The History of Persecution, from the Patriarchal Age, to the Reign of George IIChandler, Samuel
History
The History of Persecution, from the Patriarchal Age, to the Reign of George II
Chandler, Samuel
Persecution -- Great Britain; Persecution -- History
The next controversy of importance was relating to the worship of
images. The respect due to the memories of the apostles and martyrs of
the Christian church, was gradually carried into great superstition, and
at length degenerated into downright idolatry. Not only churches were
dedicated to them, but their images placed in them, and religious
adoration paid to them. Platina tells us, that amongst many other
ceremonies introduced by pope Sixtus III. in the fifth century, he
persuaded Valentinian the younger, emperor of the West, to beautify and
adorn the churches, and to place upon the altar of St. Peter, a golden
image of our Saviour, enriched with jewels. In the next century the
images of the saints were brought in, and religious worship paid to
them. This appears from a letter of pope Gregory’s, to the bishop of
Marseilles, who broke in pieces certain images, because they had been
superstitiously adored. Gregory tells him,[238] “I commend you, that
through a pious zeal, you would not suffer that which is made with hands
to be adored; but I blame you for breaking the images in pieces: for it
is one thing to adore a picture, and another to learn by the history of
the picture what is to be adored.” And elsewhere he declares,[239] that
“images and pictures in churches, were very useful for the instruction
of the ignorant, who could not read.” Sergius, after this, repaired the
images of the apostles. John VII. adorned a great many churches with the
pictures and images of the saints. And at length, in the reign of
Philippicus, Constantine the pope, in a synod held at Rome, decreed,
that images should be fixed up in the churches, and have great adoration
paid them. He also condemned and excommunicated the emperor himself for
heresy; because he erased the pictures of the fathers, which had been
painted on the walls of the church of St. Sophia, at Constantinople; and
commanded that his images should not be received into the church; that
his name should not be used in any public or private writings, nor his
effigies stamped upon any kind of money whatsoever.
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Footnote 238:
l. 9. Ind. 2. Ep. 2.
Footnote 239:
l. 7. Ind. 2. Ep. 109. Platin.
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