declare how far their worship was removed from the grossest idolatry. "How can we with mortal eyes contemplate this image, whose celestial splendor the host of heaven presumes not to behold? He who dwells in heaven, condescends this day to visit us by his venerable image; He who is seated on the cherubim, visits us this day by a picture, which the Father has delineated with his immaculate hand, which he has formed in an ineffable manner, and which we sanctify by adoring it with fear and love." Before the end of the sixth century, these images, made without hands, (in Greek it is a single word, ^11) were propagated in the camps and cities of the Eastern empire: ^12 they were the objects of worship, and the instruments of miracles; and in the hour of danger or tumult, their venerable presence could revive the hope, rekindle the courage, or repress the fury, of the Roman legions. Of these pictures, the far greater part, the transcripts of a human pencil, could only pretend to a secondary likeness and improper title: but there were some of higher descent, who derived their resemblance from an immediate contact with the original, endowed, for that purpose, with a miraculous and prolific virtue. The most ambitious aspired from a filial to a fraternal relation with the image of Edessa; and such is the veronica of Rome, or Spain, or Jerusalem, which Christ in his agony and bloody sweat applied to his face, and delivered to a holy matron. The fruitful precedent was speedily transferred to the Virgin Mary, and the saints and martyrs. In the church of Diospolis, in Palestine, the features of the Mother of God ^13 were deeply inscribed in a marble column; the East and West have been decorated by the pencil of St. Luke; and the Evangelist, who was perhaps a physician, has been forced to exercise the occupation of a painter, so profane and odious in the eyes of the primitive Christians. The Olympian Jove, created by the muse of Homer and the chisel of Phidias, might inspire a philosophic mind with momentary devotion; but these Catholic images were faintly and flatly delineated by monkish artists in the last degeneracy of taste and genius. ^14
[Footnote 7: After removing some rubbish of miracle and inconsistency, it may be allowed, that as late as the year 300, Paneas in Palestine was decorated with a bronze statue, representing a grave personage wrapped in a cloak, with a grateful or suppliant female kneeling before him, and that an inscription was perhaps inscribed on the pedestal. By the Christians, this group was foolishly explained of their founder and the poor woman whom he had cured of the bloody flux, (Euseb. vii. 18, Philostorg. vii. 3, &c.) M. de Beausobre more reasonably conjectures the philosopher Apollonius, or the emperor Vespasian: in the latter supposition, the female is a city, a province, or perhaps the queen Berenice, (Bibliotheque Germanique, tom. xiii. p. 1 - 92.)]
[Footnote 8: Euseb. Hist. Eccles. l. i. c. 13. The learned Assemannus has brought up the collateral aid of three Syrians, St. Ephrem, Josua Stylites, and James bishop of Sarug; but I do not find any notice of the Syriac original or the archives of Edessa, (Bibliot. Orient. tom. i. p. 318, 420, 554;) their vague belief is probably derived from the Greeks.]
[Footnote 9: The evidence for these epistles is stated and rejected by the candid Lardner, (Heathen Testimonies, vol. i. p. 297 - 309.) Among the herd of bigots who are forcibly driven from this convenient, but untenable, post, I am ashamed, with the Grabes, Caves, Tillemonts, &c., to discover Mr. Addison, an English gentleman, (his Works, vol. i. p. 528, Baskerville's edition;) but his superficial tract on the Christian religion owes its credit to his name, his style, and the interested applause of our clergy.]
[Footnote 10: From the silence of James of Sarug, (Asseman. Bibliot. Orient. p. 289, 318,) and the testimony of Evagrius, (Hist. Eccles. l. iv. c. 27,) I conclude that this fable was invented between the years 521 and 594, most probably after the siege of Edessa in 540, (Asseman.