(3) The first thought that comes to the thinking man after he realizes the truth that the Universe is a Mental Creation of THE ALL, is that the Universe and all that it contains is a mere illusion; an unreality; against which idea his instincts revolt. But this, like all other great truths, must be considered both from the Absolute and the Relative points of view. From the Absolute viewpoint, of course, the Universe is in the nature of an illusion, a dream, a phantasmagoria, as compared to THE ALL in itself. We recognize this even in our ordinary view, for we speak of the world as "a fleeting show" that comes and goes, is born and dies--for the element of impermanence and change, finiteness and unsubstantiality, must ever be connected with the idea of a created Universe when it is contrasted with the idea of THE ALL, no matter what may be our beliefs concerning the nature of both. Philosopher, metaphysician, scientist and theologian all agree upon this idea, and the thought is found in all forms of philosophical thought and religious conceptions, as well as in the theories of the respective schools of metaphysics and theology.

(1) You adduce, however, as a thing by no means to be despised, “ the artificers of efficacious images .” But I should wonder if these were admitted by any one of the theurgists who survey the true forms of the Gods. For why should any one exchange truly existing beings for images, and descend from the first to the last of things? Or do we not know that all things effected by an adumbration of this kind, have an obscure subsistence, are the phantasms only of that which is true, and appear to be good, but in no respect are so? Other things, also, of this kind that accede, are borne along in a flowing condition of being; but obtain nothing genuine, or perfect, or manifest. But this is evident from the mode of their production: for not divinity, but man is the maker of them. Nor are they produced from uniform and intelligible essences, but from matter, which is assumed for this purpose. What good, therefore, can germinate from matter, and from the material and corporeal-formed powers which are in bodies? Or is not that which derives its subsistence from human art, more imbecile than men themselves, who impart existence to it? By what kind of art, likewise, is this image fashioned? For it is said, indeed, to be fashioned by demiurgic art; but this is effective of true essences, and not of certain images. Hence the image-producing art is distant by a great interval from the seminal production of realities. Besides, neither does it preserve a certain analogy with divine fabrication.

(7) Consider the universe: we are agreed that its existence and its nature come to it from beyond itself; are we, now, to imagine that its maker first thought it out in detail- the earth, and its necessary situation in the middle; water and, again, its position as lying upon the earth; all the other elements and objects up to the sky in due place and order; living beings with their appropriate forms as we know them, their inner organs and their outer limbs- and that having thus appointed every item beforehand, he then set about the execution?

Such designing was not even possible; how could the plan for a universe come to one that had never looked outward? Nor could he work on material gathered from elsewhere as our craftsmen do, using hands and tools; feet and hands are of the later order.

One way, only, remains: all things must exist in something else; of that prior- since there is no obstacle, all being continuous within the realm of reality- there has suddenly appeared a sign, an image, whether given forth directly or through the ministry of soul or of some phase of soul, matters nothing for the moment: thus the entire aggregate of existence springs from the divine world, in greater beauty There because There unmingled but mingled here.

From the beginning to end all is gripped by the Forms of the Intellectual Realm: Matter itself is held by the Ideas of the elements and to these Ideas are added other Ideas and others again, so that it is hard to work down to crude Matter beneath all that sheathing of Idea. Indeed since Matter itself is in its degree, an Idea- the lowest- all this universe is Idea and there is nothing that is not Idea as the archetype was. And all is made silently, since nothing had part in the making but Being and Idea further reason why creation went without toil. The Exemplar was the Idea of an All, and so an All must come into being.

Thus nothing stood in the way of the Idea, and even now it dominates, despite all the clash of things: the creation is not hindered on its way even now; it stands firm in virtue of being All. To me, moreover, it seems that if we ourselves were archetypes, Ideas, veritable Being, and the Idea with which we construct here were our veritable Essence, then our creative power too would toillessly effect its purpose: as man now stands, he does not produce in his work a true image of himself: become man, he has ceased to be the All: ceasing to be man- we read- "he soars aloft and administers the Kosmos entire"; restored to the All he is maker of the All.

But- to our immediate purpose- it is possible to give a reason why the earth is set in the midst and why it is round and why the ecliptic runs precisely as it does, but, looking to the creating principle, we cannot say that because this was the way therefore things were so planned: we can say only that because the All is what it is, therefore there is a total of good; the causing principle, we might put it, reached the conclusion before all formal reasoning and not from any premises, not by sequence or plan but before either, since all of that order is later, all reason, demonstration, persuasion.

Since there is a Source, all the created must spring from it and in accordance with it; and we are rightly told not to go seeking the causes impelling a Source to produce, especially when this is the perfectly sufficient Source and identical with the Term: a Source which is Source and Term must be the All-Unity, complete in itself.

(32) Where, then? where exists the author of this beauty and life, the begetter of the veritable?

You see the splendour over the things of the universe with all the variety begotten of the Ideas; well might we linger here: but amid all these things of beauty we cannot but ask whence they come and whence the beauty. This source can be none of the beautiful objects; were it so, it too would be a thing of parts. It can be no shape, no power, nor the total of powers and shapes that have had the becoming that has set them here; it must stand above all the powers, all the patterns. The origin of all this must be the formless- formless not as lacking shape but as the very source of even shape Intellectual.

In the realm of process anything coming to be must come to be something; to every thing its distinctive shape: but what shape can that have which no one has shaped? It can be none of existing things; yet it is all: none, in that beings are later; all, as the wellspring from which they flow. That which can make all can have, itself, no extension; it must be limitless and so without magnitude; magnitude itself is of the Later and cannot be an element in that which is to bring it into being. The greatness of the Authentic cannot be a greatness of quantity; all extension must belong to the subsequent: the Supreme is great in the sense only that there can be nothing mightier, nothing to equal it, nothing with anything in common with it: how then could anything be equal to any part of its content? Its eternity and universal reach entail neither measure nor measurelessness; given either, how could it be the measure of things? So with shape: granted beauty, the absence of shape or form to be grasped is but enhancement of desire and love; the love will be limitless as the object is, an infinite love.

Its beauty, too, will be unique, a beauty above beauty: it cannot be beauty since it is not a thing among things. It is lovable and the author of beauty; as the power to all beautiful shape, it will be the ultimate of beauty, that which brings all loveliness to be; it begets beauty and makes it yet more beautiful by the excess of beauty streaming from itself, the source and height of beauty. As the source of beauty it makes beautiful whatsoever springs from it. And this conferred beauty is not itself in shape; the thing that comes to be is without shape, though in another sense shaped; what is denoted by shape is, in itself, an attribute of something else, shapeless at first. Not the beauty but its participant takes the shape.

(3) Such, therefore, as the truth is, such also it is requisite to unfold it to others. It must be said, then, that the maker of images neither uses the celestial circulations, nor the powers which are inherent in them, nor those powers which are naturally established about them; nor, in short, is it possible to come into contact with them. But he artificially, and not theurgically, applies himself to the last effluxions which openly proceed from the nature of them, about the last part of the universe. For these effluxions, I think, being mingled with a partial matter, are capable of being changed and transformed differently at different times. They likewise receive the transposition, from some things to others, of the powers which are in partial natures. The variety, however, of such like energies, and the composition of a multitude of material powers, are not only entirely separated from divine fabrication, but also from natural production. For nature produces her proper works collectively, and at once, and accomplishes all things by simple and incomposite energies. Hence it remains that a commixture of this kind, about the last and manifest celestial effluxion, and about the things which are moved by a celestial nature, is artificial.

(8) And no one saith a statue or a picture comes to be without a sculptor or [without] a painter; doth [then] such workmanship as this exist without a Worker? What depth of blindness, what deep impiety, what depth of ignorance! See, [then] thou ne'er, son Tat, deprivest works of Worker! Nay, rather is He greater than all names, so great is He, the Father of them all. For verily He is the Only One, and this is His work, to be a father.

(2) The thought which is set between those of the right and those of the left is a power of begetting. All those which the first ones will wish to make, so to speak, a projection of theirs, like a shadow cast from and following a body, those things which are the roots of the visible creations, namely, the entire preparation of the adornment of the images and representations and likenesses, have come into being because of those who need education and teaching and formation, so that the smallness might grow, little by little, as through a mirror image. For it was for this reason that he created mankind at the end, having first prepared and provided for him the things which he had created for his sake.

(8) So, we need not dwell upon the feature of illusion. Rather let us, recognizing the real nature of the Universe, seek to understand its mental laws, and endeavor to use them to the best effect in our upward progress through life, as we travel from plane to plane of being. The Laws of the Universe are none the less "Iron Laws" because of the mental nature. All, except THE ALL, are bound by them. What is IN THE INFINITE MIND OF THE ALL is REAL in a degree second only to that Reality itself which is vested in the nature of THE ALL.

(4) He who has found and has awakened to the Soul That has entered this conglomeiate abode — He is the maker of everything, for he is the creator of all, The world is his: indeed, he is the world itself.

(1) Why, therefore, does the maker of images, who effects these things, desert himself, though he is better than these images, and consists of things of a more excellent nature, and confide in inanimate idols, which are inspired with the representation alone of life, contain a renovated harmony, and which is externally multiform, and are in reality diurnal? Shall we say that something genuine and true is inherent in them? Nothing, however, which is fashioned by human art is genuine and pure. But you will say, that simplicity and uniformity of energy predominate in the whole of their composition. This is very far from being the case. For the idol, according to its visible composition, is mingled from all-various and contrary qualities. Shall we say then, that a certain pure and perfect power is manifest in them? By no means. For a thing of this kind possesses an adventitious multitude of effluxions, collected from many places, and which shows itself to be imbecile and evanescent. But if these particulars, which we have enumerated, are not found to take place in images, is stability present with them, as it is said to be [by the patrons of these images]? By no means, likewise, is this the case. For these idols are extinguished with much greater rapidity than the images which are seen in mirrors.

(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.

(57) Ye blind and proud necromancers, jugglers and sorcerers, your art consisteth in your changing the elements of your body by your conjurations and instruments of the qualities or qualifying properties, which you make use of to that purpose, and ye think ye have right so to do; but is it not against the birth or geniture of God? If you think not, make that appear.

(7) Then again, the ideal of the artist or sculptor, which he is endeavoring to reproduce in stone or on canvas, seems very real to him. So do the characters in the mind of the author; or dramatist, which he seeks to express so that others may recognize them. And if this be true in the case of our finite minds, what must be the degree of Reality in the Mental Images created in the Mind of the Infinite? Oh, friends, to mortals this Universe of Mentality is very real indeed--it is the only one we can ever know, though we rise from plane to plane, higher and higher in it. To know it otherwise, but actual experience, we must be THE ALL itself. It is true that the higher we rise in the scale--the nearer to "the mind of the Father" we reach--the more apparent becomes the illusory nature of finite things, but not until THE ALL finally withdraws us into itself does the vision actually vanish.

(60) The simple saith, God made all things out of nothing. But he knoweth not that God; neither does he know what God is: for when he beholdeth the earth, together with the deep above the earth, he thinketh, verily all this is not God; or else he thinketh, God is not there. He always imagineth that God dwelleth only above the azure heaven of the stars, and ruleth, as it were, with some spirit which goeth forth from him into this world; and that his body is not present here upon the earth, nor in the earth.

(6) If the Universe is Mental in its nature, then Mental Transmutation must be the art of CHANGING THE CONDITIONS OF THE UNIVERSE, along the lines of Matter, Force and mind. So you see, therefore, that Mental Transmutation is really the "Magic" of which the ancient; writers had so much to say in their mystical works, and about which they gave so few practical instructions. If All be Mental, then the art which enables one to transmute mental conditions must render the Master the controller of material conditions as well as those ordinarily called "mental."

(81) Of the world of ideals, to confound all thought! Yea, copying thereon the fair letters of the page of ideals, To wit, eye and brow and moustache and mole! For me, I will be a lover of Not-being, not of existence, God made reason a reader of all these letters, Reason, like Gabriel, learns day by day Its daily portion from the "Indelible Tablet." Behold the letters written without hands on Not-being! Behold the perplexity of mankind at those letters! Every one is bewildered by these thoughts,

(17) After he listened to him in this way, properly, about the lights, which are the source and the system, he set them over the beauty of the things below. The invisible spirit moved him in this way, so that he would wish to administer through his own servant, whom he too used, as a hand and as a mouth and as if he were his face, (and his servant is) the things which he brings, order and threat and fear, in order that those with whom he has done what is ignorant might despise the order which was given for them to keep, since they are fettered in the bonds of the archons, which are on them securely.

(29) "The Man longed to pierce the circumference of the circles and understand the mystery of Him who sat upon the Eternal Fire. Having already all power, He stooped down and peeped through the seven Harmonies and, breaking through the strength of the circles, made Himself manifest to Nature stretched out below. The Man, looking into the depths, smiled, for He beheld a shadow upon the earth and a likeness mirrored in the waters, which shadow and likeness were a reflection of Himself. The Man fell in love with His own shadow and desired to descend into it. Coincident with the desire, the Intelligent Thing united Itself with the unreasoning image or shape.

(2) But let us leave the arts and consider those works produced by Nature and admitted to be naturally beautiful which the creations of art are charged with imitating, all reasoning life and unreasoning things alike, but especially the consummate among them, where the moulder and maker has subdued the material and given the form he desired. Now what is the beauty here? It has nothing to do with the blood or the menstrual process: either there is also a colour and form apart from all this, or there is nothing unless sheer ugliness or a bare recipient, as it were the mere Matter of beauty.

Whence shone forth the beauty of Helen, battle-sought; or of all those women like in loveliness to Aphrodite; or of Aphrodite herself; or of any human being that has been perfect in beauty; or of any of these gods manifest to sight, or unseen but carrying what would be beauty if we saw?

In all these is it not the Idea, something of that realm but communicated to the produced from within the producer just as in works of art, we held, it is communicated from the arts to their creations? Now we can surely not believe that, while the made thing and the Idea thus impressed upon Matter are beautiful, yet the Idea not so alloyed but resting still with the creator- the Idea primal, immaterial, firmly a unity- is not Beauty.

If material extension were in itself the ground of beauty, then the creating principle, being without extension, could not be beautiful: but beauty cannot be made to depend upon magnitude since, whether in a large object or a small, the one Idea equally moves and forms the mind by its inherent power. A further indication is that as long as the object remains outside us we know nothing of it; it affects us by entry; but only as an Idea can it enter through the eyes which are not of scope to take an extended mass: we are, no doubt, simultaneously possessed of the magnitude which, however, we take in not as mass but by an elaboration upon the presented form.

Then again the principle producing the beauty must be, itself, ugly, neutral or beautiful: ugly, it could not produce the opposite; neutral, why should its product be the one rather than the other? The Nature, then, which creates things so lovely must be itself of a far earlier beauty; we, undisciplined in discernment of the inward, knowing nothing of it, run after the outer, never understanding that it is the inner which stirs us; we are in the case of one who sees his own reflection but not realizing whence it comes goes in pursuit of it.

But that the thing we are pursuing is something different and that the beauty is not in the concrete object is manifest from the beauty there is in matters of study, in conduct and custom; briefly in soul or mind. And it is precisely here that the greater beauty lies, perceived whenever you look to the wisdom in a man and delight in it, not wasting attention on the face, which may be hideous, but passing all appearance by and catching only at the inner comeliness, the truly personal; if you are still unmoved and cannot acknowledge beauty under such conditions, then looking to your own inner being you will find no beauty to delight you and it will be futile in that state to seek the greater vision, for you will be questing it through the ugly and impure.

This is why such matters are not spoken of to everyone; you, if you are conscious of beauty within, remember.