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Goddess of Atvatabar

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<h2>CHAPTER XXVIII.</h2> <h2>THE GRAND TEMPLE OF HARIKAR.</h2> Twelve of the most handsome priests and priestesses constituted the guard of twin-souls in waiting to the goddess, and these escorted her into the grand court of the temple palace. Over a gigantic archway were sculptured the words "Dya Pateis omt Ami Cair," which meant "Two Bodies and One Soul." This was the motto of Egyplosis, the expression of ideal friendship and indicative of a system of life the reverse of that of the outer world of Atvatabar, which had for its motto, "One Body and Two Souls." The architecture of the supernal palace was of amazing proportions and solid grandeur. Its aggregation of temples was sculptured out of one mighty block of pale green marble. The vast quadrangle seemed a tempest of imagination and art, whose temples, terraces and towers were the expression of the infinite souls that formed them. The color of the stone was beautifully[150] relieved by broad bands of the vermilion metal terrelium, that plated the walls with several parallel friezes, which lent an amazing splendor to the scene, and made us feel as though we were entering some palace of eternity, where magnificence has no end. We had no time to examine the marvels spread before our delighted eyes, for, on the conclusion of our reception by the great officers of the palace, we were conducted to chambers set apart for our use, to rest and refresh ourselves to witness the exercises attending the installation of a twin-soul on the following day. The chief temple at Egyplosis was interiorly of semi-circular shape, like a Greek theatre, five hundred feet in width. It was covered like the pantheon with a sculptured roof and dome of many-colored glass. The roof was one hundred and thirty feet above the lowest tier of seats beneath or one hundred feet above the level of the highest seats beneath. The walls were laboriously sculptured dado and field and frieze, with bas-reliefs of the same character as the golden throne of the gods that stood at the centre of the semi-circle. The dado was thirty-two feet in height, on which were carved the emblems of every possible machine, implement or invention that conferred supremacy over nature in idealized grandeur. Battles of flying wayleals and races of bockhockids were carved in grand confusion. It was a splendid reunion of science and art. Higher up the field space, which was fifty feet in height, was broken by a gallery or cloister behind a tier of splendid pillars, themselves carved with the emblems of art. The hidden wall, as well as those portions above and below the cloister between dado and frieze, were covered with endless representations of the creations of art. Heroic eurythmic figures representing poetry, music, painting, architecture, etc., formed a mighty symposium. Highest of all, the enormous frieze, fully sixteen feet in width, was one mighty band of solid terrelium. This had been cast in plates having sculptured symbols in high relief of the sublime emblems of Harikar, and portrayed scenes from the idealities and mysteries of Egyplosis. There were represented the fine and perfect figures of magicians in the midst of their incantations, of sorcerers raising[151] souls to life again; there were visions of the sorcery of love in all its moods, and of the rapt practices of twin-souls generating a creative force in batteries of spirit power. Above all rose the dome whose lights were fadeless. The pavement of the temple had been chiselled in the form of a longitudinal hollow basin, containing a series of wide terraces of polished stone, whereon were placed divans of the richest upholstery. In each divan sat a winged twin-soul, priest and priestess, the devotees of hopeless love. On the throne itself sat Lyone, the supreme goddess, in the semi-nude splendor of the pantheon, arranged with tiara and jewelled belt and flowing skirt of sea-green aquelium lace. She made a picture divinely entrancing and noble. Supporting the throne was an immense pedestal of polished marble, fully one hundred feet in diameter and twenty feet in height, which stood upon a wide and elevated pavement of solid silver, whereon the priests and priestesses officiated in the services to the goddess. On crimson couches sat their majesties the king and queen of Atvatabar, together with the great officers of the realm. Next to the royal group myself and the officers and seamen of the Polar King occupied seats of honor. Behind, around and above us, filling the immense temple, rose the concave mass of twin-souls numbering ten thousand individuals, each seated with counterpart soul. As I gazed on those happy terraces of life, youth, love and beauty, I felt exhilarated with the sensations the scene gave rise to. The garments of both priests and priestesses were fashioned in a style somewhat resembling the decorative dresses seen on Greek and Japanese vases, yet wholly original in design. In many cases the priestesses were swathed in transparent tissues that revealed figures like pale olive gold within. The grand sorcerer Charka and the grand sorceress Thoubool occupied a conspicuous divan upholstered with cloth of gold. The sorceress was a grand beauty, neither blond nor brunette, but her complexion would, chameleon-like, change from a rosy white to a clear golden hue. Her hair was bright copper, gleaming like strands of metal. Her eyes changed color incessantly, being successively blue and black. Her robe was a pale green silk, bound at the waist with a heavy cincture of gold. She wore a necklace of many-colored gems.[152] The grand sorcerer wore a robe of moss-green velvet embroidered with appliqued white silk lace, resembling lotus bloom. Both wore diadems of emeralds. Other twin-souls were arrayed in equally splendid attire, and seated on couches whose upholstery accentuated or harmonized with their fair occupants. Whatever the color selected, I observed that each twin-soul priest and priestess wore robes of a consanguineous hue, however the individual stuffs might vary in texture or quality. I also observed that in no case were the laws of taste in color violated, and unerring instinct had guided every priest and priestess in achieving the most piquant harmonies of color. With garments in simultaneous contrast each twin-soul sat on a couch upholstered in fabrics in pure contrast of color. How I wished some great painter of the outer world could transfer to canvas that conflagration of beauty. Several twin-souls, with garments that seemed beaten gold, reclined on black velvet couches beside us. On an immense divan of white velvet near by sat a group of priests and priestesses arrayed in stuffs that were the strangest tones of purple, brown, violet, green, and red. A twin-soul in golden maize sat on a dark purple couch. A twin-soul in écru sat on a salmon-colored couch, while a twin-soul in myosotis blue reposed on a couch of the color of Australian gold. Celibates and vestals in russet robes luxuriated on couches of magnolia green. It was evident their artists possessed a happy skill in creating such harmonies of costume. Sculptor, upholsterer and couturière formed the trinity of genius that wrought marvels of form and color. Harikar, the Holy Soul, was the deity, who was symbolized by the goddess, and ministered to by such a retinue of souls. No doubt Harikar was mightily pleased at such a tribute of wealth, love and beauty. As far as an individual could appreciate such splendor, I must testify it was an eminently thrilling oblation. The votaries themselves were no solitary ascetics who practised heroic mortifications to obtain dominion over life or nature. Instead of the pale devotee who in other creed cultivates the desire to get away from all things earthly, and whose every effort is to extinguish pleasure in life, every theopath of Harikar cultivated a Greek perfection of body, as well as a Gothic intensity of soul. By what powerful incantation were the priests[153] of Egyplosis able to overcome the law of the outer world, that all joy must be paid for in pain, and that the joy was nearly always too dear at the price given? <hr style="width: 65%;" /> <div style="break-after:column;"></div>

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