(7) This Good is celebrated by the sacred theologians, both as beautiful and as Beauty, and as Love, and as Beloved; and all the other Divine Names which beseem the beautifying and highly-favoured comeliness. But the beautiful and Beauty are not to be divided, as regards the Cause which has embraced the whole in one. For, with regard to all created things, by dividing them into participations and participants, we call beautiful that which participates in Beauty; but beauty, the participation of the beautifying Cause of all the beautiful things. But, the superessential Beautiful is called Beauty, on account of the beauty communicated from Itself to all beautiful things, in a manner appropriate to each, and as Cause of the good harmony and brightness of all things which flashes like light to all the beautifying distributions of its fontal ray, and as calling (καλοῦν) all things to Itself (whence also it is called Beauty) (κάλλος), and as collecting all in all to Itself. (And it is called) Beautiful, as (being) at once beautiful and super-beautiful, and always being under the same conditions and in the same manner beautiful, and neither coming into being nor perishing, neither waxing nor waning; neither in this beautiful, nor in that ugly, nor at one time beautiful, and at another not; nor in relation to one thing beautiful, and in relation to another ugly, nor here, and not there, as being beautiful to some, and not beautiful to others; but as Itself, in Itself, with Itself, uniform, always being beautiful, and as having beforehand in Itself pre-eminently the fontal beauty of everything beautiful. For, by the simplex and supernatural nature of all beautiful things, all beauty, and everything beautiful, pre-existed uniquely as to Cause. From this Beautiful (comes) being to all existing things,--that each is beautiful in its own proper order; and by reason of the Beautiful are the adaptations of all things, and friendships, and inter-communions, and by the Beautiful all things are made one, and the Beautiful is origin of all things, as a creating Cause, both by moving the whole and holding it together by the love of its own peculiar Beauty; and end of all things, and beloved, as final Cause (for all things exist for the sake of the Beautiful) and exemplary (Cause), because all things are determined according to It. Wherefore, also, the Beautiful is identical with the Good, because all things aspire to the Beautiful and Good, on every account, and there is no existing thing which does not participate in the Beautiful and the Good. Yea, reason will dare to say even this, that even the non-existing participates in the Beautiful and Good. For then even it is beautiful and good, when in God it is celebrated superessentially to the exclusion of all. This, the one Good and Beautiful, is uniquely Cause of all the many things beautiful and good. From this are all the substantial beginnings of things existing, the unions, the distinctions, the identities, the diversities, the similarities, the dissimilarities, the communions of the contraries, the commingling of things unified, the providences of the superior, the mutual cohesions of those of the same rank; the attentions of the more needy, the protecting and immoveable abidings and stabilities of their whole selves and, on the other hand, the communions of all things among all, in a manner peculiar to each, and adaptations and unmingled friendships and harmonies of the whole, the blendings in the whole, and the undissolved connections of existing things, the never-failing successions of the generations, all rests and movements, of the minds, of the souls, of the bodies. For, that which is established above every rest, and every movement, and moves each thing in the law of its own being to its proper movement, is a rest and movement to all.

(1) The elementary teaching, then, of this the perfecting service, through the things done over the Divine Muron, shews this, in my judgment, that, that which is holy and of sweet savour in the minds of devout men is covered, as with a veil, since it Divinely enjoins upon holy men to have their beautiful and well-savoured assimilations in virtue to the hidden God not seen for vain glory. For the hidden comeliness of God is unsullied, and is sweet beyond conception, and manifested for spiritual contemplation to the intellectual alone, through a desire to have the unsullied images of virtue in souls of the same pattern. For by looking away from the undistorted and well imitated image of the Godlike virtue to that contemplated and fragrant beauty, he thus moulds and fashions it to the most beautiful imitation. And, as in the case of sensible images, if the artist look without distraction upon the archetypal form, not distracted by sight of anything else, or in any way divided in attention, he will duplicate, if I may so speak, the very person that is being sketched, whoever he may be, and will shew the reality in the likeness, and the archetype in the image, and each in each, save the difference of substance; thus, to copyists who love the beautiful in mind, the persistent and unflinching contemplation of the sweet-savoured and hidden beauty will confer the unerring and most Godlike appearance. Naturally, then, the divine copyists, who unflinchingly mould their own intellectual contemplation to the superessentially sweet and contemplated comeliness, do. none of their divinely imitated virtues "to be seen of men, as the Divine text expresses it; but reverently gaze upon the most holy things of the Church, veiled in the Divine Muron as in a figure. Wherefore, these also, by religiously concealing that which is holy and most Divine in virtue within their Godlike and God-engraved mind, look away to the archetypal conception alone; for not only are they blind to things dissimilar, but neither are they drawn down to gaze upon them. Wherefore, as becomes their character, they do neither love things, merely seeming good and just, but those really being such; nor do they look to opinion, upon which the multitude irrationally congratulate themselves, but, after the Divine example, by distinguishing the good or evil as it is in itself, they are Divine images of the most supremely Divine sweetness, which, having the truly sweet within itself, is not turned to the anomalously seeming of the multitude, moulding Its genuineness to the true images of Itself.

(4) [Sidenote A: Morphe pertains to the colour, figure, and magnitude of superficies.] the heroic, but at the same time are less than these. In addition also to these peculiarities, divine beauty, indeed, shines with an immense splendour as it were, fixes the spectators in astonishment, imparts a divine joy, presents itself to the view with ineffable symmetry, and is exempt from all other species of pulchritude. But the blessed spectacles of archangels have indeed themselves the greatest beauty, yet are not so ineffable and admirable as those of the Gods. Those of angels divide, in a partible manner, the beauty which they receive from archangels. But the dæmoniacal and heroical self-visive spirits, have both of them beauty in definite forms, yet the former is adorned in reasons which define the essence, and the latter exhibits fortitude. The phasmata of archons may be divided in a twofold respect. For some of them exhibit a beauty which is spontaneous, and of a ruling characteristic; but others, an elegance of form which is fictitious and renovated. And the phasmata of souls are, indeed, adorned in definite reasons, but these reasons are more divided than those in heroes, are partibly circumscribed, and are vanquished by one form. If, however, it be requisite to define all of them in common, I say that each participates of beauty according to its arrangement, the peculiar nature which it possesses, and its allotment.

(479) This being premised, I would ask the gentleman who is of opinion that there is no absolute or unchangeable idea of beauty—in whose opinion the beautiful is the manifold—he, I say, your lover of beautiful sights, who cannot bear to be told that the beautiful is one, and the just is one, or that anything is one—to him I would appeal, saying, Will you be so very kind, sir, as to tell us whether, of all these beautiful things, there is one which will not be found ugly; or of the just, which will not be found unjust; or of the holy, which will not also be unholy? No, he replied; the beautiful will in some point of view be found ugly; and the same is true of the rest. And may not the many which are doubles be also halves?—doubles, that is, of one thing, and halves of another? Quite true. And things great and small, heavy and light, as they are termed, will not be denoted by these any more than by the opposite names? True; both these and the opposite names will always attach to all of them. And can any one of those many things which are called by particular names be said to be this rather than not to be this? He replied: They are like the punning riddles which are asked at feasts or the children’s puzzle about the eunuch aiming at the bat, with what he hit him, as they say in the puzzle, and upon what the bat was sitting. The individual objects of which I am speaking are also a riddle, and have a double sense: nor can you fix them in your mind, either as being or not-being, or both, or neither. Then what will you do with them? I said. Can they have a better place than between being and not-being? For they are clearly not in greater darkness or negation than not-being,

(1) You adduce, however, as a thing by no means to be despised, “ the artificers of efficacious images .” But I should wonder if these were admitted by any one of the theurgists who survey the true forms of the Gods. For why should any one exchange truly existing beings for images, and descend from the first to the last of things? Or do we not know that all things effected by an adumbration of this kind, have an obscure subsistence, are the phantasms only of that which is true, and appear to be good, but in no respect are so? Other things, also, of this kind that accede, are borne along in a flowing condition of being; but obtain nothing genuine, or perfect, or manifest. But this is evident from the mode of their production: for not divinity, but man is the maker of them. Nor are they produced from uniform and intelligible essences, but from matter, which is assumed for this purpose. What good, therefore, can germinate from matter, and from the material and corporeal-formed powers which are in bodies? Or is not that which derives its subsistence from human art, more imbecile than men themselves, who impart existence to it? By what kind of art, likewise, is this image fashioned? For it is said, indeed, to be fashioned by demiurgic art; but this is effective of true essences, and not of certain images. Hence the image-producing art is distant by a great interval from the seminal production of realities. Besides, neither does it preserve a certain analogy with divine fabrication.

(4) And I, for my part, give thanks to God, that He hath cast it in my mind about the Gnosis of the Good, that it can never be It should be in the world. For that the world is "fullness" of the bad, but God of Good, and Good of God. The excellencies of the Beautiful are round the very essence [of the Good]; nay, they do seem too pure, too unalloyed; perchance 'tis they that are themselves Its essences. For one may dare to say, Asclepius - if essence, sooth, He have - God's essence is the Beautiful; the Beautiful is further also Good. There is no Good that can be got from objects in the world. For all the things that fall beneath the eye are image-things and pictures as it were; while those that do not meet [the eye are the realities], especially the [essence] of the Beautiful and Good. Just as the eye cannot see God, so can it not behold the Beautiful and Good. For that they are integral parts of God, wedded to Him alone, inseparate familiars, most beloved, with whom God is Himself in love, or they with God.

(381) Then everything which is good, whether made by art or nature, or both, is least liable to suffer change from without? True. But surely God and the things of God are in every way perfect? Of course they are. Then he can hardly be compelled by external influence to take many shapes? He cannot. But may he not change and transform himself? Clearly, he said, that must be the case if he is changed at all. And will he then change himself for the better and fairer, or for the worse and more unsightly? If he change at all he can only change for the worse, for we cannot suppose him to be deficient either in virtue or beauty. Very true, Adeimantus; but then, would any one, whether God or man, desire to make himself worse? Impossible. Then it is impossible that God should ever be willing to change; being, as is supposed, the fairest and best that is conceivable, every God remains absolutely and for ever in his own form. That necessarily follows, he said, in my judgment. Then, I said, my dear friend, let none of the poets tell us that ‘The gods, taking the disguise of strangers from other lands, walk up and down cities in all sorts of forms 13 ;’ and let no one slander Proteus and Thetis, neither let any one, either in tragedy or in any other kind of poetry, introduce Here disguised in the likeness of a priestess asking an alms ‘For the life-giving daughters of Inachus the river of Argos;’

(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

(28) Timaeus: be beautiful; but whenever he gazes at that which has come into existence and uses a created model, the object thus executed is not beautiful. Now the whole Heaven, or Cosmos, or if there is any other name which it specially prefers, by that let us call it,—so, be its name what it may, we must first investigate concerning it that primary question which has to be investigated at the outset in every case,—namely, whether it has existed always, having no beginning of generation, or whether it has come into existence, having begun from some beginning. It has come into existence; for it is visible and tangible and possessed of a body; and all such things are sensible,

(1) Why, therefore, does the maker of images, who effects these things, desert himself, though he is better than these images, and consists of things of a more excellent nature, and confide in inanimate idols, which are inspired with the representation alone of life, contain a renovated harmony, and which is externally multiform, and are in reality diurnal? Shall we say that something genuine and true is inherent in them? Nothing, however, which is fashioned by human art is genuine and pure. But you will say, that simplicity and uniformity of energy predominate in the whole of their composition. This is very far from being the case. For the idol, according to its visible composition, is mingled from all-various and contrary qualities. Shall we say then, that a certain pure and perfect power is manifest in them? By no means. For a thing of this kind possesses an adventitious multitude of effluxions, collected from many places, and which shows itself to be imbecile and evanescent. But if these particulars, which we have enumerated, are not found to take place in images, is stability present with them, as it is said to be [by the patrons of these images]? By no means, likewise, is this the case. For these idols are extinguished with much greater rapidity than the images which are seen in mirrors.

(39) In An Essay on the Beautiful, Plotinus describes the refining effect of beauty upon the unfolding consciousness of man. Commissioned to decorate the Everlasting House, CHiram Abiff is the embodiment of the beautifying principle. Beauty is essential to the natural unfoldment of the human soul. The Mysteries held that man, in part at least, was the product of his environment. Therefore they considered it imperative that every person be surrounded by objects which would evoke the highest and noblest sentiments. They proved that it was possible to produce beauty in life by surrounding life with beauty. They discovered that symmetrical bodies were built by souls continuously in the presence of symmetrical bodies; that noble thoughts were produced by minds surrounded by examples of mental nobility. Conversely, if a man were forced to look upon an ignoble or asymmetrical structure it would arouse within him a sense of ignobility which would provoke him to commit ignoble deeds. If an ill-proportioned building were erected in the midst of a city there would be ill-proportioned children born in that community; and men and women, gazing upon the asymmetrical structure, would live inharmonious lives. Thoughtful men of antiquity realized that their great philosophers were the natural products of the æsthetic ideals of architecture, music, and art established as the standards of the cultural systems of the time.

(13) Like the Pleromas are the things which came into being from the arrogant thought, which are their (the Pleromas') likenesses, copies, shadows, and phantasms, lacking reason and the light, these which belong to the vain thought, since they are not products of anything. Therefore, their end will be like their beginning: from that which did not exist (they are) to return once again to that which will not be. It is they, however, by themselves who are greater, more powerful, and more honored than the names which are given to them, which are their shadows. In the manner of a reflection are they beautiful. For the face of the copy normally takes its beauty from that of which it is a copy.

(603) a principle within us which is equally removed from reason, and that they have no true or healthy aim. Exactly. The imitative art is an inferior who marries an inferior, and has inferior offspring. Very true. And is this confined to the sight only, or does it extend to the hearing also, relating in fact to what we term poetry? Probably the same would be true of poetry. Do not rely, I said, on a probability derived from the analogy of painting; but let us examine further and see whether the faculty with which poetical imitation is concerned is good or bad. By all means. We may state the question thus:—Imitation imitates the actions of men, whether voluntary or involuntary, on which, as they imagine, a good or bad result has ensued, and they rejoice or sorrow accordingly. Is there anything more? No, there is nothing else. But in all this variety of circumstances is the man at unity with himself—or rather, as in the instance of sight there was confusion and opposition in his opinions about the same things, so here also is there not strife and inconsistency in his life? Though I need hardly raise the question again, for I remember that all this has been already admitted; and the soul has been acknowledged by us to be full of these and ten thousand similar oppositions occurring at the same moment? And we were right, he said. Yes, I said, thus far we were right; but there was an

(40) The substitution of the discord of the fantastic for the harmony of the beautiful constitutes one of the great tragedies of every civilization. Not only were the Savior-Gods of the ancient world beautiful, but each performed a ministry of beauty, seeking to effect man's regeneration by arousing within him the love of the beautiful. A renaissance of the golden age of fable can be made possible only by the elevation of beauty to its rightful dignity as the all-pervading, idealizing quality in the religious, ethical, sociological, scientific, and political departments of life. The Dionysiac Architects were consecrated to the raising of their Master Spirit--Cosmic Beauty--from the sepulcher of material ignorance and selfishness by erecting buildings which were such perfect exemplars of symmetry and majesty that they were actually magical formulæ by which was evoked the spirit of the martyred Beautifier entombed within a materialistic world.

(9) Accordingly one dreams, the soul assenting to the vision. But he dreams waking, who looks so as to lust; not only, as that Gnostic said, if along with the sight of the woman he imagine in his mind intercourse, for this is already the act of lust, as lust; but if one looks on beauty of person (the Word says), and the flesh seem to him in the way of lust to be fair, looking on cam ally and sinfully, he is judged because he admired. For, on the other hand, he who in chaste love looks on beauty, thinks not that the flesh is beautiful, but the spirit, admiring, as I judge, the body as an image, by whose beauty he transports himself to the Artist, and to the true beauty; exhibiting the sacred symbol, the bright impress of righteousness to the angels that wait on the ascension; I mean the unction of acceptance, the quality of disposition which resides in the soul that is gladdened by the communication of the Holy Spirit.

(7) Nor will he, therefore, eagerly desire to be assimilated to what is beautiful, possessing, as he does, beauty by love. What more need of courage and of desire to him, who has obtained the affinity to the impassible God which arises from love, and by love has enrolled himself among the friends of God?

(39) Yet you must know, that the Corporeity of the Element of this Creature is inferior to the Deity; for the Deity is Spirit, and the Element is generated out of the Word from Eternity; and the Lord entered into the Servant, at which all the Angels in Heaven wonder. And it is the greatest Wonder that is done from Eternity, for it is against Nature; and that may [indeed rightly] be [called] Love.

(12) And so now God created the Image, and Similitude, out of the eternal Element, in which the eternal Wonders are originally, and [God] breathed into him the Spirit of the Essences, out of his eternal original Will, out of the broken Gate of the Deep, through where the Wheel of the Stirring and Breaking-through stands in the eternal Mind, which reaches the clear, true, and pure Deity of the Heart of God.

(13) This [Image] is not the Heart of God, but it reaches into the Heart of God, and it receives Virtue, Light and Joy from the Heart and Light of God. For it is in the eternal Will of the Father, out of which he [the Father] continually generates his Heart and Word from Eternity; and ehis Essences, which, in the Element of his Body, viz. [in the Element] of Ignorance in the eternal Wonders of God now breathed into him, they (in respect of the high triumphing Light, out of the Heart and Light of God) were Paradise; his Meat and Drink was Paradise, out of the Element, in his Will; whereby then he drew the Virtue of the eternal Wonders of God into him, and generated the Noise [Voice] Sound, or the eternal Hymn of the eternal Wonders of God, out of himself before the Will; and all this stood before the chaste, high, noble, and blessed Virgin, the divine Wisdom, in a pleasant Sport, and was the right Paradise.

(4) If in perfection tempered were the wax, And were the heaven in its supremest virtue, The brilliance of the seal would all appear; But nature gives it evermore deficient, In the like manner working as the artist, Who has the skill of art and hand that trembles. If then the fervent Love, the Vision clear, Of primal Virtue do dispose and seal, Perfection absolute is there acquired. Thus was of old the earth created worthy Of all and every animal perfection; And thus the Virgin was impregnate made; So that thine own opinion I commend, That human nature never yet has been, Nor will be, what it was in those two persons. Now if no farther forth I should proceed, 'Then in what way was he without a peer?' Would be the first beginning of thy words. But, that may well appear what now appears not, Think who he was, and what occasion moved him To make request, when it was told him, 'Ask.' I've not so spoken that thou canst not see Clearly he was a king who asked for wisdom, That he might be sufficiently a king;