---
title: "On the Creation of the World"
author: "Philo of Alexandria"
translator: "C. D. Yonge"
languages: [en]
shelf: "Second Temple"
section: 8 of 15
url: https://scriptura.si/works/philo-tlg001-yonge-ogl/8/
cite: "Philo of Alexandria, tr. C. D. Yonge, On the Creation of the World, section 8. Scriptura (scriptura.si), https://scriptura.si/works/philo-tlg001-yonge-ogl/8/"
---

# On the Creation of the World

*Philo of Alexandria, tr. C. D. Yonge*

Genesis read by a Jewish Platonist of Alexandria.

## 8. Section 87

Source: https://scriptura.si/works/philo-tlg001-yonge-ogl/8/ · cite a paragraph as https://scriptura.si/works/philo-tlg001-yonge-ogl/8/#p-N

[¶0] And any one who was inclined to dwell upon this subject might bring forward a great many other instances, to prove that there is no animal in the enjoyment of perfect liberty, and exempt from the dominion of man; but what has been already said is sufficient by way of example. We ought, however, not to be ignorant of this also, that it is no proof because man was the last created animal that he is the lowest in rank, and charioteers and pilots are witnesses of this;

### Section 88

[¶2] for the charioteers sit behind their beasts of burden, and are placed at, their backs, and yet when they have the reins in their hands, they guide them wherever they choose, and at one time they urge them on to a swift pace, and at another time they hold them back, if they are going on at a speed greater than is desirable. And pilots again, sitting in the hindmost part of the ship, that is the stern are, as one may say, the most important of all the people in the ship, inasmuch as they have the safety of the ship and of all those who are in it, in their hands. And so the Creator has made man to be as it were a charioteer and pilot over all other animals, in order that he may hold the reins and direct the course of every thing upon earth, having the superintendence of all animals and plants, as a sort of viceroy of the principal and mighty King.

### Section 89

[¶4] But after the whole world had been completed according to the perfect nature of the number six, the Father hallowed the day following, the seventh, praising it, and calling it holy. For that day is the festival, not of one city or one country, but of all the earth; a day which alone it is right to call the day of festival for all people, and the birthday of the world.

### Section 90

[¶6] And I know not if any one would be able to celebrate the nature of the number seven in adequate terms, since it is superior to every form of expression. But it does not follow that because it is more admirable than anything that can be said of it, that on that account one ought to keep silence; but rather we ought to try, even if one cannot say everything which is proper, or even that which is most proper, at all events to utter such things as may be attainable by our capacities.

### Section 91

[¶8] The number seven is spoken of in two ways; the one within the number ten which is measured by repeating the unit alone seven times, and which consists of seven units; the other is the number outside ten, the beginning of which is altogether the unit increasing according to a twofold or threefold, or any other proportion whatever; as are the numbers sixty-four, and seven hundred and twenty-nine; the one number of which is increased by doubling on from the unit, and the other by trebling. And it is not well to examine either species superficially, but the second has a most manifest pre-eminence.

### Section 92

[¶10] For in every case the number which is combined from the unit in double or treble ratio, or any other ratio, whatsoever, is the seventh number, a cube and a square, embracing both species, both that of the incorporeal and that of the corporeal essence. That of the incorporeal essence according to the superficies which quadrangular figures present, and that of the corporeal essence according to the other figure which cubes make;

### Section 93

[¶12] and the clearest proof of this is afforded by the numbers already spoken of. In the seventh number increasing immediately from the unit in a twofold ratio, namely, the number sixty-four, is a square formed by the multiplication of eight by eight, and it is also a cube by the multiplication of four and four, four times. And again, the seventh number from the unit being increased in a threefold ratio, that is to say, the number seven hundred and twenty-nine, is a square, the number seven and twenty being multiplied by itself; and it is also a cube, by nine being multiplied by itself nine times.

### Section 94

[¶14] And in every case a man making his beginning from the unit, and proceeding on to the seventh number, and increasing in the same ratio till he comes to the number seven, will at all times find the number, when increased, both a cube and a square. At all events, he who begins with the number sixty-four, and combines them in a doubling ratio, will make the seventh number four thousand and ninety-six, which is both a square and a cube, having sixty-four as its square root, and sixteen as its cube root.

### Section 95

[¶16] And we must also pass on to the other species of the number seven, which is contained in the number ten, and which displays an admirable nature, and one not inferior to the previously mentioned species. The number seven consists of one, and two and four, numbers which have two most harmonious ratios, the twofold and the fourfold ratio; the former of which affects the diapason harmony, while the fourfold ratio causes that of the double diapason. It also comprehends other divisions, existing in some kind of yoke-like combination. For it is divided first of all into the number one, and the number six; then into the two and the five; and last of all, into the three and the four.

### Section 96

[¶18] And the proportion of these numbers is a most musical one; for the number six bears to the number one a six-fold ratio, and the six-fold ratio causes the greatest possible difference between existing tones; the distance namely, by which the sharpest tone is separated from the flattest, as we shall show when we pass on from numbers to the discussion of harmony. Again, the ratio of four to two displays the greatest power in harmony, almost equal to that of the diapason, as is most evidently shown in the rules of that art. And the ratio of four to three effects the first harmony, that in the thirds, which is the diatessaron.

### Section 97

[¶20] The number seven displays also another beauty which it possesses, and one which is most sacred to think of. For as it consists of three and four, it displays in existing things a line which is free from all deviation and upright by nature. And in what way it does so I must show.

[¶21] The rectangular triangle, which is the beginning of all qualities, consists of the numbers threeThis discussion about numbers is not very intelligible; but here Philo is probably referring to the problem of Euclid on the subject of the square of the hypothenuse. Thus, if 3 and 4 represent the sides containing the angle, and 5 the side subtending it, we get 3 * 3 = 9; 4 * 4 = 16; 5 * 5 = 25. and four, and five; and the three and the four, which are the essence of the seven, contain the right angle; for the obtuse angle and the acute angle show irregularity, and disorder, and inequality; for one may be more acute or more obtuse than another. But a right angle does not admit of comparison, nor is one right angle more a right angle than another: but one remains similar to another, never changing its peculiar nature. But if the right-angled triangle is the beginning of all figures and of all qualities, and if the essence of the number seven, that is to say, the numbers three and four together, supply the most necessary part of this, namely, the right angle, then seven may be rightly thought to be the fountain of every figure and of every quality.

### Section 98

[¶23] And besides what has been already advanced, this also may be asserted that three is the number of a plane figure, since a point has been laid down to be, according to a unit, and a line according to the number two, and a plane superficies according to to the number three. Also, four is the number of a cube, by the addition of one to the number of a plane superficies, depth being added to the superficies. From which it is plain that the essence of the number seven is the foundation of geometry and trigonometry; and in a word, of all incorporeal and corporeal substances.