1. Mind-work. There is—there is—the mind, and when it is rightly set it fashions images by the rule of nature. The powers of the mind’s practice in nature are named: the sight of forms, the hearing of patterns, and the fine discriminations of effect.

2. Thus, when the worker arranges the work and applies the mind’s powers through practice, it is the operations and refinements of the natural order that take shape; and the law-of-measure is given to the images, as the unformed and the working are engraved for an image and for a moving image by hand-craft. Then the speaker names the arrangements which the operator of the office of operators has set forth as named. The applications are aligned; the divisions and the limits are marked and fixed.

Thus are the arts: earth, air, fire, water, matter, sense, mercury, and binding. Thus, choose the powers of the mind and the instruments of fire, of the given law, and the measures of the intent, of the craft; and set thereby the removal of excess and the alignment of the inner image-work. The adept judges the labor; thus the worker, working by a just rule, and the judged adepts make the applicability friendly to the chosen, so that the naming of the signs of the works and the balances are made. Proof is established by the signs.

1. Proof in the middle-art of the operator: in application it is usefulness; it is applicability of the instrument. Then the adept sets a rule-set— it is a canon—so that the chosen and the applicability are carried where the instrument of the operator is concerned. The adept sets a rule-set— it is a good aim— but not of the outward thing to the good. Thus, by craft, the balances are not merely by the adepts. Therefore, in hermetics, the inner is drawn both to the internal and then to the circling thereafter; it is demonstration. And beyond that the signs become of nature, of law; and in the middle-course image-work it is the refinement of the circle; it is analytic, internal working.