(7) In many cases the monoliths are without carving or inscription, for they undoubtedly antedate both the use of tools and the art of writing. In some instances the stones have been trued into columns or obelisks, as in the runic monuments and the Hindu lingams and sakti stones; in other instances they are fashioned into rough likenesses of the human body, as in the Easter Island statues, or into the elaborately sculptured figures of the Central American Indians and the Khmers of Cambodia. The first rough-stone images can hardly be considered as effigies of any particular deity but rather as the crude effort of primitive man to portray in the enduring qualities of stone the procreative attributes of abstract Divinity. An instinctive recognition of the stability of Deity has persisted through all the intervening ages between primitive man and modem civilization. Ample proof of the survival of litholatry in the Christian faith is furnished by allusions to the rock of refuge, the rock upon which the church of Christ was to be founded, the corner stone which the builders rejected, Jacob's stony pillow which he set up and anointed with oil, the sling stone of David, the rock Moriah upon which the altar of King Solomon's Temple was erected, the white stone of Revelation, and the Rock of Ages.

(13) Said by a man, when Rā is put before these gods, painted in green, and standing on a wooden board, and when they give him the offerings, and the sustenance which is before them, bread and drink, geese, and frankincense, and when they present mortuary gifts to the deceased before Rā

(3) I know the inner gate of the garden of Aarru, out of which cometh Rā, in the East of the sky; the South of it is by the lake of Cha-ru, and the North of it by the stream of Reu; thence Rā saileth with favouring gales

(3) I know those two Sycomores of Emerald between which Rā cometh forth, as he advanceth over what Shu hath lifted up, [94] to every gate through which he proceedeth

(5) I know those two sycamores of emerald, between which Rā cometh forth, as he advanceth over what Tmu hath lifted up (the firmament) to the Eastern gates of the sky, through which he proceedeth

(40) The size of the capstone of the Great Pyramid cannot be accurately determined, for, while most investigators have assumed that it was once in place, no vestige of it now remains. There is a curious tendency among the builders of great religious edifices to leave their creations unfinished, thereby signifying that God alone is complete. The capstone--if it existed--was itself a miniature pyramid, the apex of which again would be capped by a smaller block of similar shape, and so on ad infinitum. The capstone therefore is the epitome of the entire structure. Thus, the Pyramid may be likened to the universe and the capstone to man. Following the chain of analogy, the mind is the capstone of man, the spirit the capstone of the mind, and God--the epitome of the whole--the capstone of the spirit. As a rough and unfinished block, man is taken from the quarry and by the secret culture of the Mysteries gradually transformed into a trued and perfect pyramidal capstone. The temple is complete only when the initiate himself becomes the living apex through which the divine power is focused into the diverging structure below.

(20) Said over a Boat of four cubits in length, painted green. And let a starry sky be made, clean and purified with natron and incense. And see thou make an image of Rā upon a tablet of light green colour at the prow of the Boat. And see thou make an image of the Deceased whom thou lovest, that he may be made strong in this boat, and that his voyage be made in the Bark of Rā, and that Rā himself may look upon him. Do not do this for any one except for thine own self, thy father and thy son. And let them be exceedingly cautious for themselves. The Deceased acquireth might with Rā, and made to possess power among the gods, who regard him as one of themselves, and when men or the Dead see him they fall upon their faces. He is seen in the Netherworld as the image of Rā

(5) It was necessary for the Indian to secure the red stone for his calumet from the pipestone quarry where in some remote past the Great Spirit had come and, after fashioning with His own hands a great pipe, had smoked it toward the four corners of creation and thus instituted this most sacred ceremony. Scores of Indian tribes--some of them traveling thousands of miles--secured the sacred stone from this single quarry, where the mandate of the Great Spirit had decreed that eternal peace should reign.

(13) The Great Pyramid was built of limestone and granite throughout, the two kinds of rock being combined in a peculiar and significant manner. The stones were trued with the utmost precision, and the cement used was of such remarkable quality that it is now practically as hard as the stone itself. The limestone blocks were sawed with bronze saws, the teeth of which were diamonds or other jewels. The chips from the stones were piled against the north side of the plateau on which the structure stands, where they form an additional buttress to aid in supporting the weight of the structure. The entire Pyramid is an example of perfect orientation and actually squares the circle. This last is accomplished by dropping a vertical line from the apex of the Pyramid to its base line. If this vertical line be considered as the radius of an imaginary circle, the length of the circumference of such a circle will be found to equal the sum of the base lines of the four sides of the Pyramid.

(33) He made it such, being in it, in order that nobody may come near it, except Rā who is supreme in his attributes

(28) There are many accounts of stone images which, because of the substances entering into their composition and the ceremonials attendant upon their construction, were ensouled by the divinities whom they were created to resemble. To such images were ascribed various human faculties and powers, such as speech, thought, and even motion. While renegade priests doubtless resorted to trickery--an instance of which is related in a curious apocryphal fragment entitled Bel and the Dragon and supposedly deleted from the end of the Book of Daniel--many of the phenomena recorded in connection with sanctified statues and relics can hardly be explained unless the work of supernatural agencies be admitted.

(8) Stones were highly venerated by prehistoric peoples primarily because of their usefulness. Jagged bits of stone were probably man's first weapons; rocky cliffs and crags constituted his first fortifications, and from these vantage points he hurled loose boulders down upon marauders. In caverns or rude huts fashioned from slabs of rock the first humans protected themselves from the rigors of the elements. Stones were set up as markers and monuments to primitive achievement; they were also placed upon the graves of the dead, probably as a precautionary measure to prevent the depredations of wild beasts. During migrations, it was apparently customary for primitive peoples to carry about with them stones taken from their original habitat. As the homeland or birthplace of a race was considered sacred, these stones were emblematic of that universal regard shared by all nations for the place of their geniture. The discovery that fire could be produced by striking together two pieces of stone augmented man's reverence for stones, but ultimately the hitherto unsuspected world of wonders opened by the newly discovered element of fire caused pyrolatry to supplant stone worship. The dark, cold Father--stone--gave birth out of itself to the bright, glowing Son-fire; and the newly born flame, by displacing its parent, became the most impressive and mysterious of all religio-philosophic symbols, widespread and enduring through the ages.

(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.

(1) SUPREME among the wonders of antiquity, unrivaled by the achievements of later architects and builders, the Great Pyramid of Gizeh bears mute witness to an unknown civilization which, having completed its predestined span, passed into oblivion. Eloquent in its silence, inspiring in its majesty, divine in its simplicity, the Great Pyramid is indeed a sermon in stone. Its magnitude overwhelms the puny sensibilities of man. Among the shifting sands of time it stands as a fitting emblem of eternity itself. Who were the illumined mathematicians who planned its parts and dimensions, the master craftsmen who supervised its construction, the skilled artisans who trued its blocks of stone?

(6) Of particular interest are the rocking or logan stones, which evince the mechanical skill of these early peoples. These relics consist of enormous boulders poised upon one or two small points in such a manner that the slightest pressure will sway them, but the greatest effort is not sufficient to overthrow them. These were called living stones by the Greeks and Latins, the most famous one being the Gygorian stone in the Strait of Gibraltar. Though so perfectly balanced that it could be moved with the stalk of a daffodil, this rock could not be upset by the combined weight of many men. There is a legend that Hercules raised a rocking stone over the graves of the two sons of Boreas whom he had killed in combat. This stone was so delicately poised that it swayed back and forth with the wind, but no application of force could overturn it. A number of logan stones have been found in Britain, traces of one no longer standing having been discovered in Stonehenge. (See The Celtic Druids.) It is interesting to note that the green stones forming the inner ring of Stonehenge are believed to have been brought from Africa.

(2) Behold him coming: he is Rā on his journey: he is the four gods who are over the upper region

(5) Rā is living, the tortoise is dead. His wrappings have been opened; they reveal his figure. [The South wind of Rā

(11) He hath fashioned his staff, and received the oblations of Rā, the swift of speed and beautiful in his rising and almighty through what he hath done

(2) Rā maketh his appearance at the Mount of Glory, with the Cycle of gods about him: the Strong one issueth from his hidden abode

(8) A son of an elder (grhapati), called Ratna-rasi, came with five hundred sons of elders, with canopies decorated with the seven gems to pay respect and offer them to Him. By using His transcendental powers, the Buddha transformed all the canopies into a single one which contained the great chiliocosm.