Contra Gentes. (Against the Heathen.)
§3. The decline of man from the above condition, owing to his absorption in material things.
§4. The gradual abasement of the Soul from Truth to Falsehood by the abuse of her freedom of Choice.
§5. Evil, then consists essentially in the choice of what is lower in preference to what is higher.
§11. The deeds of heathen deities, and particularly of Zeus.
§13. The folly of image worship and its dishonour to art.
§14. Image worship condemned by Scripture.
§22. The image cannot represent the true form of God, else God would be corruptible.
§23. The variety of idolatrous cults proves that they are false.
§24. The so-called gods of one place are used as victims in another.
§25. Human sacrifice. Its absurdity. Its prevalence. Its calamitous results.
§26. The moral corruptions of Paganism all admittedly originated with the gods.
§29. The balance of powers in Nature shews that it is not God, either collectively, or in parts .
§37. The same subject continued .
§38. The Unity of God shewn by the Harmony of the order of Nature .
§39. Impossibility of a plurality of Gods .
§42. This function of the Word described at length .
§43. Three similes to illustrate the Word’s relation to the Universe .
§44. The similes applied to the whole Universe, seen and unseen .
§45. Conclusion. Doctrine of Scripture on the subject of Part I .
§46. Doctrine of Scripture on the subject of Part 3 .
§47. Necessity of a return to the Word if our corrupt nature is to be restored .
§13. The folly of image worship and its dishonour to art.
Again, in worshipping things of wood and stone, they do not see that, while they tread under foot and burn what is in no way different, they call portions of these materials gods. And what they made use of a little while ago, they carve and worship in their folly, not seeing, nor at all considering that they are worshipping, not gods, but the carver’s art. 2. For so long as the stone is uncut and the wood unworked, they walk upon the one and make frequent use of the other for their own purposes, even for those which are less honourable. But when the artist has invested them with the proportions of his own skill, and impressed upon the material the form of man or woman, then, thanking the artist, they proceed to worship them as gods, having bought them from the carver at a price. Often, moreover, the image-maker, as though forgetting the work he has done himself, prays to his own productions, and calls gods what just before he was paring and chipping. 3. But it were better, if need to admire these things, to ascribe it to the art of the skilled workman, and not to honour productions in preference to their producer. For it is not the material that has adorned the art, but the art that has adorned and deified the material. Much juster were it, then, for them to worship the artist than his productions, both because his existence was prior to that of the gods produced by art, and because they have come into being in the form he pleased to give them. But as it is, setting justice aside, and dishonouring skill and art, they worship the products of skill and art, and when the man is dead that made them, they honour his works as immortal, whereas if they did not receive daily attention they would certainly in time come to a natural end. 4. Or how could one fail to pity them in this also, in that seeing, they worship them that cannot see, and hearing, pray to them that cannot hear, and born with life and reason, men as they are, call gods things which do not move at all, but have not even life, and, strangest of all, in that they serve as their masters beings whom they themselves keep under their own power? Nor imagine that this is a mere statement of mine, nor that I am maligning them; for the verification of all this meets the eyes, and whoever wishes to do so may see the like.
13 Εἶτα προσκυνοῦντες λίθοις καὶ ξύλοις, οὐχ ὁρῶσιν ὅτι τὰ μὲν ὅμοια τοῖς ποσὶ πατοῦσι καὶ καίουσι, τὰ δὲ τούτων μέρη θεοὺς προσ αγορεύουσι· καὶ ἃ πρὸ ὀλίγου εἰς χρῆσιν εἶχον, ταῦτα διὰ παρα φροσύνην γλύψαντες σέβουσιν· οὐχ ὁρῶντες, οὐδὲ λογιζόμενοι τὸ σύνολον, ὅτι οὐ θεούς, ἀλλὰ τὴν τέχνην τοῦ γλύψαντος προσκυνοῦσιν. ἕως μὲν γὰρ ἄξυστός ἐστιν ὁ λίθος, καὶ ἡ ὕλη ἀργή, ἐπὶ τοσοῦτον ταῦτα πατοῦσι, καὶ τούτοις εἰς ὑπηρεσίας τὰς ἑαυτῶν πολλάκις καὶ τὰς ἀτιμοτέρας χρῶνται· ἐπειδὰν δὲ ὁ τεχνίτης εἰς αὐτὰ τῆς ἰδίας ἐπιστήμης ἐπιβάλῃ τὰς συμμετρίας, καὶ ἀνδρὸς ἢ γυναικὸς εἰς τὴν ὕλην σχῆμα τυπώσῃ, τότε δή, χάριν ὁμολογήσαντες τῷ τεχνίτῃ, λοιπὸν ὡς θεοὺς προσκυνοῦσι, μισθοῦ παρὰ τοῦ γλύψαντος αὐτοὺς ἀγοράσαντες. πολλάκις δὲ καὶ αὐτὸς ὁ ἀγαλματοποιός, ὥσπερ ἐπι λαθόμενος ὧν αὐτὸς εἰργάσατο, τοῖς ἰδίοις ἔργοις προσεύχεται· καὶ ἃ πρὸ ὀλίγου κατέξεε καὶ κατέκοπτε, ταῦτα μετὰ τὴν τέχνην θεοὺς προσαγορεύει. ἔδει δέ, εἴπερ ἦν θαυμάζειν ταῦτα, τὴν τοῦ ἐπι στήμονος τέχνην ἀποδέχεσθαι, καὶ μὴ τὰ ὑπ' αὐτοῦ πλασθέντα τοῦ πεποιηκότος προτιμᾷν. οὐ γὰρ ἡ ὕλη τὴν τέχνην, ἀλλ' ἡ τέχνη τὴν ὕλην ἐκόσμησε καὶ ἐθεοποίησε. πολλῷ οὖν μᾶλλον δικαιότερον ἦν τὸν τεχνίτην αὐτοὺς προσκυνεῖν, ἤπερ τὰ ὑπ' αὐτοῦ πεποιημένα, ὅτι τε καὶ προϋπῆρχε τῶν ἐκ τέχνης θεῶν, καὶ ὅτι ὡς ἐβουλήθη, οὕτω καὶ γεγόνασι. νῦν δὲ παραγκωνισάμενοι τὸ δίκαιον, καὶ τὴν ἐπιστήμην καὶ τὴν τέχνην ἀτιμάσαντες, τὰ μετ' ἐπιστήμης καὶ τέχνης γεγονότα προσκυνοῦσι· καὶ τοῦ ποιήσαντος ἀνθρώπου ἀποθνήσκοντος, τὰ ὑπ' αὐτοῦ γενόμενα, ὡς ἀθάνατα τιμῶσιν· ἅ, εἰ μὴ τύχοιεν τῆς καθ' ἡμέραν ἐπιμελείας, πάντως τῷ χρόνῳ διὰ τὴν φύσιν ἀφανίζονται. πῶς δὲ οὐκ ἄν τις αὐτοὺς οἰκτειρήσειε καὶ κατὰ τοῦτο, ὅτι βλέποντες αὐτοὶ τοὺς μὴ βλέποντας προσκυνοῦσι, καὶ ἀκούοντες αὐτοὶ τοῖς μὴ ἀκούουσι προσεύχονται· καὶ ἔμψυχοι καὶ λογικοὶ κατὰ φύσιν ὄντες οἱ ἄνθρωποι, τοὺς μηδ' ὅλως κινουμένους, ἀλλὰ ἀψύχους ὄντας, ὡς θεοὺς προσαγορεύουσι· καὶ τό γε θαυμαστόν, ὅτι οὓς αὐτοὶ φυλάτ τουσιν ὑπ' ἐξουσίαν ἔχοντες, τούτοις ὡς δεσπόταις δουλεύουσι; καὶ μή τοι νομίσῃς ταῦτά με λέγειν ἁπλῶς, ἢ ψεύδεσθαι κατ' αὐτῶν· ἔστι μὲν γὰρ καὶ τοῖς ὀφθαλμοῖς ἡ πίστις ἀπαντῶσα τούτων, καὶ πάρεστι τοῖς βουλομένοις ὁρᾷν τὰ τοιαῦτα.