God is the all. Hard is it to find the noble man who recognizes this. Those whom greed robs of knowledge go to other gods, Cleave to many rulers—their own nature rules them, And whatsoever divinity one strives to honor in belief, I respect his belief and direct him to the right place. If he strives in firm belief towards his divinity’s favor and grace, Then shall he in part get what he wants, for I gladly put good in his way. Yet the result is but limited in the case of those of limited sensibility. He finds the gods who honors them. Who honors me, attains to me.” [VII, 19-23.] If above I derived the instructive group of symbols from a mystic, that is not to say that it must be precisely so. I brought out this case among possible cases only for the reason that the mystic is the one who carries out most strenuously the ethical work of purification, and under such conditions as are most favorable to a suggestive group of symbols, and in particular those rich in characteristic types. Bear in mind the founders of religion. (They do not always have to be individuals—schools, myths.) There are, however, others than the religiously inspired natures, who are preëminently endowed to produce suggestive symbol groups with anagogic value; the artists. I suspect that it would prove that the purifying (cathartic) action of a work of art is the greater the more strongly the anagogic symbolism (the groups of types that carry it) is developed, or in other words, the more they express a tendency to a broadening of the personality. This tendency, to which belong the motives of the denial of the selfish will (father figure) of the love that is connected with sacrifice (incest motive, regeneration) of the devotion to an ideal (longing for death), etc., is manifested in the artist as also in the devout observer of the work of art in his very devotion to it. Being lost in a work of art appears to me essentially related both to introversion and to the unio mystica. I have already spoken of the creations of the myth forming imagination and its anagogic import. In alchemy, to which I wish now to return, the mythical and the individual images meet in the most vivid way, without destroying each other.