"Our other deities," continued the king, "are the ideal inventors and their inventions. These give man empire over nature. All those who have given man power of flight, who multiply his power to run, those who multiply the power of the eye to see, the hand to labor or to smite, the voice or pen to transmit ideas to great distances and to great multitudes, stand in the pantheon in ideal grandeur. There are the lords of labor, the deities of space and time. They are those gods that breathe the breath of life into unborn ideas, and lo! from brain and hand spring the creatures of their will."
The officers and sailors were listening to the discourse of the king with rapt attention. We were anxious to learn as much as possible about this strange religion of Atvatabar.
"We also worship art and ideal artists," continued the king, "the soul-developers, who work for noble and humane ideas expressed in their most beautiful garb; the builders of earthly palaces for the soul in literature, music, manners, painting, dancing, sculpture, decoration, tapestry and architecture which are represented by ideal statues composed from groups of living artists. These in their ideal or collective perfection are the gods who counteract the evils of an arid and mechanical civilization by arousing feeling, imagination, truth, beauty, tenderness, patriotism and faith in the souls of their fellows.
"The spiritual forces are typified by a goddess, the incarnation of spirit power, of romantic, ideal, hopeless love. Her ministers are the priests of sorcery, necromancy, magic, theosophy, mesmerism, spiritualism and other kindred spiritual powers. These perform miracles, create matter, and impart life to dead bodies. The souls of her priests and priestesses have the power to leave the body at will, and to achieve a present Nirvana of one hundred years."
CHAPTER XVII.
GNAPHISTHASIA.
The day following our arrival in Calnogor his majesty the king had projected for us a journey to the palace of art at Gnaphisthasia, which stood on the slope of a mountain in a rich valley lying one hundred miles southwest of Calnogor. The palace itself was surrounded by high walls of massive porcelain, beautifully adorned with sculpture mouldings, and midway on each side massive gateways, each formed of rounded cones, rising to a great height and covered with sculptured forms, between which the porcelain wall was pierced with fretted arabesque, running high above the arched opening beneath. Once within the gorgeous gateway, the porcelain walls of Gnaphisthasia stood before the enraptured eyes more than a mile in length and half a mile in depth, a many-colored dream of imposing magnificence covered with the work of sculptors. The principal part of the wall was of a greenish-white vitrification, finely diversified by horizontal friezes, with arabesques in red and green, purple and yellow, lavender, sea-green, blue and silver and pale rose and deep gray, all separated by wide bands of greenish-white stone.
In the centre of the buildings stood a semi-circle of massive conical towers, gleaming like enormous jewels and connected by sculptured walls. The four corners of the palace were also groups of towers, all the various groups being connected with the rectangular walls that were decorated with arcades and balconies.