XXX. (164) Accordingly, as I have already said, the lovers of wisdom will raise a wall of exclusion against the man who, like a drone, has resolved to injure his profitable labours, and who follows him with this object, and he will receive those who, out of their admiration of what is honorable, follow him with a view to imitating him; assigning to each of them that portion which is suited to them; for, says he, “of the men who went with me, Eschol, Annan, and Mamre, shall receive a Share.”{84}{#ge 14:24.} And by these names of persons he means dispositions which are good by nature and fond of contemplation; (165) for Eschol is an emblem of good disposition, having a name of fire, since a good disposition is full of good daring and fervour, and adheres to what it has ever applied itself. And Annan is the symbol of a man fond of contemplation; for the name, being interpreted, means “the eyes,” from the fact that the eyes of the soul also are opened by cheerfulness; and of both of these persons a life of contemplation is the inheritance, which is entitled Mamre, which name is derived from seeing; and to the contemplative man, the faculty of seeing is most appropriate and most peculiarly belonging. (166) But when the mind, having been under the tuition of these trainers, finds nothing wanting for practice, it then proceeds onwards with and accompanies perfect wisdom, not outstripping it or not being outstripped by it, but marching alongside of it step by step, with equal pace. And the words of scripture show this, in which it is distinctly stated that “they both of them went together, and came to the plain which God had mentioned to them;” (167) a most excellent equality of virtues, better than any rivalry, an equality of labour with a natural good condition of body, and an equality of art with self-instructed nature, so that both of them are able to carry off equal prizes of virtue; as if the arts of painting and statuary were not only able, as they are at present, to make representations devoid of motion or animation, but were able also to invest the objects which they paint or form with motion and life; for in that case the arts which were previously imitative of the works of nature would appear now to have become the natures themselves.