The same kind of difficulty which had been felt on a large scale in the Greek world in regard to Homer, was felt in no less a degree by those Jews who had become students of Greek philosophy in regard to their own sacred books. The Pentateuch, in a higher sense than Homer, was regarded as having been written under the inspiration of God. It, no less than Homer, was so inwrought into the minds of men that it could not be set aside. It, no less than Homer, contained some things which, at least on the surface, seemed inconsistent with morality. To it, no less than to Homer, was applicable the theory that the words were the veils of a hidden meaning. The application fulfilled a double purpose: it enabled educated Jews, on the one hand, to reconcile their own adoption of Greek philosophy with their continued adhesion to their ancestral religion, and, on the other hand, to show to the educated Greeks with whom they associated, and whom they frequently tried to convert, that their literature was neither barbarous, nor unmeaning, nor immoral. It may be conjectured that, just as in Greece proper the adoption of the allegorical method had been helped by the existence of the mysteries, so in Egypt it was helped by the large use in earlier times of hieroglyphic writing, the monuments of which were all around them, though the writing itself had ceased.[102] The earliest Jewish writer of this school of whom any remains have come down to us, is reputed to be Aristobulus (about B.C. 170-150).[103] In an exposition of the Pentateuch which he is said to have addressed to Ptolemy Philometor, he boldly claimed that, so far from the Mosaic writings being outside the sphere of philosophy, the Greek philosophers had taken their philosophy from them. “Moses,” he said, “using the figures of visible things, tells us the arrangements of nature and the constitutions of important matters.” The anthropomorphisms of the Old Testament were explained on this principle. The “hand” of God, for example, meant His power, His “feet,” the stability of the world. But by far the most considerable monument of this mode of interpretation consists of the works of Philo. They are based throughout on the supposition of a hidden meaning. But they carry us into a new world. The hidden meaning is not physical, but metaphysical and spiritual. The seen is the veil of the unseen, a robe thrown over it which marks its contour, “and half conceals and half reveals the form within.”