The ancients ascribed the existence of the universe to the fiat of omnipotence. Almighty power conjoined with infinite wisdom had produced the world and all that it inhabits. Man, the head of visible creation, was formed in the image of the gods, but the gods only were endowed with generative or creative power. These gods were androgynous—that is, male and female—containing in one person both the paternal and maternal attributes. Plato taught that mankind, like the gods, were originally androgynous, and Moses tells us that Eve, in matured wisdom and beauty, sprang forth from the side of Adam, even as
"From great Jove's head, the armed Minerva sprung
With awful shout.""The thought of God as the Divine Mother," says a sincere and intelligent clergyman in a sermon recently published, "is a very ancient one, found in the most early nature worships." "We thank Thee O God," says the Rev. Theodore Parker, "that Thou art our Father and our Mother." "O God," says St. Augustine, "Thou art the Father, Thou the Mother of Thy children."
The preceding illustration of the birth of Minerva,—the goddess of wisdom,—i.e. wisdom issuing from the brain of Jove, is from Falkener's Museum of Classical Antiquities. It is taken from an ancient Etruscan patera (mirror), now in the Museum at Bologna, and is supposed to have been copied from the pediment of the eastern or main entrance to the Parthenon, or temple of Minerva. This pediment was the work of Phidias, and, like so many of the former monuments of ancient art and civilization, is now forever lost to mankind.
"The goddess," says the distinguished architect and antiquary M. De Quincy, "is shown issuing from the head of Jupiter. She has a helmet on her head, buckler on her arm, and spear in her hand. Jupiter is seated, holding a sceptre in one hand and a thunderbolt in the other. On the right of the new born goddess is Juno, whose arms are elevated, and who seems to have assisted at the extraordinary childbirth. On the left of Jupiter is Venus, recognizable by a sprig of myrtle and a dove. Behind Juno is Vulcan, still armed with the axe which has cleft the head of the god, and seeming to regard with admiration the success of his operations."
The engraving representing the birth of Eve, is from the Speculum Salutis, or the Mirror of Salvation, of which many manuscript copies were issued, for the instruction of the mendicant friars, between the twelfth and fifteenth centuries. "Heineken describes a copy in the imperial library of Vienna, which he attributes to the twelfth century. He says, such was the popularity of the work with the Benedictines that almost every monastery possessed a copy of it. Of the four manuscript copies owned by the British Museum, one is supposed to have been written in the thirteenth century, another copy is in the Flemish writing of the fifteenth century." This work, which contains several engravings and forty-five chapters of barbarous Latin rhymes, presents a good illustration of Christian art as it existed during the period immediately preceding the revival of letters, when the barbarism and ignorance of the dark ages had supplanted the artistic culture of ancient Greece and Rome.
Unprejudiced readers will doubtless admit that the birth of Minerva from the brain of Jove greatly resembles the birth of Eve from the side of Adam, and these myths show the analogy existing between the Jewish and Pagan mythologies; but the design and execution of the respective engravings, show the retrogression in art that had taken place between the time of the immortal Phidias and that of Pope Innocent III.[1]—between Pagan civilization as it existed prior to the Christian era, and the medieval barbarism of the successors of St. Peter.
"God created man in his own image," says Godfrey Higgins in the Anacalypsis, (vol. 2, p. 397.) "Everything was supposed to be in the image of God; and thus man was created double—the male and female in one person, or androgynous like God. By some uninitiated Jews, of about the time of Christ, this double being was supposed to have been created back to back [see the bearded Bacchus and Ariadne on the following page]; but I believe, from looking at the twins in all ancient zodiacs, it was side by side; precisely as we have seen the Siamese boys,—but still male and female. Besides, the book of Genesis implies that they were side by side, by the woman being taken from the side of man. Among the Indians the same doctrine is found, as we might expect."
"We must rise to man," says the eloquent clergyman previously referred to, "in order to know rightly what God is. Humanity plainly images a power which is at once the source and pattern of the womanly as well as of the manly qualities, inasmuch as woman as well as man is needed to fill out the idea of humanity. The womanly traits—pity, forgiveness, gentleness, patience, sympathy, unselfishness—are as worthy of the Divine Being as the manly traits."—E.
[1] "It was," says Gibbon, "at the feet of his legate that John of England surrendered his crown; and Innocent may boast of the two most signal triumphs over sense and humanity, the establishment of transsubstantiation, and the origin of the inquisition."
Bacchus and Ariadne. [1]
PLATO'S DREAM.
Plato was a great dreamer, as many others have been since his time. He dreampt that mankind were formerly double; and that, as a punishment for their crimes, they were divided into male and female.
He undertook to prove that there can be no more than five perfect worlds, because there are but five regular mathematical bodies. His Republic was one of his principal dreams. He dreampt, moreover, that watching arises from sleep, and sleep from watching; and that a person who should attempt to look at an eclipse, otherwise than in a pail of water, would surely lose his sight. Dreams were, at that time, in great repute.
Here follows one of his dreams, which is not one of the least interesting. He thought that the great Demiurgos, the eternal geometer, having peopled the immensity of space with innumerable globes, was willing to make a trial of the knowledge of the genii who had been witnesses of his works. He gave to each of them a small portion of matter to arrange, nearly in the same manner as Phidias and Zeuxis would have given their scholars a statue to carve, or a picture to paint, if we may be allowed to compare small things to great.