(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.

(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) 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.

(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) 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.

(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.

(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.

(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.

(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.

(1) Let us, therefore, pass on to the mode of divination which is effected through human art, and which possesses much of conjecture and opinion. But concerning this you say as follows: “ Some also establish the art of the investigation of futurity through the viscera, through birds, and through the stars .” And there are, indeed, many other arts of this kind, but the above are sufficient to exhibit the whole artificial species of divination. Universally, therefore, this art employs certain divine signs, which derive their completion from the Gods, according to various modes. But from divine portents, according to an alliance of things to the signs which are exhibited, art in a certain respect decides, and from certain probabilities conjecturally predicts. The Gods, therefore, produce the signs, either through nature, which is subservient both generally and particularly to the generation of effects; or through genesiurgic dæmons, who presiding over the elements of the universe, partial bodies, and every thing contained in the world, conduct with facility the phænomena, conformably to the will of the Gods. But these signs symbolically premanifest the decrees of divinity and of futurity, as Heraclitus says, “neither speaking nor concealing, but signifying;” because they express the mode of fabrication through premanifestation. As, therefore, the Gods generate all things through forms , in a similar manner they signify all things through signs, impressed as it were by a seal ( δια συνθηματων ). Perhaps, likewise, they render by this mean our intelligence more acute. And thus much has been said by us in common concerning the whole of this kind of human art.

(20) Betus saith:—O disciples, ye have discoursed excellently!*

PyTHAGoRAS answers:—Seeing that they are philosophers, O Belus, why hast thou called them disciples?

He answereth:—lIt is in honour of their Master, lest I should make them equal with him. Then

PytHaGcoras saith:—Those who, in conjunction with us, have composed this book which is called the Turba, ought not to betermed disciples.

Then he:— Master, they have frequently described Permanent Water, and the making of the White and the Red in many ways, albeit under many names; but in the modes after which they have conjoined weights, compositions, and regimens, they agree with the hidden truth. Behold, what is said concerning this despised thing! A report has gone abroad that the Hidden Glory of the Philosophers is a stone and not astone, and that it is called by many names, lest the foolish should recognise it, Certain wise men have designated it after one fashion, namely, according to the place where it is generated; others have adopted another, founded upon its colour, some of whom have termed it the Green Stone;* by other some it is called the Stone of the most intense Spirit of Brass, not to be mixed with bodies; by yet others its description has been further varied, because itis sold for coins by lapidaries who are called saven; some have named it Spume of Luna;t some have distinguished it astronomically or arithmetically; it has already received a thousand titles, of which the best is:— “That which is produced out of metals.” So also others have called it the Heart of the Sun, and yet others have declared it to be that which is brought forth out of quicksilver with the milk of volatile things.

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(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.

(2) The following symbol, likewise, testifies the truth of this. For by the God “ sitting above the lotus ,” a transcendency and strength which by no means come into contact with the mire, are obscurely signified, and also indicate his intellectual and empyrean empire. For every thing belonging to the lotus is seen to be circular, viz. both the form of the leaves and the fruit; and circulation is alone allied to the motion of intellect, which energizes with invariable sameness, in one order, and according to one reason. But the God is established by himself, and above a dominion and energy of this kind, venerable and holy, superexpanded, and abiding in himself, which his being seated is intended to signify. When the God, also, is represented as “ sailing in a ship ,” it exhibits to us the power which governs the world. As, therefore, the pilot being separate from the ship presides over the rudder of it, thus the sun having a separate subsistence, governs the helm of the whole world. And as the pilot directs all things from the stem, giving from himself a small principle of motion to the vessel; thus, also, by a much greater priority, the God indivisibly imparts supernally from the first principles of nature, the primordial causes of motions. These particulars, therefore, and still more than these, are indicated by the God sailing in a ship.

(9) For the holy Element continually longs, [or groans] through the four Elements, to be released from the Vanity of the four Elements; in like Manner also the Qualifying [or Influence] of the grim [Constellations or] Stars [labours;] and therefore it drives Man to seek such wonderful Forms [or Ways,] that the eternal Wonders of God might be manifested, which (in the Breaking of the World) shall stand all (in the P Figure) in the Shadow.

(1) Whence also the Egyptians did not entrust the mysteries they possessed to all and sundry, and did not divulge the knowledge of divine things to the profane; but only to those destined to ascend the throne, and those of the priests that were judged the worthiest, from their nurture, culture, and birth. Similar, then, to the Hebrew enigmas in respect to concealment, are those of the Egyptians also. Of the Egyptians, some show the sun on a ship, others on a crocodile. And they signify hereby, that the sun, making a passage through the delicious and moist air, generates time; which is symbolized by the crocodile in some other sacerdotal account. Further, at Diospolis in Egypt, on the temple called Pylon, there was figured a boy as the symbol of production, and an old man as that of decay. A hawk, on the other hand, was the symbol of God, as a fish of hate; and, according to a different symbolism, the crocodile; of impudence. The whole symbol, then, when put together, appears to teach this: "Oh ye who are born and die, God hates impudence."

(5) But others say it was the symbol of the intellectual world, and that of sense. The coveting, then, the barrier of popular unbelief, was stretched in front of the five pillars, keeping back those in the surrounding space.

(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.

(4) Will not, therefore, he who surveys this conspicuous statue of the Gods, thus united to itself, be ashamed to have a different opinion of the Gods, who are the causes of it, so as to introduce among them sections, and separations, and corporeal-formed circumscriptions? I, indeed, should think, that every one would be thus disposed. For if there is no ratio, no habitude of symmetry, no communion of essence, nor a connexion either in capacity or in energy, between that which is adorned and the adorning cause; if this be the case, there will neither be found in the world a certain extension according to interval, nor local comprehension, nor partible interception, nor any other such like connascent equalization in the presence of the Gods [with mundane natures]. For in things which are of a kindred nature, according to essence and power, or which are, in a certain respect, of the same species, or homogeneous, a certain comprehension, or conservation, may be discovered. But in such things as are entirely exempt from all mundane wholes, what opposing circumstance, or transition through all things, or partible circumscription, or local comprehension, or any thing else of this kind can justly be perceived? I think, therefore, that the several participants of the divinities are of such a nature, that some partake of them etherially, others aerially, and others aquatically; which also, the art of divine works perceiving, employs adaptations and invocations, conformable to such a division. And thus much concerning the distribution of the more excellent genera into the world.

(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.