Do Origins Matter Anyway?

(At least) three manuscripts of the "D.O.M.A." text (Physica α & ω Metaphyisca et Hyperphysica D.O.M.A.), the source of many of the emblems in Secret Symbols of the Rosicrucians, are viewable online.

A late 18th-century copy (including many figures not in other versions, but probably cribbed from the Altona printing), formerly from the collection of Michael Innes, is now in the Warburg Institute at the University of London and a PDF of images can be downloaded.

A copy (ca. 1780?) formerly in the possession of Manly Palmer Hall (printed with an English translation in his Codex Rosæ Crucis: D.O.M.A.), now in the possession of the Getty Institute, can be viewed here.

Another copy, dated only "18th century," in the collection of the Herzog August Bibliothek, Wolfenbüttel, can be viewed here.

What "D.O.M.A." stands for is unclear, although in the Warburg and Hall MSS. the title is followed by a brief Latin doxology beginning Deo Omnipotenti laus &c.  Hall suggested Deo Optimo Maximi Altissimo, and observed that the initials appear at the head of the title page of many works by alchemist Andreas Libavius (ca. 1550-1616), who was somewhat at odds with the Rosicrucians (he was an admirer of Aristotle and Galen who were implicitly attacked in the Fama, critical of the theories of Paracelsus though accepting some of his methods, and his last writings included responses, varying from flat-out hostile to apparently friendly criticism or "well-meaing observations," to the Rosicrucian manifestos).  The initials also appear at the top of the engraved frontispiece (not the main title page) of the Thesaurus et armanentarium medico-chymicum of Adrian von Mynsicht, generally believed to be "Henricus Madathanus" whose Aureum Seculum Redivivum was incorporated into the Geheime Figuren.

(And all this turned up at the end of a series of tangents that started with me trying to identify the printer of one of the editions of Cornelius Agrippa's Opera in duos tomos bearing the -- generally regarded as fake -- imprint, "Lugduni: per Beringos fratres."  The edition in question (somewhat ropy Google Books copy of vol. I here) has on its title page a printer's device showing three pillars and a crown with the motto "Firmant Consilium Pietas Politia Coronam."  This turned out to have been used by a German printer, Cornelius Sutor (Sutorius) of Oberursel near Frankfort (examples here, here and here) on works dated 1599-1602 (one of which, a commentary on Machiavelli's The Prince, was later placed on the Index Librorum Prohibitorum at the order of Pope Clement VIII).  Sutor also printed the the 1602 edition (comprising only the first three volumes) of the massive alchemical compendium Theatrum Chemicum.)