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The sense of enclosure was intended to evoke the sacred areas of classical temples, as is made clear by the title given to the Adytum/Aduton paintings of 1969.

Hierostoli, who had access to the Adytum, to clothe the statues of the gods; doctors, embalmers; hierophori, or the bearers of sacred emblems; pterophori, or bearers of the fans carried before the gods; præcones, or pastophori, bearers of the holy images, and keepers of the sacred animals; hierolaotomi, or masons of the priestly order, besides innumerable painters, sculptors, sprinklers of holy water, and flappers to drive away the flies.

This Egyptian Savior appears also to have been known as Zulis, and with this name—Mr. Wilkison tells us—"his history is curiously illustrated in the sculptures, made seventeen hundred years B. C., of a small, retired chamber lying nearly over the western adytum of the temple-" We are told twenty-eight lotus plants near his grave indicate the number of years he lived on the earth.

Later that night, I peeked into the center’s adytum, a dark and lovely stone chapel whose altar glowed with candlelight.

It is, therefore, an adytum and occasions shame.