Nature, however, thus subsisting, she proceeds from the vivific Goddess Rhea; (for “immense Nature, says the Chaldean oracle, is suspended from the shoulders of the Goddess;”) from whom all life is derived, both that which is intellectual, and that which is inseparable from the subjects of its government. But Nature being from thence suspended, she pervades through and inspires all things without impediment. Hence, the most inanimate beings participate of a certain soul, and corruptible natures remain perpetually in the world, being connected and comprehended by the causes of forms which she contains. And those indeed who call Nature demiurgic art, if they mean by this the Nature which abides in the demiurgus himself, they do not speak rightly; but if they mean that which proceeds from him, their conception is accurate. For art must be considered as having a three-fold subsistence; one, that which does not proceed out of the artist; the second, that which proceeds indeed, but is converted to him; and the third, that which has now proceeded, and has its subsistence in something else. The art, therefore, which is in the demiurgus, abides indeed in him; but the intellectual soul is art, yet at the same time both abiding and proceeding. And Nature is art, alone proceeding into something different from herself. Hence, she is said to be the organ of the Gods, not deprived of life, nor alter-motive alone, but having in a certain respect, a self-motive power, in consequence of energizing from herself. For the organs of the Gods are essentialized in efficacious powers, are vital, and concur with their energies. And thus much concerning Nature according to the conceptions of Plato, as unfolded by Proclus.