(7) Also, the Word of God attributes to the Heavenly Beings a likeness to Brass, Electron, and many-coloured stones. Electron, as being partly like gold, partly like silver, denotes the incorruptible, as in gold, and unexpended, and undiminished, and spotless brilliancy, and the brightness, as in silver, and a luminous and heavenly radiance. But to the Brass, according to the reasons assigned, must be attributed either the likeness of fire or that of gold. We must consider that the many-coloured appearances of stones denote either as white, the luminous; or as red, the fiery; or as yellow, the golden; or as green, the youthful and the full grown; and within each likeness you will find an explanation which teaches the inner meaning of the typical images. But since, I think, according to our power, this has been sufficiently said, let us pass to the sacred explanation of the Divine representations of the Heavenly Minds through wild beasts. We must consider that the shape of a Lion signifies the leading, and robust, and indomitable, and the assimilation, as far as possible, to the unutterable Godhead, by the concealment of the intellectual footprints, and by the mystically modest covering of the path, leading to It, during Divine illumination.

(1) Hear, therefore, the intellectual interpretation of symbols, according to the conceptions of the Egyptians; at the same time removing from your imagination and your ears the image of things symbolical, but elevating yourself to intellectual truth. By “ mire ,” therefore, understand every thing corporeal-formed and material; or that which is nutritive and prolific; or such as the material species of nature is, which is borne along in conjunction with the unstable flux of matter; or a thing of such a kind as that which the river of generation receives, and which subsides together with it; or the primordial cause of the elements, and of all the powers distributed about the elements, and which must be antecedently conceived to exist analogous to a foundation. Being, therefore, a thing of this kind, the God who is the cause of generation, of all nature, and of all the powers in the elements, as transcending these, and as being immaterial, incorporeal, and supernatural, unbegotten and impartible, wholly derived from himself, and concealed in himself,—this God precedes all things, and comprehends all things in himself. And because, indeed, he comprehends all things, and imparts himself to all mundane natures, he is from these unfolded into light. Because, however, he transcends all things, and is by himself expanded above them, on this account he presents himself to the view as separate, exempt, elevated, and expanded by himself above the powers and elements in the world.

(2) And there are those who fashion ears and eyes of costly material, and consecrate them, dedicating them in the temples to the gods - by this plainly indicating that God sees and hears all things. Besides, the lion is with them the symbol of strength and prowess, as the ox clearly is of the earth itself, and husbandry and food, and the horse of fortitude and confidence; while, on the other hand, the sphinx, of strength combined with intelligence - as it had a body entirely that of a lion, and the face of a man. Similarly to these, to indicate intelligence, and memory, and power, and art, a man is sculptured in the temples. And in what is called among them the Komasiae of the gods, they carry about golden images - two dogs, one hawk, and one ibis; and the four figures of the images they call four letters. For the dogs are symbols of the two hemispheres, which, as it were, go round and keep watch; the hawk, of the sun, for it is fiery and destructive (so they attribute pestilential diseases to the sun); the ibis, of the moon, likening the shady parts to that which is dark in plumage, and the luminous to the light. And some will have it that by the dogs are meant the tropics, which guard and watch the sun's passage to the south and north. The hawk signifies the equinoctial line, which is high and parched with heat, as the ibis the ecliptic. For the ibis seems, above other animals, to have furnished to the Egyptians the first rudiments of the invention of number and measure, as the oblique line did of circles.

(3) After these things, therefore, we shall define the reasons of the self-apparent statues [or images]. Hence, in the forms of the Gods which are seen by the eyes, the most clear spectacles of truth itself are perceived, which are also accurately splendid, and shine forth with an evolved light. The images of archangels present themselves to the view true and perfect; but those of angels preserve, indeed, the same form, but fail in plenitude of indication. The images of dæmons are obscure; and those of heroes are seen to be still inferior to these. With respect, also, to archons, the images of such as are mundane, are clear; but of such as are material, obscure. Both, however, are seen to be of an authoritative nature. And the images of souls appear to be of a shadowy form.

(106) At the description of the SUN you will find more and deeper things concerning it: My intention is only to describe the whole or total Deity, as far as I am capable in my weakness to apprehend [it], viz. how that is, in love and in wrath, and how it does generate itself now at present in this world. You will find more concerning jewels and precious stones at the description of the seven planets.

(17) Differently, the stones might be the various phases of salvation; some occupying the upper, some the lower parts of the entire body saved. The three hundred and sixty bells, suspended from the robe, is the space of a year, "the acceptable year of the Lord," proclaiming and resounding the stupendous manifestation of the Saviour. Further, the broad gold mitre indicates the regal power of the Lord, "since the Head of the Church" is the Savour. The mitre that is on it [i.e., the head] is, then, a sign of most princely rule; and otherwise we have heard it said, "The Head of Christ is the God and Father of our Lord Jesus Christ." Moreover, there was the breastplate, comprising the ephod, which is the symbol of work, and the oracle logion; and this indicated the Word logos by which it was framed, and is the symbol of heaven, made by the Word, and subjected to Christ, the Head of all things, inasmuch as it moves in the same way, and in a like manner. The luminous emerald stones, therefore, in the ephod, signify the sun and moon, the helpers of nature. The shoulder, I take it, is the commencement of the hand.

(13) Lo, to thee I pour as a libation the sparkling gleam of Bromius."He signifies, as I think, the soul's first milk-like nutriment of the four-and-twenty elements, after which solidified milk comes as food. And last, he teaches of the blood of the vine of the Word, the sparkling wine, the perfecting gladness of instruction. And Drops is the operating Word, which, beginning with elementary training, and advancing to the growth of the man, inflames and illumines man up to the measure of maturity. The third is said to be a writing copy for children -marptes, sfigx klwy, zxnkqhdos. And it signifies, in my opinion, that by the arrangement of the elements and of the world, we must advance to the knowledge of what is more perfect, since eternal salvation is attained by force and toil; for maryai is to grasp. And the harmony of the world is meant by the Sphinx; and zunkqhdon means difficulty; and klwys means at once the secret knowledge of the Lord and day. Well! does not Epigenes, in his book on the Poetry of Orpheus, in exhibiting the peculiarities found in Orpheus, say that by " the curved rods" (keraisi) is meant "ploughs;"and by the warp (sthmosi), the furrows; and the woof (mitos) is a figurative expression for the seed; and that the tears of Zeus signify a shower; and that the "parts" (moirai) are, again, the phases of the moon, the thirtieth day, and the fifteenth, and the new moon, and that Orpheus accordingly calls them "white-robed," as being parts of the light?

(1) Let us, however, now proceed to the appearances of the Gods and their perpetual attendants, and show what the difference is in their appearance. For you inquire, “ by what indication the presence of a God, or an angel, or an archangel, or a dæmon, or a certain archon [i. e. ruler ], or a soul, may be known .” In one word, therefore, I conclude that their appearances accord with their essences, powers, and energies. For such as they are, such also do they appear to those that invoke them, and they exhibit energies and ideas consentaneous to themselves, and proper indications of themselves. But that we may descend to particulars, the phasmata, or luminous appearances, of the Gods are uniform; those of dæmons are various; those of angels are more simple than those of dæmons, but are subordinate to those of the Gods; those of archangels approximate in a greater degree to divine causes; but those of archons, if these powers appear to you to be the cosmocrators, who govern the sublunary element, will be more various, but adorned in order; but if they are the powers that preside over matter, they will indeed be more various, and more imperfect, than those of the archons [properly so called]; and those of souls will appear to be all-various.

(2) It will be better, however, to answer you more particularly, as follows: I say, therefore, that the visible statues of the Gods originate from divine intelligible paradigms, and are generated about them. But being thus generated, they are entirely established in them, and being also extended to, they possess an image which derives its completion from them. These images likewise fabricate another order; sublunary natures are in continuity with them, according to one union; and the divine intellectual forms, which are present with the visible bodies of the Gods, exist prior to them in a separate manner. But the unmingled and supercelestial intelligible paradigms of them, abide by themselves in unity, and are at once all things, according to the eternal transcendency of themselves.

(11) It is said also in a certain oracle,- "A pillar to the Thebans is joy-inspiring Bacchus," from the history of the Hebrews. Also Euripides says, in Antiope,- "In the chambers within, the herdsman, With chaplet of ivy, pillar of the Evoean god." The pillar indicates that God cannot be portrayed. The pillar of light, too, in addition to its pointing out that God cannot be represented, shows also the stability and the permanent duration of the Deity, and His unchangeable and inexpressible light. Before, then, the invention of the forms of images, the ancients erected pillars, and reverenced them as statues of the Deity.

(16) Now the high priest's robe is the symbol of the world of sense. The seven planets are represented by the five stones and the two carbuncles, for Saturn and the Moon. The former is southern, and moist, and earthy, and heavy; the latter aerial, whence she is called by some Artemis, as if Aerotomos (cutting the air); and the air is cloudy. And cooperating as they did in the production of things here below, those that by Divine Providence are set over the planets are rightly represented as placed on the breast and shoulders; and by them was the work of creation, the first week. And the breast is the seat of the heart and soul.

(8) Wherefore the wisest of the Egyptian priests decided that the temple of Athene should be hypaethral, just as the Hebrews constructed the temple without an image. And some, in worshipping God, make a representation of heaven containing the stars; and so worship, although Scripture says, "Let of Eurysus the Pythagorean, which is as follows, who in his book On Fortune, having said that the "Creator, on making man, took Himself as an exemplar," added, "And the body is like the other things, as being made of the same material, and fashioned by the best workman, who wrought it, taking Himself as the archetype." And, in fine, Pythagoras and his followers, with Plato also, and most of the other philosophers, were best acquainted with the Lawgiver, as may be concluded from their doctrine. And by a happy utterance of divination, not without divine help, concurring in certain prophetic declarations, and, seizing the truth in portions and aspects, in terms not obscure, and not going beyond the explanation of the things, they honoured it on as pertaining the appearance of relation with the truth. Whence the Hellenic philosophy is like the torch of wick which men kindle, artificially stealing the light from the sun. But on the proclamation of the Word all that holy light shone forth. Then in houses by night the stolen light is useful; but by day the fire blazes, and all the night is illuminated by such a sun of intellectual light.

(5) Wishing to express Sun in writing, they make a circle; and Moon, a figure like the Moon, like its proper shape. But in using the figurative style, by transposing and transferring, by changing and by transforming in many ways as suits them, they draw characters. In relating the praises of the kings in theological myths, they write in anaglyphs. Let the following stand as a specimen of the third species - the Enigmatic. For the rest of the stars, on account of their oblique course, they have figured like the bodies of serpents; but the sun, like that of a beetle, because it makes a round figure of ox-dung, and rolls it before its face. And they say that this creature lives six months under ground, and the other division of the year above ground, and emits its seed into the ball, and brings forth; and that there is not a female beetle. All then, in a word, who have spoken of divine things, both Barbarians and Greeks, have veiled the first principles of things, and delivered the truth in enigmas, and symbols, and allegories, and metaphors, and such like tropes. Such also are the oracles among the Greeks. And the Pythian Apollo is called Loxias. Also the maxims of those among the Greeks called wise men, in a few sayings indicate the unfolding of matter of considerable importance. Such certainly is that maxim, "Spare Time:" either because life is short, and we ought not to expend this time in vain; or, on the other hand, it bids you spare your personal expenses; so that, though you live many years, necessaries may not fail you. Similarly also the maxim "Know thyself" shows many things; both that thou art mortal, and that thou wast born a human being; and also that, in comparison with the other excellences of life, thou art of no account, because thou sayest that thou art rich or renowned; or, on the other hand, that, being rich or renowned, you are not honoured on account of your advantages alone. And it says, Know for what thou wert born, and whose image thou art; and what is thy essence, and what thy creation, and what thy relation to God, and the like. And the Spirit says by Isaiah the prophet, "I will give thee treasures, hidden, dark." Now wisdom, hard to hunt, is the treasures of God and unfailing riches. But those, taught in theology by those prophets, the poets, philosophize much by way of a hidden sense. I mean Orpheus, Linus, Musaeus, Homer, and Hesiod, and those in this fashion wise. The persuasive style of poetry is for them a veil for the many.

(2) It may also, if requisite, be said that a celestial body is most allied to the incorporeal essence of the Gods. For as the latter is one, so the former is simple; as the latter is impartible, so the former is indivisible; and as that is immutable, so this is unchanged in quality. If, likewise, it is admitted that the energies of the Gods are uniform, a celestial body also, has one circulation. To which may be added, that it imitates the sameness of the Gods, by a perpetual motion, which is invariably the same, and which subsists according to one reason and one order. It also imitates a divine life, by the life which is connascent with etherial bodies. Hence, this celestial body does not consist of things contrary and different, as is the case with our body; nor does the soul of the celestial Gods coalesce with the body into one animal from two things; but the celestial animals of the Gods are entirely similar and counited, and are throughout wholes, uniform, and incomposite. For things of a more excellent nature are always transcendent in them, after the same manner; and things of an inferior nature are suspended from the dominion of such as are prior, yet so as never to draw down this dominion to themselves. But all these are congregated into one coarrangement and perfection; and, after a certain manner, all things in the celestial Gods are incorporeal, and wholly Gods; because the divine form which is in them predominates, and inserts every where throughout one total essence. Thus, therefore, the visible celestials are all of them Gods, and after a certain manner incorporeal.

(3) In order to understand the symbology of the Universal Androgyne, it is necessary to first become familiar with the two ancient symbols of Sex. In all the ancient philosophies and religions, we find that the "Cross" (+) is the symbol of the Male; and the "Circle" (O) the symbol of the Female. In representing the Bisexual, the Hermaphrodite, the Androgyne, the two symbols, i.e. the Cross and the Circle are combined in one of several ways. The original way was that of placing the Cross within the circumference of the Circle; but later usage preferred the various forms of the so-called "Phallic Cross," which consists of the Circle, or Oval, sustaining the Cross which depends downward from it. (See illustrations.) Sometimes the Cross is represented as the letter "T", and the Circle as the letter "O".

(3) The Symbol is interpreted as follows: (1) The Infinite Unmanifest manifests itself in the Elemental Soul; (2) the Elemental Soul takes upon itself the outward form of Mineral Substance; (3) The Mineral Soul evolves from itself the Plant Soul; (4) the Plant Soul evolves from itself the Animal Soul; (5) the Animal Soul evolves from itself the Human Soul; (6) the Human Soul unfolds into the Soul of the Demi-Gods; (7) the Soul of the Demi-Gods unfolds into the Soul of the Gods; and finally, the Soul of the Gods once more is resolved into Pure Spirit, which is represented by the blank space at the centre of the symbol. This statement will be more clearly apprehended by those who have carefully studied the preceding chapters conveying instruction concerning the Seven Planes of Consciousness, and much of the information contained in those chapters is to be taken into consideration in the study of the present chapter.

(1) I do not know, O excellent Titus, whether the holy Timothy departed, deaf to some of the theological symbols which were explained by me. But, in the Symbolic Theology, we have thoroughly investigated for him all the expressions of the Oracles concerning God, which appear to the multitude to be monstrous. For they give a colour of incongruity dreadful to the uninitiated souls, when the Fathers of the unutterable wisdom explain the Divine and Mystical Truth, unapproachable by the profane, through certain, certainly hidden and daring enigmas. Wherefore also, the many discredit the expressions concerning the Divine Mysteries. For, we contemplate them only through the sensible symbols that have grown upon them. We must then strip them, and view them by themselves in their naked purity. For, thus contemplating them, we should reverence a fountain of Life flowing into Itself--viewing It even standing by Itself, and as a kind of single power, simple, self-moved, and self-worked, not abandoning Itself, but a knowledge surpassing every kind of knowledge, and always contemplating Itself, through Itself. We thought it necessary then, both for him and for others, that we should, as far as possible, unfold the varied forms of the Divine" representations of God in symbols. For, with what incredible and simulated monstrosities are its external, forms filled? For instance, with regard to the superessential Divine generation, representing a body of God corporally generating God; and describing a word flowing out into air from a man's heart, which eructates it, and a breath, breathed forth from a mouth; and celebrating God-bearing bosoms embracing a son of God, bodily; or representing these things after the manner of plants, and producing certain trees, and branches, and flowers and roots, as examples; or fountains of waters y, bubbling forth; or seductive light productions of reflected splendours; or certain other sacred representations which explain superessential descriptions of God; but with regard to the intelligible providences of Almighty God, either gifts, manifestations, or powers, or properties, or repose, or abidings, or progressions, or distinctions, or unions, clothing Almighty God in human form, and in the varied shape of wild beasts and other living creatures, and plants, and stones; and attributing to Him ornaments of women, or weapons of savages; and assigning working in clay, and in a furnace, as it were to a sort of artisan; and placing under Him, horses and chariots and thrones; and spreading before Him certain dainty meats delicately cooked; and representing Him as drinking, and drunken, and sleeping, and suffering from excess. What would any one say concerning the angers, the griefs, the various oaths, the repentances, the curses, the revenges, the manifold and dubious excuses for the failure of promises, the battle of giants in Genesis, during which He is said to scheme against those powerful and great men, and this when they were contriving the building, not with a view to injustice towards other people, but on behalf of their own safety? And that counsel devised in heaven to deceive and mislead Achab; and those mundane and meritricious passions of the Canticles; and all the other sacred compositions which appear in the description of God, which stick at nothing, as projections, and multiplications of hidden things, and divisions of things one and undivided, and formative and manifold forms of the shapeless and unformed; of which, if any one were able to see their inner hidden beauty, he will find every one of them mystical and Godlike, and filled with abundant theological light. For let us not think, that the appearances of the compositions have been formed for their own sake, but that they shield the science unutterable and invisible to the multitude, since things all-holy are not within the reach of the profane, but are manifested to those only who are genuine lovers of piety, who reject all childish fancy respecting the holy symbols, and are capable to pass with simplicity of mind, and aptitude of contemplative faculty, to the simple and supernatural and elevated truth of the symbols. Besides, we must also consider this, that the teaching, handed down by the Theologians is two-fold--one, secret and mystical--the other, open and better known--one, symbolical and initiative--the other, philosophic and demonstrative;--and the unspoken is intertwined with the spoken. The one persuades, and desiderates the truth of the things expressed, the other acts and implants in Almighty God, by instructions in mysteries not learnt by teaching. And certainly, neither our holy instructors, nor those of the law, abstain from the God-befitting symbols, throughout the celebrations of the most holy mysteries. Yea, we see even the most holy Angels, mystically advancing things Divine through enigmas; and Jesus Himself, speaking the word of God in parables, and transmitting the divinely wrought mysteries, through a typical spreading of a table. For, it was seemly, not only that the Holy of holies should be preserved undefiled by the multitude, but also that the Divine knowledge should illuminate the human life, which is at once indivisible and divisible, in a manner suitable to itself; and to limit the passionless part of the soul to the simple, and most inward visions of the most godlike images; but that its impassioned part should wait upon, and, at the same time, strive after, the most Divine coverings, through the pre-arranged representations of the typical symbols, as such (coverings) are, by nature, congenial to it. And all those who are hearers of a distinct theology without symbols, weave in themselves a sort of type, which conducts them to the conception of the aforesaid theology.

(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.

(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.

(49) And Euripides on the stage, in tragedy, says: "Dost thou this lofty, boundless Ether see, Which holds the earth around in the embrace Of humid arms? This reckon Zeus, And this regard as God." And in the drama of Pirithous, the same writes those lines in tragic vein: "Thee, self-sprung, who on Ether's wheel Hast universal nature spun, Around whom Light and dusky spangled Night, The countless host of stars, too, ceaseless dance."