Kabbalistic Order of the Rose-Cross  

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Cabalistic Order of the Rosicrucian (Kabbalistique de la Rose Croix) was a French movement founded in 1888.

Founded by Stanislas de Guaita and Joséphin Péladan. Among its members were Papus, Erik Satie (who would compose for the order Sonnerie des Rose-Croix), Claude Debussy and Paul Sédir .

The order was inspired on a Rosicrucian Order, a legendary and secretive Order that was first publicly documented in the early 17th century.

Guaita's Rosicrucian Order provided training in the Kabbalah, an esoteric form of Jewish mysticism, which attempts to reveal hidden mystical insights in the Hebrew Bible and divine nature. The order also conducted examinations and provided university degrees on Kabbalah topics. De Guaita had a large private library of books on metaphysical issues, magic, and the "hidden sciences." He was nicknamed the "Prince of the Rosicrucian" by his contemporaries for his broad learning on Rosicrucian issues.

By the 1890, De Guaita, Papus, and Péladan’s collaboration became increasingly strained by disagreements over strategy and doctrines. De Guaita and Papus lost the support of Péladan, who left to start a competing order. In June 1890, Péladan left the Martinist Order and created a quasi-Catholic Mystic Order of the Rose + Cross. Péladan was the leader of the new order, and he took the titles of "Imperator" and "Super Magician".

Mystic Order of the Rose + Cross and the Salon de la Rose + Croix

The Mystic Order of the Rose + Cross inspired Péladan to organize an outlet for his beliefs concerning the role of spirituality and idealism in art. As an art critic, Péladan had been vocal in critiquing the dominant trends in French art, which included officially sanctioned styles promoted by the academy, and the Impressionists. This resulted in a series of six exhibits of Symbolist artists and associated French avant-garde painters, writers, and musicians, as the Salon de la Rose + Croix. The Salon was enormously popular with the press and public, but failed to succeed in revolutionizing French art, as Péladan had hoped.

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