“This was the highest work of magic, the Spiritual Alchemy or the Transmutation from human Force to Divine Potency. As is said by the great Iamblichus, in section iv., chapter ii., of The Mysteries:
‘The Priest who invokes is a man; but when he commands powers it is because through arcane symbols, he, in a certain respect, is invested with the sacred Form of the Gods.'” [via]
“Let thy ways be made wide for me to traverse the earth and the expanse of Heaven. Shine Thou upon me, O penetrating power, as I draw near to the Divine words my ears shall hear in the Abodes of the West. Let no pollution of that which brought me forth be upon me. Deliver me, protect me from him who closeth His Eyes at twilight and bringeth to an end in darkness. (The annihilator.)” [via]
“Here we have a representation of a fully initiated ruler. Her Divine Powers are represented on her head-dress by the feathers of the Celestial and Terrestrial Truth; the orb of the Sun; the two Goddesses ruling the commencement and the fruition, represented by the horned and orbed uræii, symbols of beauty, life, and fierce protective motherhood; the ram’s horns of all-penetrating potency; the nemeses with the fiery serpent of prophecy and protection upright before her face.” [via]
Recent article at Smithsonian magazine talks about an earlier example of the Vitruvian man, a figure that attempts to represent man on a circle and square as theorized by Vitruvius in his Ten Books on Architecture, at “The Other Vitruvian Man: Was Leonardo da Vinci’s famous anatomical chart actually a collaborative effort?” by Tony Lester
“Vitruvian Man (C. 1490), Giacomo Andrea Da Ferrara, Biblioteca Ariostea, Ferrara (Cart. Sec. XVI, Fol. Figurato, Classe II, N. 176, Fol 78V)” [via]
“On the manuscript’s 78th folio, he found a drawing that gave him the chills. It depicted a nude figure inside a circle and a square—and it looked uncannily like Leonardo da Vinci’s Vitruvian Man.
Everybody knows Leonardo’s drawing. It has become familiar to the point of banality. When Leonardo drew it, however, he was at work on something new: the attempt to illustrate the idea, set down by Vitruvius in the Ten Books, that the human body can be made to fit inside a circle and a square.
This was more than a geometrical statement. Ancient thinkers had long invested the circle and the square with symbolic powers. The circle represented the cosmic and the divine; the square, the earthly and the secular. Anyone proposing that a man could be made to fit inside both shapes was making a metaphysical proposition: The human body wasn’t just designed according to the principles that governed the world; it was the world, in miniature.” [via]
“it means that the postulant will henceforth dedicate and devote his life to the Divine rather than to his own or any other service, so that by the principles of the Order he may be the better enabled to display that beauty of godliness which previously perhaps has not manifested through him.” [via]
“Here, she is willing. Stands the Absolute
Reaching its arms toward me. I am mute,
I draw toward. Oh, suddenly I see
The treason-pledge, the royal prostitute.
One moment, and I should have passed beyond
Linked unto spirit by the fourfold bond.
Not dead to earth, but living as divine,
A priest, a king, an oracle, a shrine,
A saviour! Yet my misty spirit conned
The secret murmur: ‘Gereth, I am thine!'” [via]
“One far above the heavens crowned alone,
Immitigable, intangible, a maid,
Incomprehensible, divine, unknown,
Who loves your love, and to high God hath said:
‘To me these songs are made!’
So in a little from the silent Hell
Rises a spectre, disanointed now,
Who bears a cup of poison terrible,
The seal of God upon his blasted brow,
To whom His angels bow.” [via]
“O desecrated lovers! O divine
Passionate martyrs, virgin unto death!
O kissing daughters of the unfed brine!
O sisters of the west wind’s pitiful breath,
There is One that pitieth!” [via]