(8) The Image of the Ox denotes the strong and the mature, turning up the intellectual furrows for the reception of the heavenly and productive showers; and the Horns, the guarding and indomitable. The representation of the Eagle denotes the kingly, and soaring, and swift in flight, and quickness in search of the nourishment which makes strong, and wanness, and agility, and cleverness; and the unimpeded, straight, and unflinching gaze towards the bounteous and brilliant splendour of the Divine rays of the sun, with the robust extension of the visual powers. That of Horses represents obedience and docility, and of those who are white, brilliancy, and as especially congenial to the Divine Light; but of those who are dark blue, the Hidden; and of those red, the fiery and vigorous; and of the piebald, the uniting of the extremes by the power passing through them, and joining the first to the second, and the second to the first, reciprocally and considerately. Now if we did not consult the proportion of our discourse, we might, not inappropriately, adapt the particular characteristics of the aforesaid living creatures, and all their bodily representations to the Heavenly Powers, upon the principle of dissimilar similitudes; for instance, their appearance of anger, to intellectual manliness, of which anger is the remotest echo, and their desire, to the Divine love; and to speak summarily, referring all the sensible perceptions, and many parts of irrational beings, to the immaterial conceptions and unified Powers of the Heavenly Beings. Now not only is this sufficient for the wise, but even an explanation of one of the dissimilar representations would be sufficient for the accurate description of similar things, after the same fashion.

(4) And [had fashioned] the cattle of the field, and the beasts of the field, and the creatures [of the city],—

(86) And all the oxen feared them and were affrighted at them, and began to bite with their teeth and to devour, and to gore with their horns.

(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.

(2) But if any one think well to accept the sacred compositions as of things simple and unknown in their own nature, and beyond our contemplation, but thinks the imagery of the holy minds in the Oracles is incongruous, and that all this is, so to speak, a rude scenic representation of the angelic names; and further says that the theologians ought, when they have come to the bodily representation of creatures altogether without body, to represent and display them by appropriate and, as far as possible, cognate figures, taken, at any rate, from our most honoured and immaterial and exalted beings, and ought not to clothe the heavenly and Godlike simple essences with the many forms of the lowest creatures to be found on the earth (for the one would perhaps be more adapted to our instruction, and would not degrade the celestial explanations to incongruous dissimilitudes; but the other both does violence without authority to the Divine powers, and likewise leads astray our minds, through dwelling upon these irreverent descriptions); and perhaps he will also think that the super-heavenly places are filled with certain herds of lions, and troops of horses, and bellowing songs of praise, and flocks of birds, and other living creatures, and material and less honourable things, and whatever else the similitudes of the Oracles, in every respect dissimilar, describe, for a so-called explanation, but which verge towards the absurd, and pernicious, and impassioned; now, in my opinion, the investigation of the truth demonstrates the most sacred wisdom of the Oracles, in the descriptions of the Heavenly Minds, taking forethought, as that wisdom does, wholly for each, so as neither, as one may say, to do violence to the Divine Powers, nor at the same time to enthral us in the grovelling passions of the debased imagery. For any one might say that the cause why forms are naturally attributed to the formless, and shapes to the shapeless, is not alone our capacity which is unable immediately to elevate itself to the intelligible contemplations, and that it needs appropriate and cognate instructions which present images, suitable to us, of the formless and supernatural objects of contemplation; but further, that it is most agreeable to the revealing Oracles to conceal, through mystical and sacred enigmas, and to keep the holy and secret truth respecting the supermundane minds inaccessible to the multitude. For it is not every one that is holy, nor, as the Oracles affirm, does knowledge belong to all.

(1) It is necessary then, as I think, first to set forth what we think is the purpose of every Hierarchy, and what benefit each one confers upon its followers; and next to celebrate the Heavenly Hierarchies according to their revelation in the Oracles; then following these Oracles, to say in what sacred forms the holy writings of the Oracles depict the celestial orders, and to what sort of simplicity we must be carried through the representations; in order that we also may not, like the vulgar, irreverently think that the heavenly and Godlike minds are certain many-footed and many-faced creatures, or moulded to the brutishness of oxen, or the savage form of lions, and fashioned like the hooked beaks of eagles, or the feathery down of birds, and should imagine that there are certain wheels of fire above the heaven, or material thrones upon which the Godhead may recline, or certain many-coloured horses, and spear-bearing leaders of the host, and whatever else was transmitted by the Oracles to us under multifarious symbols of sacred imagery. And indeed, the Word of God artlessly makes use of poetic representations of sacred things, respecting the shapeless minds, out of regard to our intelligence, so to speak, consulting a mode of education proper and natural to it, and moulding the inspired writings for it.

(3) Certainly Nature, when she left the making Of animals like these, did well indeed, By taking such executors from Mars; And if of elephants and whales she doth not Repent her, whosoever looketh subtly More just and more discreet will hold her for it; For where the argument of intellect Is added unto evil will and power, No rampart can the people make against it. His face appeared to me as long and large As is at Rome the pine-cone of Saint Peter's, And in proportion were the other bones; So that the margin, which an apron was Down from the middle, showed so much of him Above it, that to reach up to his hair Three Frieslanders in vain had vaunted them; For I beheld thirty great palms of him Down from the place where man his mantle buckles. "Raphael mai amech izabi almi," Began to clamour the ferocious mouth, To which were not befitting sweeter psalms. And unto him my Guide: "Soul idiotic, Keep to thy horn, and vent thyself with that, When wrath or other passion touches thee.

(41) In the Book of Lambspring, a rare Hermetic tract, appears an engraving showing a deer and a unicorn standing together in a wood. The picture is accompanied by the following text: "The Sages say truly that two animals are in this forest: One glorious, beautiful, and swift, a great and strong deer; the other an unicorn. * * * If we apply the parable of our art, we shall call the forest the body. * * * The unicorn will be the spirit at all times. The deer desires no other name but that of the soul; * * *. He that knows how to tame and master them by art, to couple them together, and to lead them in and our of the form, may justly be called a Master."

(86) And I looked at them and saw, and behold they all let out their privy members, like horses, and began to cover the cows of the oxen, and they all became pregnant and bare elephants, camels, and asses.

(2) At the likeness of these three, we profit on three manners in this grace of contemplation. Sometime we profit only by grace, and then we be likened unto Moses, that for all the climbing and the travail that he had into the mount might not come to see it but seldom: and yet was that sight only by the shewing of our Lord when Him liked to shew it, and not for any desert of his travail. Sometime we profit in this grace by our own ghostly cunning, helped with grace, and then be we likened to Bezaleel, the which might not see the Ark ere the time that he had made it by his own travail, helped with the ensample that was shewed unto Moses in the mount. And sometime we profit in this grace by other men’s teaching, and then be we likened to Aaron, the which had it in keeping and in custom to see and feel the Ark when him pleased, that Bezaleel had wrought and made ready before to his hands.

(37) And if the lion becometh the friend of the ox and maketh peace with him, And if he is bound under one yoke with him and plougheth with him, Then shall I make peace with thee.

(84) When God had thus gently incorporated it, or compacted it together, then it found and felt itself to be mighty and powerful, and saw that it had or possessed a body more beautiful than the figures were, that were without, distinct from it; thereupon it became high minded, and elevated itself in its body, and would be more severe and eager than the Salitter was, which was without, distinct from its body.

(8) And we are to know, that there was a great Difference in the Beasts before the Curse; for some (viz. the tame ones) were very near of Kin to the Element, with whom Man should have had Joy and Delight; on the contrary, some, viz. the wild ones, which fly from Man, [were very near of Kin] to the four Elements; for the Causes of those Wonders stuck wholly in the Essences, and they were very well known and seen in the Light of the Life in the Knowledge of the Virgin. There is nothing so deep that Man cannot search into, and see it most assuredly, if he does but put away the Vail, and look (through the Tables graven through) with Joshua, into the promised Land.

(41) "The fourth and fifth leaves therefore, were without any writing, all full of fair figures enlightened, or as it were enlightened, for the work was very exquisite. First he painted a young man with wings at his ancles, having in his hand a Caducean rod, writhen about with two serpents, wherewith he struck upon a helmet which covered his head. He seemed to my small judgment, to be the God Mercury of the pagans: against him there came running and flying with open wings, a great old man, who upon his head had an hour glass fastened, and in his hand a book (or syrhe) like death, with the which, in terrible and furious manner, he would have cut off the feet of Mercury. On the other side of the fourth leaf, he painted a fair flower on the top of a very high mountain which was sore shaken with the North wind; it had the foot blue, the flowers white and red, the leaves shining like fine gold: and round about it the dragons and griffons of the North made their nests and abode.

(597) I think, he said, that we may fairly designate him as the imitator of that which the others make. Good, I said; then you call him who is third in the descent from nature an imitator? Certainly, he said. And the tragic poet is an imitator, and therefore, like all other imitators, he is thrice removed from the king and from the truth? That appears to be so. Then about the imitator we are agreed. And what about the painter?—I would like to know whether he may be thought to imitate that which originally exists in nature, or only the creations of artists? The latter. As they are or as they appear? you have still to determine this. What do you mean? I mean, that you may look at a bed from different points of view, obliquely or directly or from any other point of view, and the bed will appear different, but there is no difference in reality. And the same of all things. Yes, he said, the difference is only apparent. Now let me ask you another question: Which is the art of painting designed to be—an imitation of things as they are, or as they appear—of appearance or of reality? Of appearance. Then the imitator, I said, is a long way off the truth, and can do all things because he lightly touches on a small part of them, and that part an image. For example: A painter will paint a cobbler, carpenter, or any other artist, though he

(2) He who thus knows these Revatîs, as interwoven in animals, becomes rich in animals , he reaches the full life, he lives long, becomes great with children and cattle, great by fame. His rule is, 'Never complain of animals.'

(10) Said also on a figure the middle part of which is that of a man; his arms are hanging down. The head of a ram is on his right shoulder, and another on his left shoulder. Thou wilt paint on one bandage the two figures of the god with raised arm, and put it across the chest of the deceased, so that the two painted figures may be on his breast

(5) Sometimes an animal, when covered, struggles So that his impulse needs must be apparent, By reason of the wrappage following it; And in like manner the primeval soul Made clear to me athwart its covering How jubilant it was to give me pleasure. Then breathed: "Without thy uttering it to me, Thine inclination better I discern Than thou whatever thing is surest to thee; For I behold it in the truthful mirror, That of Himself all things parhelion makes, And none makes Him parhelion of itself. Thou fain wouldst hear how long ago God placed me Within the lofty garden, where this Lady Unto so long a stairway thee disposed. And how long to mine eyes it was a pleasure, And of the great disdain the proper cause, And the language that I used and that I made. Now, son of mine, the tasting of the tree Not in itself was cause of so great exile, But solely the o'erstepping of the bounds. There, whence thy Lady moved Virgilius, Four thousand and three hundred and two circuits Made by the sun, this Council I desired;

(3) But say if him I here behold, who forth Evoked the new-invented rhymes, beginning, 'Ladies, that have intelligence of love?'" And I to him: "One am I, who, whenever Love doth inspire me, note, and in that measure Which he within me dictates, singing go." "O brother, now I see," he said, "the knot Which me, the Notary, and Guittone held Short of the sweet new style that now I hear. I do perceive full clearly how your pens Go closely following after him who dictates, Which with our own forsooth came not to pass; And he who sets himself to go beyond, No difference sees from one style to another;" And as if satisfied, he held his peace. Even as the birds, that winter tow'rds the Nile, Sometimes into a phalanx form themselves, Then fly in greater haste, and go in file; In such wise all the people who were there, Turning their faces, hurried on their steps, Both by their leanness and their wishes light. And as a man, who weary is with trotting, Lets his companions onward go, and walks, Until he vents the panting of his chest;

(2) I did not die, and I alive remained not; Think for thyself now, hast thou aught of wit, What I became, being of both deprived. The Emperor of the kingdom dolorous From his mid-breast forth issued from the ice; And better with a giant I compare Than do the giants with those arms of his; Consider now how great must be that whole, Which unto such a part conforms itself. Were he as fair once, as he now is foul, And lifted up his brow against his Maker, Well may proceed from him all tribulation. O, what a marvel it appeared to me, When I beheld three faces on his head! The one in front, and that vermilion was; Two were the others, that were joined with this Above the middle part of either shoulder, And they were joined together at the crest; And the right-hand one seemed 'twixt white and yellow; The left was such to look upon as those Who come from where the Nile falls valley-ward. Underneath each came forth two mighty wings, Such as befitting were so great a bird; Sails of the sea I never saw so large.