(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(12) In his Disquisitions upon the Painted Greek Vases, James Christie presents Meursius' version of the occurrences taking place during the nine days required for the enactment of the Greater Eleusinian Rites. The first day was that of general meeting, during which those to be initiated were questioned concerning their several qualifications. The second day was spent in a procession to the sea, possibly for the submerging of a image of the presiding goddess. The third day was opened by the sacrifice of a mullet. On the fourth day the mystic basket containing certain sacred symbols was brought to Eleusis, accompanied by a number of female devotees carrying smaller baskets. On the evening of the fifth day there was a torch race, on the sixth a procession led by a statue of Iacchus, and on the seventh an athletic contest. The eighth day was devoted to a repetition of the ceremonial for the benefit of any who might have been prevented from coming sooner. The ninth and last day was devoted to the deepest philosophical issues of the Eleusinia, during which an urn or jar--the symbol of Bacchus--was exhibited as an emblem of supreme importance.

(1) "The early priests believed that a great spiritual power was invoked by correct and unabridged sacrificial ceremonies. If one feature were lacking, the whole was vitiated, says Iamblichus. Hence they were most careful in all details, for they considered it absolutely essential for the entire chain of logical connections to be exactly according to ritual. Certainly for no other reason did they prepare and prescribe for future use the manuals, as it were, for conducting the rites. They learned, too, what the first hieromancers--possessed, as it were, by a divine fury--devised as a system of symbolism for exhibiting their mysteries. These they placed in this Tablet of Isis, before the eyes of those admitted to the sanctum sanctorum in order to teach the nature of the Gods and the prescribed forms of sacrifice. Since each of the orders of Gods had its own peculiar symbols, gestures, costumes, and ornaments, they thought it necessary to observe these in the whole apparatus of worship, as nothing was more efficacious in drawing the benign attention of the deities and genii. * * * Thus their temples, remote from the usual haunts of men, contained representations of nearly every form in nature. First, in the pavement, they symbolized the physical economy of the world, using minerals, stones and other things suitable for ornaments, including little streams of water. The walls showed the starry world, and the done the world of genii. In the center was the altar, to suggest the emanations of the Supreme Mind from its center. Thus the entire interior constituted a picture of the Universe of Worlds. The priests in making sacrifices wore raiment adorned with figures similar to those attributed to the Gods. Their bodies were partially bare like those of the deities, and they themselves were divested of all material cares and practices the strictest chastity. * * * Their heads were veiled to indicate their charge of earthly things. Their heads and bodies were shaved, for they regarded hair as a useless excrescence. Upon the head they bore the same insignia as those attributed to the Gods. Thus arrayed, they regarded themselves to be transformed into that intelligence with which they constantly desired to be identified. For example, in order to call down to the world the soul and spirit of the Universe, they stood before the image shown in the center of our Tablet, wearing the same symbols as that figure and its attendants, and offered sacrifices. By these and the accompanying singing of hymns they believed that they infallibly drew the God's attention to their prayer. And so they did in regard to other regions of the Tablet, believing of necessity the proper ritual properly carried out would evoke the deity desired. That this was the origin of the science of oracles is apparent. As a touched chord produces a harmony of sound, likewise the adjoining chords respond though not touched. Similarly the idea they expressed by their concurrent acts while adoring the God came into accord with basic Idea and, by an intellectual union, it was returned to them deiformed, and they thus obtained the Idea of Ideas. Hence there sprang up in their souls, they thought, the gift of prophecy and divination, and they believed they could foretell future events, impending evils, etc. For as in the Supreme Mind everything is simultaneous and spaceless, the future is therefore present in that Mind; and they thought that while the human mind was absorbed in the Supreme by contemplation, by that union they were enabled to know all the future. Nearly all that is represented in our Tablet consists of amulets which, by analogy above described, would inspire them, under the described conditions, with the virtues of the Supreme Power and enable them to receive good and avert evil. They also believed they could in this magical manner effect cures of diseases; that genii could be induced to appear to them during sleep and cure or teach them to cure the sick. In this belief they consulted the Gods about all sort of doubts and difficulties, while adorned with the simulacra of the mystic rite and intently contemplating the Divine Ideas; and while so enraptured they believed the God by some sign, nod or gesture communicated with them, whether asleep or awake, concerning the truth or falsity of the matter in point." (See Œdipus Ægyptiacus.)

(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.

(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.

(81) 56 Awake thou in peace, (as) Ti.t awakes, in peace, (as) Tit.t (she of Ti.t) awakes in peace, 56 (as) the eye of Horus in Buto (awakes) in peace, (as) the eye of Horus which is in the houses of the Lower Egyptian crown (awakes) in peace, 56 (the eye) which the weavers wove (?), (the eye) which the sedanchairman planned (?). 57 Cause thou (0 Eye) the two lands to bow to N., as they bow to Horus,. 57 Cause the two lands to fear N., as they fear Set. 57 Sit thou before N., as his god; open thou his way before the spirits, 57 that be may stand before the spirits like Anubis, "First of the Westerners." 57 To say four times: Forward, forward to Osiris. Two rolls of linen.

(55) 1. The Colossus of Rhodes, a gigantic brass statue about 109 feet in height and requiring over twelve years to build, was the work of an initiated artist, Chares of Lindus. The popular theory--accepted for several hundred years--that the figure stood with one foot on each side of the entrance to the harbor of Rhodes and that full-rigged ships passed between its feet, has never been substantiated. Unfortunately, the figure remained standing but fifty-six years, being thrown down by an earthquake in 224 B.C. The shattered parts of the Colossus lay scattered about the ground for more than 900 years, when they were finally sold to a Jewish merchant, who carried the metal away on the backs of 700 camels. Some believed that the brass was converted into munitions and others that it was made into drainage pipes. This gigantic gilded figure, with its crown of solar rays and its upraised torch, signified occultly the glorious Sun Man of the Mysteries, the Universal Savior.

(18) The following necessarily brief elucidation of the Bembine Table is based upon a digest of the writings of Kircher supplemented by other information gleaned by the present author from the mystical writings of the Chaldeans, Hebrews, Egyptians, and Greeks. The temples of the Egyptians were so designed that the arrangement of chambers, decorations, and utensils was all of symbolic significance, as shown by the hieroglyphics that covered them. Beside the altar, which usually was in the center of each room, was the cistern of Nile water which flowed in and out through unseen pipes. Here also were images of the gods in concatenated series, accompanied by magical inscriptions. In these temples, by use of symbols and hieroglyphics, neophytes were instructed in the secrets of the sacerdotal caste.

(213) 134 O N., thou didst not depart dead; thou didst depart living, 134 (so) thou sittest upon the throne of Osiris, thy `b-sceptre in thy hand, thou commandest the living; 134 (thy) mk-sceptre and thy nb.t-sceptre in thy hand, commanding those of secret places. 135 Thine arm is like that of Atum; thy shoulders are like those of Atum; thy body is like that of Atum; thy back is like that of Atum; 135 thy seat is like that of Atum; thy legs are like those of Atum; thy face is like that of Anubis. 135 Thou travelest over the regions of Horus; thou travelest over the regions of Set (or, the regions of Horus serve thee; the regions of Set serve thee).

(11) principally shown by their sacred ceremonial. For first advances the Singer, bearing some one of the symbols of music. For they say that he must learn two of the books of Hermes, the one of which contains the hymns of the gods, the second the regulations for the king's life. And after the Singer advances the Astrologer, with a horologe in his hand, and a palm, the symbols of astrology. He must have the astrological books of Hermes, which are four in number, always in his mouth. Of these, one is about the order of the fixed stars that are visible, and another about the conjunctions and luminous appearances of the sun and moon; and the rest respecting their risings. Next in order advances the sacred Scribe, with wings on his head, and in his hand a book and rule, in which were writing ink and the reed, with which they write. And he must be acquainted with what are called hieroglyphics, and know about cosmography and geography, the position of the sun and moon, and about the five planets; also the description of Egypt, and the chart of the Nile; and the description of the equipment of the priests and of the place consecrated to them, and about the measures and the things in use in the sacred rites. Then the Stole-keeper follows those previously mentioned, with the cubit of justice and the cup for libations. He is acquainted with all points called Pædeutic (relating to training) and Moschophaltic (sacrificial). There are also ten books which relate to the honour paid by them to their gods, and containing the Egyptian worship; as that relating to sacrifices, first-fruits, hymns, prayers, processions, festivals, and the like. And behind all walks the Prophet, with the water-vase carried openly in his arms; who is followed by those who carry the issue of loaves. He, as being the governor of the temple, learns the ten books called 'Hieratic'; and they contain all about the laws, and the gods, and the whole of the training of the priests. For the Prophet is, among the Egyptians, also over the distribution of the revenues. There are then forty-two books of Hermes indispensably necessary; of which the six-and-thirty containing the whole philosophy of the Egyptians are learned by the forementioned personages; and the other six, which are medical, by the Pastophoroi (image-bearers),--treating of the structure of the body, and of disease, and instruments, and medicines, and about the eyes, and the last about women.

(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.

(2) And far as eye of mine could wing its flight, Now on the left, and on the right flank now, The same this cornice did appear to me. Thereon our feet had not been moved as yet, When I perceived the embankment round about, Which all right of ascent had interdicted, To be of marble white, and so adorned With sculptures, that not only Polycletus, But Nature's self, had there been put to shame. The Angel, who came down to earth with tidings Of peace, that had been wept for many a year, And opened Heaven from its long interdict, In front of us appeared so truthfully There sculptured in a gracious attitude, He did not seem an image that is silent. One would have sworn that he was saying, "Ave;" For she was there in effigy portrayed Who turned the key to ope the exalted love, And in her mien this language had impressed, "Ecce ancilla Dei," as distinctly As any figure stamps itself in wax. "Keep not thy mind upon one place alone," The gentle Master said, who had me standing Upon that side where people have their hearts;

(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.

(4) Long before the introduction of idolatry into religion, the early priests caused the statue of a man to be placed in the sanctuary of the temple. This human figure symbolized the Divine Power in all its intricate manifestations. Thus the priests of antiquity accepted man as their textbook, and through the study of him learned to understand the greater and more abstruse mysteries of the celestial scheme of which they were a part. It is not improbable that this mysterious figure standing over the primitive altars was made in the nature of a manikin and, like certain emblematic hands in the Mystery schools, was covered with either carved or painted hieroglyphs. The statue may have opened, thus showing the relative positions of the organs, bones, muscles, nerves, and other parts. After ages of research, the manikin became a mass of intricate hieroglyphs and symbolic figures. Every part had its secret meaning. The measurements formed a basic standard by means of which it was possible to measure all parts of cosmos. It was a glorious composite emblem of all the knowledge possessed by the sages and hierophants.

(5) Tell me, in what place is our friend Terentius, Caecilius, Plautus, Varro, if thou knowest; Tell me if they are damned, and in what alley." "These, Persius and myself, and others many," Replied my Leader, "with that Grecian are Whom more than all the rest the Muses suckled, In the first circle of the prison blind; Ofttimes we of the mountain hold discourse Which has our nurses ever with itself. Euripides is with us, Antiphon, Simonides, Agatho, and many other Greeks who of old their brows with laurel decked. There some of thine own people may be seen, Antigone, Deiphile and Argia, And there Ismene mournful as of old. There she is seen who pointed out Langia; There is Tiresias' daughter, and there Thetis, And there Deidamia with her sisters." Silent already were the poets both, Attent once more in looking round about, From the ascent and from the walls released; And four handmaidens of the day already Were left behind, and at the pole the fifth Was pointing upward still its burning horn,

(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.

(20) In contrast to the idea of Hades as a state of darkness below, the gods were said to inhabit the tops of mountains, a well-known example being Mount Olympus, where the twelve deities of the Greek pantheon were said to dwell together. In his initiatory wanderings the neophyte therefore entered chambers of ever-increasing brilliancy to portray the ascent of the spirit from the lower worlds into the realms of bliss. As the climax to such wanderings he entered a great vaulted room, in the center of which stood a brilliantly illumined statue of the goddess Ceres. Here, in the presence of the hierophant and surrounded by priests in magnificent robes, he was instructed in the highest of the secret mysteries of the Eleusis. At the conclusion of this ceremony he was hailed as an Epoptes, which means one who has beheld or seen directly. For this reason also initiation was termed autopsy. The Epoptes was then given certain sacred books, probably written in cipher, together with tablets of stone on which secret instructions were engraved.

(42) Leaf 26. This page, which concludes that part of the Hermetic manuscript bearing the symbols of the Secret Work, contains a number of emblems not directly correlated. At the top is the head of the King--the most common of alchemical figures. To the right of the King is an alchemical vessel designated the Hermetic Seal. Below is the head of a ferocious bird, here designated a griffon. To the left of the King is a headless figure elevating a Sun, or spiritual face. This figure is the world, which must be headless, since its spiritual and rational part is not material and consequently, is invisible. Below is a circle unaccompanied by descriptive matter. Directly under the King's head is a vase of flowers, in which rises the golden plant of the Philosophers. At the bottom of the page is additional alchemical equipment, this also being termed a Hermetic Seal.

(42) Through the mystic passageways and chambers of the Great Pyramid passed the illumined of antiquity. They entered its portals as men; they came forth as gods. It was the place of the "second birth," the "womb of the Mysteries," and wisdom dwelt in it as God dwells in the hearts of men. Somewhere in the depths of its recesses there resided an unknown being who was called "The Initiator," or "The Illustrious One," robed in blue and gold and bearing in his hand the sevenfold key of Eternity. This was the lion-faced hierophant, the Holy One, the Master of Masters, who never left the House of Wisdom and whom no man ever saw save he who had passed through the gates of preparation and purification. It was in these chambers that Plato--he of the broad brow---came face to face with the wisdom of the ages personified in the Master of the Hidden House.

(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.