Manly Palmer Hall: The secret teachings of all ages (1928)

   The 
     Dionysiac 
             Architects 

The most celebrated of the ancient fraternities of artisans was that of the Dionysiac Architects. This organization was composed exclusively of initiates of the Bacchus-Dionysos cult and was peculiarly consecrated to the science of building and the art of decoration. Acclaimed as being the custodians of a secret and sacred knowledge of architectonics, its members were entrusted with the design and erection of public buildings and monuments. The superlative excellence of their handiwork elevated the members of the guild to a position of surpassing dignity; they were regarded as the master craftsmen of the earth. Because of the first dances held in honor of Dionysos, he was considered the founder and patron of the theater, and the Dionysians specialized in the construction of buildings adapted for the presentation of dramatic performances. In the circular or semicircular orchestra they invariably erected an altar to  Æschylus, the famous Greek poet, that while appearing in one of his own plays he was suspected by a mob of angry spectators of revealing one of the profound secrets of the Mysteries and was forced to seek refuge at the altar of Dionysos. So carefully did the Dionysiac Architects safeguard the secrets of their craft that only fragmentary records exist of their esoteric teachings. John A. Weisse thus sums up the meager data available concerning the order:

"They made their appearance certainly not later than 1000 B.C., and appear to have enjoyed particular privileges and immunities. They also possessed secret means of recognition, and were bound together by special ties only known to themselves. The richer of this fraternity were bound to provide for their poorer brethren. They were divided into communities, governed by a Master and Wardens, and called γυνοικιαι (connected houses). They held a grand festival annually, and were held in high esteem. Their ceremonials were regarded as sacred. It has been claimed that Solomon, at the instance of Hiram, King of Tyre, employed them at his temple and palaces. They were also employed at the construction of the Temple of Diana at Ephesus. They had means of intercommunication all over the then known world, and from them, doubtless, sprang the guilds of the Traveling Masons known in the Middle Ages." (See The Obelisk and Freemasonry.)

The fraternity of the Dionysiac Architects spread throughout all of Asia Minor, even reaching Egypt and India. They established themselves in nearly all the countries bordering on the Mediterranean, and with the rise of the Roman Empire found their way into Central Europe and even into England. The most stately and enduring buildings in Constantinople, Rhodes, Athens, and Rome were erected by these inspired craftsmen. One of the most illustrious of their number was Vitruvius, the great architect, renowned as the author of De Architectura Libri Decem. In the various sections of his book Vitruvius gives several hints as to the philosophy underlying the Dionysiac concept of the principle of symmetry applied to the science of architecture, as derived from a consideration of the proportions established by Nature between the parts and members of the human body. The following extract from Vitruvius on the subject of symmetry is representative:

"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."

The edifices raised by the Dionysiac Builders were indeed "sermons in stone." Though unable to comprehend fully the cosmic principles thus embodied in these masterpieces of human ingenuity and industry, even the uninitiated were invariably overwhelmed by the sense of majesty and symmetry resulting from the perfect coordination of pillars, spans, arches, and domes. By variations in the details of size, material, type, arrangement, ornamentation, and color, these inspired builders believed it possible to provoke in the nature of the onlooker certain distinct mental or emotional reactions. Vitruvius, for example, describes the disposition of bronze vases about a room so as to produce certain definite changes in the tone and quality of the human voice. In like manner, each chamber in the Mysteries through which the candidate passed had its own peculiar acoustics. Thus in one chamber the voice of the priest was amplified until his words caused the very room to vibrate, while in another the voice was diminished and softened to such a degree that it sounded like the distant tinkling of silver bells. Again, in some of the underground passageways the candidate was apparently bereft of the power of speech, for though he shouted at the top of his voice not even a whisper was audible to his ears. After progressing a few feet, however, he would discover that his softest sigh would be reechoed a hundred times. 

The supreme ambition of the Dionysiac Architects was the construction of buildings which would create distinct impressions consistent with the purpose for which the structure itself was designed. In common with the Pythagoreans, they believed it possible by combinations of straight lines and curves to induce any desired mental attitude or emotion. They labored, therefore, to the end of producing a building perfectly harmonious with the structure of the universe itself. They may have even believed that an edifice so constructed because it was in no respect at variance with any existing reality would not be subject to dissolution but would endure throughout the span of mortal time. As a logical deduction from their philosophic trend of thought, such a building--en rapport with Cosmos--would also have become an oracle. Certain early works on magical philosophy hint that the Ark of the Covenant was oracular in character because of specially prepared chambers in its interior. These by their shape and arrangement were so attuned to the vibrations of the invisible world that they caught and amplified the voices of the ages imprinted upon and eternally existent in the substance of the astral light.

Unskilled in these ancient subtleties of their profession, modern architects often create architectural absurdities which would cause their creators to blush with shame did they comprehend their actual symbolic import. Thus, phallic emblems are strewn in profusion among the adornments of banks, office buildings, and department stores. Christian churches also may be surmounted with Brahmin or Mohammedan domes or be designed in a style suitable for a Jewish synagogue or a Greek temple to Pluto. These incongruities may be considered trivial in importance by the modern designer, but to the trained psychologist the purpose for which a building was erected is frustrated in large measure by the presence of such architectural discordances. Vitruvius thus defines the principle of propriety as conceived and applied by the Dionysians:

"Propriety is that: perfection of style which comes when a work is authoritatively constructed on approved principles. It arises from prescription (Greek θεματισμῷ), from usage, or from nature. From prescription, in the case of hypæthral edifices, open to the sky, in honour of Jupiter Lightning, the Heaven, the Sun, or the Moon: for these are gods whose semblances and manifestations we behold before our very eyes in the sky when it is cloudless and bright. The temples of Minerva, Mars, and Hercules will be Doric, since the virile strength of these gods makes daintiness entirely inappropriate to their houses. In temples to Venus, Flora, Proserpine, Spring-Water, and the Nymphs, the Corinthian order will be found to have peculiar significance, because these are delicate divinities and so its rather slender outlines, its flowers, leaves, and ornamental volutes will lend propriety where it is due. The construction of temples of the Ionic order to Juno, Diana, Father Bacchus, and the other gods of that kind, will be in keeping with the middle position which they hold; for the building of such will be an appropriate combination of the severity of the Doric and the delicacy of the Corinthian."

In describing the societies of Ionian artificers, Joseph Da Costa declares the Dionysiac rites to have been founded upon the science of astronomy, which by the initiates of this order was correlated to the builder's art. In various documents dealing with the origin of architecture are found hints to the effect that the great buildings erected by these initiated craftsmen were based upon geometrical patterns derived from the constellations. Thus, a temple might be planned according to the constellation of Pegasus or a court of judgment modeled after the constellation of the Scales. The Dionysians evolved a peculiar code by which they were able to communicate with one another in the dark and both the symbols and the terminology of their guild were derived, in the main, from the elements of architecture.

While stigmatized as pagans by reason of their philosophic principles, it is noteworthy that these Dionysiac craftsmen were almost universally employed in the erection of early Christian abbeys and cathedrals, whose stones even to this very day bear distinguishing marks and symbols cut into their surfaces by these illustrious builders. Among the ornate carvings upon the fronts of great churches of the Old World are frequently found representations of compasses, squares, rules, mallets, and clusters of builders' tools skillfully incorporated into mural decorations and even placed in the hands of the effigies of saints and prophets standing in exalted niches. A great mystery was contained in the ancient portals of the Cathedral Of Notre Dame which were destroyed during the French Revolution, for among their carvings were numerous Rosicrucian and Masonic emblems; and according to the records preserved by alchemists who studied their bas-reliefs, the secret processes for metallic transmutation were set forth in their grotesque yet most significant figures.

The checkerboard floor upon which the modern Freemasonic lodge stands is the old tracing board of the Dionysiac Architects, and while the modern organization is no longer limited to workmen's guilds it still preserves in its symbols the metaphysical doctrines of the ancient society of which it is presumably the outgrowth. The investigator of the origin of Freemasonic symbolism who desires to trace the development of the order through the ages will find a practical suggestion in the following statement of Charles W. Heckethorn:

"But considering that Freemasonry is a tree the roots of which spread through so many soils, it follows that traces thereof must be found in its fruit; that its language and ritual should retain much of the various sects and institutions it has passed through before arriving at their present state, and in Masonry we meet with Indian, Egyptian, Jewish, and Christian ideas, terms therefrom the supreme ambition of their craft and symbols." (See The Secret Societies of All Ages and Countries.)

The Roman Collegia of skilled architects were apparently a subdivision of the greater Ionian body, their principles and organization being practically identical with the older Ionian institution. It has been suspected that the Dionysians also profoundly influenced early Islamic culture, for part of their symbolism found its way into the Mysteries of the dervishes. At one time the Dionysians referred to themselves as Sons of Solomon, and one of the most important of their symbols was the Seal of Solomon--two interlaced triangles. This motif is frequently seen in conspicuous parts of Mohammedan mosques. The Knights Templars--who were suspected of anything and everything--are believed to have contacted these Dionysiac artificers and to have introduced many of their symbols and doctrines into mediæval Europe. But Freemasonry most of all owes to the Dionysiac cult the great mass of its symbols and rituals which are related to the science of architecture. From these ancient and illustrious artisans it also received the legacy of the unfinished Temple of Civilization-that vast, invisible structure upon which these initiated builders have labored continuously since the inception of their fraternity. This mighty edifice, which has fallen and been rebuilt time after time but whose foundations remain unmoved, is the true Everlasting House of which the temple on the brow of Mount Moriah was but an impermanent symbol.

Aside from the operative aspect of their order, the Dionysiac Architects had a speculative philosophic code. Human society they considered as a rough and untrued ashlar but lately chiseled from the quarry of elemental Nature. This crude block was the true object upon which these skilled craftsmen labored--polishing it, squaring it, and with the aid of fine carvings transforming it into a miracle of beauty. While mystics released their souls from the bondage of matter by meditation and philosophers found their keenest joy in the profundities of thought, these master workmen achieved liberation from the Wheel of Life and Death by learning to swing their hammers with the same rhythm that moves the swirling forces of Cosmos. They venerated the Deity under the guise of a Great Architect and Master Craftsman who was ever gouging rough ashlars from the fields of space and truing them into universes. The Dionysians affirmed constructiveness to be the supreme expression of the soul, and attuning themselves with the ever-visible constructive natural processes going on around them, believed immortality could be achieved by thus becoming a part of the creative agencies of Nature. 

Hippolyto Joseph da Costa (1774-1823)

    The 

           History of the 

       Dionysian 
                  Artificers 

                                                    (Excerpt)

The mysteries of the ancients, and the associations in which their doctrines were taught, have hardly been considered in modern times, but with a view to decry and ridicule them. The systems of ancient mythology have been treated as monstrous absurdities, debasing the human reason, conducting to idolatry, and favouring depravity of manners. However, they deserve attention, if the motives of their inventors, rather than the profligacy and ignorance of their corruptors be contemplated. When men were deprived of the light of revelation, those who formed systems of morality to guide their fellow creatures, according to the dictates of improved reason, deserved the thanks of mankind, however deficient those systems might be, or time may have altered them; respect, not derision, ought to attend the efforts of those good men; though their labours might have proved unavailing. In this point of view must be considered an association, traced to the most remote antiquity, and preserved through numberless viscissitudes, yet retaining the original marks of its foundation, scope, and tenets. It appears, that, at a very early period, some contemplative men were desirous of deducting from the observation of nature, moral rules for the conduct of mankind. Astronomy was the science selected for this purpose; architecture was afterwards called an aid of this system; and its followers formed a society or sect, which will be the object of this enquiry.

The continuity of this system will be found sometimes broken, a natural effect of conflicting theories, of the alteration of manners, and of change of circumstances, but it will make its appearances at different periods, and the same truth will be seen constantly. The importance of calculating with precision the seasons of the year, to regulate agricultural pursuits, navigation, and other necessary avocations in life, must have made the science of astronomy an object of great care, in the government of all civilized nations; and the prediction of eclipses, and other phenomena, must have obtained for the learned in this science, such respect and veneration from the ignorant multitude, as to render it extremely useful to legislators, in framing laws for regulating the moral conduct of their people.

The laws of nature and the moral rules deducted from them were explained in allegorical histories, which we call fables, and those allegorical histories were impressed in the memory by symbolical ceremonies denominated mysteries, and which, though afterwards misunderstood and misapplied, contain systems of the most profound, the most sublime, and the most useful theory of philosophy.

Amongst those mysteries are peculiary remarkable the Eleusinian. Dionysius, Bacchus, Orisis, Adonis, Thamuz, Apollo, etc., were names adopted in various languages, and in several countries, to designate the Divinity, who was the object of those ceremonies, and it is generally admitted that the sun was meant by these several denominations. Let us begin with a fact, not disputed, that in these ceremonies, a death and resurrection was represented, and that the interval between death and resurrection was sometimes three days, sometimes fifteen days.

Now, by the concurrent testimony of all ancient authors, the deities called Osiris, Adonis, Bacchus, &c. were names given to, or types, representing the sun, considered in different situations, and contemplated under various points of view.

Therefore, these symbolic representations, which described the sun as dead, that is to say, hidden for three days under the horizon, must have originated in a climate, where the sun, when in the lower hemisphere, is, at a certain season of the

year, concealed for three days from the view of the inhabitants.

Such climate is, in fact, to be found as far north as latitude 66°, and it is reasonable to conclude, that, from a people living near the polar circle, the worship of the sun, with such ceremonies, must have originated; and some have supposed that this people were the Atlantides. The worship of the sun is generally traced to Mitraic rites, and those invented by the Magi of Persia. But if the sun could be made an object of veneration, if the preservation of fire could be thought deserving of religious ceremonies, it is more natural that it should be with a people living in a frozen clime, to whom the sun is the greatest comfort, whose absence under the horizon for three days is a deplorable event, and whose appearance above the horizon a real source of joy.

Not so in Persia, where the sun is never hidden for three days together under the horizon, and where its piercing rays are so far from being a source of pleasure, that to be screened from them, to enjoy cool shades, is one of those comforts, to obtain which all the ingenuity of art is exerted. The worship, therefore, of the sun, and the keeping sacred fires, must have been a foreign introduction into Persia.

The conjecture is strengthened by some important facts, which, referring to astronomical, allusions, place the scene out of Persia, though the theory is found there. In the Boun Dehesch (translated by Anquetil Du Perron page 400) we find, that "the longest day of the summer is equal to the two shortest of the winter; and that the longes night in the winter is equal to the two shortest nights in summer."

This circumstance can only take place at the latitude of 49° 20', where the longest day of the year is of sixteen hours ten minutes, and the shortest of eight hours five minutes. This latitude is far beyond the limits of Persia, where history places Zoroaster, to whom the sacred doctrines; of the Persian book Boun Dehesch are attributed. This proportion, then, of days and nights, as a general rule could only be true in Scythia, whether at the sources of the Irtisch, the Oby, the Jenisci, or the Slinger.

We know nothing of the antient history of those Scythians or Massagetes, but we know that they disputed their antiquity with the Egyptians, and that the above principle, though attributed to the Persian Zoroaster, is only applicable to the country of those Scythians. But let the origin of the mysteries of the sun begin where it may, they were celebrated in Greece, in various places, amongst others, at Appollonia, a city dedicated to Apollo, and situated in latitude 41° 22'. 2 In this latitude the longest day has fifteen hours, differing three hours from the length of the day when the sun is on the equinoxial: the reverse is the case with the nights. This circumstance will account for the preservation of three days in these mysteries, even when celebrated in Greece, and also for the fifteen days, or representation of the number of fifteen in some of the Eleusinian rites. The mysterious numbers were employed to designate such and similar operations of nature, for it is said that the Pythagorean symbols and secrets were borrowed from the Orphic or Eleusinian rites; and that they consisted in the study of the sciences and useful arts, united with theology and ethics, and were communicated in cyphers and symbols.  Similar intimations, as to the mystic import of numbers are found in many other authors.

The letters, representing numbers formed cabalistic names, expressive of the essential qualities of those things they meant to represent; and even the Greeks, when they translated foreign names, whose cabalistic import they knew, so they rendered them by Greek letters, as to preserve the same interpretation in numbers, which we find exemplified in the name Nile. But in the number three to which so many mystical and moral allusions were made, had a reference to the three celestial circles, two of which the sun touches, passing over the third in its annual course.

The mysteries of Eleusis, the same as those of Dionysius or Bacchus, were supposed by some to have been introduced into Greece by Orpheus:  they may have come there from Egypt, but Egypt may have received them at a previous period from the Persians, and these again from the Scythians; but taking them only as we find them in Greece, we will give here an outline of their ceremonies.

The aspirant for these mysteries was not admitted a candidate till he had arrived at a certain age, and particular persons were appointed to examine and prepare him for the rites of initiation.  Those, whose conduct was found irregular, or who had been guilty of attrocious crimes, were rejected, those found worthy of admittance were then instructed by significant symbols in the principles of society.

At the ceremony of admission into these mysteries, the candidate was first shown into a dark room, called the mystical chapel.  There certain questions were put to him. When introduced, the holy book was brought forward, from between two pillars or stones: he was rewarded by the vision:  a multitude of extraordinary lights were presented to him, some of which are worthy of particular remark.

He stood on a sheep skin; the person opposite was called the revealer of sacred things  and he was also clothed in a sheep skin or with a veil of purple, and on his right shoulder a mule skin spotted or variegated, representing the rays of the sun and stars. At a certain distance stood the torch-bearer,  who represented the sun; and beside the altar was a third person, who represented the moon.

Thus we perceive, that over those assemblies presided three persons, in different employments, and we may remark, that in the government of the caravans in the eastern countries, three persons also direct them, though there are five principal officers, besides the three mathematicians; those three persons are, the commander in chief, who rules all; the captain of the march, who has the ruling power, as long as the caravan moves; and the captain of the rest, or refreshment, who assumes the government, as soon as the caravan stops to refresh.  Some authors have observed the same division of power, in the march of the Israelites through the wilderness, and consider Moses as the captain general, Joshua the captain of the march; and perhaps Aaron as the captain of the rest. The society of which we are speaking, was ruled by three persons, with different duties assigned to them, by a custom of the most remote antiquity. The mysteries, however, were not communicated at once, but by gradations, in three different parts. The business of the initiation, properly speaking was divided into five sections, as we find in a passage of Theo, who compares philosophy to those mystic rites.

These ceremonies, thus far, appear to contain the lesser mysteries, or the first and second stages of the candidate in his progress through the course of his initiations. There was, however, a third stage, when the candidate, himself, was made symbolically to approach death, and then return to life. In this third stage of the ceremony, the candidate was stretched upon the couch, to represent his death.

As to the festivities, in which those mysteries were celebrated, we find that on the 17th of the month Athyr  the images of Osiris were enclosed in a coffin or ark: on the 18th was the search;  and on the 19th was the finding.

Thug in fables or symbolical histories, relating to these mysteries, we find Adonis slain and resuscitated; the Syrian women weeping for Thamuz, etc.

Let us now examine what was meant by this symbolical death and resurrection, or by certain personages, said to have visited the Hades, and returning up again. It appears that this type in all its various forms and denominations, indicated the sun passing to the lower hemisphere, and coming again to the upper. The Egyptians, who observed this worship of the sun, under the name of Osiris, represented the sun in the figure of an old man, just before the winter solstice, and typified him by Serapis, having the constellation of Leo opposite to him, the Serpent or Hydra under him, the Wolf on the east of the Lion, and the Dog on the west. This is the state of the southern hemisphere at midnight about that period of the year.

The same Egyptians represented the sun by the boy Harpocrates, at the vernal equinox; and then was the festivity of the death, burial, and resurrection of Osiris; that is to say, the sun in the lower hemisphere; just coming up, and rising above in the upper hemisphere. In this upper situation the sun was called Horus, Mithras, etc. and hailed as sol invictus. We will now point out some other symbols to express the same phenomena, though different from those types we are treating of at present. In the Mithraical astronomical monuments, where the figure of a man is represented conquering and killing a bull, there are two figures by their sides with torches; one pointing downwards, the other, upwards. These monuments, where the mysteries in question were depicted, the man killing and conquering the bull, represent the sun, passing to the upper hemisphere, through the sign of Taurus, which in that remote period (four thousand six hundred years before our era) was the equinoxal sign. The two torch-bearers, the one pointing his torch downwards, the other upwards, represent the sun passing down to the lower hemisphere, and coming up again.

At the remote time before alluded to, the sun entered the sign Taurus, at the summer equinox, and the year was begun at this period among the Egyptian astronomers. Afterwards, in consequence of the precession of the equinoxes, the summer equinox took place in the sign of Aries; hence part of the Egyptians transferred their worship from the bull or calf to the ram;  while others continued to worship the bull.  We may explain this in the language of our modern astronomers by saying, that some of the learned Egyptians continued to reckon by the moveable zodiac, while others reckoned the year by the fixed zodiac; and this circumstance produced a division of sects in the people, as it was a division of opinion, amongst the learned.

Likewise, by the same precession of the equinoxes, the sun passed from Aries to Pisces in the vernal equinox, about three hundred and thirty eight years before our era; yet the beginning of the year continued to be reckoned from Aries. If the Egyptian astronomy and Egyptian religion had then existed with the same vigour, both would have perhaps suffered a similar alteration; but the Egyptian systems were at that period nearly annihilated. We may observe, however, that the Christians, at the beginning of our era, marked their tombs; with fishes, as an emblem of Christianity, to distinguish their sepulchers from those of the heathens, by a symbol unknown to them.

Returning from this short digression to our immediate purpose, we have to observe, that if those ceremonies and symbols were meant to represent the sun, and the laws of its motions, these very phenomena of nature were studied with a moral view, as being themselves types or arguments to a more sublime or metaphysical philosophy; and the moral rules therefrom deducted, were impressed on the memory by those lively images and representations. The emerging of the sun into the lower hemisphere, and its returning, was contemplated either as a proof or as a symbol of the immortality of the soul; one of the most important, as well as the most sublime tenets of the Platonic Philosophy.

The doctrines of the spirituality and immortality of the soul, explained by those symbols, were very little understood, even by the initiated; thus we find some of them took those types to signify merely the present body, by their descriptions of the infernal abodes; whereas, the true meaning of these mysteries inculcated the doctrine of a future state of the soul, and future rewards and punishments; and that such were the doctrines of those philosophers is shown by many and indisputable authorities.

The union of the soul with the body was considered as the death of the soul; its; separation as the resurrection of the soul; 3 and such ceremonies and types were intended to impress the doctrine of the immersion of the soul into matter as is well attested. By the emblem of the sun descending into the lower hemisphere was also represented the soul of the man, who through ignorance and uncultivation, was in a state compared to sleep, or almost dead; which mystery was intended to stimulate man to the learning of sciences.

The Egyptians also considered matter as a species of mud or mire, in which the soul was immerged; and in an ancient author we find a recapitulation of these theories in the same sense. The Persians, who followed the tenets of Zerdoust, called by the Greeks Zoroaster, having received the same doctrines upon the mystical contemplation of the sun, made also the same metaphysical application to the soul, of the passage of the sun through the signs; of the zodiac. The sun, moreover, was considered as the symbol of the active principle; whereas the moon and earth were symbols of the passive. The sun itself, considering its beneficial influence in the physical world, was chosen as; the symbol of the Deity, though afterwards taken by the vulgar as a Deity.

It must be here particularly observed, that the different names, which the Egyptians (from whom the Greeks learnt them) gave to God, instead of meaning several gods were only expressions of the different productive effects of the only one God.  Not very different from what the Jews derive from the great name Tetragramaton. The fables, allegories, and types of the ancients, being of three classes,  import some times various meanings; therefore, some of the ceremonies to which sublime import is attached, are also applied to typify less dignified operations, in the natural system. Thus, for instance, the fable of Proserpine, which alludes to the immersion of the soul into the body, was also employed to symbolize the operation of the seed in the ground. But the general doctrine of Plato of the descent of the soul into the darkness; of the body, the perils of the passions, the torments of vices, appears to be perfectly described by Virgil;  though this Poet was of the Epicurean sect, the most fashionable in his days.

The lesser mysteries represented, as we have seen, the descent of the soul into the body, and the pains therein suffered. The greater mysteries were intended to typify the splendid visions, or the happy state of the soul, both here and hereafter, when purified from the defilements of material nature. These doctrines are also inculcated, by the fables of the fortunate islands, the Elysian fields. The different purifications in these rites were symbols of the gradation of virtues, necessary to the re-ascent of the soul. Inward purity, of which external purifications were symbols, can only be obtained by the exercise of these virtues. To the allusion of these virtues must be understood what Socrates says,  that it is the business of the philosophers to study to die and to be themselves death; and as at the same time he reprobates suicide, such death cannot mean any other but philosophical death, or the exercise of what he calls the cathartic virtues.

If such was the meaning and import of the Eleusinian and Dionysian rites, symbols, and ceremonies, it must be allowed that a society or sect, which was employed in the contemplation of such sublime truths, cannot be looked upon as trifling or profligate. The very Christian Fathers, who so strongly attacked the Pagan religion, confessed the utility of these symbols;  and that the circumstances previous to initiation into those mysteries, tended to exclude impious notions, and prepare the mind to hear the truth. Those mysteries were concealed from the vulgar; because it would be a ridiculous prostitution of such sublime theories to disclose them to the multitude incapable of understanding them, when even many of the initiates, for want of study and application, did not comprehend the whole meaning of the symbols.

The multitude were told only in the abstract, the doctrine of a future state of rewards and punishments, and were made acquainted with the calendar, the result of astronomical observations; the knowledge of which was connected with their festivities and agricultural pursuits. They were likewise taught other practical parts of science calculated for general use.

The secrecy of these mysteries was the first cause of obloquy against them; next came, beyond doubt, the depravity of their followers, and the perversion of those assemblies into convivial meetings first, and then into the most debauched associations. Secrecy, also, was enjoined by the laws, it was death to reveal any thing belonging to the Eleusinian mysteries; to disclose imprudently any thing about them, was supposed even indecorous; of this we find a very conspicuous; instance in Plutarch. Out of respect for this custom the scholars were, in general, only instructed in the exoteric doctrines.  The acroamatic doctrines were taught only to the few select, by private communication and viva voce.

But when the ignorance of the very teachers of those mysteries caused their forms only to be attended to, the essence was lost, the shadow only remained; and, then, even those forms and ceremonies were frequented by persons, ignorant of their import, and wicked enough to turn them to their private interests, as a machine employed in deceiving the people, and to occasions of debauchery and depravity.