The Stones of Venice, Volume 2 (of 3), by John Ruskin

10. PROPER SENSE OF THE WORD IDOLATRY.

987 words  |  Chapter 61

I do not intend, in thus applying the word "Idolatry" to certain ceremonies of Romanist worship, to admit the propriety of the ordinary Protestant manner of regarding those ceremonies as distinctively idolatrous, and as separating the Romanist from the Protestant Church by a gulf across which we must not look to our fellow-Christians but with utter reprobation and disdain. The Church of Rome does indeed distinctively violate the _second_ commandment; but the true force and weight of the sin of idolatry are in the violation of the first, of which we are all of us guilty, in probably a very equal degree, considered only as members of this or that communion, and not as Christians or unbelievers. Idolatry is, both literally and verily, not the mere bowing down before sculptures, but the serving or becoming the slave of any images or imaginations which stand between us and God, and it is otherwise expressed in Scripture as "walking after the _Imagination_" of our own hearts. And observe also that while, at least on one occasion, we find in the Bible an indulgence granted to the mere external and literal violation of the second commandment, "When I bow myself in the house of Rimmon, the Lord pardon thy servant in this thing," we find no indulgence in any instance, or in the slightest degree, granted to "covetousness, which is idolatry" (Col. iii. 5; no casual association of terms, observe, but again energetically repeated in Ephesians, v. 5, "No covetous man, who is an idolater, hath any inheritance in the kingdom of Christ"); nor any to that denial of God, idolatry in one of its most subtle forms, following so often on the possession of that wealth against which Agur prayed so earnestly, "Give me neither poverty nor riches, lest I be full and deny thee, and say, 'Who is the Lord?'" And in this sense, which of us is not an idolater? Which of us has the right, in the fulness of that better knowledge, in spite of which he nevertheless is not yet separated from the service of this world, to speak scornfully of any of his brethren, because, in a guiltless ignorance, they have been accustomed to bow their knees before a statue? Which of us shall say that there may not be a spiritual worship in their apparent idolatry, or that there is not a spiritual idolatry in our own apparent worship? For indeed it is utterly impossible for one man to judge of the feeling with which another bows down before an image. From that pure reverence in which Sir Thomas Brown wrote, "I can dispense with my hat at the sight of a cross, but not with a thought of my Redeemer," to the worst superstition of the most ignorant Romanist, there is an infinite series of subtle transitions; and the point where simple reverence and the use of the image merely to render conception more vivid, and feeling more intense, change into definite idolatry by the attribution of Power to the image itself, is so difficultly determinable that we cannot be too cautions in asserting that such a change has actually taken place in the case of any individual. Even when it is definite and certain, we shall oftener find it the consequence of dulness of intellect than of real alienation of heart from God; and I have no manner of doubt that half of the poor and untaught Christians who are this day lying prostrate before crucifixes, Bambinos, and Volto Santos, are finding more acceptance with God, than many Protestants who idolize nothing but their own opinions or their own interests. I believe that those who have worshipped the thorns of Christ's crown will be found at last to have been holier and wiser than those who worship the thorns of the world's service, and that to adore the nails of the cross is a less sin than to adore the hammer of the workman. But, on the other hand, though the idolatry of the lower orders in the Romish Church may thus be frequently excusable, the ordinary subterfuges by which it is defended are not so. It may be extenuated, but cannot be denied; and the attribution of power to the image,[163] in which it consists, is not merely a form of popular feeling, but a tenet of priestly instruction, and may be proved, over and over again, from any book of the Romish Church services. Take for instance the following prayer, which occurs continually at the close of the service of the Holy Cross: "Saincte vraye Croye aourée, Qui du corps Dieu fu aournée Et de sa sueur arrousée, Et de son sanc enluminée, Par ta vertu, par ta puissance, Defent mon corps de meschance, Et montroie moy par ton playsir Que vray confes puisse mourir." "Oh holy, true, and golden Cross, which wast adorned with God's body, and watered with His sweat, and illuminated with His blood, by thy healing virtue and thy power, defend my body from mischance; and by thy good pleasure, let me make a good confession when I die." There can be no possible defence imagined for the mere terms in which this prayer and other such are couched: yet it is always to be remembered, that in many cases they are rather poetical effusions than serious prayers; the utterances of imaginative enthusiasm, rather than of reasonable conviction; and as such, they are rather to be condemned as illusory and fictitious, than as idolatrous, nor even as such, condemned altogether, for strong love and faith are often the roots of them and the errors of affection are better than the accuracies of apathy. But the unhappy results, among all religious sects, of the habit of allowing imaginative and poetical belief to take the place of deliberate, resolute, and prosaic belief, have been fully and admirably traced by the author of the "Natural History of Enthusiasm."

Chapters

1. Chapter 1 2. CHAPTER I. 3. CHAPTER II. 4. CHAPTER III. 5. CHAPTER IV. 6. CHAPTER V. 7. CHAPTER VI. 8. CHAPTER VII. 9. CHAPTER VIII. 10. 12. Modern Paintings on Glass, 394 11. CHAPTER I. 12. CHAPTER II. 13. CHAPTER III. 14. 1125. The Doge Domenico Michele, having in the second crusade secured 15. 1. a. b. c. b. a. 11. b. a. c. f. a. a. 16. CHAPTER IV. 17. chapter ii. of the "Seven Lamps," § 18, I especially guarded this 18. introduction to his Iconographie Chrétienne, p. 7:--"Un de mes 19. CHAPTER V. 20. 1. Fondaco de' Turehi, lateral 8. St. Mark's. 21. 3. Casa Farsetti, central pillars, 11. Casa Loredan, upper arcade. 22. 7. Casa Loredan, upper arcade. 15. St. Mark's. 23. CHAPTER VI. 24. 6. Redundance. 25. 1. Never encourage the manufacture of any article not absolutely 26. 2. Never demand an exact finish for its own sake, but only for some 27. 3. Never encourage imitation or copying of any kind, except for the sake 28. 1. Never encourage the manufacture of anything not necessary, in the 29. book I have seen which, favoring the Liberal cause in Italy, gives a 30. CHAPTER VII. 31. 6. In domestic architecture, the remains of the original balconies begin 32. 1. JANUARY, _Carrying home a noble tree on his shoulders, the leafage of 33. 2. FEBRUARY. _Sitting in a carved chair, warming his bare feet at a 34. 3. MARCH. Here, as almost always in Italy, _a warrior_: the Mars of the 35. 4. APRIL. Here, _carrying a sheep upon his shoulder_. A rare 36. 5. MAY _is seated, while two young maidens crown him with flowers._ A 37. 6. JUNE. _Reaping._ The corn and sickle sculptured with singular care 38. 7. JULY. _Mowing._ A very interesting piece of sculpture, owing to the 39. 8. AUGUST. Peculiarly represented in this archivolt, _sitting in a 40. 9. SEPTEMBER. _Bearing home grapes in a basket._ Almost always sowing, 41. 10. OCTOBER. _Wearing a conical hat, and digging busily with a long 42. 11. NOVEMBER. _Seems to be catching small birds in a net._ I do not 43. 12. DECEMBER. _Killing swine._ It is hardly ever that this employment is 44. CHAPTER VIII. 45. 1301. Some remnants of the Ziani Palace were perhaps still left between 46. 25. " Frequentatio Companying with saints. 47. 30. " Perseverantia. Perseverance. 48. 7. To Violence and Fraud. 49. 10. Treachery to those who repose entire trust in the traitor. 50. introduction to Intemperance; a graceful and feminine image, necessary 51. 68. Some historians speak of the palace as having been destroyed 52. 1. THE GONDOLIER'S CRY. 53. 2. OUR LADY OF SALVATION. 54. 3. TIDES OF VENICE, AND MEASURES AT TORCELLO. 55. 4. DATE OF THE DUOMO OF TORCELLO. 56. 5. MODERN PULPITS. 57. 6. APSE OF MURANO. 58. 7. EARLY VENETIAN DRESS. 59. 8. INSCRIPTIONS AT MURANO. 60. 9. SHAFTS OF ST. MARK. 61. 10. PROPER SENSE OF THE WORD IDOLATRY. 62. 11. SITUATIONS OF BYZANTINE PALACES. 63. 12. MODERN PAINTING ON GLASS.

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