(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.

(2) He, then, who imitates opinion shows also preconception. When then one, having got an inkling of the subject, kindles it within in his soul by desire and study, he sets everything in motion afterwards in order to know it. For that which one does not apprehend, neither does he desire it, nor does he embrace the advantage flowing from it. Subsequently, therefore, the Gnostic at last imitates the Lord, as far as allowed to men, having received a sort of quality akin to the Lord Himself, in order to assimilation to God. But those who are not proficient in knowledge cannot judge the truth by rule. It is not therefore possible to share in the gnostic contemplations, unless we empty ourselves of our previous notions. For the truth in regard to every object of intellect and of sense is thus simply universally declared. For instance, we may distinguish the truth of painting from that which is vulgar, and decorous music from licentious. There is, then, also a truth of philosophy as distinct from the other philosophies, and a true beauty as distinct from the spurious. It is not then the partial truths, of which truth is predicated, but the truth itself, that we are to investigate, not seeking to learn names. For what is to be investigated respecting God is not one thing, but ten thousand. There is a difference between declaring God, and declaring things about God. And to speak generally, in everything the accidents are to be distinguished from the essence.

(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.

(10) All, then, that is present in the sense realm as Idea comes from the Supreme. But what is not present as Idea, does not. Thus of things conflicting with nature, none is There: the inartistic is not contained in the arts; lameness is not in the seed; for a lame leg is either inborn through some thwarting of the Reason-principle or is a marring of the achieved form by accident. To that Intellectual Kosmos belong qualities, accordant with Nature, and quantities; number and mass; origins and conditions; all actions and experiences not against nature; movement and repose, both the universals and the particulars: but There time is replaced by eternity and space by its intellectual equivalent, mutual inclusiveness.

In that Intellectual Kosmos, where all is one total, every entity that can be singled out is an intellective essence and a participant in life: thus, identity and difference, movement and rest with the object resting or moving, essence and quality, all have essential existence. For every real being must be in actuality not merely in potentiality and therefore the nature of each essence is inherent in it.

This suggests the question whether the Intellectual Kosmos contains the forms only of the things of sense or of other existents as well. But first we will consider how it stands with artistic creations: there is no question of an ideal archetype of evil: the evil of this world is begotten of need, privation, deficiency, and is a condition peculiar to Matter distressed and to what has come into likeness with Matter.

(4) For some they have borrowed, and others they have misunderstood. And in the case of others, what they have spoken, in consequence of being moved, they have not yet perfectly worked out; and others by human conjecture and reasoning, in which also they stumble. And they think that they have hit the truth perfectly; but as we understand them, only partially. They know, then, nothing more than this world. And it is just like geometry, which treats of measures and magnitudes and forms, by delineation on plane-surfaces; and just as painting appears to take in the whole field of view in the scenes represented. But it gives a false description of the view, according to the rules of the art, employing the signs that result from the incidents of the lines of vision. By this means, the higher and lower points in the view, and those between, are preserved; and some objects seem to appear in the foreground, and others in the background, and others to appear in some other way, on the smooth and level surface. So also the philosophers copy the truth, after the manner of painting. And always in the case of each one of them, their self-love is the cause of all their mistakes.

(29) Timaeus: they must in no wise fall short thereof; whereas the accounts of that which is copied after the likeness of that Model, and is itself a likeness, will be analogous thereto and possess likelihood; for I as Being is to Becoming, so is Truth to Belief. Wherefore, Socrates, if in our treatment of a great host of matters regarding the Gods and the generation of the Universe we prove unable to give accounts that are always in all respects self-consistent and perfectly exact, be not thou surprised; rather we should be content if we can furnish accounts that are inferior to none in likelihood, remembering that both I who speak

(5) Shall we say, then, that it is because they afford a certain utility to those that behold them? But what advantage can be derived from falsehood? If, therefore, this is not the case, may it not be natural to divinity to extend a phantasm from itself? But how can that which is firmly established in itself, and which is the cause of essence and truth, produce in a foreign seat a certain deceitful imitation of itself? By no means, therefore, does divinity either transform himself into phantasms, nor extend these from himself to other things, but emits, by illumination, true representations of himself, in the true manners of souls. Conformably to this, also, the attendants of the Gods are emulous of the self-visible truth of the Gods. But that which you now say, “ that it is common to Gods and dæmons, and the rest of the more excellent genera, to produce fictitious images, and to speak boastingly of themselves ,” confounds all the genera of superior beings in each other, and leaves no difference whatever between them. For thus all things will be common to them, and nothing singularly excellent will be given to transcendent natures. It will, therefore, be more just to ask, in opposition to you, in what will the genus of the Gods be superior to that of dæmons? These genera, however, have nothing in common, nor is the communion between them phantastic, nor is it fit from such natures as are last, and from the errors which take place in them, to estimate first essences, and the true impressions of forms which are in them. For by thus thinking concerning these essences, we shall think justly, and in a way pleasing to the Gods.