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each in the other according to the divine Dionysius; than which what could be more beneficial and more uplifting? For the icon is an image of the very sight and a kind of lunar light, to use a familiar example, in relation to the sun's light; since if this is not so, what benefit was the tabernacle of testimony to the ancients, being a copy of the heavenly things? For there, among other things, were cherubim of glory overshadowing the mercy seat, that is, images formed in human shape, all things uplifting and objects of contemplation for worship in the spirit. But in vain for us, according to such a proposition, is the cross-shaped image, in vain also the lance-shaped, in vain also the sponge-shaped (since these too are representations, even if not anthropomorphic), in vain also are all other things that have been handed down to us in sensible images, to speak in the manner of Dionysius, through which we are led up, he says, as far as possible, to intelligible contemplations. Then also one of the five faculties of the soul is imagination, and imagination might seem to be an icon; for both are representations. Therefore, the icon is not unhelpful, being like the imagination. But if the more useful one is unhelpful, much more so then is the lesser, coexisting with nature in vain; and if in vain, so too are its coordinates, perception, opinion, discursive thought, intellect. Thus the argument, discoursing on nature, through a more inductive contemplation, suggests that the one who despises the icon, or imagination, is without intellect. And I for another reason admire the imagination; for some say that a woman, having imagined an Ethiopian at the time of conception, gave birth to an Ethiopian. Such was also the case with the patriarch Jacob in the peeling of the rods, from which imagination the offspring born among the flocks were variegated. And oh, the wonder, that the image-like imagination has been seen to be the effect of a real activity. But to the matter at hand goes the argument; "4Let those who set up such forms say what benefit they might enjoy from them, or to what contemplation they are led through the remembrance of them."5. And who, my good man, would not, from the form of an icon, if he gazed intently upon it, go away having received in his mind images of the right or of the left? But if from the best, the best things, and if from the most shameful, the most shameful things, so that often even while staying at home one is moved to compunction by the one, and is moved to passion by the other. Or does not someone sometimes, having awakened, rise from nocturnal phantasms either very joyful or very sorrowful? And if it is so there, much more so is it possible for the beholder to be disposed towards either in the case of waking images. Have you not read, my good sir, how the ancients serve the copy and shadow of the heavenly things? What is each? Is it not an image? Were they not led up in an image to the contemplation of heavenly things? Does not every man walk in an image, to speak in the manner of David? Are you not yourself, the iconoclast, an image of God and born according to the paternal form and iconically represented in a picture? Or are you alone unrepresentable, as not a man but an abortion, and for this reason you think the saints are thus also? But so that the argument on this matter may receive confirmation, ceasing to dogmatize from my own resources, it will bring forward the luminaries of the world, answering you in response to the question. Gregory of Nyssa: I have often seen on a painting an image of the passion and have not passed by the sight without tears, the art clearly bringing the story before my eyes. Chrysostom: I also have loved a wax-painted image filled with reverence; for I saw an angel in an icon driving away hordes of barbarians, I saw the tribes of barbarians being trampled, and David speaking truth: Lord, in your city you will despise their image. Of Cyril of Alexandria: I saw on a wall painting a maiden struggling in the contests and I did not behold the sight without tears. Gregory the Theologian: And Polemon was stooping over her in an icon; a courtesan seeing this (for it was venerable) went away at once, overcome by the sight, as though ashamed before the one who was painted as if he were alive. Basil the Great: Arise for me now, O brilliant painters of athletic achievements, the general's maimed image with

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ἑκάτερον ἐν ἑκατέρῳ κατὰ τὸν θεῖον ∆ιονύσιον· οὗ τί ἂν γένοιτο ὠφελιμώτερόν τε καὶ ἀναγωγικώτερον; ἔμφασις γάρ ἐστιν τῆς αὐτοψίας καὶ σεληνιαῖόν τι φῶς, ἵνα καὶ οἰκείῳ παραδείγματι χρήσωμαι, πρὸς ἡλιακὸν φάος ἡ εἰκών· ἐπεὶ εἰ μὴ τοῦτο, τί ὀνίνησι τοὺς πάλαι ἡ σκηνὴ τοῦ μαρτυρίου, μίμημα οὖσα τῶν ἐπουρανίων; κἀκεῖ γὰρ μετὰ τῶν ἄλλων χερουβὶμ δόξης κατασκιάζοντα τὸ ἱλαστήριον, τουτέστιν εἰκόνες ἀνθρωπομόρφῳ εἴδει διατυπούμεναι, ἀναγωγικὰ πάντα καὶ τῆς ἐν πνεύματι λατρείας θεωρήματα. μάτην δὲ ἡμῖν ὅσον ἐπὶ τῇ τοιᾷδε προτάσει καὶ ἡ σταυροειδὴς εἰκών, μάτην καὶ ἡ λογχοειδής, μάτην καὶ ἡ σπογγοειδὴς (ἐπείπερ καὶ ταῦτα μιμήματα, κἂν οὐκ ἀνθρωπόμορφα), μάτην καὶ ὅσα ἄλλα αἰσθηταῖς εἰκόσι, ∆ιονυσαϊκῶς εἰπεῖν, παραδέδοται ἡμῖν, δι' ὧν ἐπὶ τὰς νοητὰς κατὰ τὸ δυνατόν, φησίν, ἀναγόμεθα θεωρίας. ἔπειτα καὶ ἡ μία τῶν πέντε τῆς ψυχῆς δυνάμεων ἡ φαντασία, φαντασία δὲ δόξειέν τις εἰκών· ἰνδάλματα γὰρ ἀμφότερα. οὐκ ἀνωφελὴς ἄρα ἡ εἰκών, τῇ φαντασίᾳ ἐοικυῖα. εἰ δὲ ἀνωφελὴς ἡ προὐργιαιτέρα, πολλῷ οὖν μᾶλλον ἡ ὑφειμενεστέρα, μάτην συνυπάρχουσα τῇ φύσει· καὶ εἰ μάτην, καὶ αἱ σύστοιχοι αὐτῆς, αἴσθησις, δόξα, διάνοια, νοῦς. οὕτω φυσιολογῶν ὁ λόγος ἄνουν ὑπαγορεύει διὰ θεωρίας ἐπαγωγικωτέρας τὸν τῆς εἰκόνος ἤτοι φαντασίας ἐξουδενωτήν. ἐγὼ δὲ καὶ ἄλλως ἄγαμαι τὴν φαντασίαν· φασὶ γάρ τινες γυναῖκα κατὰ τὸν τῆς συλλήψεως καιρὸν Αἰθίοπα φαντασθεῖσαν Αἰθίοπα ἀποτεκεῖν. τοιοῦτον καὶ τὸ κατὰ τὸν πατριάρχην Ἰακὼβ ἐπὶ τῷ τῶν ῥάβδων λεπισμῷ, ἐξ ἧς φαντασίας ἐποικίλλοντο τὰ ἐν τοῖς θρέμμασι τικτόμενα. καὶ ὢ τοῦ θαύματος, ὅτι πραγματικῆς ἐνεργείας ἡ εἰκονοειδὴς φαντασία ὦπται ἀποτέλεσμα. Ἀλλ' ἐπὶ τὸ προκείμενον ὁ λόγος· "4εἰπάτωσαν οἱ τὰς τοιάσδε ἀναστηλοῦντες μορφάς, ποίας ἐκ τούτων ἆρα καταπολαύοιεν ὠφελείας ἢ ἐν ποίᾳ διὰ τῆς τούτων ἀναμνήσεως ἀνάγονται θεωρίᾳ"5. καὶ τίς, ὦ τᾶν, οὐκ ἐκ τῆς εἰκονικῆς εἰδέας, εἴπερ ἐναργῶς ἀτενίσειεν, δεξιᾶς τε ἢ ἀριστερᾶς ἰνδάλματα λαβὼν ἐν νῷ ἄπεισιν; ἀλλ' εἰ μὲν ἐξ ἀρίστης, ἄριστα, εἰ δὲ ἐξ αἰσχίστης, αἴσχιστα, ὥστε πολλάκις καὶ οἴκοι μένων τῇ μὲν κατανύττεσθαι, τῇ δὲ παθαίνεσθαι. ἢ οὐχὶ καί τις ἐνίοτε ἀφυπνώσας τοῖς νυκτερινοῖς φαντάσμασι περιχαρῶς ἢ λυπηρῶς διανίσταται; εἰ δὲ ἐκεῖ οὕτως, πολλῷ οὖν μᾶλλον ἐν τοῖς καθ' ὕπαρ εἰκονίσμασι διατίθεσθαι ἔστι πρὸς ἑκάτερα τὸν βλέποντα. οὐ δήπου ἀνέγνως, ὦ βέλτιστε, ὡς οἱ πάλαι ὑποδείγματι καὶ σκιᾷ λατρεύουσι τῶν ἐπουρανίων; τί ἑκάτερον; οὐκ εἰκών; οὐκ ἐν εἰκόνι ἀνήγοντο πρὸς τὴν τῶν ἐπουρανίων θεωρίαν; οὐκ ἐν εἰκόνι διαπορεύεται πᾶς ἄνθρωπος, ∆αυιτικῶς εἰπεῖν; οὐκ αὐτὸς σὺ ὁ εἰκονο μαχῶν εἰκὼν θεοῦ καὶ κατὰ εἰδέαν πατρῴαν γεννηθεὶς καὶ εἰκονικῶς ἐν πίνακι ἐγγραφόμενος; ἢ μόνος σὺ ἀνεξεικόνιστος ὡς οὐκ ἄνθρωπος ἀλλὰ ἀμβλωθρίδιος, καὶ διὰ τοῦτο καὶ τοὺς ἁγίους οὕτως οἰόμενος; Ἀλλ' ἵνα μᾶλλον ὁ περὶ τοῦδε λόγος πίστωσιν δέξοιτο, παρεὶς τὸ οἴκοθεν δογματίζειν αὐτοὺς προστήσεται τοὺς τῆς οἰκουμένης λαμπτῆρας, ἀποκρινομένους σοι πρὸς τὴν ἐρώτησιν. Γρηγόριος ὁ Νυσσαεύς· εἶδον πολλάκις ἐπὶ γραφῆς εἰκόνα τοῦ πάθους καὶ οὐκ ἀδακρυτὶ τὴν θέαν παρῆλθον, ἐναργῶς τῆς τέχνης ὑπ' ὄψιν ἀγούσης τὴν ἱστορίαν. ὁ Χρυσόστομος· ἐγὼ καὶ τὴν κηρόχυτον ἠγάπησα γραφὴν εὐσεβείας ἕνεκεν πεπληρωμένην· εἶδον γὰρ ἄγγελον ἐν εἰκόνι ἐλαύνοντα βαρβάρων στίφη, εἶδον πατούμενα βαρβάρων φῦλα καὶ τὸν ∆αυὶδ ἀληθεύοντα· Κύριε, ἐν τῇ πόλει σου τὴν εἰκόνα αὐτῶν ἐξουδενώσεις. Κυρίλλου Ἀλεξανδρείας· εἶδον ἐγὼ κατὰ τοίχου γραφῆς ἐναθλοῦσαν τοῖς σκάμμασι κόρην καὶ οὐκ ἀδακρυτὶ τὴν θέαν κατώπτευσα. Γρηγόριος ὁ Θεολόγος· τῆς δὲ ἦν ὑπερκύπτων Πολέμων ἐν εἰκόνι· ἑταιρὶς ταύτην ἰδοῦσα (καὶ γὰρ ἦν σεβασμία) ἀπῆλθεν εὐθὺς καὶ θέας ἡττημένη, ὡς ζῶντα αἰσχυνθεῖσα τὸν γεγραμμένον. Βασίλειος ὁ Μέγας· ἀνάστητέ μοι νῦν, ὦ λαμπροὶ τῶν ἀθλητικῶν κατορθωμάτων ζωγράφοι, τὴν τοῦ στρατηγοῦ κολοβωθεῖσαν εἰκόνα ταῖς