(2) For the idea which is divine, is bodiless, and is whatever is grasped by the mind. So that although these two, from which the general form and body are derived, are bodiless, it is impossible that any single form should be produced exactly like another,—because the moments of the hours and points of inclination [when they’re born] are different. But they are changed as many times as there are moments in the hour of that revolving Circle in which abides that God whom we have called All-formed.

(6) But all things must be made; both ever made, and also in accordance with the influence of every space. For He who makes, is in them all; not stablished in some one of them, nor making one thing only, but making all. For being Power, He energizeth in the things He makes and is not independent of them - although the things He makes are subject to Him. Now gaze through Me upon the Cosmos that's now subject to thy sight; regard its Beauty carefully - Body in pure perfection, though one than which there's no more ancient one, ever in prime of life, and ever-young, nay, rather, in even fuller and yet fuller prime!

(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.

(2) So that what is of heavenly nature, being drawn down into the images by means of heavenly use and practices, may be enabled to endure with joy the nature of mankind, and sojourn with it for long periods of time. Thus is it that man is the maker of the Gods.

(11) I think, therefore, that those ancient sages, who sought to secure the presence of divine beings by the erection of shrines and statues, showed insight into the nature of the All; they perceived that, though this Soul is everywhere tractable, its presence will be secured all the more readily when an appropriate receptacle is elaborated, a place especially capable of receiving some portion or phase of it, something reproducing it, or representing it, and serving like a mirror to catch an image of it.

It belongs to the nature of the All to make its entire content reproduce, most felicitously, the Reason-Principles in which it participates; every particular thing is the image within matter of a Reason-Principle which itself images a pre-material Reason-Principle: thus every particular entity is linked to that Divine Being in whose likeness it is made, the divine principle which the soul contemplated and contained in the act of each creation. Such mediation and representation there must have been since it was equally impossible for the created to be without share in the Supreme, and for the Supreme to descend into the created.

The Intellectual-Principle in the Supreme has ever been the sun of that sphere- let us accept that as the type of the creative Logos- and immediately upon it follows the Soul depending from it, stationary Soul from stationary Intelligence. But the Soul borders also upon the sun of this sphere, and it becomes the medium by which all is linked to the overworld; it plays the part of an interpreter between what emanates from that sphere down to this lower universe, and what rises- as far as, through soul, anything can- from the lower to the highest.

Nothing, in fact, is far away from anything; things are not remote: there is, no doubt, the aloofness of difference and of mingled natures as against the unmingled; but selfhood has nothing to do with spatial position, and in unity itself there may still be distinction.

These Beings are divine in virtue of cleaving to the Supreme, because, by the medium of the Soul thought of as descending they remain linked with the Primal Soul, and through it are veritably what they are called and possess the vision of the Intellectual Principle, the single object of contemplation to that soul in which they have their being.

(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.

(10) In view of all this we must now work back from the items to the unit, and consider the entire scheme as one enduring thing.

We ascend from air, light, sun- or, moon and light and sun- in detail, to these things as constituting a total- though a total of degrees, primary, secondary, tertiary. Thence we come to the Soul, always the one undiscriminated entity. At this point in our survey we have before us the over-world and all that follows upon it. That suite we take to be the very last effect that has penetrated to its furthest reach.

Our knowledge of the first is gained from the ultimate of all, from the very shadow cast by the fire, because this ultimate itself receives its share of the general light, something of the nature of the Forming-Idea hovering over the outcast that at first lay in blank obscurity. It is brought under the scheme of reason by the efficacy of soul whose entire extension latently holds this rationalizing power. As we know, the Reason-Principles carried in animal seed fashion and shape living beings into so many universes in the small. For whatsoever touches soul is moulded to the nature of soul's own Real-Being.

We are not to think that the Soul acts upon the object by conformity to any external judgement; there is no pause for willing or planning: any such procedure would not be an act of sheer nature, but one of applied art: but art is of later origin than soul; it is an imitator, producing dim and feeble copies- toys, things of no great worth- and it is dependent upon all sorts of mechanism by which alone its images can be produced. The soul, on the contrary, is sovereign over material things by might of Real-Being; their quality is determined by its lead, and those elementary things cannot stand against its will. On the later level, things are hindered one by the other, and thus often fall short of the characteristic shape at which their unextended Reason-Principle must be aiming; in that other world the entire shape comes from soul, and all that is produced takes and keeps its appointed place in a unity, so that the engendered thing, without labour as without clash, becomes all that it should be. In that world the soul has elaborated its creation, the images of the gods, dwellings for men, each existing to some peculiar purpose.

Soul could produce none but the things which truly represent its powers: fire produces warmth; another source produces cold; soul has a double efficacy, its act within itself, and its act from within outwards towards the new production.

In soulless entities, the outgo remains dormant, and any efficiency they have is to bring to their own likeness whatever is amenable to their act. All existence has this tendency to bring other things to likeness; but the soul has the distinction of possessing at once an action of conscious attention within itself, and an action towards the outer. It has thus the function of giving life to all that does not live by prior right, and the life it gives is commensurate with its own; that is to say, living in reason, it communicates reason to the body- an image of the reason within itself, just as the life given to the body is an image of Real-Being- and it bestows, also, upon that material the appropriate shapes of which it contains the Reason-Forms.

The content of the creative soul includes the Ideal shapes of gods and of all else: and hence it is that the kosmos contains all.

(4) It is, then, possible to frame in one's mind good contemplations from everything, and to depict, from things material, the aforesaid dissimilar similitudes, both for the intelligible and the intelligent; since the intelligent hold in a different fashion things which are attributed to things sensible differently. For instance, appetite, in the irrational creatures, takes its rise in the passions, and their movement, which takes the form of appetite, is full of all kinds of unreasonableness. But with regard to the intelligent, we must think of the appetite in another fashion, as denoting, according to my judgment, their manly style, and their determined persistence in their Godlike and unchangeable steadfastness. In like manner we say, with regard to the irrational creatures, that lust is a certain uncircumspect and earthly passionate attachment, arising incontinently from an innate movement, or intimacy in things subject to change, and the irrational supremacy of the bodily desire, which drives the whole organism towards the object of sensual inclination. But when we attribute "lust" to spiritual beings, by clothing them with dissimilar similitudes, we must think that it is a Divine love of the immaterial, above expression and thought, and the inflexible and determined longing for the supernally pure and passionless contemplation, and for the really perpetual and intelligible fellowship in that pure and most exalted splendour, and in the abiding and beautifying comeliness. And 'incontinence' we may take for the persistent and inflexible, which nothing can repulse, on account of the pure and changeless love for the Divine beauty, and the whole tendency towards the really desired. But with regard to the irrational living beings, or soulless matter, we appropriately call their irrationality and want of sensible perception a deprivation of reason and sensible perception. And with regard to the immaterial and intelligent beings, we reverently acknowledge their superiority, as supermundane beings, over our discursive and bodily reason, and the material perception of the senses which is alien to the incorporeal Minds. It is, then, permissible to depict forms, which are not discordant, to the celestial beings, even from portions of matter which are the least honourable, since even it, having had its beginning from the Essentially Beautiful, has throughout the whole range of matter some echoes of the intellectual comeliness; and it is possible through these to be led to the immaterial archetypes--things most similar being taken, as has been said, dissimilarly, and the identities being denned, not in the same way, but harmoniously, and appropriately, as regards the intellectual and sensible beings.

(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.

(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.

(2) There is, obviously, no question here of hands or feet, of any implement borrowed or inherent: Nature needs simply the Matter which it is to work upon and bring under Form; its productivity cannot depend upon mechanical operation. What driving or hoisting goes to produce all that variety of colour and pattern?

The wax-workers, whose methods have been cited as parallel to the creative act of Nature, are unable to make colours; all they can do to impose upon their handicraft colours taken from elsewhere. None the less there is a parallel which demands attention: in the case of workers in such arts there must be something locked within themselves, an efficacy not going out from them and yet guiding their hands in all their creation; and this observation should have indicated a similar phenomenon in Nature; it should be clear that this indwelling efficacy, which makes without hands, must exist in Nature, no less than in the craftsman- but, there, as a thing completely inbound. Nature need possess no outgoing force as against that remaining within; the only moved thing is Matter; there can be no moved phase in this Nature-Principle; any such moved phase could not be the primal mover; this Nature-Principle is no such moved entity; it is the unmoved Principle operating in the Kosmos.

We may be answered that the Reason-Principle is, no doubt, unmoved, but that the Nature-Principle, another being, operates by motion.

But, if Nature entire is in question here, it is identical with the Reason-Principle; and any part of it that is unmoved is the Reason-Principle. The Nature-Principle must be an Ideal-Form, not a compound of Form and Matter; there is no need for it to possess Matter, hot and cold: the Matter that underlies it, on which it exercises its creative act, brings all that with it, or, natively without quality, becomes hot and cold, and all the rest, when brought under Reason: Matter, to become fire, demands the approach not of fire but of a Reason-Principle.

This is no slight evidence that in the animal and vegetable realms the Reason-Principles are the makers and that Nature is a Reason-Principle producing a second Reason-Principle, its offspring, which, in turn, while itself, still, remaining intact, communicates something to the underlie, Matter.

The Reason-Principle presiding over visible Shape is the very ultimate of its order, a dead thing unable to produce further: that which produces in the created realm is the living Reason-Principle- brother no doubt, to that which gives mere shape, but having life-giving power.

(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.

(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) 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.