(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.

(3) "As much as the image is inferior to the living face, so much is the world inferior to the living Æon. What is, then, the cause of the image? The majesty of the face, which exhibits the figure to the painter, to be honoured by his name; for the form is not found exactly to the life, but the name supplies what is wanting in the effigy. The invisibility of God co-operates also in order to the faith of that which has been fashioned." For the Creator, called God and Father, he designated as "Painter," and "Wisdom," whose image that which is formed is, to the glory of the invisible One; since the things which proceed from a pair are complements, and those which proceed from one are images. But since what is seen is no part of Him, the soul comes from what is intermediate, which is different; and this is the inspiration of the different spirit, and generally what is breathed into the soul, which is the image of the spirit. And in general, what is said of the Creator, who was made according to the image, they say was foretold by a sensible image in the book of Genesis respecting the origin of man; and the likeness they transfer to themselves, teaching that the addition of the different spirit was made; unknown to the Creator. When, then, we treat of the unity of the God who is proclaimed in the law, the prophets, and the Gospel, we shall also discuss this; for the topic is supreme. But we must advance to that which is urgent. If for the purpose of doing away with death the peculiar race has come, it is not Christ who has abolished death, unless He also is said to be of the same essence with them. And if He abolished it to this end, that it might not touch the peculiar race, it is not these, the rivals of the Creator, who breathe into the image of their intermediate spirit the life from above - in accordance with the principle of their dogma - that abolish death.

(2) But let us leave the arts and consider those works produced by Nature and admitted to be naturally beautiful which the creations of art are charged with imitating, all reasoning life and unreasoning things alike, but especially the consummate among them, where the moulder and maker has subdued the material and given the form he desired. Now what is the beauty here? It has nothing to do with the blood or the menstrual process: either there is also a colour and form apart from all this, or there is nothing unless sheer ugliness or a bare recipient, as it were the mere Matter of beauty.

Whence shone forth the beauty of Helen, battle-sought; or of all those women like in loveliness to Aphrodite; or of Aphrodite herself; or of any human being that has been perfect in beauty; or of any of these gods manifest to sight, or unseen but carrying what would be beauty if we saw?

In all these is it not the Idea, something of that realm but communicated to the produced from within the producer just as in works of art, we held, it is communicated from the arts to their creations? Now we can surely not believe that, while the made thing and the Idea thus impressed upon Matter are beautiful, yet the Idea not so alloyed but resting still with the creator- the Idea primal, immaterial, firmly a unity- is not Beauty.

If material extension were in itself the ground of beauty, then the creating principle, being without extension, could not be beautiful: but beauty cannot be made to depend upon magnitude since, whether in a large object or a small, the one Idea equally moves and forms the mind by its inherent power. A further indication is that as long as the object remains outside us we know nothing of it; it affects us by entry; but only as an Idea can it enter through the eyes which are not of scope to take an extended mass: we are, no doubt, simultaneously possessed of the magnitude which, however, we take in not as mass but by an elaboration upon the presented form.

Then again the principle producing the beauty must be, itself, ugly, neutral or beautiful: ugly, it could not produce the opposite; neutral, why should its product be the one rather than the other? The Nature, then, which creates things so lovely must be itself of a far earlier beauty; we, undisciplined in discernment of the inward, knowing nothing of it, run after the outer, never understanding that it is the inner which stirs us; we are in the case of one who sees his own reflection but not realizing whence it comes goes in pursuit of it.

But that the thing we are pursuing is something different and that the beauty is not in the concrete object is manifest from the beauty there is in matters of study, in conduct and custom; briefly in soul or mind. And it is precisely here that the greater beauty lies, perceived whenever you look to the wisdom in a man and delight in it, not wasting attention on the face, which may be hideous, but passing all appearance by and catching only at the inner comeliness, the truly personal; if you are still unmoved and cannot acknowledge beauty under such conditions, then looking to your own inner being you will find no beauty to delight you and it will be futile in that state to seek the greater vision, for you will be questing it through the ugly and impure.

This is why such matters are not spoken of to everyone; you, if you are conscious of beauty within, remember.

(15) For He who prohibited the making of a graven image, would never Himself have made an image in the likeness of holy things. Nor is there at all any composite thing, and creature endowed with sensation, of the sort in heaven. But the face is a symbol of the rational soul, and the wings are the lofty ministers and energies of powers fight and left; and the voice is delightsome glory in ceaseless contemplation. Let it suffice that the mystic interpretation has advanced so far.

(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

(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.

(22) Reason must not imagine, that God ever made any Beast out of a Lump of Earth, as a Potter makes a Pot. But he said, Let there come forth all Sorts of Beasts, every one after its Kind; that is, out of all Essences, every one after the Property of its Essence; and so also it was (by the Fiat) figured according to the Property of its own Essence; and in like Manner, all Trees, Herbs, and Grass, all at once together. How then should the image of God be made out of the fragile [or corruptible] Essences? But it [must be and] was made in the Paradise out of the eternal [Essences.]

(3) But if any one should blame the descriptions as being incongruous, by saying that it is shameful to attribute shapes so repugnant to the Godlike and most holy Orders, it is enough to reply that the method of Divine revelation is twofold; one, indeed, as is natural, proceeding through likenesses that are similar, and of a sacred character, but the other, through dissimilar forms, fashioning them into entire unlikeness and incongruity. No doubt, the mystical traditions of the revealing Oracles sometimes extol the august Blessedness of the super-essential Godhead, as Word, and Mind, and Essence, manifesting its God-becoming expression and wisdom, both as really being Origin, and true Cause of the origin of things being, and they describe It as light, and call it life. While such sacred descriptions are more reverent, and seem in a certain way to be superior to the material images, they yet, even thus, in reality fall short of the supremely Divine similitude. For It is above every essence and life. No light, indeed, expresses its character, and every description and mind incomparably fall short of Its similitude. But at other times its praises are supermundanely sung, by the Oracles themselves, through dissimilar revelations, when they affirm that it is invisible, and infinite, and incomprehensible; and when there is signified, not what it is, but what it is not. For this, as I think, is more appropriate to It, since, as the secret and sacerdotal tradition taught, we rightly describe its non-relationship to things created, but we do not know its superessential, and inconceivable, and unutterable indefinability. If, then, the negations respecting things Divine are true, but the affirmations are inharmonious, the revelation as regards things invisible, through dissimilar representations, is more appropriate to the hiddenness of things unutterable. Thus the sacred descriptions of the Oracles honour, and do not expose to shame, the Heavenly Orders, when they make them known by dissimilar pictorial forms, and demonstrate through these their supermundane superiority over all. material things. And I do not suppose that any sensible man will gainsay that the incongruous elevate our mind more than the similitudes; for there is a likelihood, with regard to the more sublime representations of heavenly things, that we should be led astray, so as to think that the Heavenly Beings are certain creatures with the appearance of gold, and certain men with the appearance of light, and glittering like lightning, handsome, clothed in bright shining raiment, shedding forth innocuous flame, and so with regard to all the other shapes and appropriate forms, with which the Word of God has depicted the Heavenly Minds. In order that men might not suffer from this, by thinking they are nothing more exalted than their beau tiful appearance, the elevating wisdom of the pious theologians reverently conducts to the incongruous dissimilarities, not permitting our earthly part to rest fixed in the base images, but urging the upward tendency of the soul, and goading it by the unseemliness of the phrases (to see) that it belongs neither to lawful nor seeming truth, even for the most earthly conceptions, that the most heavenly and Divine visions are actually like things so base. Further also this must particularly be borne in mind, that not even one of the things existing is altogether deprived of participation in the beautiful, since, as is evident and the truth of the Oracles affirms, all things are very beautiful.

(2) It were indeed ridiculous, as the philosophers themselves say, for man, the plaything of God, to make God, and for God to be the plaything of art; since what is made is similar and the same to that of which it is made, as that which is made of ivory is ivory, and that which is made of gold golden. Now the images and temples constructed by mechanics are made of inert matter; so that they too are inert, and material, and profane; and if you perfect the art, they partake of mechanical coarseness. Works of art cannot then be sacred and divine.

(5) We shall find the Mystic Theologians enfolding these things not only around the illustrations of the Heavenly Orders, but also, sometimes, around the supremely Divine Revelations Themselves. At one time, indeed, they extol It under exalted imagery as Sun of Righteousness, as Morning Star rising divinely in the mind, and as Light illuming without veil and for contemplation; and at other times, through things in our midst, as Fire, shedding its innocuous light; as Water, furnishing a fulness of life, and, to speak symbolically, flowing into a belly, and bubbling forth rivers flowing irresistibly; and at other times, from things most remote, as sweet-smelling ointment, as Head Corner-stone. But they also clothe It in forms of wild beasts, and attach to It identity with a Lion, and Panther, and say that it shall be a Leopard, and a rushing Bear. But, I will also add, that which seems to be more dishonourable than all, and the most incongruous, viz. that distinguished theologians have shewn it to us as representing Itself under the form of a worm. Thus do all the godly-wise, and interpreters of the secret inspiration, separate the holy of holies from the uninitiated and the unholy, to keep them undefined, and prefer the dissimilar description of holy things, so that Divine things should neither be easily reached by the profane, nor those who diligently contemplate the Divine imagery rest in the types as though they were true; and so Divine things should be honoured by the true negations, and by comparisons with the lowest things, which are diverse from their proper resemblance. There is then nothing absurd if they depict even the Heavenly Beings under incongruous dissimilar similitudes, for causes aforesaid. For probably not even we should have come to an investigation, from not seeing our way,--not to say to mystic meaning through an accurate enquiry into Divine things,--unless the deformity of the descriptions representing the Angels had shocked us, not permitting our mind to linger in the discordant representations, but rousing us utterly to reject the earthly proclivities, and accustoming us to elevate ourselves through things that are seen, to their supermundane mystical meanings. Let these things suffice to have been said on account of the material and incongruous descriptions of the holy Angels in the Holy Oracles. And next, it is necessary to define what we think the Hierarchy is in itself, and what benefit those who possess a Hierarchy derive; from the same. But let Christ lead the discourse--if it be lawful to me to say--He Who is mine,--the Inspiration of all Hierarchical revelation. And thou, my son, after the pious rule of our Hierarchical tradition, do thou religiously listen to things religiously uttered, becoming inspired through instruction in inspired things; and when thou hast enfolded the Divine things in the secret recesses of thy mind, guard them closely from the profane multitude as being uniform, for it is not lawful, as the Oracles say, to cast to swine the unsullied and bright and beautifying comeliness of the intelligible pearls.

(2) But if any one think well to accept the sacred compositions as of things simple and unknown in their own nature, and beyond our contemplation, but thinks the imagery of the holy minds in the Oracles is incongruous, and that all this is, so to speak, a rude scenic representation of the angelic names; and further says that the theologians ought, when they have come to the bodily representation of creatures altogether without body, to represent and display them by appropriate and, as far as possible, cognate figures, taken, at any rate, from our most honoured and immaterial and exalted beings, and ought not to clothe the heavenly and Godlike simple essences with the many forms of the lowest creatures to be found on the earth (for the one would perhaps be more adapted to our instruction, and would not degrade the celestial explanations to incongruous dissimilitudes; but the other both does violence without authority to the Divine powers, and likewise leads astray our minds, through dwelling upon these irreverent descriptions); and perhaps he will also think that the super-heavenly places are filled with certain herds of lions, and troops of horses, and bellowing songs of praise, and flocks of birds, and other living creatures, and material and less honourable things, and whatever else the similitudes of the Oracles, in every respect dissimilar, describe, for a so-called explanation, but which verge towards the absurd, and pernicious, and impassioned; now, in my opinion, the investigation of the truth demonstrates the most sacred wisdom of the Oracles, in the descriptions of the Heavenly Minds, taking forethought, as that wisdom does, wholly for each, so as neither, as one may say, to do violence to the Divine Powers, nor at the same time to enthral us in the grovelling passions of the debased imagery. For any one might say that the cause why forms are naturally attributed to the formless, and shapes to the shapeless, is not alone our capacity which is unable immediately to elevate itself to the intelligible contemplations, and that it needs appropriate and cognate instructions which present images, suitable to us, of the formless and supernatural objects of contemplation; but further, that it is most agreeable to the revealing Oracles to conceal, through mystical and sacred enigmas, and to keep the holy and secret truth respecting the supermundane minds inaccessible to the multitude. For it is not every one that is holy, nor, as the Oracles affirm, does knowledge belong to all.

(2) Since, then, our earliest progenitors were in great error, —seeing they had no rational faith about the Gods, and that they paid no heed unto their cult and holy worship,—they chanced upon an art whereby they made Gods [for themselves]. To this invention they conjoined a power that suited it, [derived] from cosmic nature; and blending these together, since souls they could not make, [they set about] evoking daimons’ souls or those of angels; [and thus] attached them to their sacred images and holy mysteries, so that the statues should, by means of these, possess the powers of doing good and the reverse.

(27) O nobly-born, the special art of these teachings is especially important at this moment: whichever light shineth upon thee now, meditate upon it as being the Compassionate One; from whatever place the light cometh, consider that [place] to be [or to exist in] the Compassionate One. This is an exceedingly profound art; it will prevent birth. Or whosoever thy tutelary deity may be, meditate upon the form for much time — as being apparent yet non-existent in reality, like a form produced by a magician. That is called the pure illusory form. Then let the [visualization of the] tutelary deity melt away from the extremities, till nothing at all remaineth visible of it; and put thyself in the state of the Clearness and the Voidness — which thou canst not conceive as something — and abide in that state for a little while. Again meditate upon the tutelary deity; again meditate upon the Clear Light: do this alternately. Afterwards, allow thine own intellect also to melt away gradually, [beginning] from the extremities.

(2) Let us, then, go back to the source, and indicate at once the Principle that bestows beauty on material things.

Undoubtedly this Principle exists; it is something that is perceived at the first glance, something which the soul names as from an ancient knowledge and, recognising, welcomes it, enters into unison with it.

But let the soul fall in with the Ugly and at once it shrinks within itself, denies the thing, turns away from it, not accordant, resenting it.

Our interpretation is that the soul- by the very truth of its nature, by its affiliation to the noblest Existents in the hierarchy of Being- when it sees anything of that kin, or any trace of that kinship, thrills with an immediate delight, takes its own to itself, and thus stirs anew to the sense of its nature and of all its affinity.

But, is there any such likeness between the loveliness of this world and the splendours in the Supreme? Such a likeness in the particulars would make the two orders alike: but what is there in common between beauty here and beauty There?

We hold that all the loveliness of this world comes by communion in Ideal-Form.

All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly by that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form.

But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come to unity as far as multiplicity may.

And on what has thus been compacted to unity, Beauty enthrones itself, giving itself to the parts as to the sum: when it lights on some natural unity, a thing of like parts, then it gives itself to that whole. Thus, for an illustration, there is the beauty, conferred by craftsmanship, of all a house with all its parts, and the beauty which some natural quality may give to a single stone.

This, then, is how the material thing becomes beautiful- by communicating in the thought that flows from the Divine.

(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.

(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!

(10) Seeing then that the eternal Wisdom of God (viz. in the chaste Virgin of the divine Virtue) had discovered itself in the Principle of this World, in which Place the great Prince Lucifer stood in the Heaven, in the second Principle, therefore the same Discovering was eternal, and God desired to shed forth the Similitude out of the Essences, which the Fiat created according to the Kind of every Essence, that they should (after the Breaking [or Dissolution] of the outward Substance) be a Figure and Image in Paradise, and a Shadow of this Substance. 1 1. And that there should go nothing in Vain out of the Substance of God, therefore God created Beasts, Fowls, Fishes, Worms, Trees and Herbs out of all Essences; and besides [created] also figured Spirits out of the Quinta Essentia, in the Elements, that so, after the completing of the Time (when the Out-Birth [shall] go into the Ether) they should appear before him, and that his eternal Wisdom in his Works of Wonder might he known.

(11) Now as to the arts and crafts and their productions:

The imitative arts- painting, sculpture, dancing, pantomimic gesturing- are, largely, earth-based; on an earthly base; they follow models found in sense, since they copy forms and movements and reproduce seen symmetries; they cannot therefore be referred to that higher sphere except indirectly, through the Reason-Principle in humanity.

On the other hand any skill which, beginning with the observation of the symmetry of living things, grows to the symmetry of all life, will be a portion of the Power There which observes and meditates the symmetry reigning among all beings in the Intellectual Kosmos. Thus all music- since its thought is upon melody and rhythm- must be the earthly representation of the music there is in the rhythm of the Ideal Realm.

The crafts, such as building and carpentry which give us Matter in wrought forms, may be said, in that they draw on pattern, to take their principles from that realm and from the thinking There: but in that they bring these down into contact with the sense-order, they are not wholly in the Intellectual: they are founded in man. So agriculture, dealing with material growths: so medicine watching over physical health; so the art which aims at corporeal strength and well-being: power and well-being mean something else There, the fearlessness and self-sufficing quality of all that lives.

Oratory and generalship, administration and sovereignty- under any forms in which their activities are associated with Good and when they look to that- possess something derived thence and building up their knowledge from the knowledge There.

Geometry, the science of the Intellectual entities, holds place There: so, too, philosophy, whose high concern is Being.

For the arts and products of art, these observations may suffice.

(29) Then, causing the [visualized form of the] tutelary deity to melt away from the extremities, meditate, without any thought-forming, upon the vacuous Clear Light. This is a very profound art; in virtue of it, a womb is not entered.

(6) First of all, idols are to be rejected. Such, then, being the case, the Greeks ought by the Law and the Prophets to learn to worship one God only, the only Sovereign; then to be taught by the apostle, "but to us an idol is no, thing in the world," since nothing among created things can be a likeness of God; and further, to be taught that none of those images which they worship can be similitudes: for the race of souls is not in form such as the Greeks fashion their idols. For souls are invisible; not only those that are rational, but those also of the other animals. And their bodies never become parts of the souls themselves, but organs - partly as seats, partly as vehicles - and in other cases possessions in various ways. But it is not possible to copy accurately even the likenesses of the organs; since, were it so, one might model the sun, as it is seen, and take the likeness of the rainbow in colours.