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a reed, they were striking the head of the Lord. Finally they say, "4since we learn precisely that they pierced his side with a lance, let us omit nothing, but add this too"5. And, having caused a lance to be brought, they permitted one of them to take up the lance and strike against the side of the icon of the Lord; and when this happened, immediately a great amount of blood and water gushed forth from it. The saying is trustworthy, O most wise ones, first, that signs are for unbelievers, not for those who believe, and second, that we too might know that the prototype is dishonored by the dishonor of the icon, just as, conversely, it is honored by the honor of the icon. A saying of Basil the Great from the encomium on the martyr Barlaam: Let Christ, the judge of the contests, also be inscribed on the panel. And here, O most serene ones, is the sure definition for the setting up of an icon. For it is not, as some idly argue, that Christ is said by the God-bearer to be inscribed on the tablet of the soul; for we do not have Christ inscribed in us, but dwelling in our hearts through faith, as the apostle cries out. Then, because by the addition of the conjunction "4and"5 he signified the preceding things, which are these: Arise for me now, you brilliant painters of athletic achievements, magnify with your arts the mutilated image of the general; with the colors of your wisdom illuminate the crowned victor, who was painted more dimly by me. Let me depart, vanquished by your depiction of the martyr’s heroic deeds. I rejoice today, being defeated by such a victory of your strength. Let me see the struggle of the hand against the fire more accurately depicted by you, let me see the wrestler more splendidly painted on your icon. Let the demons weep even now, being struck by the martyr’s heroic deeds depicted by you, let the hand be shown to them again, burning and conquering. One would surely not say these things are inscribed in us; and even if this were granted, he would not have exhorted first the servant, and then the master, especially since by saying at the very beginning, "4Arise for me now, O brilliant painters of athletic achievements"5 he clearly meant the icon-painters, not the writers, just as also in the encomium on the Forty Martyrs the same one says these things: since both writers and painters often make famous the heroic deeds of wars, the former adorning them with words, the latter inscribing them on panels. Since, then, the second manner has reached its end, what is the third? A saying of the fathers who convened in Constantinople after the sixth council: In some paintings of the venerable icons, a lamb pointed to by the finger of the Forerunner is depicted, which was received as a type of grace, prefiguring to us through the law the true lamb, Christ our God. Therefore, while we embrace the ancient types and shadows as symbols and prefigurations of the truth handed down to the Church, we prefer grace and truth, having received this as the fulfillment of the law. So that, therefore, that which is perfect may be depicted for all eyes even in paintings, we decree that henceforth, instead of the ancient lamb, the lamb who takes away the sin of the world, Christ our God, be set up in the icons in his human form, so that through him we may comprehend the height of the humility of God the Word and be led to the memory of his life in the flesh, of his passion and his saving death, and of the redemption for the world that resulted from this. Here, along with the icon of Christ, the argument for the icons of all the saints is also present, first, because the proclamation is for him to be set up as having already been prefigured and lacking the "4and instead of the ancient lamb"5, and second, because his icon is not only to be embraced, in the same way that the symbols and prefigurations in the law are called embraceable, but also to be venerated, both his and that of any saint whatsoever. For it is clear that the venerable and to be venerated one might

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κάλαμον, ἔτυπτον εἰς τὴν κεφαλὴν τοῦ δεσπότου. τέλος λέγουσιν, "4ὡς ἀκριβῶς μανθάνομεν ὅτι λόγχῃ τὴν πλευρὰν αὐτοῦ ἔνυξαν, μηδὲν παραλείψωμεν, ἀλλὰ προσθῶμεν καὶ τοῦτο"5. καί, ποιήσαντες ἐνεχθῆναι λόγχην, ἐπέτρεψάν τινι αὐτῶν ἆραι τὴν λόγχην καὶ κροῦσαι κατὰ τῆς πλευρᾶς τῆς εἰκόνος τοῦ Κυρίου· καὶ τούτου γενομένου εὐθέως ἀνέβλυσεν ἀπ' αὐτῆς πλῆθος αἵματος καὶ ὕδατος. Πιστὸς ὁ λόγος, ὦ σοφώτατοι, τὸ μέν, ὅτι τὰ σημεῖα τοῖς ἀπίστοις, οὐ τοῖς πιστεύουσι, τὸ δέ, ὡς ἂν καὶ ἡμεῖς γνοίημεν ὅτι τῇ τῆς εἰκόνος ὕβρει ἐφύβρισται τὸ πρωτότυπον, ὡς ἔμπαλιν τῇ τῆς εἰκόνος τιμῇ ἀποτετίμηται. φωνὴ τοῦ Μεγάλου Βασιλείου ἐκ τοῦ ἐγκωμίου τοῦ εἰς τὸν μάρτυρα Βαρλαάμ· ἐγγραφέσθω τῷ πίνακι καὶ ὁ τῶν παλαισμάτων ἀγωνοθέτης Χριστός. κἀνταῦθα, ὦ γαληνότατοι, ἀσφαλὴς ὁ ὅρος τῆς εἰκονικῆς ἀναστηλώσεως. οὐ γάρ, ὥς τινες εἰκαιολογοῦσι, τῷ πίνακι τῆς ψυχῆς ἐγγεγράφθαι Χριστὸν εἴρηται τῷ θεοφόρῳ· οὐδὲ γὰρ ἐγγεγραμμένον ἐν ἡμῖν, ἀλλὰ κατοικοῦντα τὸν Χριστὸν διὰ τῆς πίστεως ἐν ταῖς καρδίαις ἡμῶν ἔχομεν, ὡς ὁ ἀπόστολος βοᾷ. ἔπειτα, ὅτι καὶ τῇ ἐπιφορᾷ τοῦ "4καί"5 συνδέσμου τὰ προηγούμενα ὑπεσημήνατο, ἅτινά ἐστι τάδε· ἀνάστητέ μοι νῦν, οἱ λαμπροὶ τῶν ἀθλητικῶν κατορθωμάτων ζωγράφοι, τὴν τοῦ στρατηγοῦ κολοβωθεῖσαν εἰκόνα ταῖς ὑμετέραις μεγαλύνατε τέχναις· ἀμαυρότερον παρ' ἐμοῦ τὸν στεφανίτην γραφέντα τοῖς τῆς ὑμετέρας σοφίας περιλάμψατε χρώμασιν. ἀπέλθω τῇ τῶν ἀριστευμάτων τοῦ μάρτυρος παρ' ὑμῶν νενικημένος γραφῇ. χαίρω τῇ τοιαύτῃ τῆς ὑμετέρας ἰσχύος σήμερον νίκῃ ἡττώμενος. ἴδω τῆς χειρὸς πρὸς τὸ πῦρ ἀκριβέστερον παρ' ὑμῶν ἐγγραφομένην τὴν πάλην, ἴδω φαιδρότερον ἐπὶ τῆς ὑμετέρας τὸν παλαιστὴν γεγραμμένον εἰκόνος. κλαυσάτωσαν δαίμονες καὶ νῦν, ταῖς τοῦ μάρτυρος ἐν ὑμῖν ἀριστείαις πληττόμενοι, φλεγομένη πάλιν αὐτοῖς ἡ χεὶρ καὶ νικῶσα δεικνύσθω. ταῦτα οὐ δήπου ἐγγεγράφθαι φαίη ἐν ἡμῖν· εἰ δὲ καὶ τοῦτο δοθείη, οὐκ ἂν πρότερον τὸν δοῦλον, εἶθ' οὕτως τὸν δεσπότην παρηγγυᾶτο, ἄλλως τε καὶ τῷ εὐθὺς ἐν τῇ ἀπαρχῇ λέγειν "4ἀνάστητέ μοι νῦν, ὦ λαμπροὶ τῶν ἀθλητικῶν κατορθωμάτων ζωγράφοι"5 δῆλα δὴ τοὺς εἰκονουργούς, οὐ τοὺς λογογράφους ἐσήμανε, καθὼς καὶ ἐν τῷ ἐγκωμίῳ τῶν Τεσσαράκοντα μαρτύρων ὁ αὐτὸς τάδε φησίν· ἐπεὶ καὶ πολέμων ἀνδραγαθήματα καὶ λογογράφοι πολλάκις καὶ ζωγράφοι διασημαίνουσιν, οἱ μὲν τῷ λόγῳ κοσμοῦντες, οἱ δὲ τοῖς πίναξιν ἐγχαράττοντες. Ἐπεὶ γοῦν καὶ ὁ δεύτερος τρόπος πέρας εἴληφε, τίς ὁ τρίτος; φωνὴ τῶν μετὰ τὴν ἕκτην συνεδρευσάντων πατέρων ἐν Κωνσταντινουπόλει· ἔν τισι τῶν σεπτῶν εἰκόνων γραφαῖς ἀμνὸς δακτύλῳ τοῦ Προδρόμου δεικνύμενος ἐγχαράττεται, ὃς εἰς τύπον παρελήφθη τῆς χάριτος, τὸν ἀληθινὸν ἡμῖν διὰ νόμου προϋποφαίνων ἀμνόν, Χριστὸν τὸν θεὸν ἡμῶν. τοὺς οὖν παλαιοὺς τύπους καὶ τὰς σκιὰς ὡς τῆς ἀληθείας σύμβολά τε καὶ προχαράγματα τῇ ἐκκλησίᾳ παραδεδομένους κατασπαζόμενοι τὴν χάριν προτιμῶμεν καὶ τὴν ἀλήθειαν, ὡς πλήρωμα νόμου ταύτην ὑποδεξάμενοι. ὡς ἂν οὖν τὸ τέλειον κἀν ταῖς χρωματουργίαις ἐν ταῖς ἁπάντων ὄψεσιν ὑπογράφηται, τὸν τοῦ αἴροντος τὴν ἁμαρτίαν τοῦ κόσμου ἀμνοῦ Χριστοῦ τοῦ θεοῦ ἡμῶν κατὰ τὸ ἀνθρώπινον χαρακτῆρα καὶ ἐν ταῖς εἰκόσιν ἀπὸ τοῦ νῦν ἀντὶ τοῦ παλαιοῦ ἀμνοῦ ἀναστηλοῦσθαι ὁρίζομεν, δι' αὐτοῦ τὸ τῆς ταπεινώσεως ὕψος τοῦ θεοῦ λόγου κατανοοῦντες καὶ πρὸς μνήμην τῆς ἐν σαρκὶ πολιτείας, τοῦ τε πάθους αὐτοῦ καὶ τοῦ σωτηρίου θανάτου χειραγωγούμενοι καὶ τῆς ἐντεῦθεν γινομένης τῷ κόσμῳ ἀπολυτρώσεως. ἐνταῦθα ὁμοῦ τῇ Χριστοῦ εἰκόνι καὶ τῶν ἁπάντων ἁγίων εἰκόνων λόγος πρόσεστι, πρῶτον μὲν ὅτι ὡς ἤδη προεξεικονισμένου καὶ λείποντος τοῦ "4καὶ ἀντὶ τοῦ παλαιοῦ ἀμνοῦ"5 αὐτὸν ἀναστηλοῦσθαι ἡ διαγόρευσις, ἔπειτα, ὅτι οὐ μόνον ἀσπαστὴ ἡ τοῦδε εἰκὼν κατὰ τὰ ἐν νόμῳ σύμβολά τε καὶ προχαράγματα ἀσπαστὰ κεκλῆσθαι, ἀλλὰ καὶ προσκυνητή, αὐτοῦ τε καὶ παντὸς οὑτινοσοῦν ἁγίου. δῆλον γὰρ ὅτι τὸ σεπτὸν καὶ προσκυνητὸν ἄν τις