If, in addition, I take and set before you for inspection these very images, you will, as you go over them, find how truly silly is the custom in which you have been reared, of worshipping the senseless works of men’s hands.

Anciently, then, the Scythians worshipped their sabres, the Arabs stones, the Persians rivers. And some, belonging to other races still more ancient, set up blocks of wood in conspicuous situations, and erected pillars of stone, which were called Xoana, from the carving of the material of which they were made. The image of Artemis in Icarus was doubtless unwrought wood, and that of the Cithæronian Here was a felled tree-trunk; and that of the Samian Here, as Æthlius says, was at first a plank, and was afterwards during the government of Proclus carved into human shape. And when the Xoana began to be made in the likeness of men, they got the name of Brete,—a term derived from Brotos (man). In Rome, the historian Varro says that in ancient times the Xoaron of Mars—the idol by which he was worshipped—was a spear, artists not having yet applied themselves to this specious pernicious art; but when art flourished, error increased. That of stones and stocks—and, to speak briefly, of dead matter—you have made images of human form, by which you have produced a counterfeit of piety, and slandered the truth, is now as clear as can be; but such proof as the point may demand must not be declined.

That the statue of Zeus at Olympia, and that of Polias at Athens, were executed of gold and ivory by Phidias, is known by everybody; and that the image of Here in Samos was formed by the chisel of Euclides, Olympichus relates in his Samiaca. Do not, then, entertain any doubt, that of the gods called at Athens venerable, Scopas made two of the stone called Lychnis, and Calos the one which they are reported to have had placed between them, as Polemon shows in the fourth of his books addressed to Timæus. Nor need you doubt respecting the images of Zeus and Apollo at Patara, in Lycia, which Phidias executed, as well as the lions that recline with them; and if, as some say, they were the work of Bryxis, I do not dispute,—you have in him another maker of images. Whichever of these you like, write down. Furthermore, the statues nine cubits in height of Poseidon and Amphitrite, worshipped in Tenos, are the work of Telesius the Athenian, as we are told by Philochorus. Demetrius, in the second book of his Argolics, writes of the image of Here in Tiryns, both that the material was pear-tree and the artist was Argus.

Many, perhaps, may be surprised to learn that the Palladium which is called the Diopetes—that is, fallen from heaven—which Diomede and Ulysses are related to have carried off from Troy and deposited at Demophoon, was made of the bones of Pelops, as the Olympian Jove of other bones—those of the Indian wild beast. I adduce as my authority Dionysius, who relates this in the fifth part of his Cycle. And Apellas, in the Delphics, says that there were two Palladia, and that both were fashioned by men. But that one may suppose that I have passed over them through ignorance, I shall add that the image of Dionysus Morychus at Athens was made of the stones called Phellata, and was the work of Simon the son of Eupalamus, as Polemo says in a letter. There were also two other sculptors of Crete, as I think: they were called Scyles and Dipoenus; and these executed the statues of the Dioscuri in Argos, and the image of Hercules in Tiryns, and the effigy of the Munychian Artemis in Sicyon. Why should I linger over these, when I can point out to you the great deity himself, and show you who he was,—whom indeed, conspicuously above all, we hear to have been considered worthy of veneration? Him they have dared to speak of as made without hands—I mean the Egyptian Serapis. For some relate that he was sent as a present by the people of Sinope to Ptolemy Philadelphus, king of the Egyptians, who won their favour by sending them corn from Egypt when they were perishing with famine; and that this idol was an image of Pluto; and Ptolemy, having received the statue, placed it on the promontory which is now called Racotis; where the temple of Serapis was held in honour, and the sacred enclosure borders on the spot; and that Blistichis the courtesan having died in Canopus, Ptolemy had her conveyed there, and buried beneath the forementioned shrine.

Others say that the Serapis was a Pontic idol, and was transported with solemn pomp to Alexandria. Isidore alone says that it was brought from the Seleucians, near Antioch, who also had been visited with a dearth of corn, and had been fed by Ptolemy. But Athenodorns the son of Sandon, while wishing to make out the Serapis to be ancient, has somehow slipped into the mistake of proving it to be an image fashioned by human hands. He says that Sesostris the Egyptian king, having subjugated the most of the Hellenic races, on his return to Egypt brought a number of craftsmen with him. Accordingly he ordered a statue of Osiris, his ancestor, to be executed in sumptuous style; and the work was done by the artist Bryaxis, not the Athenian, but another of the same name, who employed in its execution a mixture of various materials. For he had filings of gold, and silver, and lead, and in addition, tin; and of Egyptian stones not one was wanting, and there were fragments of sapphire, and hematite, and emerald, and topaz. Having ground down and mixed together all these ingredients, he gave to the composition a blue colour, whence the darkish hue of the image; and having mixed the whole with the colouring matter that was left over from the funeral of Osiris and Apis, moulded the Serapis, the name of which points to its connection with sepulture and its construction from funeral materials, compounded as it is of Osiris and Apis, which together make Osirapis.

Another new deity was added to the number with great religious pomp in Egypt, and was near being so in Greece by the king of the Romans, who deified Antinous, whom he loved as Zeus loved Ganymede, and whose beauty was of a very rare order: for lust is not easily restrained, destitute as it is of fear; and men now observe the sacred nights of Antinous, the shameful character of which the lover who spent them with him knew well. Why reckon him among the gods, who is honoured on account of uncleanness? And why do you command him to be lamented as a son? And why should you enlarge on his beauty? Beauty blighted by vice is loathsome. Do not play the tyrant, O man, over beauty, nor offer foul insult to youth in its bloom. Keep beauty pure, that it may be truly fair. Be king over beauty, not its tyrant. Remain free, and then I shall acknowledge thy beauty, because thou hast kept its image pure: then will I worship that true beauty which is the archetype of all who are beautiful. Now the grave of the debauched boy is the temple and town of Antinous. For just as temples are held in reverence, so also are sepulchres, and pyramids, and mausoleums, and labyrinths, which are temples of the dead, as the others are sepulchres of the gods. As teacher on this point, I shall produce to you the Sibyl prophetess:—

She also predicts the ruin of the temple, foretelling that that of the Ephesian Artemis would be engulphed by earthquakes and rents in the ground, as follows:—

She says also that the temple of Isis and Serapis would be demolished and burned:—

Then she proceeds:—

But if you attend not to the prophetess, hear at least your own philosopher, the Ephesian Heraclitus, upbraiding images with their senselessness: “And to these images they pray, with the same result as if one were to talk to the walls of his house.” For are they not to be wondered at who worship stones, and place them before the doors, as if capable of activity? They worship Hermes as a god, and place Aguieus as a doorkeeper. For if people upbraid them with being devoid of sensation, why worship them as gods? And if they are thought to be endowed with sensation, why place them before the door? The Romans, who ascribed their greatest successes to Fortune, and regarded her as a very great deity, took her statue to the privy, and erected it there, assigning to the goddess as a fitting temple—the necessary. But senseless wood and stone, and rich gold, care not a whit for either savoury odour, or blood, or smoke, by which, being at once honoured and fumigated, they are blackened; no more do they for honour or insult. And these images are more worthless than any animal. I am at a loss to conceive how objects devoid of sense were deified, and feel compelled to pity as miserable wretches those that wander in the mazes of this folly: for if some living creatures have not all the senses, as worms and caterpillars, and such as even from the first appear imperfect, as moles and the shrew-mouse, which Nicander says is blind and uncouth; yet are they superior to those utterly senseless idols and images. For they have some one sense,—say, for example, hearing, or touching, or something analogous to smell or taste; while images do not possess even one sense. There are many creatures that have neither sight, nor hearing, nor speech, such as the genus of oysters, which yet live and grow, and are affected by the changes of the moon. But images, being motionless, inert, and senseless, are bound, nailed, glued,—are melted, filed, sawed, polished, carved. The senseless earth is dishonoured by the makers of images, who change it by their art from its proper nature, and induce men to worship it; and the makers of gods worship not gods and demons, but in my view earth and art, which go to make up images. For, in sooth, the image is only dead matter shaped by the craftsman’s hand. But we have no sensible image of sensible matter, but an image that is perceived by the mind alone,—God, who alone is truly God.⁹⁰⁸

908 [The Trent Creed makes the saints and their images objects of worship. It is evident that Clement never imagined the existence of an image among Christians. See p. 188, infra.]

And again, when involved in calamities, the superstitious worshippers of stones, though they have learned by the event that senseless matter is not to be worshipped, yet, yielding to the pressure of misfortune, become the victims of their superstition; and though despising the images, yet not wishing to appear wholly to neglect them, are found fault with by those gods by whose names the images are called.

For Dionysius the tyrant, the younger, having stripped off the golden mantle from the statue of Jupiter in Sicily, ordered him to be clothed in a woollen one, remarking facetiously that the latter was better than the golden one, being lighter in summer and warmer in winter. And Antiochus of Cyzicus, being in difficulties for money, ordered the golden statue of Zeus, fifteen cubits in height, to be melted; and one like it, of less valuable material, plated with gold, to be erected in place of it. And the swallows and most birds fly to these statues, and void their excrement on them, paying no respect either to Olympian Zeus, or Epidaurian Asclepius, or even to Athene Polias, or the Egyptian Serapis; but not even from them have you learned the senselessness of images.⁹⁰⁹

909 [The Trent Creed makes the saints and their images objects of worship. It is evident that Clement never imagined the existence of an image among Christians. See p. 188, infra.]

I know fire to be capable of exposing and curing superstition. If thou art willing to abandon this folly, the element of fire shall light thy way. This same fire burned the temple in Argos, with Chrysis the priestess; and that of Artemis in Ephesus the second time after the Amazons. And the Capitol in Rome was often wrapped in flames; nor did the fire spare the temple of Serapis, in the city of the Alexandrians. At Athens it demolished the temple of the Eleutherian Dionysus; and as to the temple of Apollo at Delphi, first a storm assailed it, and then the discerning fire utterly destroyed it. This is told as the preface of what the fire promises. And the makers of images, do they not shame those of you who are wise into despising matter? The Athenian Phidias inscribed on the finger of the Olympian Jove, Pantarkes⁹¹⁰

910 Pantarkes is said to have been the name of a boy loved by Phidias: but as the word signifies “all-assisting,” “all-powerful,” it might also be made to apply to Zeus.

There is no cause for indignation, then, at Hippo, who immortalized his own death. For this Hippo ordered the following elegy to be inscribed on his tomb:—

Well done, Hippo! thou showest to us the delusion of men. If they did not believe thee speaking, now that thou art dead, let them become thy disciples. This is the oracle of Hippo; let us consider it. The objects of your worship were once men, and in process of time died; and fable and time have raised them to honour. For somehow, what is present is wont to be despised through familiarity; but what is past, being separated through the obscurity of time from the temporary censure that attached to it, is invested with honour by fiction, so that the present is viewed with distrust, the past with admiration. Exactly in this way is it, then, that the dead men of antiquity, being reverenced through the long prevalence of delusion respecting them, are regarded as gods by posterity. As grounds of your belief in these, there are your mysteries, your solemn assemblies, bonds and wounds, and weeping deities.

The will of Zeus was overruled; and Zeus being worsted, laments for Sarpedon. With reason, therefore, have you yourselves called them shades and demons, since Homer, paying Athene and the other divinities sinister honour, has styled them demons:—

How, then, can shades and demons be still reckoned gods, being in reality unclean and impure spirits, acknowledged by all to be of an earthly and watery nature, sinking downwards by their own weight, and flitting about graves and tombs, about which they appear dimly, being but shadowy phantasms? Such things are your gods—shades and shadows; and to these add those maimed, wrinkled, squinting divinities the Litæ, daughters of Thersites rather than of Zeus. So that Bion—wittily, as I think—says, How in reason could men pray Zeus for a beautiful progeny,—a thing he could not obtain for himself?

The incorruptible being, as far as in you lies, you sink in the earth; and that pure and holy essence you have buried in the grave, robbing the divine of its true nature.

Why, I pray you, have you assigned the prerogatives of God to what are no gods? Why, let me ask, have you forsaken heaven to pay divine honour to earth? What else is gold, or silver, or steel, or iron, or brass, or ivory, or precious stones? Are they not earth, and of the earth?

Are not all these things which you look on the progeny of one mother—the earth?

Why, then, foolish and silly men (for I will repeat it), have you, defaming the supercelestial region, dragged religion to the ground, by fashioning to yourselves gods of earth, and by going after those created objects, instead of the uncreated Deity, have sunk into deepest darkness?

The Parian stone is beautiful, but it is not yet Poseidon. The ivory is beautiful, but it is not yet the Olympian Zeus. Matter always needs art to fashion it, but the deity needs nothing. Art has come forward to do its work, and the matter is clothed with its shape; and while the preciousness of the material makes it capable of being turned to profitable account, it is only on account of its form that it comes to be deemed worthy of veneration. Thy image, if considered as to its origin, is gold, it is wood, it is stone, it is earth, which has received shape from the artist’s hand. But I have been in the habit of walking on the earth, not of worshipping it. For I hold it wrong to entrust my spirit’s hopes to things destitute of the breath of life. We must therefore approach as close as possible to the images. How peculiarly inherent deceit is in them, is manifest from their very look. For the forms of the images are plainly stamped with the characteristic nature of demons. If one go round and inspect the pictures and images, he will at a glance recognise your gods from their shameful forms: Dionysus from his robe; Hephæstus from his art; Demeter from her calamity; Ino from her head-dress; Poseidon from his trident; Zeus from the swan; the pyre indicates Heracles; and if one sees a statue of a naked woman without an inscription, he understands it to be the golden Aphrodite. Thus that Cyprian Pygmalion became enamoured of an image of ivory: the image was Aphrodite, and it was nude. The Cyprian is made a conquest of by the mere shape, and embraces the image. This is related by Philostephanus. A different Aphrodite in Cnidus was of stone, and beautiful. Another person became enamoured of it, and shamefully embraced the stone. Posidippus relates this. The former of these authors, in his book on Cyprus, and the latter in his book on Cnidus. So powerful is art to delude, by seducing amorous men into the pit. Art is powerful, but it cannot deceive reason, nor those who live agreeably to reason. The doves on the picture were represented so to the life by the painter’s art, that the pigeons flew to them; and horses have neighed to well-executed pictures of mares. They say that a girl became enamoured of an image, and a comely youth of the statue at Cnidus. But it was the eyes of the spectators that were deceived by art; for no one in his senses ever would have embraced a goddess, or entombed himself with a lifeless paramour, or become enamoured of a demon and a stone. But it is with a different kind of spell that art deludes you, if it leads you not to the indulgence of amorous affections: it leads you to pay religious honour and worship to images and pictures.

The picture is like. Well and good! Let art receive its meed of praise, but let it not deceive man by passing itself off for truth. The horse stands quiet; the dove flutters not, its wing is motionless. But the cow of Dædalus, made of wood, allured the savage bull; and art having deceived him, compelled him to meet a woman full of licentious passion. Such frenzy have mischief-working arts created in the minds of the insensate. On the other hand, apes are admired by those who feed and care for them, because nothing in the shape of images and girls’ ornaments of wax or clay deceives them. You then will show yourselves inferior to apes by cleaving to stone, and wood, and gold, and ivory images, and to pictures. Your makers of such mischievous toys—the sculptors and makers of images, the painters and workers in metal, and the poets—have introduced a motley crowd of divinities: in the fields, Satyrs and Pans; in the woods, Nymphs, and Oreads, and Hamadryads; and besides, in the waters, the rivers, and fountains, the Naiads; and in the sea the Nereids. And now the Magi boast that the demons are the ministers of their impiety, reckoning them among the number of their domestics, and by their charms compelling them to be their slaves. Besides, the nuptials of the deities, their begetting and bringing forth of children that are recounted, their adulteries celebrated in song, their carousals represented in comedy, and bursts of laughter over their cups, which your authors introduce, urge me to cry out, though I would fain be silent. Oh the godlessness! You have turned heaven into a stage; the Divine has become a drama; and what is sacred you have acted in comedies under the masks of demons, travestying true religion by your demon-worship [superstition].

Sing to us, Homer, that beautiful song

Stop, O Homer, the song! It is not beautiful; it teaches adultery, and we are prohibited from polluting our ears with hearing about adultery for we are they who bear about with us, in this living and moving image of our human nature, the likeness of God,—a likeness which dwells with us, takes counsel with us, associates with us, is a guest with us, feels with us, feels for us. We have become a consecrated offering to God for Christ’s sake: we are the chosen generation, the royal priesthood, the holy nation, the peculiar people, who once were not a people, but are now the people of God; who, according to John, are not of those who are beneath, but have learned all from Him who came from above; who have come to understand the dispensation of God; who have learned to walk in newness of life. But these are not the sentiments of the many; but, casting off shame and fear, they depict in their houses the unnatural passions of the demons. Accordingly, wedded to impurity, they adorn their bed-chambers with painted tablets⁹¹⁴

914 [Is not this a rebuke to many of the figures and pictures which vulgarize abodes of wealth in America?]

For we are expressly prohibited from exercising a deceptive art: “For thou shalt not make,” says the prophet, “the likeness of anything which is in heaven above or in the earth beneath.”⁹¹⁶

916 Ex. xx. 4. [Clement even regards the art of painters and sculptors as unlawful for Christians.]

For can we possibly any longer suppose the Demeter, and the Core, and the mystic Iacchus of Praxiteles, to be gods, and not rather regard the art of Leucippus, or the hands of Apelles, which clothed the material with the form of the divine glory, as having a better title to the honour? But while you bestow the greatest pains that the image may be fashioned with the most exquisite beauty possible, you exercise no care to guard against your becoming like images for stupidity. Accordingly, with the utmost clearness and brevity, the prophetic word condemns this practice: “For all the gods of the nations are the images of demons; but God made the heavens, and what is in heaven.”⁹¹⁷

917 Ps. xcvi. 5.

918 Ps. xxxiii. 6.

Human art, moreover, produces houses, and ships, and cities, and pictures. But how shall I tell what God makes? Behold the whole universe; it is His work: and the heaven, and the sun, and angels, and men, are the works of His fingers.⁹¹⁹

919 Ps. viii. 3.

E.C.F. INDEX & SEARCH