---
title: "Select Works and Letters"
author: "Athanasius"
translator: "Archibald Robertson"
languages: [en]
shelf: "Church Fathers"
section: 24 of 146
url: https://scriptura.si/works/athanasius-select-works-and-letters/24/
cite: "Athanasius, tr. Archibald Robertson, Select Works and Letters, section 24. Scriptura (scriptura.si), https://scriptura.si/works/athanasius-select-works-and-letters/24/"
---

# Select Works and Letters

*Athanasius, tr. Archibald Robertson*

Athanasius defends the Nicene faith: the Orations against the Arians, his letters and more.

## 24. The folly of image worship and its dishonour to art

Source: https://scriptura.si/works/athanasius-select-works-and-letters/24/ · cite a paragraph as https://scriptura.si/works/athanasius-select-works-and-letters/24/#p-N

[¶0] §13. The folly of image worship and its dishonour to art.

[¶1] 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.

### Image worship condemned by Scripture

[¶3] §14. Image worship condemned by Scripture.

[¶4] But better testimony about all this is furnished by Holy Scripture, which tells us beforehand when it says, “Their idols are silver and gold, the work of men’s hands. Eyes have they and will not see; a mouth have they and will not speak; ears have they and will not hear; noses have they and will not smell; hands have they and will not handle; feet have they and will not walk; they will not speak through their throat. Like unto them be they that make them.” Nor have they escaped prophetic censure; for there also is their refutation, where the Spirit says, “they shall be ashamed that have formed a god, and carved all of them that which is vain: and all by whom they were made are dried up: and let the deaf ones among men all assemble and stand up together, and let them be confounded and put to shame together; for the carpenter sharpened iron, and worked it with an adze, and fashioned it with an auger, and set it up with the arm of his strength: and he shall hunger and be faint, and drink no water. For the carpenter chose out wood, and set it by a rule, and fashioned it with glue, and made it as the form of a man and as the beauty of man, and set it up in his house, wood which he had cut from the grove and which the Lord planted, and the rain gave it growth that it might be for men to burn, and that he might take thereof and warm himself, and kindle, and bake bread upon it, but the residue they made into gods, and worshipped them, the half whereof they had burned in the fire. And upon the half thereof he roasted flesh and ate and was filled, and was warmed and said: ‘It is pleasant to me, because I am warmed and have seen the fire.’ But the residue thereof he worshipped, saying, ‘Deliver me for thou art my god.’ They knew not nor understood, because their eyes were dimmed that they could not see, nor perceive with their heart; nor did he consider in his heart nor know in his understanding that he had burned half thereof in the fire, and baked bread upon the coals thereof, and roasted flesh and eaten it, and made the residue thereof an abomination, and they worship it. Know that their heart is dust and they are deceived, and none can deliver his soul. Behold and will ye not say, ‘There is a lie in my right hand?’” 2. How then can they fail to be judged godless by all, who even by the divine Scripture are accused of impiety? or how can they be anything but miserable, who are thus openly convicted of worshipping dead things instead of the truth? or what kind of hope have they? or what kind of excuse could be made for them, trusting in things without sense or movement, which they reverence in place of the true God?

### The details about the gods conveyed in the representations of them by poets and artists shew that they are without life, and that they are not gods, nor even decent men and women

[¶6] §15. The details about the gods conveyed in the representations of them by poets and artists shew that they are without life, and that they are not gods, nor even decent men and women.

[¶7] For would that the artist would fashion the gods even without shape, so that they might not be open to so manifest an exposure of their lack of sense. For they might have cajoled the perception of simple folk to think the idols had senses, were it not that they possess the symbols of the senses, eyes for example and noses and ears and hands and mouth, without any gesture of actual perception and grasp of the objects of sense. But as a matter of fact they have these things and have them not, stand and stand not, sit and sit not. For they have not the real action of these things, but as their fashioner pleased, so they remain stationary, giving no sign of a god, but evidently mere inanimate objects, set there by man’s art. 2. Or would that the heralds and prophets of these false gods, poets I mean and writers, had simply written that they were gods, and not also recounted their actions as an exposure of their godlessness and scandalous life. For by the mere name of godhead they might have filched away the truth, or rather have caused the mass of men to err from the truth. But as it is, by narrating the loves and immoralities of Zeus, and the corruptions of youths by the other gods, and the voluptuous jealousies of the females, and the fears and acts of cowardice and other wickednesses, they merely convict themselves of narrating not merely about no gods, but not even about respectable men, but on the contrary, of telling tales about shameful persons far removed from what is honourable.

### Heathen arguments in palliation of the above: and (1) 'the poets are responsible for these unedifying tales.' But are the names and existence of the gods any better authenticated? Both stand or fall together. Either the actions must be defended or the deity of the gods given up. And the heroes are not credited with acts inconsistent with their nature, as, on this plea, the gods are

[¶9] §16. Heathen arguments in palliation of the above: and (1) ‘the poets are responsible for these unedifying tales.’ But are the names and existence of the gods any better authenticated? Both stand or fall together. Either the actions must be defended or the deity of the gods given up. And the heroes are not credited with acts inconsistent with their nature, as, on this plea, the gods are.

[¶10] But perhaps, as to all this, the impious will appeal to the peculiar style of poets, saying that it is the peculiarity of poets to feign what is not, and, for the pleasure of their hearers, to tell fictitious tales; and that for this reason they have composed the stories about gods. But this pretext of theirs, even more than any other, will appear to be superficial from what they themselves think and profess about these matters. 2. For if what is said in the poets is fictitious and false, even the nomenclature of Zeus, Cronos, Hera, Ares and the rest must be false. For perhaps, as they say, even the names are fictitious, and, while no such being exists as Zeus, Cronos, or Ares, the poets feign their existence to deceive their hearers. But if the poets feign the existence of unreal beings, how is it that they worship them as though they existed? 3. Or perhaps, once again, they will say that while the names are not fictitious, they ascribe to them fictitious actions. But even this is equally precarious as a defence. For if they made up the actions, doubtless also they made up the names, to which they attributed the actions. Or if they tell the truth about the names, it follows that they tell the truth about the actions too. In particular, they who have said in their tales that these are gods certainly know how gods ought to act, and would never ascribe to gods the ideas of men, any more than one would ascribe to water the properties of fire; for fire burns, whereas the nature of water on the contrary is cold. 4. If then the actions are worthy of gods, they that do them must be gods; but if they are actions of men, and of disreputable men, such as adultery and the acts mentioned above, they that act in such ways must be men and not gods. For their deeds must correspond to their natures, so that at once the actor may be made known by his act, and the action may be ascertainable from his nature. So that just as a man discussing about water and fire, and declaring their action, would not say that water burned and fire cooled, nor, if a man were discoursing about the sun and the earth, would he say the earth gave light, while the sun was sown with herbs and fruits, but if he were to say so would exceed the utmost height of madness, so neither would their writers, and especially the most eminent poet of all, if they really knew that Zeus and the others were gods, invest them with such actions as shew them to be not gods, but rather men, and not sober men. 5. Or if, as poets, they told falsehoods, and you are maligning them, why did they not also tell falsehoods about the courage of the heroes, and feign feebleness in the place of courage, and courage in that of feebleness? For they ought in that case, as with Zeus and Hera, so also to slanderously accuse Achilles of want of courage, and to celebrate the might of Thersites, and, while charging Odysseus with dulness, to make out Nestor a reckless person, and to narrate effeminate actions of Diomed and Hector, and manly deeds of Hecuba. For the fiction and falsehood they ascribe to the poets ought to extend to all cases. But in fact, they kept the truth for their men, while not ashamed to tell falsehoods about their so-called gods. 6. And as some of them might argue, that they are telling falsehoods about their licentious actions, but that in their praises, when they speak of Zeus as father of gods, and as the highest, and the Olympian, and as reigning in heaven, they are not inventing but speaking truthfully; this is a plea which not only myself, but anybody can refute. For the truth will be clear, in opposition to them, if we recall our previous proofs. For while their actions prove them to be men, the panegyrics upon them go beyond the nature of men. The two things then are mutually inconsistent; for neither is it the nature of heavenly beings to act in such ways, nor can any one suppose that persons so acting are gods.

### The truth probably is, that the scandalous tales are true, while the divine attributes ascribed to them are due to the flattery of the poets

[¶12] §17. The truth probably is, that the scandalous tales are true, while the divine attributes ascribed to them are due to the flattery of the poets.

[¶13] What inference then is left to us, save that while the panegyrics are false and flattering, the actions told of them are true? And the truth of this one can ascertain by common practice. For nobody who pronounces a panegyric upon anyone accuses his conduct at the same time, but rather, if men’s actions are disgraceful, they praise them up with panegyrics, on account of the scandal they cause, so that by extravagant praise they may impose upon their hearers, and hide the misconduct of the others. 2. Just as if a man who has to pronounce a panegyric upon someone cannot find material for it in their conduct or in any personal qualities, on account of the scandal attaching to these, he praises them up in another manner, flattering them with what does not belong to them, so have their marvellous poets, put out of countenance by the scandalous actions of their so-called gods, attached to them the superhuman title, not knowing that they cannot by their superhuman fancies veil their human actions, but that they will rather succeed in shewing, by their human shortcomings, that the attributes of God do not fit them. 3. And I am disposed to think that they have recounted the passions and the actions of the gods even in spite of themselves. For since they were endeavouring to invest with what Scripture calls the incommunicable name and honour of God them that are no gods but mortal men, and since this venture of theirs was great and impious, for this reason even against their will they were forced by truth to set forth the passions of these persons, so that their passions recorded in the writings concerning them might be in evidence for all posterity as a proof that they were no gods.

### Heathen defence continued. (2) 'The gods are worshipped for having invented the Arts of Life.' But this is a human and natural, not a divine, achievement. And why, on this principle, are not all inventors deified?

[¶15] §18. Heathen defence continued. (2) ‘The gods are worshipped for having invented the Arts of Life.’ But this is a human and natural, not a divine, achievement. And why, on this principle, are not all inventors deified?

[¶16] What defence, then, what proof that these are real gods, can they offer who hold this superstition? For, by what has been said just above, our argument has demonstrated them to be men, and not respectable men. But perhaps they will turn to another argument, and proudly appeal to the things useful to life discovered by them, saying that the reason why they regard them as gods is their having been of use to mankind. For Zeus is said to have possessed the plastic art, Poseidon that of the pilot, Hephæstus the smith’s, Athena that of weaving, Apollo that of music, Artemis that of hunting, Hera dressmaking, Demeter agriculture, and others other arts, as those who inform us about them have related. 2. But men ought to ascribe them and such like arts not to the gods alone but to the common nature of mankind, for by observing nature men discover the arts. For even common parlance calls art an imitation of nature. If then they have been skilled in the arts they pursued, that is no reason for thinking them gods, but rather for thinking them men; for the arts were not their creation, but in them they, like others, imitated nature. 3. For men having a natural capacity for knowledge according to the definition laid down concerning them, there is nothing to surprise us if by human intelligence, and by looking of themselves at their own nature and coming to know it, they have hit upon the arts. Or if they say that the discovery of the arts entitles them to be proclaimed as gods, it is high time to proclaim as gods the discoverers of the other arts on the same grounds as the former were thought worthy of such a title. For the Phœnicians invented letters, Homer epic poetry, Zeno of Elea dialectic, Corax of Syracuse rhetoric, Aristæus bee-keeping, Triptolemus the sowing of corn, Lycurgus of Sparta and Solon of Athens laws; while Palamedes discovered the arrangement of letters, and numbers, and measures and weights. And others imparted various other things useful for the life of mankind, according to the testimony of our historians. 4. If then the arts make gods, and because of them carved gods exist, it follows, on their shewing, that those who at a later date discovered the other arts must be gods. Or if they do not deem these worthy of divine honour, but recognise that they are men, it were but consistent not to give even the name of gods to Zeus, Hera, and the others, but to believe that they too have been human beings, and all the more so, inasmuch as they were not even respectable in their day; just as by the very fact of sculpturing their form in statues they shew that they are nothing else but men.

### The inconsistency of image worship. Arguments in palliation. (1) The divine nature must be expressed in a visible sign. (2) The image a means of supernatural communications to men through angels

[¶18] §19. The inconsistency of image worship. Arguments in palliation. (1) The divine nature must be expressed in a visible sign. (2) The image a means of supernatural communications to men through angels.

[¶19] For what other form do they give them by sculpture but that of men and women and of creatures lower yet and of irrational nature, all manner of birds, beasts both tame and wild, and creeping things, whatsoever land and sea and the whole realm of the waters produce? For men having fallen into the unreasonableness of their passions and pleasures, and unable to see anything beyond pleasures and lusts of the flesh, inasmuch as they keep their mind in the midst of these irrational things, they imagined the divine principle to be in irrational things, and carved a number of gods to match the variety of their passions. 2. For there are with them images of beasts and creeping things and birds, as the interpreter of the divine and true religion says, “They became vain in their reasonings, and their senseless heart was darkened. Professing themselves to be wise, they became fools, and changed the glory of the incorruptible God for the likeness of an image of corruptible man, and of birds and four-footed beasts and creeping things, wherefore God gave them up unto vile passions.” For having previously infected their soul, as I said above, with the irrationalities of pleasures, they then came down to this making of gods; and, once fallen, thenceforward as though abandoned in their rejection of God, thus they wallow in them, and portray God, the Father of the Word, in irrational shapes. 3. As to which those who pass for philosophers and men of knowledge among the Greeks, while driven to admit that their visible gods are the forms and figures of men and of irrational objects, say in defence that they have such things to the end that by their means the deity may answer them and be made manifest; because otherwise they could not know the invisible God, save by such statues and rites. 4. While those who profess to give still deeper and more philosophical reasons than these say, that the reason of idols being prepared and fashioned is for the invocation and manifestation of divine angels and powers, that appearing by these means they may teach men concerning the knowledge of God; and that they serve as letters for men, by referring to which they may learn to apprehend God, from the manifestation of the divine angels effected by their means. Such then is their mythology,—for far be it from us to call it a theology. But if one examine the argument with care, he will find that the opinion of these persons also, not less than that of those previously spoken of, is false.

### But where does this supposed virtue of the image reside? in the material, or in the form, or in the maker's skill? Untenability of all these views

[¶21] §20. But where does this supposed virtue of the image reside? in the material, or in the form, or in the maker’s skill? Untenability of all these views.

[¶22] For one might reply to them, bringing the case before the tribunal of truth, How does God make answer or become known by such objects? Is it due to the matter of which they consist, or to the form which they possess? For if it be due to the matter, what need is there of the form, instead of God manifesting Himself through all matter without exception before these things were fashioned? And in vain have they built their temples to shut in a single stone, or stock, or piece of gold, when all the world is full of these substances. 2. But if the superadded form be the cause of the divine manifestation, what is the need of the material, gold and the rest, instead of God manifesting Himself by the actual natural animals of which the images are the figures? For the opinion held about God would on the same principle have been a nobler one, were He to manifest Himself by means of living animals, whether rational or irrational, instead of being looked for in things without life or motion. 3. Wherein they commit the most signal impiety against themselves. For while they abominate and turn from the real animals, beasts, birds, and creeping things, either because of their ferocity or because of their dirtiness, yet they carve their forms in stone, wood, or gold, and make them gods. But it would be better for them to worship the living things themselves, rather than to worship their figures in stone. 4. But perhaps neither is the case, nor is either the material or the form the cause of the divine presence, but it is only skilful art that summons the deity, inasmuch as it is an imitation of nature. But if the deity communicates with the inmates on account of the art, what need, once more, of the material, since the art resides in the men? For if God manifests Himself solely because of the art, and if for this reason the images are worshipped as gods, it would be right to worship and serve the men who are masters of the art, inasmuch as they are rational also, and have the skill in themselves.