y are symbols only of the Noumenon, the
Reality, which is behind them, it is possible to reach a point where
we may even feel that we are thinking, or having divulged to us, what
may be called the very thoughts of the Absolute. We shall see that
this can only be accomplished by first recognising that the Invisible
is the Real, that the visible is only its shadow, that all our
surroundings are but the images, or outlines, of the Reality cast on
the Physical plane of our Senses; to accomplish this, we have to
understand the use of _Symbolic_ Thought for sustaining and carrying
conceptions to a higher level; because, as already explained, we can
only express and, indeed, think of the Invisible or Infinite under
terms of the Visible or Finite. Let me give you a glimpse at what may
be called the "Glamour of Symbolism"; it is difficult to explain to
those who have not yet thought of or felt it, but the following may be
helpful:

Think of the loveliest story or poem you have ever read, the most
entrancing music you have ever heard, or the most beautiful paintings
you have ever seen, and think how, at the end, you experienced a
wonderful glow of enchantment with the concept as a whole, apart from
specialising any particular character or event in the story, phrase in
the music, or subject in the pictures; then do the same with one of
those wonderful cathedrals of the twelfth to fourteenth centuries, the
epoch of that beautiful Gothic style which I shall show was founded
upon the highest mystical form of Symbolism possible to those who
lived at the then zenith of Mystical Thought in the history of the
world. The number of cathedrals built during those three centuries was
so prodigious that, without the documentary evidence which we have, it
would be absolutely incredible. Every part of those buildings, even to
the smallest decorations, was, as shown by any of the old writers on
Religious Symbolism, such as Durandus, planned to symbolise some
beautiful thought, aspiration, tradition, or religious belief. The
highest Thinkers, Artists, Poets, Philosophers, and Mystics in those
centuries became Architects, and, in pure contemplation of and love
for the Divine, helped to beautify design by giving up their lives and
energies to the work without reward. It was, in fact, at that period
the surest means by which they could record their ideals and
aspirations. Before the advent of the printing press, with its
facilities for spreading kno