know what was on it. . . .

The painting of the portrait of the Master "M" followed the completion of the picture; both were approved by H.P.B., and the two paintings became celebrated among Theosophists the world over.

Olcott relates how the services of Schmiechen were obtained, that he (Olcott) had instituted a friendly competition between several artists to try an experiment. The portrait by Harrisse was in profile, drawn by an amateur, not an occultist, and though the likeness was there, it did not show the soul-splendor of the Master. He says:

Naturally, I wanted to get a better portrait if possible, and bethought me to try whether my sympathetic artistic colleagues in London could get clearer, more life-like, spiritual glimpses of his divine face. Upon broaching the subject, the five-three professionals and two amateurs — whom I addressed, very kindly and willingly consented, and I lent each in turn the photographic copy of the original crayon sketch that I had with me. The results were very instructive. One had got the right idea of his complexion, another of his profile, and a third, my respected friend Mme. De Steiger, of the luminous aura that shimmers about his head. But neither of the five was, on the whole, a better likeness than the New York sketch by Monsieur Harrisse. Before this competition was finished Herr Hermann Schmiechen, a very well-known German portrait-painter, domiciled in London, joined the Society and, to my great delight, at once agreed to have the inspirational test tried with him. The photograph was handed him with no suggestion as to how the subject should be treated. He began work on 19th June and finished it on the 9th July. Meanwhile I visited his studio four times alone and once with H.P.B. and was enchanted with the gradual development of the mental image which had been vividly impressed upon his brain, and which resulted in as perfect a portrait of my Guru as he could have painted from life. Unlike the others who all copied the profile idea of Harrisse: Schmiechen gave the face in full front view and poured into the eyes such a flood of life and sense of the indwelling soul as to fairly startle the spectator. It was as clear a work of genius and proof of the fact of thoughttransference as I can imagine. In the picture he has got all-the face, complexion, size, shape and expression of eyes, natural pose of head, shining aura, and majestic character. It hangs in the Picture Annexe of the Adyar Library that I had built for it and the companion portrait which Schmiechen painted of our other chief Guru. . .

Boris de Zirkoff questions Mrs. Holloway’s vision of the figure standing near the artist. In a letter of February 25, 1951, to Mrs. Helen Harris, de Zirkoff says: "This account is very factual in many respects, but in regard to this particular point, it seems as if Mrs. Holloway got somehow or other confused, because it is quite probable that it was Master M. instead who was present. This would appear rather clearly from a letter of M. to H.P.B. . . ‘Say to Schmiechen that he will be helped. I myself will guide his hands with brush for K’s portrait’. . . and ‘. . .while the others are the productions of chelas, the last one was painted with M.’s hand on the artist’s head, and often on his arm — K.H.’ "

One cannot dogmatize as to which view is correct in the case of the Schmiechen painting. Since we do not know what actually happened, we might speculate that they could possibly both be true. Perhaps M.’s mayavirupa (illusionary form) was standing beside the artist to guide him and a figure of K.H. was there also to be sensed by the artist. As Mrs. Holloway was an untrained clairvoyant perhaps, she saw only the one figure of K.H.

De Zirkoff continues in the same letter that Olcott installed the two portraits in the Adyar Library, but that he later received an order from his Master not to allow public display of the two pictures. They were then placed in a room of the Esoteric Section above the library.

Schmiechen himself made one copy of each portrait. One is believed to be in possession of the heirs of Arthur Gebhard-L’Estrange, and another at the Theosophical Society Headquarters in Pasadena, California. Rukmini Devi Arundale told the author during a personal interview during the Spring of 1978, "There is an original oil painting by H.P.B. of Master Morya which was given by her to Mr. Watkins who was a very devoted theosophist in London. Today the painting is with Mr. Watkins’ son. It is a very rare painting," she says, "because it is the only profile picture of Master Morya that she knows of." The author has seen a copy of it in Rukmini’s archives and has a photocopy of it in his files.

We come now to the fourth method of producing a portrait of the Mahatma. In 1897, among the workers who lived at the English Theosophical Headquarters in London were C. Jinarajadasa (C.J.), C.W. Leadbeater (C.W.L.) and a young boy, Basil HodgsonSmith. C.W.L. informed C.J. that the Master K.H. wished C.J. and Basil each to have a miniature portrait of him. Mrs. Isabella Varley was an established portrait painter who had exhibited at the Royal Academy, and who along with her husband had recently joined the Theosophical Society. While her body was asleep, she was helped to materialize in the Master’s living room where he sat for the portrait. Night after night, she went in her astral body to do the paintings. Two ivory ovals, paints and brushes were also materialized.

The miniatures were phenomenally transported from Tibet to London as recounted by C.J.15 One evening C.W.L. returned to the Headquarters with Annie Besant after one of her lectures. Basil was asleep in his room when C.W.L. looked in and noticed something white between Basil’s hand and his cheek. It was something wrapped in white tissue. C.W.L. cautiously removed the packet without disturbing the sleeping boy and took it to show Mrs. Besant. It was indeed the miniature. C.W.L. was then uneasy that Basil might have awakened, so he again went to Basil’s room to return the painting. This time he saw on the mantelpiece another miniature — the one intended for C.J. Both miniatures were covered with oval glass and the ivory and glass bound together. Mrs. Besant had two oval silver cases made so that the paintings would be protected from the atmosphere.

An enlarged copy of C.J.’s miniature was later made by Miss Florence Fuller, an Australian artist living at Adyar.

The author was living with Rukmini during the spring of 1978 at the Adyar Theosophical Society when she showed him two different lockets she had in her possession at that time. One locket with a large gold chain had an oval ivory painting of the Master Jesus inside. It was about 2 1/8 inches (5¼ centimeters) in length, and 2 inches in breadth. Rukmini said "that it was materialized and handed to Dr. Besant in her room by the Master Jesus, and at the time, Dr. Besant did not know who He was. Because she was so anti-Christian and due to the fact that the Christians had tortured people so much, and she had been hurt in her youth by them she developed a dislike for the Catholic Church for many lives. She was told to wear it, and around 1901, she felt the inspiration to write Esoteric Christianity. Later in Dr. Besant’s life, she was very ill and called me to her room one afternoon. She took my hand, and I thought she was magnetizing my hand, but she handed me the locket, and told me to always keep and protect it. The painting in the Shrine room was described by C.W.L. from the locket, and then painted by an artist, [who] could have been Miss Fuller." The author has a photocopy of the locket in his files.

The second locket she showed the author was the one she was wearing around her neck at the time. As she handed the locket to me, she said, "This locket was given to me by Henry Hotchener after Marie Hotchener’s death. The locket was given to her by Col. Olcott at his death, and inside were two painted portraits of Master K.H. and Master Morya. One day I dropped the locket and the portrait of Master K.H. broke into many pieces. However, in the locket were the hairs of four Masters, Master Morya, Master the Prince, Master K.H. and Master Serapis. I do not believe there is anyone in the history of the Society who has such a collection of hairs from the Masters. They would be shocked if they heard this. It really should be kept in a shrine room, not a museum, nor by any one person. . ."

Rukmini wanted Radha [Burnier] to put these lockets with many other valuable possessions in the shrine room, but Radha reports that she never did receive them after her death in 1986. Again, like the Cagliostro Jewel, no doubt they are highly magnetized objects. What is certain, and what is important is that the lockets are a historical landmark and belong in the archives of the Theosophical Society.

It was not until around 1918 another sketch appeared of the Lord Maitreya. Mrs. Besant received from Mr. Schrempf a picture he had made from the picture of the Lord Maitreya, and she was surprised at receiving it and inquired why he made the picture without authorization.

A. P. Warrington wrote in a letter to C. Jinarajadasa:

This picture was made from one which Bishop Wedgwood brought with him to America from Australia, and which he was showing quite publicly in the Church here, without observations or restrictions of any kind. As a work of photographic art, it seemed to be rather a failure and to give unpleasant impressions. Bishop Wedgwood himself suggested where certain changes might be made. I then concluded that Schrempf might successfully try to carry them out. He was given the order, but I say quite frankly his success was very poor, for he surely has made the face look weaker.

Methods of Producing Portraits

Thought transference is now so established a fact, at least among parapsychologists, that no explanation need be given in the case of Harrise’s portrait and Schmiechen’s portraits. The former received his impression from H.P.B., and the latter from the Master M.

The method of precipitation, as utilized in the three portraits produced by Djual Khool, needs further comment. H.P.B. says precipitation, whether of writing or of an image, is "the photographic reproduction from one’s head".17 K.H. called it a "branch of Psychic chemistry."

The best explanation of the process is given in a letter to Sinnett, received December 10, 1880, in which K.H. describes how he precipitates a letter:

I have to think it over, to photograph every word and sentence carefully in my brain before it can be repeated by "precipitation." As the fixing on chemically prepared surfaces of the images formed by the camera requires a previous arrangement within the focus of the object to be represented, for otherwise — as often found in bad photographs — the legs of the sitter might appear out of all proportion with the head, and so on, so we have to first arrange our sentences and impress every letter to appear on paper in our minds before it becomes fit to be read. For the present, it is all I can tell you. When science will have learned more about the mystery of the lithophyl (or lithobiblion) and how the impress of leaves comes originally to take place on stones, then will I be able to make you better understand the process. But you must know and remember one thing: we but follow and servilely copy nature in her works.

For persons who watch the currently popular television series, "Star Trek", the transportation of objects — and people — by molecular dissociation and recombination at a target location is no new thing. Science today has already been able to transport small items a few inches away as shown on National News. Examples in early T.S. history are well attested, such as the phenomenal recovery of Mrs. Hume’s lost brooch. At a dinner party of ten people at the Hume residence in Simla, the conversation turned to occult phenomena. During this, H.P.B. asked Mrs. Hume if there was anything, she particularly wished for. Mrs. Hume said she would like a small brooch her mother had given her, which she allowed to pass out of her possession. H.P.B. told her to fix the image of the article firmly in her mind and she would try to procure it. After dinner, H.P.B. said the brooch would not be brought into the house, but they must look for it in the garden in a star-shaped flowerbed. Lanterns were obtained and the guests found the brooch in the indicated spot.

As far as the author knows, no explanation has been given to the public of the modus operandi of transport of objects aside from the generality of control of elementals or of the finer forces of nature. Such knowledge is undoubtedly reserved for persons who have proven their worthiness in respect to their sincere ethical commitment to utilization of the forces only for the good of all humankind and all nature.

Usage of a Portrait of a Brother

While the magnetize portraits of Brothers may link one with the living being represented in the portrait, or if not magnetized may inspire the observer to greater determination and effort in spiritual goals, the most valuable aid in spiritual growth must be in the concepts associated with the pictures. Not forgetting that the mere possession of a picture of the Brothers does not make one more spiritual or bring him nearer to the Brothers. Here are portraits of living men who have so perfected themselves in purity of motive and stepped out of the human stream, that they have been entrusted with superhuman powers, control over the forces of nature, all in the interest of helping benighted mankind to more enlightenment as to the reality of his own nature and the latent powers within each human psyche.

We must also remember that these Brothers, being mature men in the 1800s, if living now at the end of the 1900s would be well over 100 years of age. Tradition has it that these unique human beings sometimes live several centuries. The object lesson in all this is that the hope of each human being is to look to the Brother within himself — his own Universal Mind, which, as Emerson says, is one with the Oversoul, the Universal Self.

The brief appearance of the theosophical Brothers and their extraordinary powers have allowed both [the] Eastern and Western public a glimpse behind the mystical curtain which screens the blinding light of the countenances of advanced human beings from the weak eyes of ordinary mortals. Yet we can appreciate and revere that glimpse as presaging of the destiny of those who see the potential and are willing to work for its unfoldment.

1. Precipitation is a term invented by H.S. Olcott to best convey the method employed in producing an image or writing on suitable paper or other material by occult means. See Olcott, H.S. Old Diary Leaves, First Series, 1st ed. Madras, Theosophical Pub. House, 1895. P362.
2. Ibid. p. 16.
3. Jinarajadasa, C. The "K. H. Letters to CW Leadbeater". Madras, Theosophical Pub. House, 1941, p. 21.
4. Olcott, H.S. Ibid. pp. 371-72.
5. inarajadasa, C. Letters from the Masters of the Wisdom. Second Series, 1st ed. Chicago, The Theosophical Press, 1962, Letter XXI, p.54, 2nd ed., Madras, Theosophical Pub House, 1973, p.46.
6. Jinarajadasa, C. Letters from the Masters of the Wisdom, Second Series, 1st ed. Chicago, The Theosophical Press, 1926, p.53.
7. Barker, A.T., ed. The Mahatma Letters to A.P. Sinnett, 2nd ed. London, Rider, 1926.
8. Ibid. p.184.
9. Ibid. p.287.
10. Ibid. p.300.
11. The Word, Vol. XV, p.203, April-Sept., 1912.
12. Ibid. pp.204-6.
13. Olcott, H.S. Old Diary Leaves, Third Series, 1st ed. Madras, Theosophical Pub. House, 1904, pp.56.
14. "Portraits of the Masters", The Eclectic Theosophist. No.118, July-August 1990, pp.5-6.
15. Unpublished private letter, 1951, Author’s archives.
16. Unpublished private letter, 1918, Author’s archives.
17. Barker, A.T. Ibid., p.480.
18. Ibid. p.422.
19. Ibid. p.22.
20. Sinnett, A.P. The Occult World, Boston, Houghton Mifflin Co, 1885, pp.80-1. 9th ed. 1969, p.71.

Article was originally published in Fohat Volume III, number 3, Fall 1999, pp.56-60, 69-70. Has been updated January 16, 2023.