(108) The Maker of all things, self-operating, framed the World. And there was a certain Mass of Fire: all these things Self-Operating He produced, that the Body of the Universe might be conformed, that the World might be manifest, and not appear membranous.

(5) He is of such a kind and form and great magnitude that no one else has been with him from the beginning; nor is there a place in which he is, or from which he has come forth, or into which he will go; nor is there a primordial form, which he uses as a model as he works; nor is there any difficulty which accompanies him in what he does; nor is there any material which is at his disposal, from which creates what he creates; nor any substance within him from which he begets what he begets; nor a co-worker with him, working with him on the things at which he works. To say anything of this sort is ignorant. Rather, (one should speak of him) as good, faultless, perfect, complete, being himself the Totality.

(2) Accordingly, in that He was so mighty and so fair, He willed that some one else should have the power to contemplate the One He had made from Himself. And thereon He made man,—the imitator of His Reason and His Love. The Will of God is in itself complete accomplishment; inasmuch as together with His having willed, in one and the same time He hath brought it to full accomplishment. And so, when He perceived that the “essential” [man] could not be lover of all things, unless He clothed him in a cosmic carapace, He shut him in within a house of body,—and ordered it that all [men] should be so,—from either nature making him a single blend and fair-proportioned mixture.

(3) He, then, alone, yet all-complete in the fertility of either sex, ever with child of His own Will, doth ever bring to birth whatever He hath willed to procreate. His Will is the All-goodness, which also is the Goodness of all things, born from the nature of His own Divinity,—in order that all things may be, just as they all have been, and that henceforth the nature of being born from their own selves may be sufficient to all things that will be born. Let this, then, be the reason given thee, Asclepius, wherefore and how all things are made of either sex. XXI

(4) For all things are from Him, in Him, and through Him,—both multitudinous qualities, and mighty quantities, and magnitudes exceeding every means of measurement, and species of all forms;—which things, if thou should’st understand, Asclepius, thou wilt give thanks to God. And if thou should’st observe it as a whole, thou wilt be taught, by means of the True Reason, that Cosmos in itself is knowable to sense, and that all things in it are wrapped as in a vesture by that Higher Cosmos [spoken of above]. XXXV

(76) But no one prevents him (God) from doing what he wants. For who is stronger than him, that he may prevent him? To be sure, it is he who touches the earth, causing it to tremble and also causing the mountains to smoke. (It is) he who has gathered together such a great sea as in a leather bag, and has weighed all the water on his scales. Only the hand of the Lord has created all these things. For this hand of the Father is Christ, and it forms all. Through it, all has come into being, since it became the mother of all. For he is always Son of the Father.

(18) 'IT IS TRUE, NO LIE, CERTAIN, AND TO BE DEPENDED UPON, THE SUPERIOR AGREES WITH THE INFERIOR, AND THE INFERIOR WITH THE SUPERIOR, TO EFFECT THAT ONE TRULY WONDERFUL WORK. AS ALL THINGS OWE THEIR EXISTENCE TO THE WILL OF THE ONLY ONE, SO ALL THINGS OWE THEIR ORIGIN TO THE ONE ONLY THING, THE MOST HIDDEN, BY THE ARRANGEMENT OF THE ONLY GOD. THE FATHER OF THAT ONE ONLY THING IS THE SUN, ITS MOTHER IS THE MOON, THE WIND CARRIES IT IN ITS BELLY; BUT ITS NOURSE IS A SPIRITUOUS EARTH. THAT ONE ONLY THING (after God) IS THE FATHER OF ALL THINGS IN THE UNIVERSE. ITS POWER IS PERFECT, AFTER IT HAS BEEN UNITED TO A SPIRITUOUS EARTH.

(32) Where, then? where exists the author of this beauty and life, the begetter of the veritable?

You see the splendour over the things of the universe with all the variety begotten of the Ideas; well might we linger here: but amid all these things of beauty we cannot but ask whence they come and whence the beauty. This source can be none of the beautiful objects; were it so, it too would be a thing of parts. It can be no shape, no power, nor the total of powers and shapes that have had the becoming that has set them here; it must stand above all the powers, all the patterns. The origin of all this must be the formless- formless not as lacking shape but as the very source of even shape Intellectual.

In the realm of process anything coming to be must come to be something; to every thing its distinctive shape: but what shape can that have which no one has shaped? It can be none of existing things; yet it is all: none, in that beings are later; all, as the wellspring from which they flow. That which can make all can have, itself, no extension; it must be limitless and so without magnitude; magnitude itself is of the Later and cannot be an element in that which is to bring it into being. The greatness of the Authentic cannot be a greatness of quantity; all extension must belong to the subsequent: the Supreme is great in the sense only that there can be nothing mightier, nothing to equal it, nothing with anything in common with it: how then could anything be equal to any part of its content? Its eternity and universal reach entail neither measure nor measurelessness; given either, how could it be the measure of things? So with shape: granted beauty, the absence of shape or form to be grasped is but enhancement of desire and love; the love will be limitless as the object is, an infinite love.

Its beauty, too, will be unique, a beauty above beauty: it cannot be beauty since it is not a thing among things. It is lovable and the author of beauty; as the power to all beautiful shape, it will be the ultimate of beauty, that which brings all loveliness to be; it begets beauty and makes it yet more beautiful by the excess of beauty streaming from itself, the source and height of beauty. As the source of beauty it makes beautiful whatsoever springs from it. And this conferred beauty is not itself in shape; the thing that comes to be is without shape, though in another sense shaped; what is denoted by shape is, in itself, an attribute of something else, shapeless at first. Not the beauty but its participant takes the shape.

(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.

(134) Whereby in the heavenly pomp such fair beauteous forms, ideas, figures and vegetations always spring up, as also various colours and fruits; and this the qualifying or fountain spirits of God do in God, as a holy play, sport or scene. Now behold!

(2) For divinity does not fabricate all things, either through the celestial physical motions, or through a partial matter, or through powers thus divided; but he produces the worlds by conceptions, will, and immaterial forms, and through an eternal and supermundane soul. The maker of images, however, is said to elaborate them through the revolving stars. But the thing does not in reality subsist so as it appears to do. For since there are certain infinite powers in the celestial Gods, the last genus of all the powers in them is physical. But again, of this power one portion being inherent in spermatic reasons [or productive powers], and prior to these reasons being established in immoveable natures, essentially precedes generation. But another portion being inherent in sensible and visible motions and powers, and in celestial effluxions and qualities, has dominion over the whole visible order of things. This last power, therefore, in all these rules over the circumterrestrial manifest generation in places about the earth. Many other arts, however, as for instance, the medical and gymnastic, use this power, which has dominion over visible generation, and the qualities of the effluxions sent from the heavens employ it, and likewise all such arts as in their operations communicate with nature. And moreover, the image-making art attracts a certain very obscure genesiurgic portion from the celestial effluxions.

(9) Let us, then, make a mental picture of our universe: each member shall remain what it is, distinctly apart; yet all is to form, as far as possible, a complete unity so that whatever comes into view shall show as if it were the surface of the orb over all, bringing immediately with it the vision, on the one plane, of the sun and of all the stars with earth and sea and all living things as if exhibited upon a transparent globe.

Bring this vision actually before your sight, so that there shall be in your mind the gleaming representation of a sphere, a picture holding sprung, themselves, of that universe and repose or some at rest, some in motion. Keep this sphere before you, and from it imagine another, a sphere stripped of magnitude and of spatial differences; cast out your inborn sense of Matter, taking care not merely to attenuate it: call on God, maker of the sphere whose image you now hold, and pray Him to enter. And may He come bringing His own Universe with all the Gods that dwell in it- He who is the one God and all the gods, where each is all, blending into a unity, distinct in powers but all one god in virtue of that one divine power of many facets.

More truly, this is the one God who is all the gods; for, in the coming to be of all those, this, the one, has suffered no diminishing. He and all have one existence while each again is distinct. It is distinction by state without interval: there is no outward form to set one here and another there and to prevent any from being an entire identity; yet there is no sharing of parts from one to another. Nor is each of those divine wholes a power in fragment, a power totalling to the sum of the measurable segments: the divine is one all-power, reaching out to infinity, powerful to infinity; and so great is God that his very members are infinites. What place can be named to which He does not reach?

Great, too, is this firmament of ours and all the powers constellated within it, but it would be greater still, unspeakably, but that there is inbound in it something of the petty power of body; no doubt the powers of fire and other bodily substances might themselves be thought very great, but in fact, it is through their failure in the true power that we see them burning, destroying, wearing things away, and slaving towards the production of life; they destroy because they are themselves in process of destruction, and they produce because they belong to the realm of the produced.

The power in that other world has merely Being and Beauty of Being. Beauty without Being could not be, nor Being voided of Beauty: abandoned of Beauty, Being loses something of its essence. Being is desirable because it is identical with Beauty; and Beauty is loved because it is Being. How then can we debate which is the cause of the other, where the nature is one? The very figment of Being needs some imposed image of Beauty to make it passable and even to ensure its existence; it exists to the degree in which it has taken some share in the beauty of Idea; and the more deeply it has drawn on this, the less imperfect it is, precisely because the nature which is essentially the beautiful has entered into it the more intimately.

(7) Consider the universe: we are agreed that its existence and its nature come to it from beyond itself; are we, now, to imagine that its maker first thought it out in detail- the earth, and its necessary situation in the middle; water and, again, its position as lying upon the earth; all the other elements and objects up to the sky in due place and order; living beings with their appropriate forms as we know them, their inner organs and their outer limbs- and that having thus appointed every item beforehand, he then set about the execution?

Such designing was not even possible; how could the plan for a universe come to one that had never looked outward? Nor could he work on material gathered from elsewhere as our craftsmen do, using hands and tools; feet and hands are of the later order.

One way, only, remains: all things must exist in something else; of that prior- since there is no obstacle, all being continuous within the realm of reality- there has suddenly appeared a sign, an image, whether given forth directly or through the ministry of soul or of some phase of soul, matters nothing for the moment: thus the entire aggregate of existence springs from the divine world, in greater beauty There because There unmingled but mingled here.

From the beginning to end all is gripped by the Forms of the Intellectual Realm: Matter itself is held by the Ideas of the elements and to these Ideas are added other Ideas and others again, so that it is hard to work down to crude Matter beneath all that sheathing of Idea. Indeed since Matter itself is in its degree, an Idea- the lowest- all this universe is Idea and there is nothing that is not Idea as the archetype was. And all is made silently, since nothing had part in the making but Being and Idea further reason why creation went without toil. The Exemplar was the Idea of an All, and so an All must come into being.

Thus nothing stood in the way of the Idea, and even now it dominates, despite all the clash of things: the creation is not hindered on its way even now; it stands firm in virtue of being All. To me, moreover, it seems that if we ourselves were archetypes, Ideas, veritable Being, and the Idea with which we construct here were our veritable Essence, then our creative power too would toillessly effect its purpose: as man now stands, he does not produce in his work a true image of himself: become man, he has ceased to be the All: ceasing to be man- we read- "he soars aloft and administers the Kosmos entire"; restored to the All he is maker of the All.

But- to our immediate purpose- it is possible to give a reason why the earth is set in the midst and why it is round and why the ecliptic runs precisely as it does, but, looking to the creating principle, we cannot say that because this was the way therefore things were so planned: we can say only that because the All is what it is, therefore there is a total of good; the causing principle, we might put it, reached the conclusion before all formal reasoning and not from any premises, not by sequence or plan but before either, since all of that order is later, all reason, demonstration, persuasion.

Since there is a Source, all the created must spring from it and in accordance with it; and we are rightly told not to go seeking the causes impelling a Source to produce, especially when this is the perfectly sufficient Source and identical with the Term: a Source which is Source and Term must be the All-Unity, complete in itself.

(23) Of the stars He made torches to illumine the sky, Ah! many are the buildings visible and invisible Which God has made between heaven's dome and earth. Man is the astrolabe of those exalted attributes, The attribute of man is to manifest God's signs. Whatever is seen in man is the reflection of God, Even as the reflection of the moon in water." Say not two, know not two, call not on two! Know the slave is obliterated in his lord! So the lord is obliterated in God that created him Yea, lost and dead and buried in his Creator!

(2) He hath formed, weighed, transmuted, composed, and created with these twenty-two letters every living being, and every soul yet uncreated.

(31) And God is immense, [immeasurable,] and the Similitude is also immeasurable; he is in the Similitude, and the Similitude comprehends him not; the Similitude is his Work, and he is the Master- Workman thereof; the Constellation is his Instrument, and the Matrix, with the Elements, are the Materia, [Matter or Materials,] out of which the Master cuts and fashions his Work.

(87) Dread, invincible, great, deathless One, Whom Ether crowns."... By the expression "Sire of our Mother" mhtro patwr he not only intimates creation out of nothing, but gives occasion to those who introduce emissions of imagining a consort of the Deity. And he paraphrases those prophetic Scriptures - that in Isaiah, "I am He that fixes the thunder, and creates the wind; whose hands have rounded the host of heaven;" and that in Moses, "Behold, behold that I am He, and there is no god beside me: I will kill, and I will make to live; I will smite, and I will heal: and there is none that shall deliver out of my hands."

(597) No wonder. Suppose now that by the light of the examples just offered we enquire who this imitator is? If you please. Well then, here are three beds: one existing in nature, which is made by God, as I think that we may say—for no one else can be the maker? No. There is another which is the work of the carpenter? Yes. And the work of the painter is a third? Yes. Beds, then, are of three kinds, and there are three artists who superintend them: God, the maker of the bed, and the painter? Yes, there are three of them. God, whether from choice or from necessity, made one bed in nature and one only; two or more such ideal beds neither ever have been nor ever will be made by God. Why is that? Because even if He had made but two, a third would still appear behind them which both of them would have for their idea, and that would be the ideal bed and not the two others. Very true, he said. God knew this, and He desired to be the real maker of a real bed, not a particular maker of a particular bed, and therefore He created a bed which is essentially and by nature one only. So we believe. Shall we, then, speak of Him as the natural author or maker of the bed? Yes, he replied; inasmuch as by the natural process of creation He is the author of this and of all other things. And what shall we say of the carpenter—is not he also the maker of the bed? Yes. But would you call the painter a creator and maker? Certainly not. Yet if he is not the maker, what is he in relation to the bed?

(1) Looking into his Son with all the Love Which each of them eternally breathes forth, The Primal and unutterable Power Whate'er before the mind or eye revolves With so much order made, there can be none Who this beholds without enjoying Him. Lift up then, Reader, to the lofty wheels With me thy vision straight unto that part Where the one motion on the other strikes, And there begin to contemplate with joy That Master's art, who in himself so loves it That never doth his eye depart therefrom. Behold how from that point goes branching off The oblique circle, which conveys the planets, To satisfy the world that calls upon them; And if their pathway were not thus inflected, Much virtue in the heavens would be in vain, And almost every power below here dead. If from the straight line distant more or less Were the departure, much would wanting be Above and underneath of mundane order. Remain now, Reader, still upon thy bench, In thought pursuing that which is foretasted, If thou wouldst jocund be instead of weary.