(23) Him ever first, Him last too, they adore: Hail Father, marvel great - great boon to men." And before him, Homer, framing the world in accordance with Moses on the Vulcan-wrought shield, says: "On it he fashioned earth, and sky, and sea, And all the signs with which the heaven is crowned." For the Zeus celebrated in poems and prose compositions leads the mind up to God. And already, so to speak, Democritus writes, "that a few men are in the light, who stretch out their hands to that place which we Greeks now call the air. Zeus speaks all, and he hears all, and distributes and takes away, and he is king of all." And more mystically the Boeotian Pindar, being a Pythagorean, says: "One is the race of gods and men, And of one mother both have breath;" that is, of matter: and names the one creator of these things, whom he calls Father, chief artificer, who furnishes the means of advancement on to divinity, according to merit.

(105) Does he not seem to you to paraphrase that text, "At the presence of the Lord the earth trembles?" In addition to these, the most prophetic Apollo is compelled - thus testifying to the glory of God - to say of Athene, when the Medes made war against Greece, that she besought and supplicated Zeus for Attica. The oracle is as follows: "Pallas cannot Olympian Zeus propitiate, Although with many words and sage advice she prays; But he will give to the devouring fire many temples of the immortals, Who now stand shaking with terror, and bathed in sweat;" and so forth.

(10) This is why Zeus, although the oldest of the gods and their sovereign, advances first towards that vision, followed by gods and demigods and such souls as are of strength to see. That Being appears before them from some unseen place and rising loftily over them pours its light upon all things, so that all gleams in its radiance; it upholds some beings, and they see; the lower are dazzled and turn away, unfit to gaze upon that sun, the trouble falling the more heavily on those most remote.

Of those looking upon that Being and its content, and able to see, all take something but not all the same vision always: intently gazing, one sees the fount and principle of Justice, another is filled with the sight of Moral Wisdom, the original of that quality as found, sometimes at least, among men, copied by them in their degree from the divine virtue which, covering all the expanse, so to speak, of the Intellectual Realm is seen, last attainment of all, by those who have known already many splendid visions.

The gods see, each singly and all as one. So, too, the souls; they see all There in right of being sprung, themselves, of that universe and therefore including all from beginning to end and having their existence There if only by that phase which belongs inherently to the Divine, though often too they are There entire, those of them that have not incurred separation.

This vision Zeus takes, and it is for such of us, also, as share his love and appropriate our part in the Beauty There, the final object of all seeing, the entire beauty upon all things; for all There sheds radiance, and floods those that have found their way thither so that they too become beautiful; thus it will often happen that men climbing heights where the soil has taken a yellow glow will themselves appear so, borrowing colour from the place on which they move. The colour flowering on that other height we speak of is Beauty; or rather all There is light and beauty, through and through, for the beauty is no mere bloom upon the surface.

To those that do not see entire, the immediate impression is alone taken into account; but those drunken with this wine, filled with the nectar, all their soul penetrated by this beauty, cannot remain mere gazers: no longer is there a spectator outside gazing on an outside spectacle; the clear-eyed hold the vision within themselves, though, for the most part, they have no idea that it is within but look towards it as to something beyond them and see it as an object of vision caught by a direction of the will.

All that one sees as a spectacle is still external; one must bring the vision within and see no longer in that mode of separation but as we know ourselves; thus a man filled with a god- possessed by Apollo or by one of the Muses- need no longer look outside for his vision of the divine being; it is but finding the strength to see divinity within.

(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.

(57) And before him Orpheus said, speaking of the in hand: "Son of great Zeus, Father of Aegis-bearing Zeus." And Xenocrates the Chalcedonian, who mentions the supreme Zeus and the inferior Zeus, leaves an indication of the Father and the Son. Homer, while representing the gods as subject to human passions, appears to know the Divine Being, whom Epicurus does not so revere. He says accordingly: "Why, son of Peleus, mortal as thou art, With swift feet me pursuest, a god Immortal? Hast thou not yet known That I am a god?"

(22) Again, power in all things is by the most intellectual among the Greeks ascribed to God; Epicharmus - he was a Pythagorean - saying: "Nothing escapes the divine. This it behoves thee to know. He is our observer. To God nought is impossible." And the lyric poet: "And God from gloomy night Can raise unstained light, And can in darksome gloom obscure The day's refulgence pure." He alone who is able to make night during the period of day is God. In the Phoenomena Aratus writes thus: "With Zeus let us begin; whom let us ne'er, Being men, leave unexpressed. All full of Zeus, The streets, and throngs of men, and full the sea, And shores, and everywhere we Zeus enjoy." He adds: "For we also are His offspring;.... " that is, by creation. "Who, bland to men, Propitious signs displays, and to their tasks Arouses. For these signs in heaven He fixed, The constellations spread, and crowned the year With stars; to show to men the seasons' tasks, That all things may proceed in order sure.

(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.

(17) "The God that made the world, and all things in it, being the Lord of heaven and earth, dwelleth not in temples made with hands; neither is worshipped by men's hands, as if He needed anything; seeing that it is He Himself that giveth to all breath, and life, and all things." And Zeno, the founder of the Stoic sect, says in this book of the Republic, "that we ought to make neither temples nor images; for that no work is worthy of the gods."

(18) And he was not afraid to write in these very words: "There will be no need to build temples. For a temple is not worth much, and ought not to be regarded as holy. For nothing is worth much, and holy, which is the work of builders and mechanics." Rightly, therefore, Plato too, recognising the world as God's temple, pointed out to the citizens a spot in the city where their idols were to be laid up. "Let not, then, any one again," he says, "consecrate temples to the gods. For gold and silver in other states, in the case of private individuals and in the temples, is an invidious possession; and ivory, a body which has abandoned the life, is not a sacred votive offering; and steel and brass are the instruments of wars; but whatever one wishes to dedicate, let it be wood of one tree, as also stone for common temples." Rightly, then, in the great Epistle he says: "For it is not capable of expression, like other branches of study. But as the result of great intimacy with this subject, and living with it, a sudden light, like that kindled by a coruscating fire, arising in the soul, feeds itself." Are not these statements like those of Zephaniah the prophet? "And the Spirit of the Lord took me, and brought me up to the fifth heaven, and I beheld angels called Lords; and their diadem was set on in the Holy Spirit; and each of them had a throne sevenfold brighter than the light of the rising sun; and they dwelt in temples of salvation, and hymned the ineffable, Most High God."

(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.

(12) Accordingly, he who composed the Pharonis writes,- "Callithoe, key-bearer of the Olympian queen: Argive Hera, who first with fillets and with fringes The queen's tall column all around adorned." Further, the author of Europia relates that the statue of Apollo at Delphi was a pillar in these words: "That to the god first-fruits and tithes we may On sacred pillars and on lofty column hang."

(1) [Asclepius] Thou dost not mean their statues, dost thou, O Thrice-greatest one?

[Trismegistus] [I mean their] statues, O Asclepius,—dost thou not see how much thou even, doubtest?—statues, ensouled with sense, and filled with spirit, which work such mighty and such [strange] results,—statues which can foresee what is to come, and which perchance can prophesy, foretelling things by dreams and many other ways,—[statues] that take their strength away from men, or cure their sorrow, if they do so deserve. Dost thou not know, Asclepius, that Egypt is the image of the Heaven ; or, what is truer still, the transference, or the descent, of all that are in governance or exercise in Heaven? And if more truly [still] it must be said,—this land of ours is Shrine of all the World.

(9) But Zeus- ordering all, governor, guardian and disposer, possessor for ever of the kingly soul and the kingly intellect, bringing all into being by his providence, and presiding over all things as they come, administering all under plan and system, unfolding the periods of the kosmos, many of which stand already accomplished- would it not seem inevitable that, in this multiplicity of concern, Zeus should have memory of all the periods, their number and their differing qualities? Contriving the future, co-ordinating, calculating for what is to be, must he not surely be the chief of all in remembering, as he is chief in producing?

Even this matter of Zeus' memory of the kosmic periods is difficult; it is a question of their being numbered, and of his knowledge of their number. A determined number would mean that the All had a beginning in time ; if the periods are unlimited, Zeus cannot know the number of his works.

The answer is that he will know all to be one thing existing in virtue of one life for ever: it is in this sense that the All is unlimited, and thus Zeus' knowledge of it will not be as of something seen from outside but as of something embraced in true knowledge, for this unlimited thing is an eternal indweller within himself- or, to be more accurate, eternally follows upon him- and is seen by an indwelling knowledge; Zeus knows his own unlimited life, and, in that knowledge knows the activity that flows from him to the kosmos; but he knows it in its unity not in its process.

(84) But Thee I dare not speak. In limbs And mind I tremble. He rules from on high." And so forth. For in these he indicates these prophetic utterances: "If Thou openest the heaven, trembling shall seize the mountains from Thy presence; and they shall melt, as wax melteth before the fire;" and in Isaiah, "Who hath measured the heaven with a span, and the whole earth with His fist? Again, when it is said: "Ruler of Ether, Hades, Sea, and Land, Who with Thy bolts Olympus' strong-built home Dost shake. Whom demons dread, and whom the throng Of gods do fear. Whom, too, the Fates obey, Relentless though they be. O deathless One, Our mother's Sire I whose wrath makes all things reel; Who mov'st the winds, and shroud'st in clouds the world, Broad Ether cleaving with Thy lightning gleams,- Thine is the order 'mongat the stars, which run As Thine unchangeable behests direct.

(8) But what are we to understand by this Zeus with the garden into which, we are told, Poros or Wealth entered? And what is the garden?

We have seen that the Aphrodite of the Myth is the Soul and that Poros, Wealth, is the Reason-Principle of the Universe: we have still to explain Zeus and his garden.

We cannot take Zeus to be the Soul, which we have agreed is represented by Aphrodite.

Plato, who must be our guide in this question, speaks in the Phaedrus of this God, Zeus, as the Great Leader- though elsewhere he seems to rank him as one of three- but in the Philebus he speaks more plainly when he says that there is in Zeus not only a royal Soul, but also a royal Intellect.

As a mighty Intellect and Soul, he must be a principle of Cause; he must be the highest for several reasons but especially because to be King and Leader is to be the chief cause: Zeus then is the Intellectual Principle. Aphrodite, his daughter, issue of him, dwelling with him, will be Soul, her very name Aphrodite indicating the beauty and gleam and innocence and delicate grace of the Soul.

And if we take the male gods to represent the Intellectual Powers and the female gods to be their souls- to every Intellectual Principle its companion Soul- we are forced, thus also, to make Aphrodite the Soul of Zeus; and the identification is confirmed by Priests and Theologians who consider Aphrodite and Hera one and the same and call Aphrodite's star the star of Hera.

(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.

(47) And Parmenides the great, as Plato says in the Sophist writes of God thus: "Very much, since unborn and indestructible He is, Whole, only-begotten, and immoveable, and unoriginated." Hesiod also says: "For He of the immortals all is King and Lord. With God none else in might may strive." Nay more, Tragedy, drawing away from idols, teaches to look up to heaven. Sophocles, as Hecataeus, who composed the histories in the work about Abraham and the Egyptians, says, exclaims plainly on the stage: "One in very truth, God is One, Who made the heaven and the far-stretching earth, The Deep's blue billow, and the might of winds.

(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.

(2) There are, then, [certain] Gods who are the principals of all the species. Of Heaven,—or of whatsoe’er it be that is embraced within the term,—the essence-chief is Zeus; for ’tis through Heaven that Zeus gives life to all. Sun’s essence-chief is light; for the good gift of light is poured on us through the Sun’s disk.

(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.