(2) These twelve letters, he designed, formed, combined, weighed, and changed, and created with them the twelve divisions of the heavens (namely, the zodiacal constellations), the twelve months of the year, and the twelve important organs of the frame of man, namely the right and left hands, the right and left feet, two kidneys, the liver, the gall, the spleen, the intestines, the gullet, and the stomach.

(1) There were formed seven double letters, Beth, Gimel, Daleth, Kaph, Pe, Resh, Tau, each has two voices, either aspirated or softened. These are the foundations of Life, Peace, Riches, Beauty or Reputation, Wisdom, Fruitfulness, and Power. These are double, because their opposites take part in life, opposed to Life is Death; to Peace, War; to Riches, Poverty; to Beauty or Reputation, Deformity or Disrepute; to Wisdom, Ignorance; to Fruitfulness, Sterility; to Power, Slavery.

(15) What does the ב resemble? It is like a man, formed by God with wisdom. He is closed on all sides, but open in front. The א, however, is open from behind. This teaches us that the tail of the ב is open from behind. If not for this, man could not exist. Likewise, if not for the ב on the tail of the א, the world could not exist.

(36) His students asked: Why is the letter ד thick on the side? He replied: Because of the segol which is in the small patach. It is thus written (Psalm 24:7), "The openings (פִּתְחֵי) of the World." There He placed a patach above and a segol below. It is for this reason that it is thick.

(20) The two chapters which are numbered by M. Naville as 136 A and 136 B are represented in the later recensions by a single chapter, which has been made out of them. There is very much obscurity in the ancient texts, though the MSS. containing them are numerous, and the more recent versions are quite as difficult to understand. We must be satisfied for the present by a strict literal and grammatical translation, wherever this amount of success is attainable. The royal sarcophagus 32 of the British Museum gives the latest form of 136 A

(5) Such, then, is the style of the example in arithmetic. And let the testimony of geometry be the tabernacle that was constructed, and the ark that was fashioned, - constructed in most regular proportions, and through divine ideas, by the gift of understanding, which leads us from things of sense to intellectual objects, or rather from these to holy things, and to the holy of holies. For the squares of wood indicate that the square form, producing fight angles, pervades all, and points out security. And the length of the structure was three hundred cubits, and the breadth fifty, and the height thirty; and above, the ark ends in a cubit, narrowing to a cubit from the broad base like a pyramid, the symbol of those who are purified and tested by fire. And this geometrical proportion has a place, for the transport of those holy abodes, whose differences are indicated by the differences of the numbers set down below.

(10) 'Tis an evidence of the tailor's art. Logs of wood would not be duly shaped The leech skilled in setting bones goes If there were no sick and infirm, How could the excellence of the leech's art be seen? If vile base copper were not mingled, How could the alchemist show his skill? Defects are the mirrors of the attributes of Beauty, The base is the mirror of the High and Glorious One,

(1) The simple letters are twelve, namely: He, Vau, Zain, Heth, Teth, Yod, Lamed, Nun, Samech, Oin, Tzaddi, and Quoph; they represent the fundamental properties, eight, hearing, smell, speech, desire for food, the sexual appetite, movement, anger, mirth, thought, sleep, and work. These symbolize also twelve directions in space: northeast, southeast, the east above, the east below, the northwest, southwest, the west above, the west below, the upper south, the lower south, the upper north, the lower north. These diverge to all eternity, and an as the arms of the universe.

(2) Employing this method, therefore, as a basis, and as it were an infallible rule, he afterwards extended the experiment to various instruments; viz. to the pulsation of patellæ or pans, to pipes and reeds, to monochords, triangles, and the like. And in all these he found an immutable concord with the ratio of numbers. But he denominated the sound which participates of the number 6 hypate : that which participates of the number 8 and is sesquitertian, mese ; that which participates of the number 9, but is more acute by a tone than mese, he called paramese , and epogdous ; but that which participates of the dodecad, nete . Having also filled up the middle spaces with analogous sounds according to the diatonic genus, he formed an octochord from symphonious numbers, viz. from the double, the sesquialter, the sesquitertian, and from the difference of these, the epogdous.

And thus he discovered the [harmonic] progression, which tends by a certain physical necessity from the most grave [i. e. flat] to the most acute sound, according to this diatonic genus. For from the diatonic, he rendered the chromatic and enharmonic genus perspicuous, as we shall some time or other show when we treat of music. This diatonic genus, however, appears to have such physical gradations and progressions as the following; viz. a semitone, a tone, and then a tone; and this is the diatessaron, being a system consisting of two tones, and of what is called a semitone. Afterwards, another tone being assumed, viz. the one which is intermediate, the diapente is produced, which is a system consisting of three tones and a semitone.

In the next place to this is the system of a semitone, a tone, and a tone, forming another diatessaron, i. e. another sesquitertian ratio. So that in the more ancient heptachord indeed, all the sounds, from the most grave, which are with respect to each other fourths, produce every where with each other the symphony diatessaron; the semitone receiving by transition, the first, middle, and third place, according to the tetrachord. In the Pythagoric octachord, however, which by conjunction is a system of the tetrachord and pentachord, but if disjoined is a system of two tetrachords separated from each other, the progression is from the most grave sound. Hence all the sounds that are by their distance from each other fifths, produce with each other the symphony diapente; the semitone successively proceeding into four places, viz. the first, second, third, and fourth. After this manner, therefore, it is said that music was discovered by Pythagoras. And having reduced it to a system, he delivered it to his disciples as subservient to every thing that is most beautiful.

(9) Note 1. Tombeau de Seti I. (Musée Guimet, Vol. IX, Plate 34

(4) "For the Muse was not then Greedy of gain or mercenary; Nor were Terpsichore's sweet, Honey-toned, silvery soft-voiced Strains made merchandise of." Now those instructed among the Egyptians learned first of all that style of the Egyptian letters which is called Epistolographic; and second, the Hieratic, which the sacred scribes practise; and finally, and last of all, the Hieroglyphic, of which one kind which is by the first elements is literal (Kyriologic), and the other Symbolic. Of the Symbolic, one kind speaks literally by imitation, and another writes as it were figuratively; and another is quite allegorical, using certain enigmas.