Manly P. Hall presents the cross as a primordial symbol built from the two fundamental abstract forms: the line and the circle. The line—vertical and horizontal—is masculine, boundless, and abstract; the circle is feminine, concrete, and limiting. Their union produces form, the “child of two abstract parents,” and the angle at which spirit (vertical) meets matter (horizontal) determines the intelligence of that form. At the crossing point of the two arms, a radiation emerges—analogous to the interaction of electricity and magnetism—producing a halo and generating the globular field of manifestation. Hall correlates these primordial symbols with the ancient Trinity: the dot (Father, creation), the circle (Son, manifestation), and the cross (Holy Spirit, crystallization). He traces the evolution of the cross through astrological ages—Cancer, Gemini, Taurus, Aries—showing how each epoch added structural elements that culminated in the Egyptian crux ansata, the union of circle and cross symbolizing immortality.

Hall then interprets the new cross emblem adopted for his future work as a complete cosmological diagram. The surrounding circle marks the field of manifestation; the four arms extending beyond it symbolize the breaking of boundaries between individual spheres of intelligence. At the center lies an invisible opening through which the Logos pours forty‑nine rays—seven root outpourings multiplied through seven rounds. The zodiac encircles this outpouring, representing the twelve divine avenues of expression, the twelve creative forces, and the twelve bodily centers. The white cross with twelve knobs signifies the human body and the twelvefold constitution of man and deity—three bodies, three minds, three souls, three spirits. The seven‑pointed star represents the Seven Elohim, the sevenfold divisions of nature, and the vibratory poles of the seven planetary metals. The lotus of ten petals symbolizes the original ten zodiacal signs, while the central medallion—diamond (Father), rose (Son), lily (Holy Ghost)—expresses the eternal Trinity overshadowing the unfillable opening of the First Cause. The emblem integrates the Cherubim, the four Gospels, the four elements, the five points of liberation, the human larynx, the philosopher’s stone, and the Order of Melchizedek. Ultimately, Hall interprets the entire symbol as a diagram of the World Soul, unfolding through human consciousness, and worn over the heart as the aspirant’s crowning jewel.