(4) It is, then, possible to frame in one's mind good contemplations from everything, and to depict, from things material, the aforesaid dissimilar similitudes, both for the intelligible and the intelligent; since the intelligent hold in a different fashion things which are attributed to things sensible differently. For instance, appetite, in the irrational creatures, takes its rise in the passions, and their movement, which takes the form of appetite, is full of all kinds of unreasonableness. But with regard to the intelligent, we must think of the appetite in another fashion, as denoting, according to my judgment, their manly style, and their determined persistence in their Godlike and unchangeable steadfastness. In like manner we say, with regard to the irrational creatures, that lust is a certain uncircumspect and earthly passionate attachment, arising incontinently from an innate movement, or intimacy in things subject to change, and the irrational supremacy of the bodily desire, which drives the whole organism towards the object of sensual inclination. But when we attribute "lust" to spiritual beings, by clothing them with dissimilar similitudes, we must think that it is a Divine love of the immaterial, above expression and thought, and the inflexible and determined longing for the supernally pure and passionless contemplation, and for the really perpetual and intelligible fellowship in that pure and most exalted splendour, and in the abiding and beautifying comeliness. And 'incontinence' we may take for the persistent and inflexible, which nothing can repulse, on account of the pure and changeless love for the Divine beauty, and the whole tendency towards the really desired. But with regard to the irrational living beings, or soulless matter, we appropriately call their irrationality and want of sensible perception a deprivation of reason and sensible perception. And with regard to the immaterial and intelligent beings, we reverently acknowledge their superiority, as supermundane beings, over our discursive and bodily reason, and the material perception of the senses which is alien to the incorporeal Minds. It is, then, permissible to depict forms, which are not discordant, to the celestial beings, even from portions of matter which are the least honourable, since even it, having had its beginning from the Essentially Beautiful, has throughout the whole range of matter some echoes of the intellectual comeliness; and it is possible through these to be led to the immaterial archetypes--things most similar being taken, as has been said, dissimilarly, and the identities being denned, not in the same way, but harmoniously, and appropriately, as regards the intellectual and sensible beings.

(7) So likewise this Intelligence diffuses Its virtue multiplied among the stars. Itself revolving on its unity. Virtue diverse doth a diverse alloyage Make with the precious body that it quickens, In which, as life in you, it is combined. From the glad nature whence it is derived, The mingled virtue through the body shines, Even as gladness through the living pupil. From this proceeds whate'er from light to light Appeareth different, not from dense and rare: This is the formal principle that produces, According to its goodness, dark and bright."

(1) IMAGINATION is a power through the which we portray all images of absent and present things, and both it and the thing that it worketh in be contained in the Memory. Before ere man sinned, was Imagination so obedient unto the Reason, to the which it is as it were servant, that it ministered never to it any unordained image of any bodily creature, or any fantasy of any ghostly creature: but now it is not so. For unless it be refrained by the light of grace in the Reason, else it will never cease, sleeping or waking, for to portray diverse unordained images of bodily creatures; or else some fantasy, the which is nought else but a bodily conceit of a ghostly thing, or else a ghostly conceit of a bodily thing. And this is evermore feigned and false, and next unto error.

(3) And for this cause is Reason and Will called principal powers, for they work in pure spirit without any manner of bodilyness: and Imagination and Sensuality secondary, for they work in the body with bodily instruments, the which be our five wits. Memory is called a principal power, for it containeth in it ghostly not only all the other powers, but thereto all those things in the which they work. See by the proof.

(27) For it is the contraction, compacting or imaging of a thing, and therefore it is the first quality, and a beginning of the angelical creatures, and of all images or likenesses which are in heaven, and all which are in this world, and all whatsoever that can be named or expressed.

(110) For they are an imitation of his Mind, but that which is fabricated hath something of Body.

(47) For this Paternal Intellect, which comprehendeth the Intelligibles and adorneth things ineffable, hath sowed symbols through the World.

(28) Now the Similitude also has received such a Will out of the Fiat, as the eternal Will is; and it has generated the Virtue [or Power;] and the Virtue is the Heaven; and the Light which is become shining in the Virtue, is the Sun, and that works in the Virtue, so that there is Understanding and Knowledge: Or else all in this World would be an immovable Substance, and all would lie still, and so neither Herb nor Grass would grow.

(3) And the soul includes a faculty peculiarly addressed to Beauty- one incomparably sure in the appreciation of its own, never in doubt whenever any lovely thing presents itself for judgement.

Or perhaps the soul itself acts immediately, affirming the Beautiful where it finds something accordant with the Ideal-Form within itself, using this Idea as a canon of accuracy in its decision.

But what accordance is there between the material and that which antedates all Matter?

On what principle does the architect, when he finds the house standing before him correspondent with his inner ideal of a house, pronounce it beautiful? Is it not that the house before him, the stones apart, is the inner idea stamped upon the mass of exterior matter, the indivisible exhibited in diversity?

So with the perceptive faculty: discerning in certain objects the Ideal-Form which has bound and controlled shapeless matter, opposed in nature to Idea, seeing further stamped upon the common shapes some shape excellent above the common, it gathers into unity what still remains fragmentary, catches it up and carries it within, no longer a thing of parts, and presents it to the Ideal-Principle as something concordant and congenial, a natural friend: the joy here is like that of a good man who discerns in a youth the early signs of a virtue consonant with the achieved perfection within his own soul.

The beauty of colour is also the outcome of a unification: it derives from shape, from the conquest of the darkness inherent in Matter by the pouring-in of light, the unembodied, which is a Rational-Principle and an Ideal-Form.

Hence it is that Fire itself is splendid beyond all material bodies, holding the rank of Ideal-Principle to the other elements, making ever upwards, the subtlest and sprightliest of all bodies, as very near to the unembodied; itself alone admitting no other, all the others penetrated by it: for they take warmth but this is never cold; it has colour primally; they receive the Form of colour from it: hence the splendour of its light, the splendour that belongs to the Idea. And all that has resisted and is but uncertainly held by its light remains outside of beauty, as not having absorbed the plenitude of the Form of colour.

And harmonies unheard in sound create the harmonies we hear, and wake the soul to the consciousness of beauty, showing it the one essence in another kind: for the measures of our sensible music are not arbitrary but are determined by the Principle whose labour is to dominate Matter and bring pattern into being.

Thus far of the beauties of the realm of sense, images and shadow-pictures, fugitives that have entered into Matter- to adorn, and to ravish, where they are seen.

(1) It is a principle with us that one who has attained to the vision of the Intellectual Beauty and grasped the beauty of the Authentic Intellect will be able also to come to understand the Father and Transcendent of that Divine Being. It concerns us, then, to try to see and say, for ourselves and as far as such matters may be told, how the Beauty of the divine Intellect and of the Intellectual Kosmos may be revealed to contemplation.

Let us go to the realm of magnitudes: Suppose two blocks of stone lying side by side: one is unpatterned, quite untouched by art; the other has been minutely wrought by the craftsman's hands into some statue of god or man, a Grace or a Muse, or if a human being, not a portrait but a creation in which the sculptor's art has concentrated all loveliness.

Now it must be seen that the stone thus brought under the artist's hand to the beauty of form is beautiful not as stone- for so the crude block would be as pleasant- but in virtue of the form or idea introduced by the art. This form is not in the material; it is in the designer before ever it enters the stone; and the artificer holds it not by his equipment of eyes and hands but by his participation in his art. The beauty, therefore, exists in a far higher state in the art; for it does not come over integrally into the work; that original beauty is not transferred; what comes over is a derivative and a minor: and even that shows itself upon the statue not integrally and with entire realization of intention but only in so far as it has subdued the resistance of the material.

Art, then, creating in the image of its own nature and content, and working by the Idea or Reason-Principle of the beautiful object it is to produce, must itself be beautiful in a far higher and purer degree since it is the seat and source of that beauty, indwelling in the art, which must naturally be more complete than any comeliness of the external. In the degree in which the beauty is diffused by entering into matter, it is so much the weaker than that concentrated in unity; everything that reaches outwards is the less for it, strength less strong, heat less hot, every power less potent, and so beauty less beautiful.

Then again every prime cause must be, within itself, more powerful than its effect can be: the musical does not derive from an unmusical source but from music; and so the art exhibited in the material work derives from an art yet higher.

Still the arts are not to be slighted on the ground that they create by imitation of natural objects; for, to begin with, these natural objects are themselves imitations; then, we must recognise that they give no bare reproduction of the thing seen but go back to the Ideas from which Nature itself derives, and, furthermore, that much of their work is all their own; they are holders of beauty and add where nature is lacking. Thus Pheidias wrought the Zeus upon no model among things of sense but by apprehending what form Zeus must take if he chose to become manifest to sight.

(11) Now as to the arts and crafts and their productions:

The imitative arts- painting, sculpture, dancing, pantomimic gesturing- are, largely, earth-based; on an earthly base; they follow models found in sense, since they copy forms and movements and reproduce seen symmetries; they cannot therefore be referred to that higher sphere except indirectly, through the Reason-Principle in humanity.

On the other hand any skill which, beginning with the observation of the symmetry of living things, grows to the symmetry of all life, will be a portion of the Power There which observes and meditates the symmetry reigning among all beings in the Intellectual Kosmos. Thus all music- since its thought is upon melody and rhythm- must be the earthly representation of the music there is in the rhythm of the Ideal Realm.

The crafts, such as building and carpentry which give us Matter in wrought forms, may be said, in that they draw on pattern, to take their principles from that realm and from the thinking There: but in that they bring these down into contact with the sense-order, they are not wholly in the Intellectual: they are founded in man. So agriculture, dealing with material growths: so medicine watching over physical health; so the art which aims at corporeal strength and well-being: power and well-being mean something else There, the fearlessness and self-sufficing quality of all that lives.

Oratory and generalship, administration and sovereignty- under any forms in which their activities are associated with Good and when they look to that- possess something derived thence and building up their knowledge from the knowledge There.

Geometry, the science of the Intellectual entities, holds place There: so, too, philosophy, whose high concern is Being.

For the arts and products of art, these observations may suffice.

(4) and endowed with their intelligent rational principles, it bears the male Intellect Protophanes as an image, and acts within the Individuals either with craft or with skill or with partial instinct;

(3) It likewise unfolds into energy the invisible good of the Gods, being itself assimilated to it, and gives completion to its fabrications conformably to it. For it renders that which is ineffable in the good of the Gods effable, illuminates that which is formless in forms, and produces into visible reasons [or productive forms] that which in divine good is above all reason. Receiving also a connascent participation of things beautiful, it imparts and transfers it, in unenvying abundance, to the genera posterior to itself. These middle genera, therefore, give completion to the common bond of the Gods and souls, and cause the connexion of them to be indissoluble. They also bind together the one continuity of things from on high as far as to the end; make the communion of wholes to be inseparable; cause all things to have the best, and a commensurate mixture; in a certain respect, equally transmit the progression from more excellent to inferior natures, and the elevation from things posterior to such as are prior; insert in more imperfect beings order and measures of the communication which descends from more excellent natures, and of that by which it is received; and make all things to be familiar and coadapted to all, supernally receiving the causes of all these from the Gods.

(29) Therefore in the Fiat is risen out of the Anguish the Similitude of the Knowledge and Understanding, and that is the Constellation; and it is the fifth Form of the Birth in the Fiat, and the Fiat has severed the Forms in the Birth, so that every Essence is severed; as hard, soft, thick, thin, hot, cold, bitter, tart, sour, sweet, and the rest as we see: And the Spirit continued in the Matrix of the Heaven, which goes out from thence, (viz. the Air), and the Spirit receives the Understanding from the Constellation; for it is a Member of the other in one only Mother.