(3) In addition to these things, we must examine how we know God, Who is neither an object of intellectual nor of sensible perception, nor is absolutely anything of things existing. Never, then, is it true to say, that we know God; not from His own nature (for that is unknown, and surpasses all reason and mind), but, from the ordering of all existing things, as projected from Himself, and containing a sort of images and similitudes of His Divine exemplars, we ascend, as far as we have power, to that which is beyond all, by method and order in the abstraction and pre-eminence of all, and in the Cause of all. Wherefore, Almighty God is known even in all, and apart from all. And through knowledge, Almighty God is known, and through agnosia. And there is, of Him, both conception, and expression, and science, and contact, and sensible perception, and opinion, and imagination, and name, and all the rest. And He is neither conceived, nor expressed, nor named. And He is not any of existing things, nor is He known in any one of existing things. And He is all in all, and nothing in none. And He is known to all, from all, and to none from none. For, we both say these things correctly concerning God, and He is celebrated from all existing things, according to the analogy of all things, of which He is Cause. And there is, further, the most Divine Knowledge of Almighty God, which is known, through not knowing (αγνοσια) during the union above mind; when the mind, having stood apart from all existing things, then having dismissed also itself, has been made one with the super-luminous rays, thence and there being illuminated by the unsearchable depth of wisdom. Yet, even from all things, as I said, we may know It, for It is, according to the sacred text, the Cause formative of all, and ever harmonizing all, and (Cause) of the indissoluble adaptation and order of all, and ever uniting the ends of the former to the beginnings of those that follow, and beautifying the one symphony and harmony of the whole.

(13) Yet it is not possible to hold, conjointly, qualities thoroughly opposed, nor that a man who has had a certain fellowship with the One should have divided lives, if he clings to the firm participation in the One; but he must be resistless and resolute, as regards all separations from the uniform. This it is which the teaching of the symbols reverently and enigmatically intimates, by stripping the proselyte, as it were, of his former life, and discarding to the very utmost the habits within that life, makes him stand naked and barefoot, looking away towards the west, whilst he spurns, by the aversion of his hands, the participations in the gloomy baseness, and breathes out, as it were, the habit of dissimilarity which he had acquired, and professes the entire renunciation of everything contrary to the Divine likeness. When the man has thus become invincible and separate from evil, it turns him towards the east, declaring clearly that his position and recovery will be purely in the Divine Light, in the complete separation from baseness; and receiving his sacred promises of entire consort with the One, since he has become uniform through love of the truth. Yet it is pretty evident, as I think, to those versed in Hierarchical matters, that things intellectual acquire the unchangeableness of the Godlike habit, by continuous and persistent struggles towards one, and by the entire destruction and annihilation of things contrary. For it is necessary that a man should not only depart from every kind of baseness, but he must be also bravely obdurate and ever fearless against the baneful submission to it. Nor must he, at any time, become remiss in his sacred love of the truth, but with all his power persistently and perpetually be elevated towards it, always religiously pursuing his upward course, to the more perfect mysteries of the Godhead.

(9) But on the other hand the virtue of the soul is Gnosis. For he who knows, he good and pious is, and still while on the earth divine. Tat: But who is such an one, O father mine? Hermes: He who doth not say much or lend his ear to much. For he who spendeth time in arguing and hearing arguments, doth shadow-fight. For "God, the Father and the Good", is not to be obtained by speech or hearing. And yet though this is so, there are in all the beings senses, in that they cannot without senses be. But Gnosis is far different from sense. For sense is brought about by that which hath the mastery o'er us, while Gnosis is the end of science, and science is God's gift.

(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.