(57) 3. Upon his exile from Athens, Phidias--the greatest of all the Greek sculptors--went to Olympia in the province of Elis and there designed his colossal statue of Zeus, chief of the gods of Greece. There is not even an accurate description of this masterpiece now in existence; only a few old coins give an inadequate idea of its general appearance. The body of the god was overlaid with ivory and the robes were of beaten gold. In one hand he is supposed to have held a globe supporting a figure of the Goddess of Victory, in the other a scepter surmounted by an eagle. The head of Zeus was archaic, heavily bearded, and crowned with an olive wreath. The statue was seated upon an elaborately decorated throne. As its name implies, the monument was dedicated to the spirit of the planet Jupiter,--one of the seven Logi who bow before the Lord of the Sun.

(19) According to Beaumont, the above is the most authentic form of the Delphian tripod extant; but as the tripod must have changed considerably during the life of the oracle, hasty conclusions are unwise. In his description of the tripod, Beaumont divides it into four Parts: (1) a frame with three (2), a reverberating basin or bowl set in the frame; (e) a flat plate or table upon which the Pythia sat; and (4) a cone-shaped cover over the table, which completely concealed the priestess and from beneath which her voice sounded forth in weird and hollow tones, Attempts have been made to relate the Delphian tripod with the Jewish Ark of the Covenant. The frame of three legs was likened to the Ark of the Covenant; the flat plate or table to the Mercy Seat; and the cone-shaped covering to the tent of the Tabernacle itself. This entire conception differs widely from that popularly accepted, but discloses a valuable analogy between Jewish and Greek symbolism.

(32) The Primitive custom of worshiping the gods in the form of heaps of stones gave place to the practice of erecting phallic pillars, or cones, in their honor. These columns differed widely in size and appearance. Some were of gigantic proportions and were richly ornamented with inscriptions or likenesses of the gods and heroes; others--like the votive offerings of the Babylonians--were but a few inches high, without ornament, and merely bore a brief statement of the purpose for which they had been prepared or a hymn to the god of the temple in which they were placed. These small baked clay cones were identical in their symbolic meaning with the large hermæ set up by the roadside and in other public places. Later the upper end of the column was surmounted by a human head. Often two projections, or tenons, corresponding to shoulders were placed, one on either side, to support the wreaths of flowers adorning the columns. Offerings, usually of food, were placed near the hermæ. Occasionally these columns were used to uphold roofs and were numbered among the art objects ornamenting the villas of wealthy Romans.

(1) [Asclepius] Thou dost not mean their statues, dost thou, O Thrice-greatest one?

[Trismegistus] [I mean their] statues, O Asclepius,—dost thou not see how much thou even, doubtest?—statues, ensouled with sense, and filled with spirit, which work such mighty and such [strange] results,—statues which can foresee what is to come, and which perchance can prophesy, foretelling things by dreams and many other ways,—[statues] that take their strength away from men, or cure their sorrow, if they do so deserve. Dost thou not know, Asclepius, that Egypt is the image of the Heaven ; or, what is truer still, the transference, or the descent, of all that are in governance or exercise in Heaven? And if more truly [still] it must be said,—this land of ours is Shrine of all the World.

(1) The world used in its peril to believe That the fair Cypria delirious love Rayed out, in the third epicycle turning; Wherefore not only unto her paid honour Of sacrifices and of votive cry The ancient nations in the ancient error, But both Dione honoured they and Cupid, That as her mother, this one as her son, And said that he had sat in Dido's lap; And they from her, whence I beginning take, Took the denomination of the star That woos the sun, now following, now in front. I was not ware of our ascending to it; But of our being in it gave full faith My Lady whom I saw more beauteous grow. And as within a flame a spark is seen, And as within a voice a voice discerned, When one is steadfast, and one comes and goes, Within that light beheld I other lamps Move in a circle, speeding more and less, Methinks in measure of their inward vision. From a cold cloud descended never winds, Or visible or not, so rapidly They would not laggard and impeded seem

(38) Among the celebrities who visited the oracle of Delphi were the immortal Apollonius of Tyana and his disciple Damis. He made his offerings and, after being crowned with a laurel wreath and given a branch of the same plant to carry in his hand, he passed behind the statue of Apollo which stood before the entrance to the cave, and descended into the sacred place of the oracle. The priestess was also crowned with laurel and her head bound with a band of white wool. Apollonius asked the oracle if his name would be remembered by future generations. The Pythoness answered in the affirmative, but declared that it would always be calumniated. Apollonius left the cavern in anger, but time has proved the accuracy of the prediction, for the early church fathers perpetuated the name of Apollonius as the Antichrist. (For details of the story see Histoire de la Magie.)

(56) 2. The architect Ctesiphon, in the fifth century B.C., submitted to the Ionian cities a plan for erecting a joint monument to their patron goddess, Diana. The place chosen was Ephesus, a city south of Smyrna. The building was constructed of marble. The roof was supported by 127 columns, each 60 feet high and weighing over 150 tons. The temple was destroyed by black magic about 356 B.C., but the world fixes the odious crime upon the tool by means of which the destruction was accomplished--a mentally deranged man named Herostratus. It was later rebuilt, but the symbolism was lost. The original temple, designed as a miniature of the universe, was dedicated to the moon, the occult symbol of generation.

(1) The glory of Him who moveth everything Doth penetrate the universe, and shine In one part more and in another less. Within that heaven which most his light receives Was I, and things beheld which to repeat Nor knows, nor can, who from above descends; Because in drawing near to its desire Our intellect ingulphs itself so far, That after it the memory cannot go. Truly whatever of the holy realm I had the power to treasure in my mind Shall now become the subject of my song. O good Apollo, for this last emprise Make of me such a vessel of thy power As giving the beloved laurel asks! One summit of Parnassus hitherto Has been enough for me, but now with both I needs must enter the arena left. Enter into my bosom, thou, and breathe As at the time when Marsyas thou didst draw Out of the scabbard of those limbs of his. O power divine, lend'st thou thyself to me So that the shadow of the blessed realm Stamped in my brain I can make manifest,

(24) Critias: both for magnitude and for nobleness. For it is related in our records how once upon a time your State stayed the course of a mighty host, which, starting from a distant point in the Atlantic ocean, was insolently advancing to attack the whole of Europe , and Asia to boot. For the ocean there was at that time navigable; for in front of the mouth which you Greeks call, as you say, 'the pillars of Heracles,' there lay an island which was larger than Libya and Asia together; and it was possible for the travellers of that time to cross from it to the other islands, and from the islands to the whole of the continent

(11) Because their doctrines were the sure foundation of all knowledge and the first step in the attainment of conscious immortality, the Mysteries were often represented as cubical or pyramidal stones. Conversely, these stones themselves became the emblem of that condition of self-achieved godhood. The unchangeability of the stone made it an appropriate emblem of God--the immovable and unchangeable Source of Existence--and also of the divine sciences--the eternal revelation of Himself to mankind. As the personification of the rational intellect, which is the true foundation of human life, Mercury, or Hermes, was symbolized in a like manner. Square or cylindrical pillars, surmounted by a bearded head of Hermes and called hermæ, were set up in public places. Terminus, a form of Jupiter and god of boundaries and highways, from whose name is derived the modern word terminal, was also symbolized by an upright stone, sometimes ornamented with the head of the god, which was placed at the borders of provinces and the intersections of important roads.

(4) And even as birds uprisen from the shore, As in congratulation o'er their food, Make squadrons of themselves, now round, now long, So from within those lights the holy creatures Sang flying to and fro, and in their figures Made of themselves now D, now I, now L. First singing they to their own music moved; Then one becoming of these characters, A little while they rested and were silent. O divine Pegasea, thou who genius Dost glorious make, and render it long-lived, And this through thee the cities and the kingdoms, Illume me with thyself, that I may bring Their figures out as I have them conceived! Apparent be thy power in these brief verses! Themselves then they displayed in five times seven Vowels and consonants; and I observed The parts as they seemed spoken unto me. 'Diligite justitiam,' these were First verb and noun of all that was depicted; 'Qui judicatis terram' were the last. Thereafter in the M of the fifth word Remained they so arranged, that Jupiter Seemed to be silver there with gold inlaid.

(2) Blessed be thou, N. , thou art well pleasing to Ptah, well pleasing to Anebefres, well pleasing to all gods, well pleasing to all goddesses. Thy beauties are like a quiet stream, like the choicest water; thy beauties are like a festival hall in which everyone exalts his god; thy beauties are like the pillars of Ptah, like the shoots of the maut plant of Rā. N. is the pillar of Ptah and the ewer of Anebefres

(25) While he was Pharaoh of Egypt, Ptolemy Soter had a strange dream in which he beheld a tremendous statue, which came to life and ordered the Pharaoh to bring it to Alexandria with all possible speed. Ptolemy Soter, not knowing the whereabouts of the statue, was sorely perplexed as to how he could discover it. While the Pharaoh was relating his dream, a great traveler by the name of Sosibius, coming forward, declared that he had seen such an image at Sinope. The Pharaoh immediately dispatched Soteles and Dionysius to negotiate for the removal of the figure to Alexandria. Three years elapsed before the image was finally obtained, the representatives of the Pharaoh finally stealing it and concealing the theft by spreading a story that the statue had come to life and, walking down the street leading from its temple, had boarded the ship prepared for its transportation to Alexandria. Upon its arrival in Egypt, the figure was brought into the presence of two Egyptian Initiates--the Eumolpid Timotheus and Manetho the Sebennite--who, immediately pronounced it to be Serapis. The priests then declared that it was equipollent to Pluto. This was a masterly stroke, for in Serapis the Greeks and Egyptians found a deity in common and thus religious unity was consummated between the two nations.

(28) After being vanquished by Apollo, the spirit of Python remained at Delphi as the representative of his conqueror, and it was with the aid of his effluvium that the priestess was able to become en rapport with the god. The fumes rising from the fissure of the oracle were supposed to come from the decaying body of Python. The name Pythoness, or Pythia, given to the female hierophant of the oracle, means literally one who has been thrown into a religious frenzy by inhaling fumes rising from decomposing matter. It is of further interest to note that the Greeks believed the oracle of Delphi to be the umbilicus of the earth, thus proving that they considered the planet an immense human being. The connection between the principle of oracular revelation and the occult significance of the navel is an important secret belonging to the ancient Mysteries.

(3) Displayed moreo'er the adamantine pavement How unto his own mother made Alcmaeon Costly appear the luckless ornament; Displayed how his own sons did throw themselves Upon Sennacherib within the temple, And how, he being dead, they left him there; Displayed the ruin and the cruel carnage That Tomyris wrought, when she to Cyrus said, "Blood didst thou thirst for, and with blood I glut thee!" Displayed how routed fled the Assyrians After that Holofernes had been slain, And likewise the remainder of that slaughter. I saw there Troy in ashes and in caverns; O Ilion! thee, how abject and debased, Displayed the image that is there discerned! Whoe'er of pencil master was or stile, That could portray the shades and traits which there Would cause each subtile genius to admire? Dead seemed the dead, the living seemed alive; Better than I saw not who saw the truth, All that I trod upon while bowed I went. Now wax ye proud, and on with looks uplifted, Ye sons of Eve, and bow not down your faces So that ye may behold your evil ways!

(58) 4. Eliphas Levi includes the Temple of Solomon among the Seven Wonders of the World, giving it the place occupied by the Pharos, or Lighthouse, of Alexandria. The Pharos, named for the island upon which it stood, was designed and constructed by Sostratus of Cnidus during the reign of Ptolemy (283-247 B.C.). It is described as being of white marble and over 600 feet high. Even in that ancient day it cost nearly a million dollars. Fires were lighted in the top of it and could be seen for miles out at sea. It was destroyed by an earthquake in the thirteenth century, but remains of it were visible until A.D. 1350. Being the tallest of all the Wonders, it: was naturally assigned to Saturn, the Father of the gods and the true illuminator of all humanity.

(21) This Chapter, taken from London 9900, is found complete in the pyramid of Unas (l. 166 ff.). Four other pyramids, those of Teta, Pepi I, Merenrā and Pepi II contain the greatest part of it; as also does a stele of the XIIth Dynasty found in Abydos, and belonging to a man called Nehi. Hatshepsu had it copied on both sides of the chamber of offering specially dedicated to her ( Deir el Bahari , Vol. IV, pl. CIX-XIII and p. 8). In the pyramids as well as at the temple this text is connected with offerings. The representation in the temple may be considered as the vignette to this chapter. We see there the queen sitting before an altar of offerings called

(5) Therefore I caution thee, if e'er thou hearest Originate my city otherwise, No falsehood may the verity defraud." And I: "My Master, thy discourses are To me so certain, and so take my faith, That unto me the rest would be spent coals. But tell me of the people who are passing, If any one note-worthy thou beholdest, For only unto that my mind reverts." Then said he to me: "He who from the cheek Thrusts out his beard upon his swarthy shoulders Was, at the time when Greece was void of males, So that there scarce remained one in the cradle, An augur, and with Calchas gave the moment, In Aulis, when to sever the first cable. Eryphylus his name was, and so sings My lofty Tragedy in some part or other; That knowest thou well, who knowest the whole of it. The next, who is so slender in the flanks, Was Michael Scott, who of a verity Of magical illusions knew the game.

(6) Thus young, thus beautiful, Euphorbus lay,

While the fierce Spartan tore his arms away.”

But what is related about the shield of this Phrygian Euphorbus, being dedicated among other Trojan spoils to Argive Juno, we shall omit, as being of a very popular nature. That, however, which he wished to indicate through all these particulars is this, that he knew the former lives which he had lived, and that from hence he commenced his providential attention to others, reminding them of their former life.

(383) Your thoughts, he said, are the reflection of my own. You agree with me then, I said, that this is the second type or form in which we should write and speak about divine things. The gods are not magicians who transform themselves, neither do they deceive mankind in any way. I grant that. Then, although we are admirers of Homer, we do not admire the lying dream which Zeus sends to Agamemnon; neither will we praise the verses of Aeschylus in which Thetis says that Apollo at her nuptials ‘Was celebrating in song her fair progeny whose days were to be long, and to know no sickness. And when he had spoken of my lot as in all things blessed of heaven he raised a note of triumph and cheered my soul. And I thought that the word of Phoebus, being divine and full of prophecy, would not fail. And now he himself who uttered the strain, he who was present at the banquet, and who said this—he it is who has slain my son 15 .’ These are the kind of sentiments about the gods which will arouse our anger; and he who utters them shall be refused a chorus; neither shall we allow teachers to make use of them in the instruction of the young, meaning, as we do, that our guardians, as far as men can be, should be true worshippers of the gods and like them. I entirely agree, he said, in these principles, and promise to make them my laws.