(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.

(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.

(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.

(1) The elementary teaching, then, of this the perfecting service, through the things done over the Divine Muron, shews this, in my judgment, that, that which is holy and of sweet savour in the minds of devout men is covered, as with a veil, since it Divinely enjoins upon holy men to have their beautiful and well-savoured assimilations in virtue to the hidden God not seen for vain glory. For the hidden comeliness of God is unsullied, and is sweet beyond conception, and manifested for spiritual contemplation to the intellectual alone, through a desire to have the unsullied images of virtue in souls of the same pattern. For by looking away from the undistorted and well imitated image of the Godlike virtue to that contemplated and fragrant beauty, he thus moulds and fashions it to the most beautiful imitation. And, as in the case of sensible images, if the artist look without distraction upon the archetypal form, not distracted by sight of anything else, or in any way divided in attention, he will duplicate, if I may so speak, the very person that is being sketched, whoever he may be, and will shew the reality in the likeness, and the archetype in the image, and each in each, save the difference of substance; thus, to copyists who love the beautiful in mind, the persistent and unflinching contemplation of the sweet-savoured and hidden beauty will confer the unerring and most Godlike appearance. Naturally, then, the divine copyists, who unflinchingly mould their own intellectual contemplation to the superessentially sweet and contemplated comeliness, do. none of their divinely imitated virtues "to be seen of men, as the Divine text expresses it; but reverently gaze upon the most holy things of the Church, veiled in the Divine Muron as in a figure. Wherefore, these also, by religiously concealing that which is holy and most Divine in virtue within their Godlike and God-engraved mind, look away to the archetypal conception alone; for not only are they blind to things dissimilar, but neither are they drawn down to gaze upon them. Wherefore, as becomes their character, they do neither love things, merely seeming good and just, but those really being such; nor do they look to opinion, upon which the multitude irrationally congratulate themselves, but, after the Divine example, by distinguishing the good or evil as it is in itself, they are Divine images of the most supremely Divine sweetness, which, having the truly sweet within itself, is not turned to the anomalously seeming of the multitude, moulding Its genuineness to the true images of Itself.

(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.

(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.

(3) "As much as the image is inferior to the living face, so much is the world inferior to the living Æon. What is, then, the cause of the image? The majesty of the face, which exhibits the figure to the painter, to be honoured by his name; for the form is not found exactly to the life, but the name supplies what is wanting in the effigy. The invisibility of God co-operates also in order to the faith of that which has been fashioned." For the Creator, called God and Father, he designated as "Painter," and "Wisdom," whose image that which is formed is, to the glory of the invisible One; since the things which proceed from a pair are complements, and those which proceed from one are images. But since what is seen is no part of Him, the soul comes from what is intermediate, which is different; and this is the inspiration of the different spirit, and generally what is breathed into the soul, which is the image of the spirit. And in general, what is said of the Creator, who was made according to the image, they say was foretold by a sensible image in the book of Genesis respecting the origin of man; and the likeness they transfer to themselves, teaching that the addition of the different spirit was made; unknown to the Creator. When, then, we treat of the unity of the God who is proclaimed in the law, the prophets, and the Gospel, we shall also discuss this; for the topic is supreme. But we must advance to that which is urgent. If for the purpose of doing away with death the peculiar race has come, it is not Christ who has abolished death, unless He also is said to be of the same essence with them. And if He abolished it to this end, that it might not touch the peculiar race, it is not these, the rivals of the Creator, who breathe into the image of their intermediate spirit the life from above - in accordance with the principle of their dogma - that abolish death.

(2) Let us, then, go back to the source, and indicate at once the Principle that bestows beauty on material things.

Undoubtedly this Principle exists; it is something that is perceived at the first glance, something which the soul names as from an ancient knowledge and, recognising, welcomes it, enters into unison with it.

But let the soul fall in with the Ugly and at once it shrinks within itself, denies the thing, turns away from it, not accordant, resenting it.

Our interpretation is that the soul- by the very truth of its nature, by its affiliation to the noblest Existents in the hierarchy of Being- when it sees anything of that kin, or any trace of that kinship, thrills with an immediate delight, takes its own to itself, and thus stirs anew to the sense of its nature and of all its affinity.

But, is there any such likeness between the loveliness of this world and the splendours in the Supreme? Such a likeness in the particulars would make the two orders alike: but what is there in common between beauty here and beauty There?

We hold that all the loveliness of this world comes by communion in Ideal-Form.

All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly by that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form.

But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come to unity as far as multiplicity may.

And on what has thus been compacted to unity, Beauty enthrones itself, giving itself to the parts as to the sum: when it lights on some natural unity, a thing of like parts, then it gives itself to that whole. Thus, for an illustration, there is the beauty, conferred by craftsmanship, of all a house with all its parts, and the beauty which some natural quality may give to a single stone.

This, then, is how the material thing becomes beautiful- by communicating in the thought that flows from the Divine.

(13) Like the Pleromas are the things which came into being from the arrogant thought, which are their (the Pleromas') likenesses, copies, shadows, and phantasms, lacking reason and the light, these which belong to the vain thought, since they are not products of anything. Therefore, their end will be like their beginning: from that which did not exist (they are) to return once again to that which will not be. It is they, however, by themselves who are greater, more powerful, and more honored than the names which are given to them, which are their shadows. In the manner of a reflection are they beautiful. For the face of the copy normally takes its beauty from that of which it is a copy.

(2) First, then, let us examine those good qualities by which we hold Likeness comes, and seek to establish what is this thing which, as we possess it, in transcription, is virtue but as the Supreme possesses it, is in the nature of an exemplar or archetype and is not virtue.

We must first distinguish two modes of Likeness.

There is the likeness demanding an identical nature in the objects which, further, must draw their likeness from a common principle: and there is the case in which B resembles A, but A is a Primal, not concerned about B and not said to resemble B. In this second case, likeness is understood in a distinct sense: we no longer look for identity of nature, but, on the contrary, for divergence since the likeness has come about by the mode of difference.

What, then, precisely is Virtue, collectively and in the particular? The clearer method will be to begin with the particular, for so the common element by which all the forms hold the general name will readily appear.

The Civic Virtues, on which we have touched above, are a principle or order and beauty in us as long as we remain passing our life here: they ennoble us by setting bound and measure to our desires and to our entire sensibility, and dispelling false judgement- and this by sheer efficacy of the better, by the very setting of the bounds, by the fact that the measured is lifted outside of the sphere of the unmeasured and lawless.

And, further, these Civic Virtues- measured and ordered themselves and acting as a principle of measure to the Soul which is as Matter to their forming- are like to the measure reigning in the over-world, and they carry a trace of that Highest Good in the Supreme; for, while utter measurelessness is brute Matter and wholly outside of Likeness, any participation in Ideal-Form produces some corresponding degree of Likeness to the formless Being There. And participation goes by nearness: the Soul nearer than the body, therefore closer akin, participates more fully and shows a godlike presence, almost cheating us into the delusion that in the Soul we see God entire.

This is the way in which men of the Civic Virtues attain Likeness.

(26) Thou must understand this properly, what the meaning of it is: For when I speak by way of similitude, and liken the Son of God to the sun, or to a round globe, it has not that meaning as if he were a circumscriptive fountain, which can be measured, or whose depth, beginning or end could be fathomed. I write so by way of similitude only, till the Reader can come to the true understanding.

(2) Art therefore, perceiving this innate desire thus implanted by nature, and distributed about it (art itself also being multiformly distributed about nature), variously attracts and derives it as through a channel. Hence it transfers that which in itself is orderly and arranged into the privation of order, and fills that which is beautiful and commensurate with deformity. But the venerable end in each particular thing, which is connascent with union, it transfers to another indecorous plenitude, which is an assemblage of different things according to a common passion. It likewise imparts a matter from itself, which is unadapted to the whole generation of what is beautiful, either because it does not entirely receive it, or because it transfers it to other things. It also mingles many different physical powers, which it manages as it pleases for the purposes of generation. Hence we have universally shown, that the apparatus of a venereal connexion of this kind proceeds from a certain human art, and not from a certain dæmoniacal or divine necessity.

(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.

(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.

(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.

(8) This then is Beauty primally: it is entire and omnipresent as an entirety; and therefore in none of its parts or members lacking in beauty; beautiful thus beyond denial. Certainly it cannot be anything without being wholly that thing; it can be nothing which it is to possess partially or in which it utterly fails .

If this principle were not beautiful, what other could be? Its prior does not deign to be beautiful; that which is the first to manifest itself- Form and object of vision to the intellect- cannot but be lovely to see. It is to indicate this that Plato, drawing on something well within our observation, represents the Creator as approving the work he has achieved: the intention is to make us feel the lovable beauty of the autotype and of the Divine Idea; for to admire a representation is to admire the original upon which it was made.

It is not surprising if we fail to recognise what is passing within us: lovers, and those in general that admire beauty here, do not stay to reflect that it is to be traced, as of course it must be, to the Beauty There. That the admiration of the Demiurge is to be referred to the Ideal Exemplar is deliberately made evident by the rest of the passage: "He admired; and determined to bring the work into still closer likeness with the Exemplar": he makes us feel the magnificent beauty of the Exemplar by telling us that the Beauty sprung from this world is, itself, a copy from That.

And indeed if the divine did not exist, the transcendently beautiful, in a beauty beyond all thought, what could be lovelier than the things we see? Certainly no reproach can rightly be brought against this world save only that it is not That.

(21) This act is naught but a reflection from Himself! The forms of the walls and roofs of houses Know to be shadows of the architect's thought; Although stones and planks and bricks Find no entrance into the sanctuary of thought, Verily the Absolute Agent is without form, Sometimes that Formless One of His mercy Shows His face to His forms from behind the veil of Not-being, That every form may derive aid therefrom, Again, when that Formless One hides His face,

(7) But if it is by becoming evil and inferior that the soul produces the animal nature, the making of ox or horse was not at the outset in its character; the reason-principle of the animal, and the animal itself, must lie outside of the natural plan?

Inferior, yes; but outside of nature, no. The thing There was in some sense horse and dog from the beginning; given the condition, it produces the higher kind; let the condition fail, then, since produce it must, it produces what it may: it is like a skillful craftsman competent to create all kinds of works of art but reduced to making what is ordered and what the aptitude of his material indicates.

The power of the All-Soul, as Reason-Principle of the universe, may be considered as laying down a pattern before the effective separate powers go forth from it: this plan would be something like a tentative illumining of Matter; the elaborating soul would give minute articulation to these representations of itself; every separate effective soul would become that towards which it tended, assuming that particular form as the choral dancer adapts himself to the action set down for him.

But this is to anticipate: our enquiry was How there can be sense-perception in man without the implication that the Divine addresses itself to the realm of process. We maintained, and proved, that the Divine does not look to this realm but that things here are dependent upon those and represent them and that man here, holding his powers from Thence, is directed Thither, so that, while sense makes the environment of what is of sense in him, the Intellectual in him is linked to the Intellectual.

What we have called the perceptibles of that realm enter into cognisance in a way of their own, since they are not material, while the sensible sense here- so distinguished as dealing with corporeal objects- is fainter than the perception belonging to that higher world; the man of this sphere has sense-perception because existing in a less true degree and taking only enfeebled images of things There- perceptions here are Intellections of the dimmer order, and the Intellections There are vivid perceptions.

(12) And so now God created the Image, and Similitude, out of the eternal Element, in which the eternal Wonders are originally, and [God] breathed into him the Spirit of the Essences, out of his eternal original Will, out of the broken Gate of the Deep, through where the Wheel of the Stirring and Breaking-through stands in the eternal Mind, which reaches the clear, true, and pure Deity of the Heart of God.

(72) Ugliness of the picture is not ugliness of the painter, Not so, for he erases ugly pictures. The ability of the painter is shown in this, If I should pursue this argument properly, So that questions and answers should be prolonged, The unction of the mystery of love would escape me, The picture of obedience would become another picture." Bewilderment from intense love of God puts A certain man whose hair was half gray came in haste To a barber who was a friend of his,