(2) In addition to these things also, the magnitude of the epiphanies [or manifestations] in the Gods, indeed, is so great as sometimes to conceal all heaven, the sun and the moon; and the earth itself, as the Gods descend, is no longer able to stand still. When archangels appear, certain parts of the world are moved, and a divided forerunning light precedes them. But they exhibit a magnitude of light commensurate to the magnitude of their domination. The angelic light is less than the archangelic, and more divided, but in dæmons it is still more divided, and the magnitude of the manifestation is not always equal in them. The manifestation of heroes is still less than that of dæmons, but exhibits more of an elevated condition. Again, the manifestation of such archons as preside over mundane forms, presents itself to the view as above measure great; but such of them as are distributed about matter, exhibit in their manifestations an abundance of pride and arrogance. Those of souls are not all of them seen to be equal, but appear to be less than those of heroes. And, in short, the magnitude of the manifestation is appropriately present in each of these, according to the magnitude of their powers, and the amplitude of the empire through which they extend themselves, and in which they exercise their authority.

(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.

(16) They are likenesses of the things which are exalted. They were brought to a lust for power in each one of them, according to the greatness of the name of which each is a shadow, each one imagining that it is superior to his fellows.

(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.

(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.

(1) It is necessary then, as I think, first to set forth what we think is the purpose of every Hierarchy, and what benefit each one confers upon its followers; and next to celebrate the Heavenly Hierarchies according to their revelation in the Oracles; then following these Oracles, to say in what sacred forms the holy writings of the Oracles depict the celestial orders, and to what sort of simplicity we must be carried through the representations; in order that we also may not, like the vulgar, irreverently think that the heavenly and Godlike minds are certain many-footed and many-faced creatures, or moulded to the brutishness of oxen, or the savage form of lions, and fashioned like the hooked beaks of eagles, or the feathery down of birds, and should imagine that there are certain wheels of fire above the heaven, or material thrones upon which the Godhead may recline, or certain many-coloured horses, and spear-bearing leaders of the host, and whatever else was transmitted by the Oracles to us under multifarious symbols of sacred imagery. And indeed, the Word of God artlessly makes use of poetic representations of sacred things, respecting the shapeless minds, out of regard to our intelligence, so to speak, consulting a mode of education proper and natural to it, and moulding the inspired writings for it.

(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.

(11) With many faces and eyes, presenting many wondrous sights, bedecked with many celestial ornaments, armed with many divine uplifted weapons; wearing celestial garlands and vestments, anointed with divine perfumes, all-wonderful, resplendent, boundless, and with faces on all sides.

(1) BUT since even the great and the small are attributed to the Cause of all, arid the same, and the different, and the similar, and the dissimilar, and the standing, and the movement. Come! and let us gaze upon these images of the Divine Names, such as have been manifested to us. Almighty God, then, is celebrated in the Oracles as great, both in greatness and in a gentle breeze, which manifests the Divine littleness; and as the same, when the Oracles declare "thou art the same"; and as different, when He is depicted, by the same Oracles, as of many shapes and many forms; and as similar, as mainstay of things similar and similitude; and as dissimilar to all, as the like of whom there is not; and as standing, and unmoved, and seated for ever; and as moving, as going forth to all; and whatever other Divine Names, of the same force with these, are celebrated by the Oracles.

(8) The Image of the Ox denotes the strong and the mature, turning up the intellectual furrows for the reception of the heavenly and productive showers; and the Horns, the guarding and indomitable. The representation of the Eagle denotes the kingly, and soaring, and swift in flight, and quickness in search of the nourishment which makes strong, and wanness, and agility, and cleverness; and the unimpeded, straight, and unflinching gaze towards the bounteous and brilliant splendour of the Divine rays of the sun, with the robust extension of the visual powers. That of Horses represents obedience and docility, and of those who are white, brilliancy, and as especially congenial to the Divine Light; but of those who are dark blue, the Hidden; and of those red, the fiery and vigorous; and of the piebald, the uniting of the extremes by the power passing through them, and joining the first to the second, and the second to the first, reciprocally and considerately. Now if we did not consult the proportion of our discourse, we might, not inappropriately, adapt the particular characteristics of the aforesaid living creatures, and all their bodily representations to the Heavenly Powers, upon the principle of dissimilar similitudes; for instance, their appearance of anger, to intellectual manliness, of which anger is the remotest echo, and their desire, to the Divine love; and to speak summarily, referring all the sensible perceptions, and many parts of irrational beings, to the immaterial conceptions and unified Powers of the Heavenly Beings. Now not only is this sufficient for the wise, but even an explanation of one of the dissimilar representations would be sufficient for the accurate description of similar things, after the same fashion.

(4) These hierarchies of Gods, then, being thus and [in this way] related, from bottom unto top, are [also] thus connected with each other, and tend towards themselves; so mortal things are bound to mortal, things sensible to sensible. The whole of [this grand scale of] Rulership, however, seems to Him [who is] the Highest Lord, either to be not many things, or rather [to be] one. For that from One all things depending, and flowing down from it,—when they are seen as separate, they’re thought to be as many as they possibly can be; but in their union it is one [thing], or rather two, from which all things are made;—that is, from Matter, by means of which the other things are made, and by the Will of Him, by nod of whom they’re brought to pass. XX

(4) [Sidenote A: Morphe pertains to the colour, figure, and magnitude of superficies.] the heroic, but at the same time are less than these. In addition also to these peculiarities, divine beauty, indeed, shines with an immense splendour as it were, fixes the spectators in astonishment, imparts a divine joy, presents itself to the view with ineffable symmetry, and is exempt from all other species of pulchritude. But the blessed spectacles of archangels have indeed themselves the greatest beauty, yet are not so ineffable and admirable as those of the Gods. Those of angels divide, in a partible manner, the beauty which they receive from archangels. But the dæmoniacal and heroical self-visive spirits, have both of them beauty in definite forms, yet the former is adorned in reasons which define the essence, and the latter exhibits fortitude. The phasmata of archons may be divided in a twofold respect. For some of them exhibit a beauty which is spontaneous, and of a ruling characteristic; but others, an elegance of form which is fictitious and renovated. And the phasmata of souls are, indeed, adorned in definite reasons, but these reasons are more divided than those in heroes, are partibly circumscribed, and are vanquished by one form. If, however, it be requisite to define all of them in common, I say that each participates of beauty according to its arrangement, the peculiar nature which it possesses, and its allotment.

(3) Again, therefore, the phasmata of the Gods are entirely immutable, according to magnitude, morphe,[A] and figure, and according to all things pertaining to them; those of archangels approximate to those of the Gods, but fall short of the sameness of them; those of angels are subordinate to these, but are immutable; and those of dæmons are at different times seen in a different form, and appear at one time great, but at another small, yet are still recognized to be the phasmata of dæmons. Moreover, those of such archons as are leaders are immutable; but those of such as are material are multiformly changed; those of heroes are similar to those of dæmons; and those of souls imitate in no small degree the dæmoniacal mutation. Farther still, order and quiet pertain to the Gods; but with archangels, there is an efficacy of order and quiet. With angels, the adorned and the tranquil are present, but not unattended with motion. Perturbation and disorder follow the dæmoniacal phasmata; but spectacles attend the archons, conformable to each of the particulars which we have already mentioned; the material archons, indeed, being borne along tumultuously; but those of a leading characteristic, presenting themselves to the view, firmly established in themselves. The phasmata of heroes are subject to motion and mutation; but those of souls resemble, indeed,

(31) And God is immense, [immeasurable,] and the Similitude is also immeasurable; he is in the Similitude, and the Similitude comprehends him not; the Similitude is his Work, and he is the Master- Workman thereof; the Constellation is his Instrument, and the Matrix, with the Elements, are the Materia, [Matter or Materials,] out of which the Master cuts and fashions his Work.

(16) "The design of a temple depends on symmetry, the principles of which must be most carefully observed by the architect. They are due to proportion, in ἀναλογία. Proportion is a correspondence among the measures of the members of an entire work, and of the whole to a certain part selected as standard. From this result the principles of symmetry. Without symmetry and proportion there can be no principles in the design of any temple; that is, if there is no precise relation between its members, as in the case of those of a well shaped man. For the human body is so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth. If we take the height of the face itself, the distance from the bottom of the chin to the under side of the nostrils [and from that point] to a line between the eyebrows is the same; from there to the lowest roots of the hair is also a third, comprising the forehead. The length of the foot is one sixth of the height of the body; of the forearm, one fourth; and the breadth of the breast is also one fourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors of antiquity attained to great and endless renown."

(31) VII. The Plane of the Consciousness of the Gods If, as we have seen, it is most difficult to speak in understandable terms concerning the phases of life and activity on the last mentioned Plane of Consciousness, what must be the difficulty of even hinting at the life and activities of the highest plane of all—the Plane of the Consciousness of the Gods On this highest of all Planes of Consciousness, however, dwell beings so high in the scale of knowledge, power, life, and bliss that even the imagination of the advanced student or teacher can scarcely grasp the idea. This is the Plane of the Gods, in verity—of being so far advanced that they are practically akin to the conception of the Gods created by man to account for the Universe, and to serve as objects of worship.

(2) But the soul which verges downward draws along with it the signs of bonds and punishments, is heavy with material spirits, is detained by the anomalous tumults of matter, and exhibits before itself, genesiurgic presiding dæmons. And, in short, all these genera exhibit their proper orders; viz. the aerial genera exhibit aerial fire; the terrestrial a terrestrial and blacker fire; and the celestial a more splendid fire. But in these three boundaries all the genera are distributed according to a triple order of beginning, middle, and end. And the Gods, indeed, exhibit the supreme and most pure causes of this triple order. But the genera of angels depend on those of archangels. The genera of dæmons appear to be subservient to those of angels; and in a similar manner to these, the genera of heroes are ministrant. They are not, however, subservient to angels in the same way as dæmons. Again, the genera of archons, whether they preside over the world or over matter, exhibit the order which is adapted to them. But all the genera of souls present themselves to the view as the last of more excellent natures. Hence, also, they exhibit places in conjunction with themselves; souls of the first rank primary, but those of the second rank secondary, places, and the rest conformably to their arrangement, in each of these three genera.

(78) These are the two great luminaries: their circumference is like the circumference of the heaven, and the size of the circumference of both is alike.

(4) And even as birds uprisen from the shore, As in congratulation o'er their food, Make squadrons of themselves, now round, now long, So from within those lights the holy creatures Sang flying to and fro, and in their figures Made of themselves now D, now I, now L. First singing they to their own music moved; Then one becoming of these characters, A little while they rested and were silent. O divine Pegasea, thou who genius Dost glorious make, and render it long-lived, And this through thee the cities and the kingdoms, Illume me with thyself, that I may bring Their figures out as I have them conceived! Apparent be thy power in these brief verses! Themselves then they displayed in five times seven Vowels and consonants; and I observed The parts as they seemed spoken unto me. 'Diligite justitiam,' these were First verb and noun of all that was depicted; 'Qui judicatis terram' were the last. Thereafter in the M of the fifth word Remained they so arranged, that Jupiter Seemed to be silver there with gold inlaid.

(43) And I saw how they are weighed in a righteous balance according to their proportions of light: (I saw) the width of their spaces and the day of their appearing, and how their revolution produces lightning: and (I saw) their revolution according to the number of the angels, and (how) they keep faith with each other.