(34) "Now the vestment of the high-priest being made of linen, signified the earth; the blue denoted the sky, being like lightning in its pomegranates, and in the noise of the bells resembling thunder. And for the Ephod, it showed that God had made the universe of four (elements); and as for the gold interwoven, * * * it related to the splendor by which all things are enlightened. He also appointed the breastplate to be placed in the middle of the Ephod, to resemble the earth, for that has the very middle place of the world. And the girdle which encompassed the high-priest round signified the ocean, for that goes round about and includes the universe. Each of the sardonyxes declares to us the sun and the moon, those, I mean, that were in the nature of buttons on the high-priest's shoulders. And for the twelve stones, whether we understand by them the months, or whether we understand the like number of the signs of that circle which the Greeks call the Zodiac, we shall not be mistaken in their meaning. And for the mitre, which was of a blue colour, it seems to me to mean heaven; for how otherwise could the name of God be inscribed upon it? That it was also illustrated with a crown, and that of gold also, is because of that splendour with which God is pleased." It is also symbolically significant that the Tabernacle was built in seven months and dedicated to God at the time of the new moon.

(43) In the middle of the front surface of the Ephod was a space to accommodate the Essen, or Breastplate of Righteousness and Prophecy, which, as its name signifies, was also an oracle of great power. This pectoral was roughly square in shape and consisted of a frame of embroidery into which were set twelve stones, each held in a socket of gold. Because of the great weight of its stones, each of which was of considerable size and immense value, the breastplate was held in position by special golden chains and ribbons. The twelve stones of the breastplate, like the onyx stones at the shoulders of the Ephod, had the mysterious power of lighting up with Divine glory and so serving as oracles. Concerning the strange power of these flashing symbols of Israel's twelve tribes, Josephus writes:

(47) Not the least remarkable of the vestments of the High Priest was his bonnet, or headdress. Over the plain white cap of the ordinary priest this dignitary wore an outer cloth of blue and a crown of gold, the crown consisting of three bands, one above the other like the triple miter of the Persian Magi. This crown symbolized that the High Priest was ruler not only over the three worlds which the ancients had differentiated (heaven, earth, and hell), but also over the threefold divisions of man and the universe--the spiritual, intellectual, and material worlds. These divisions were also symbolized by the three apartments of the Tabernacle itself.

(7) Also, the Word of God attributes to the Heavenly Beings a likeness to Brass, Electron, and many-coloured stones. Electron, as being partly like gold, partly like silver, denotes the incorruptible, as in gold, and unexpended, and undiminished, and spotless brilliancy, and the brightness, as in silver, and a luminous and heavenly radiance. But to the Brass, according to the reasons assigned, must be attributed either the likeness of fire or that of gold. We must consider that the many-coloured appearances of stones denote either as white, the luminous; or as red, the fiery; or as yellow, the golden; or as green, the youthful and the full grown; and within each likeness you will find an explanation which teaches the inner meaning of the typical images. But since, I think, according to our power, this has been sufficiently said, let us pass to the sacred explanation of the Divine representations of the Heavenly Minds through wild beasts. We must consider that the shape of a Lion signifies the leading, and robust, and indomitable, and the assimilation, as far as possible, to the unutterable Godhead, by the concealment of the intellectual footprints, and by the mystically modest covering of the path, leading to It, during Divine illumination.

(48) At the peak of the headdress was a tiny cup of gold, made in the form of a flower. This signified that the nature of the priest was receptive and that he had a vessel in his own soul which, cuplike, was capable of catching the eternal waters of life pouring upon him from the heavens above. This flower over the crown of his head is similar in its esoteric meaning to the rose growing out of a skull, so famous in Templar symbology. The ancients believed that the spiritual nature escaping from the body passed upward through the crown of the head; therefore, the flowerlike calyx, or cup, symbolized also the spiritual consciousness. On the front of the golden crown were inscribed in Hebrew, Holiness unto the Lord.

(19) In the fourth and fifth chapters St. John describes the throne of God upon which sat the Holy One "which was and is, and is to come." About the throne were twenty-four lesser seats upon which sat twenty-four elders arrayed in white garments and wearing crowns of gold. "And out of the throne proceeded lightnings and thunderings and voices: and there were seven lamps of fire burning before the throne, which are the seven Spirits of God." He who sat upon the throne held in His right hand a book sealed with seven seals which no man in heaven or earth had been found worthy to open. Then appeared a Lamb (Aries, the first and chief of the zodiacal signs) which had been slain, having seven horns (rays) and seven eyes (lights). The Lamb took the book from the right hand of Him that sat upon the throne and the four beasts and all the elders fell down and worshiped God and the Lamb. During the early centuries of the Christian Church the lamb was universally recognized as the symbol of Christ, and not until after the fifth synod of Constantinople (the "Quinisext Synod," A.D. 692) was the figure of the crucified man substituted for that of Agnus Dei. As shrewdly noted by one writer on the subject, the use of a lamb is indicative of the Persian origin of Christianity, for the Persians were the only people to symbolize the first sign of the zodiac by a lamb.

(40) Th. robe of the High Priest of Israel were often called "The Garments of Glory", for they resembled the regenerated and spiritualized nature of man, symbolized by a vestment which all must weave from the threads of character and virtue before they can become High Priests after the Order of Melchizedek.

(45) The Jews learned astronomy from the Egyptians, and it is not unlikely that the twelve jewels of the breastplate were symbolic of the twelve constellations of the zodiac. These twelve celestial hierarchies were looked upon as jewels adorning the breastplate of the Universal Man, the Macroprosophus, who is referred to in the Zohar as The Ancient of Days. The number twelve frequently occurs among ancient peoples, who in nearly every case had a pantheon consisting of twelve demigods and goddesses presided over by The Invincible One, who was Himself subject to the Incomprehensible All-Father. This use of the number twelve is especially noted in the Jewish and Christian writings. The twelve prophets, the twelve patriarchs, the twelve tribes, and the twelve Apostles--each group has a certain occult significance, for each refers to the Divine Duodecimo, or Twelvefold Deity, whose emanations are manifested in the tangible created Universe through twelve individualized channels. The secret doctrine also caught the priests that the jewels represented centers of life within their own constitutions, which when unfolded according to the esoteric instructions of the Temple, were capable of absorbing into themselves and radiating forth again the Divine light of the Deity. (The East Indian lotus blossoms have a similar meaning.) The Rabbis have taught that each twisted linen thread used in weaving the Tabernacle curtains and ornamentations consisted of twenty-four separate strands, reminding the discerning that the experience, gained during the twenty-four hours of the day (symbolized in Masonry by the twenty-four-inch rule) becomes the threads from which are woven the Garments of Glory.

(13) The golden ornaments used by the priestcraft of the various world religions are again a subtle reference to the solar energy, as are also the crowns of kings. In ancient times, crowns had a number of points extending outward like the rays of the sun, but modern conventionalism has, in many cases, either removed the points or else bent: them inward, gathered them together, and placed an orb or cross upon the point where they meet. Many of the ancient prophets, philosophers, and dignitaries carried a scepter, the upper end of which bore a representation of the solar globe surrounded by emanating rays. All the kingdoms of earth were but copies of the kingdoms of Heaven, and the kingdoms of Heaven were best symbolized by the solar kingdom, in which the sun was the supreme ruler, the planets his privy council, and all Nature the subjects of his empire.

(41) The vestments of the High Priest were the same as those of the lesser degrees, except that certain garments and adornments were added. Over the specially woven white linen robe the High Priest wore a seamless and sleeveless habit, sky-blue in color and reaching nearly to his feet. This was called the Meeir and was ornamented with a fringe of alternated golden bells and pomegranates. In Ecclesiasticus (one of the books rejected from the modern Bible), these bells and their purpose are described in the following words: "And he compassed him with pomegranates, and with many golden bells round about, that as he went, there might be a sound and a noise that might be heard in the temple, for a memorial to the children of his people." The Meeir was also bound in with a variegated girdle finely embroidered and with gold wire inserted through the embroidery.

(3) But they also depict them under the likeness of men, on account of the intellectual faculty, and their having powers of looking upwards, and their straight and erect form, and their innate faculty of ruling and guiding, and whilst being least, in physical strength as compared with the other powers of irrational creatures, yet ruling over all by their superior power of mind, and by their dominion in consequence of rational science, and their innate unslavishness and indomitableness of soul. It is possible, then, I think, to find within each of the many parts of our body harmonious images of the Heavenly Powers, by affirming that the powers of vision denote the most transparent elevation towards the Divine lights, and again, the tender, and liquid, and not repellent, but sensitive, and pure, and unfolded, reception, free from all passion, of the supremely Divine illuminations. Now the discriminating powers of the nostrils denote the being able to receive, as far as attainable, the sweet-smelling largess beyond conception, and to distinguish accurately things which are not such, and to entirely reject. The powers of the ears denote the participation and conscious reception of the supremely Divine inspiration. The powers of taste denote the fulness of the intelligible nourishments, and the reception of the Divine and nourishing streams. The powers of touch denote the skilful discrimination of that which is suitable or injurious. The eyelids and eyebrows denote the guarding of the conceptions which see God. The figures of manhood and youth denote the perpetual bloom and vigour of life. The teeth denote the dividing of the nourishing perfection given to us; for each intellectual Being divides and multiplies, by a provident faculty, the unified conception given to it by the more Divine for the proportionate elevation of the inferior. The shoulders and elbows, and further, the hands, denote the power of making, and operating, and accomplishing. The heart again is a symbol of the Godlike life, dispersing its own life-giving power to the objects of its forethought, as beseems the good. The chest again denotes the invincible and protective faculty of the life-giving distribution, as being placed above the heart. The back, the holding together the whole productive powers of life. The feet denote the moving and quickness, and skilfulness of the perpetual movement advancing towards Divine things. Wherefore also the Word of God arranged the feet of the holy Minds under their wings; for the wing displays the elevating quickness and the heavenly progress towards higher things, and the superiority to every grovelling thing by reason of the ascending, and the lightness of the wings denotes their being in no respect earthly, but undefiledly and lightly raised to the sublime; and the naked and unshod denotes the unfettered, agile, and unrestrained, and free from all external superfluity, and assimilation to the Divine simplicity, as far as attainable.

(5) We shall find the Mystic Theologians enfolding these things not only around the illustrations of the Heavenly Orders, but also, sometimes, around the supremely Divine Revelations Themselves. At one time, indeed, they extol It under exalted imagery as Sun of Righteousness, as Morning Star rising divinely in the mind, and as Light illuming without veil and for contemplation; and at other times, through things in our midst, as Fire, shedding its innocuous light; as Water, furnishing a fulness of life, and, to speak symbolically, flowing into a belly, and bubbling forth rivers flowing irresistibly; and at other times, from things most remote, as sweet-smelling ointment, as Head Corner-stone. But they also clothe It in forms of wild beasts, and attach to It identity with a Lion, and Panther, and say that it shall be a Leopard, and a rushing Bear. But, I will also add, that which seems to be more dishonourable than all, and the most incongruous, viz. that distinguished theologians have shewn it to us as representing Itself under the form of a worm. Thus do all the godly-wise, and interpreters of the secret inspiration, separate the holy of holies from the uninitiated and the unholy, to keep them undefined, and prefer the dissimilar description of holy things, so that Divine things should neither be easily reached by the profane, nor those who diligently contemplate the Divine imagery rest in the types as though they were true; and so Divine things should be honoured by the true negations, and by comparisons with the lowest things, which are diverse from their proper resemblance. There is then nothing absurd if they depict even the Heavenly Beings under incongruous dissimilar similitudes, for causes aforesaid. For probably not even we should have come to an investigation, from not seeing our way,--not to say to mystic meaning through an accurate enquiry into Divine things,--unless the deformity of the descriptions representing the Angels had shocked us, not permitting our mind to linger in the discordant representations, but rousing us utterly to reject the earthly proclivities, and accustoming us to elevate ourselves through things that are seen, to their supermundane mystical meanings. Let these things suffice to have been said on account of the material and incongruous descriptions of the holy Angels in the Holy Oracles. And next, it is necessary to define what we think the Hierarchy is in itself, and what benefit those who possess a Hierarchy derive; from the same. But let Christ lead the discourse--if it be lawful to me to say--He Who is mine,--the Inspiration of all Hierarchical revelation. And thou, my son, after the pious rule of our Hierarchical tradition, do thou religiously listen to things religiously uttered, becoming inspired through instruction in inspired things; and when thou hast enfolded the Divine things in the secret recesses of thy mind, guard them closely from the profane multitude as being uniform, for it is not lawful, as the Oracles say, to cast to swine the unsullied and bright and beautifying comeliness of the intelligible pearls.

(14) "The Logos-figure described is a composite picture of the seven sacred planets: he has the snowy-white hair of Kronos ('Father Time'), the blazing eyes of 'wide-seeing' Zeus, the sword of Arcs, the shining face of Helios, and the chiton and girdle of Aphrodite; his feet are of mercury, the metal sacred to Hermes, and his voice is like the murmur of the ocean's waves (the 'many waters'), alluding to Selene, the Moon-Goddess of the four seasons and of the waters."

(33) "When Moses distinguished the tabernacle into three parts, and allowed two of them to the priests, as a place accessible and common, he denoted the land and the sea, these being of general access to all; but he set apart the third division for God, because heaven is inaccessible to men. And when he ordered twelve loaves to be set on a table, he denoted the year, as distinguished into so many months. By branching out the candlestick into seventy parts, he secretly intimated the Decani, or seventy divisions of the planets; and as to the seven lamps upon the candlesticks, they referred to the course of the planets, of which that is the number. The veils too, which were composed of four things, they declared the four elements; for the plain linen was proper to signify the earth, because the flax grows out of the earth; the purple signified the sea, because that color is dyed by the blood of a sea shell-fish; the blue is fit to signify the air; and the scarlet will naturally be an indication of fire.

(42) The Ephod, a short vestment described by Josephus as resembling a coat or jacket, was worn over the upper part of the Meeir. The threads of which the Ephod was woven were of many colors, probably red, blue, purple, and white, like the curtains and coverings of the Tabernacle. Fine gold wires were also woven into the fabric. The Ephod was fastened at each shoulder with a large onyx in the form of a button, and the names of the twelve sons of Jacob were engraven upon these two stones, six on each. These onyx buttons were supposed to have oracular powers, and when the High Priest asked certain questions, they emitted a celestial radiance. When the onyx on the right shoulder was illuminated, it signified that Jehovah answered the question of the High Priest: in the affirmative, and when the one on the left gleamed, it indicated a negative answer to the query.

(44) "Yet will I mention what is still more wonderful than this: For God declared beforehand, by those twelve stones which the High Priest bare upon his breast and which were inserted into his breastplate, when they should be victorious in battle; for so great a splendor shone forth from them before the army began to march, that all the people were sensible of God's being present for their assistance. Whence it came to pass that those Greeks, who had a veneration for our laws, because they could not possibly contradict this, called the breastplate, 'the Oracle'." The writer then adds that the stones ceased to light up and gleam some two hundred years before he wrote his history, because the Jews had broken the laws of Jehovah and the God of Israel was no longer pleased with His chosen people.

(4) But since again the simple and variegated wisdom both clothes the naked, and distributes certain implements to them to carry, come, let us unfold, according to our power, the sacred garments and implements of the celestial Minds. The shining and glowing raiment, I think, signifies the Divine likeness after the image of fire, and their enlightening, in consequence of their repose in Heaven, where is the Light, and their complete illuminating intelligibly, and their being illuminated intellectually; and the sacerdotal robe denotes their conducting to Divine and mystical visions, and the consecration of their whole life. And the girdles signify the guard over their productive powers, and the collected habit of being turned uniformly to It, and being drawn around Itself by an unbroken identity, in a well-ordered circle.

(12) Before the throne of God was the crystal sea representing the Schamayim, or the living waters which are above the heavens. Before the throne also were four creatures--a bull, a lion, an eagle, and a man. These represented the four corners of creation and the multitude of eyes with which they were covered are the stars of the firmament. The twenty-four elders have the same significance as the priests gathered around the statue of Ceres in the Greater Eleusinian Rite and also the Persian Genii, or gods of the hours of the day, who, casting away their crowns, glorify the Holy One. As symbolic of the divisions of time, the elders adore the timeless and enduring Spirit in the midst of them.

(35) The metals used in the building of the Tabernacle were all emblematic. Gold represents spirituality, and the golden plates laid over the shittim-wood were emblems of the spiritual nature which glorifies the human nature symbolized by the wood. Mystics have taught that man's physical body is surrounded by a series of invisible bodies of diverse colors and great splendor. In the majority of people the spiritual nature is concealed and imprisoned in the material nature, but in a few this internal constitution has been objectified and the spiritual nature is outside, so that it surrounds man's personality with a great radiance.

(10) Since, then, as those who understand Hebrew say, the most Divine Seraphim were named by the Word of God, "Kindling" and "Heating," by a name expressive of their essential condition, they possess, according to the symbolical imagery of the Divine Muron, most elevating powers, which call it to manifestation and distribution of most exhilarating perfumes. For the Being, sweet beyond conception, loves to be moved by the glowing and most pure minds into manifestation, and imparts Its most Divine inspirations, in cheerful distributions, to those who thus supermundanely call It forth. Thus the most Divine Order of supercelestial Beings did not fail to recognize the most supremely Divine Jesus, when He descended for the purpose of being sanctified; but recognizes, reverently, Him lowering Himself in our belongings, through Divine and inexpressible goodness; and when viewing Him sanctified, in a manner befitting man, by the Father and Himself and the Holy Spirit, recognized its own supreme Head as being essentially unchanged, in whatever He may do as supreme God. Hence the tradition of the sacred symbols places the Seraphim near the Divine Muron, when it is being consecrated, recognizing and describing the Christ as unchanged, in our complete manhood in very truth. And what is still more divine is, that it uses the Divine Muron for the consecration of every thing sacred, distinctly shewing, according to the Logion, the Sanctified Sanctifying, as always being the same with Himself throughout the whole supremely Divine sanctification. Wherefore also the consecrating gift and grace of the Divine Birth in God is completed in the most Divine perfectings of the Muron. Whence, as I think, the Hierarch pouring the Muron upon the purifying font in cruciform injections, brings to view, for contemplative eyes, the Lord Jesus descending even to death itself through the cross, for our Birth in God, benevolently drawing up, from the old gulping of the destructive death, by the same Divine and resistless descent, those, who, according to the mysterious saying, "are baptized into His death," and renewing them to a godly and eternal existence.