Count of St. Germain

The count's origins and background remain obscure; nothing is known with certainty of his origins. Toward the end of his life, he claimed to be the son of Francis II Rákóczi, the prince of Transylvania; while without hard evidence, this would account for his wealth and evident fine education. The will of Francis II mentions Leopold George, his eldest son, who was believed to have died at the age of four. It has been speculated that his identity was falsified to protect against persecution from the Habsburgs. At the time of his arrival in Schleswig in 1779, he told Prince Charles of Hesse-Kassel that he was 88 years old, making his year of birth 1691, when Francis II was 15 years old. St. Germain was supposedly educated in Italy by Gian Gastone, the grand duke of Tuscany and allegedly his mother's brother-in-law. He was believed to be a student at the University of Siena. Throughout his adult life, he deliberately concealed his actual name and origins, using a multitude of pseudonyms in the different places he visited. == Career ==

England According to David Hunter, the count contributed some of the songs to ''L'incostanza delusa'', an opera performed at the Haymarket Theatre in London on all but one of the Saturdays from 9 February to 20 April 1745. The Count gave two private musical performances in London in April and May 1749. Walpole concludes that the Count was "a man of Quality who had been in or designed for the Church. He was too great a musician not to have been famous if he had not been a gentleman". Dutch Republic In March 1760, at the height of the Seven Years' War, St. Germain travelled to The Hague. In Amsterdam, he stayed at the bankers Adrian and Thomas Hope and pretended he came to borrow money for Louis XV with diamonds as collateral. He assisted Bertrand Philip, Count of Gronsveld starting a porcelain factory in Weesp as furnace and colour specialist. St. Germain tried to open peace negotiations between Britain and France with the help of Duke Louis Ernest of Brunswick-Lüneburg. British diplomats concluded that St. Germain had the backing of the Duc de Belle-Isle and possibly of Madame de Pompadour, who were trying to outmanoeuvre the French Foreign Minister, the pro-Austrian Duc de Choiseul. However, Britain would not treat with St. Germain unless his credentials came directly from the French king. The Duc de Choiseul convinced Louis XV to disavow St. Germain and demand his arrest. Count Bentinck de Rhoon, a Dutch diplomat, regarded the arrest warrant as internal French politicking, in which Holland should not involve itself. However, a direct refusal to extradite St. Germain was also considered impolitic. De Rhoon, therefore, facilitated the departure of St. Germain to England with a passport issued by the British Ambassador, General Joseph Yorke. This passport was made out "in blank", allowing St. Germain to travel in May 1760 from Hellevoetsluis to London under an assumed name, showing that this practice was officially accepted at the time. Amsterdam (August 1762), Venice (1769), Livorno (1770), Neurenberg (1772), Mantua (1773), The Hague (1774), and Bad Schwalbach. ==Works==

Musical works The following list of music attributed to the count comes from Appendix II from Jean Overton Fuller's book The Comte de Saint Germain. Trio Sonatas Six sonatas for two violins with a bass for harpsichord or violoncello: • Op. 47 I. F major, , Molto adagio • Op. 48 II. B-flat major, , Allegro • Op. 49 III. E-flat major, , Adagio • Op. 50 IV. G minor, , Tempo giusto • Op. 51 V. G major, , Moderato • Op. 52 VI. A major, , Cantabile lento Violin solos Seven solos for solo violin: • Op. 53 I. B-flat major, , Largo • Op. 54 II. E major, , Adagio • Op. 55 III. C minor, , Adagio • Op. 56 IV. E-flat major, , Adagio • Op. 57 V. E-flat major, , Adagio • Op. 58 VI. A major, , Adagio • Op. 59 VII. B-flat major, , Adagio English songs • Op. 4 ''The Maid That's Made for Love and Me (O Wouldst Thou Know What Sacred Charms''). E-flat major (marked B-flat major), • Op. 5 It Is Not that I Love You Less. F major, • Op. 6 Gentle Love, This Hour Befriend Me. D major, • Op. 7 ''Jove, When He Saw My Fanny's Face''. D major, Italian arias Numbered in order of their appearance in the Musique Raisonnee, with their page numbers in that volume. :* • Op. 1 IV, pp. 16–20. Senza pietà mi credi,* G major, (marked but there are 6 quavers to the bar) • Op. 2 VIII, pp. 36–39. Digli, digli,* D major, • Op. 3 IX, pp. 40–45. Per pieta bel Idol mio,* F major, • Op. 4/17 XIII, pp. 58–61. Se mai riviene, D minor, • Op. 8 I, pp. 1–5. Padre perdona, oh! pene, G minor, • Op. 9 II, pp. 6–10. Non piangete amarti, E major, • Op. 10 III, pp. 11–15. Intendo il tuo, F major, • Op. 11 V, pp. 21–26. Già, già che moria deggio, D major, • Op. 12 VI, pp. 27–31. ''Dille che l'amor mio'',* E major, • Op. 13 VII, pp. 32–35. Mio ben ricordati, D major, • Op. 14 X, pp. 46–50. Non so, quel dolce moto, B major, • Op. 15 XI, pp. 51–55. Piango, è ver; ma non-procede, G minor, • Op. 16 XII, pp. 56–57. ''Dal labbro che t'accende'', E major, • Op. 18 XIV, pp. 62–63. Parlerò; non-e permesso, E major, • Op. 19 XV, pp. 64–65. Se tutti i miei pensieri, A major, • Op. 20 XVI, pp. 66–67. Guadarlo, guaralo in volto, E major, • Op. 21 XVII, pp. 68–69. Oh Dio mancarmi, D major, • Op. 22 XVIII, pp. 70–71. Digli che son fedele, E major, • Op. 23 XIX, pp. 72–73. Pensa che sei cruda, E minor, • Op. 24 XX, pp. 74–75. Torna torna innocente, G major, • Op. 25 XXI, pp. 76–77. Un certo non-so che veggo, E major, • Op. 26 XXII, pp. 78–79. Guardami, guardami prima in volto, D major, • Op. 27 XXIII, pp. 80–81. Parto, se vuoi così, E major, • Op. 28 XXIV, pp. 82–83. Volga al Ciel se ti, D minor, • Op. 29 XXV, pp. 84–85. Guarda se in questa volta, F major, • Op. 30 XXVI, pp. 86–87. Quanto mai felice, D major, • Op. 31 XXVII, pp. 88–89. ''Ah che neldi'sti'', D major, • Op. 32, XXVIII, pp. 90–91. ''Dopp'un tuo Sguardo'', F major, • Op. 33 XXIX, pp. 92–93. ''Serberò fra' Ceppi'', G major, • Op. 34 XXX, pp. 94–95. Figlio se più non-vivi moro, F major, • Op. 35 XXXI, pp. 96–98. Non ti respondo, C major, • Op. 36 XXXII, pp. 99–101. Povero cor perché palpito, G major, • Op. 37 XXXIII, pp. 102–105. ''Non v'è più barbaro'', C minor, • Op. 38 XXXIV, pp. 106–108. ''Se de' tuoi lumi al fuoco amor'', E major, • Op. 39 XXXV, pp. 109–111. Se tutto tosto me sdegno, E major, • Op. 40 XXXVI, pp. 112–115. Ai negli occhi un tel incanto, D major, (marked but there are 4 crotchets to the bar) • Op. 41 XXXVII, pp. 116–118. Come poteste de Dio, F major, • Op. 42 XXXVIII, pp. 119–121. Che sorte crudele, G major, • Op. 43 XXXIX, pp. 122–124. Se almen potesse al pianto, G minor, • Op. 44 XXXX, pp. 125–127. Se viver non-posso lunghi, D major, • Op. 45 XXXXI, pp. 128–130. Fedel faro faro cara cara, D major, • Op. 46 XXXXII, p. 131. Non ha ragione, F major, Literary works Discounting the snippets of political intrigue, a few musical pieces, and one mystical poem, there are only two pieces of writing attributed to the Count: La Très Sainte Trinosophie and the untitled The Triangular Book of St. Germain (The Triangular Manuscript). The first book attributed to the Count of Saint Germain is La Très Sainte Trinosophie, a beautifully illustrated 18th century manuscript that describes in symbolic terms a journey of spiritual initiation or an alchemical process, depending on the interpretation. This book has been published several times, most notably by Manly P. Hall, in Los Angeles, California, in 1933. The attribution to St. Germain rests on a handwritten note scrawled inside the cover of the original manuscript stating that this was a copy of a text once in St. Germain's possession. Nick Koss decoded and translated this manuscript in 2011 and it was published as The Triangular Book of St. Germain by Ouroboros Press in 2015. Unlike the first work, it mentions St. Germain directly as its originator. The book describes a magical ritual by which one can perform the two most extraordinary feats that characterized the legend of Count of St. Germain, namely procurement of great wealth and extension of life. == Final days ==

The count arrived in Altona, Schleswig, in 1779, where he made an acquaintance with Prince Charles of Hesse-Kassel, both of whom had an interest in mysticism. Charles was a member of several secret societies including the Bavarian Illuminati and a Secret Society of Freesmiths. The count showed Charles several of his gems and convinced him that he had invented a new method of colouring cloth. Charles, impressed, installed the count in an abandoned factory at Eckernförde which Charles had acquired especially for the count, and supplied the count with the materials and cloths needed to proceed with the project. The two met frequently in the following years, and Charles outfitted a laboratory for alchemical experiments in his nearby summer residence Louisenlund, where they, among other things, cooperated in creating gemstones and jewelry. Charles later recounts in a letter that he was the only person in whom the count truly confided. == Legacy ==

In various Theosophical and post-Theosophical teachings, the Count of St. Germain is seen as a supernatural being called a Master of the Ancient Wisdom or an Ascended master, who is responsible for ushering in the Age of Aquarius. Several of these sects refer to him as "Master Rakoczi" or "Master R." Some write that the name St. Germain invented for himself was a French version of the Latin Sanctus Germanus, meaning "Holy Brother". Saint Germain is associated with the color violet, the gemstone amethyst, and the Maltese cross rendered in violet (usually the iron cross style cross patee version). He is also regarded as the "Chohan of the Seventh Ray". Theosophical Society In 1892, Helena Blavatsky characterized the Count of St. Germain as "the greatest Oriental Adept Europe has seen during the last centuries." She said that he was one of her Masters of Wisdom and hinted that he had given her secret documents. The Theosophical Society after Blavatsky's death considered him to be a Mahatma, Master of the Ancient Wisdom, or Adept. According to the Theosophical Society, the Seven Rays are seven metaphysical principles that govern both individual souls and the unfolding of each 2,158-year-long Astrological Age. Since, according to Theosophy, the upcoming Age of Aquarius will be governed by the Seventh (Violet) Ray (the Ray of Ceremonial Order), Saint Germain is sometimes called "The Hierarch of the Age of Aquarius". Annie Besant said that she met the Count in 1896. C. W. Leadbeater claimed to have met him in Rome. According to Leadbeater, the count had brown eyes, olive colored skin, and a pointed beard, adding "the splendour of his Presence impels men to make obeisance". The "I AM" movement originated the presentation of the count as an Ascended Master, referred to simply as "Saint Germain." In the Ascended Master teachings, the names "Master Rakoczi" and "Master R" refer to a being distinct from Saint Germain, the Great Divine Director, who is Saint Germain's teacher in the Great White Brotherhood of Ascended Masters. Saint Germain is the central figure in a series of books published by the Saint Germain Press (the publishing arm of the Saint Germain Foundation). The first two volumes, Unveiled Mysteries and The Magic Presence, written by Guy Ballard as "Godfré Ray King", describe Saint Germain as an Ascended master, like Jesus, who is assisting humanity. In these first two books, Ballard discusses his personal experiences with Saint Germain and reveals many teachings that are in harmony with Theosophy. The third volume, ''The 'I AM' Discourses'', contains material that is foundational to the sacred scriptures of the "I AM" Religious Activity, founded in 1930 – the first of the Ascended Master Teachings religions. There are 20 volumes in the Saint Germain Series of Books, which are also referred to as the "Green Books". Another significant work, the Comte de Gabalis, is said to be from the hand of Sir Francis Bacon before he Ascended and returned as Sanctus Germanus or Saint Germain. First printed in 1670, the book includes a picture of the Polish Rider, Rembrandt's famous painting at the Frick Collection in New York City, which is said to be of Sir Francis Bacon, AKA the Comte de Gabalis, or the Count of the Cabala. Lotus Ray King (Edna Ballard's pen name), wife of Guy Ballard, talked about this book having been authored by the Ascended Master Saint Germain in the Round Table Talks of the "I AM" Religious Activity. As an Ascended Master, Saint Germain is believed to have many magical powers such as the ability to teleport, levitate, walk through walls, and to inspire people by telepathy, among others. Saint Germain is "The God of Freedom for this system of worlds". Ascended Master Saint Germain became the Hierarch of the Age of Aquarius on 1 July 1956, replacing the Ascended Master Jesus, who had been for almost 2,000 years the "Hierarch of the Age of Pisces". Alice Bailey In the works of Alice Bailey, Saint Germain is called "Master Rakoczi" or the "Master R." Bailey likened Master Rakoczi to "the General Manager for the carrying out of the plans of the executive council of the Christ." In preparation for the return of Christ Master R. plays the role of the Lord of Civilization, and his task is the establishment of the new civilization. He is said to telepathically influence people who are seen by him as being instrumental in bringing about the new civilization of the Age of Aquarius. Previous incarnations Certain Theosophical sects differ on the count's past lives, but generally agree upon Saint Alban, Proclus, Roger Bacon, and Sir Francis Bacon. Esotericist Raymond Bernard went further, claiming that the count was born Francis Tudor, the secret son of Queen Elizabeth I and Lord Dudley, who was raised as Francis Bacon. In this manner Bernard gave the count direct credit, as Bacon, for writing the works of Shakespeare, Christopher Marlowe, Edmund Spenser, and Miguel de Cervantes. Since Bernard identified Bernard as Christian Rosenkreuz and claimed that Masonic symbolism appears in Shakespeare's plays, he also effectively asserted that the Count of St. Germain was the founder of both Rosicrucianism and Freemasonry. Skeptical view The scholar K. Paul Johnson maintains that the "Masters" that Madame Blavatsky wrote about and produced letters from were actually idealizations of people who were her mentors. Also see the article "Talking to the Dead and Other Amusements" by Paul Zweig, The New York Times, 5 October 1980, which maintains that Madame Blavatsky's revelations were fraudulent. Use of the name A number of books on palmistry, hypnotism, and related subjects were published in the United States under the pseudonym "Comte C. de Saint-Germain" at the turn of the 20th century. These were authored by a journalist Edgar de Valcourt-Vermont, who wrote a palmistry column for The Chicago Times. ==See also==