sacrificed himself for the sake of Mankind, though but a few elect may profit by the GREAT SACRIFICE. It is under the direct, silent guidance of this _Mahâ‐Guru_ that all the other less divine Teachers and Instructors of Mankind became, from the first awakening of human consciousness, the guides of early Humanity. It is through these “Sons of God” that infant Humanity learned its first notions of all the arts and sciences, as well as of spiritual knowledge; and it is They who laid the first foundation‐stone of those ancient civilizations that so sorely puzzle our modern generation of students and scholars. Let those who doubt this statement, explain, on any other equally reasonable grounds, the mystery of the extraordinary knowledge possessed by the Ancients—who, some pretend, developed from lower and animal‐like savages, the “cave‐men” of the palæolithic age! Let them turn, for instance, to such works as those of Vitruvius Pollio of the Augustan age, on architecture, in which all the rules of proportion are those _anciently taught at Initiations_, if they would acquaint themselves with this truly divine art, and understand the _deep esoteric significance hidden in every rule and law of proportion_. No man descended from a palæolithic cave‐ dweller could ever evolve such a science unaided, even in millenniums of thought and intellectual evolution. It is the pupils of those incarnated Rishis and Devas of the Third Root Race who handed on their knowledge, from one generation to another, to Egypt and to Greece with her now lost _canon of proportion_; just as the disciples of the Initiates of the Fourth, the Atlanteans, handed it over to their Cyclopes, the “Sons of Cycles” or of the “Infinite,” from whom the name passed to the still later generations of Gnostic priests. It is owing to the divine perfection of these architectural proportions that the Ancients could build these wonders of all the subsequent ages, their Fanes, Pyramids, Cave‐Temples, Cromlechs, Cairns, Altars, proving they had the powers of machinery and a knowledge of mechanics to which modern skill is like a child’s play, and which that skill refers to itself as the “works of hundred‐handed giants.”(330)