The images of the gods themselves surmounting the lowest part of the throne were in reality composite man-gods, that is to say, each figure was a statue, life size, of the resultant of the statues of all the important developers of each invention and was thus obtained:
As soon as any prominent inventor or developer of an invention died, the government secured a plaster cast of his body, if such had not been made prior to death, and this was preserved for years in a special museum. When twenty or more casts of various developers of any one invention had been accumulated these were placed on a horizontal wheel, which revolved in front of a photographic camera, and thus the composite outline of the future god was obtained. As many outlines were procured as there were eighths of inches in the circumference of the largest cast, and from the collective pictures the ideal cast was made by the sculptor. The cast once perfected, and afterward draped, was reproduced in solid gold and placed with appropriate ceremonies on a pedestal on the throne itself. In like manner the gods of the arts, poetry, painting, etc., were created, as also the priests of Harikar, the Holy Soul.
The reliefs, or symbols of mechanical art, were originally cast on the throne itself. These included the electric engine and locomotive, electric healer, telephone, telegraph, the electric ship, elevator, printing press, cotton gin, weaving loom, typesetting machine, well-boring apparatus, telescope, flying machines (individual and collective), bockhockid, sewing machine, photographic camera, reaping machine, paper-making and wall-paper printing machine, phonograph, etc., etc.
This department of the throne being the largest, was significant of the material supremacy of the mechanical arts in the nation. Science itself was a god named Triporus, fashioned like a winged snake, so called because it was said he could worm his way through the pores of matter so as to discover the secrets therein. This god seemed a compound of our ancient Sphinx, or science, and Dædalus, or mechanical skill, but with an entirely new meaning added to both.
THE THRONE OF THE GODS WAS INDEED THE GOLDEN HEART OF ATVATABAR, THE TRIUNE SYMBOL OF BODY, MIND AND SPIRIT.
The second or intermediate section of the throne was devoted to the gods of art and their attributes. It was sixty feet in its largest diameter, and twenty-four feet in height. It possessed also two sections, the upper containing the statues of Aidblis, or Poetry; Dimborne, or Painting; Brecdil, or Sculpture; Swengé, or Music; Tilono, or Drama; Timpango, or Dancing; Olshodesdil, or Architecture, etc., etc. In the lower section there were tableaux cast in high relief illustrating the qualities of the soul developed by art, viz.: Omodrilon, or Imagination; Diandarn, or Emotion; Samadoan, or Conscience; Voedli, or Faith; Lentilmid, or Tenderness; Delidoa, or Truth, etc.
The final section or tapering apex of the throne was thirty feet in greatest width and thirty-six feet in height. It contained a throne and three divisions. The lowest division contained the gods Hielano, or Magic; Bishano, or Sorcery; Nidialano, or Astrology; Padomano, or Soothsaying, etc.
The intermediate division contained the gods Niano, or Witchcraft; Redohano, or Wizardry; Oxemano, or Diablerie; Biccano, or the Oracle; Amano, or Seership; Kielano, or Augury; Tocderano, or Prophecy; Jiracano, or Geomancy; Jocdilano, or Necromancy, etc.