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The word '''icon''' comes from the Greek "eikon" which mean "image".  

The word '''icon''' comes from the Greek "eikon" which mean "image".  

An '''icon''' can also mean somebody symbolizing a movement (i.e. [[conservative]] ''icon'' [[Phyllis Schlafly]], civil rights ''icon'' Dr. [[Martin Luther King, Jr.]]).<ref>[http://encarta.msn.com/dictionary_1861619909/icon.html Icon definition], Dictionary - MSN Encarta</ref> Whatever and whoever is a representative icon is regarded as '''iconic'''. There are iconic representatives or ''exemplars'' of [[art]], [[history]], [[literature]], [[medicine]], [[science]], [[philosophy]], and [[religion]].  

An '''icon''' can also mean somebody symbolizing a movement (i.e. [[conservative]] ''icon'' [[Phyllis Schlafly]], civil rights ''icon'' Dr. [[Martin Luther King, Jr.]]).<ref>[http://encarta.msn.com/dictionary_1861619909/icon.html Icon definition], Dictionary - MSN Encarta</ref> Whatever and whoever is a representative icon is regarded as '''iconic'''. There are iconic representatives or ''exemplars'' of [[art]], [[history]], [[literature]], [[medicine]], [[science]], [[philosophy]], and [[religion]].  

In [[Computer|computing]], an '''icon''' is a pictogram or [[ideogram]] displayed on a computer screen in order to help the user navigate a computer system. The icon itself is a quickly comprehensible symbol of a [[software]] tool, function, or a [[Data|data file]], accessible on the [[Database Management System|system]] and is more like a [[Symbol|traffic sign]] than a detailed illustration of the actual entity it represents.<ref name="BusinessWeek">{{cite web |url = http://www.businessweek.com/news/2012-08-07/former-apple-designer-kare-testifies-at-samsung-patent-trial |title=Former Apple Designer Kare Testifies at Samsung Patent Trial |first=Joel|last=Rosenblatt |date=August 7, 2012 | work=[[Businessweek]] |publisher=[[Bloomberg LP]]|accessdate=August 7, 2012}}</ref>

In [[Computer|computing]], an '''icon''' is a pictogram or [[ideogram]] displayed on a computer screen in order to help the user navigate a computer system. The icon itself is a quickly comprehensible symbol of a [[software]] tool, function, or a [[Data|data file]], accessible on the [[Database Management System|system]] and is more like a [[Symbol|traffic sign]] than a detailed illustration of the actual entity it represents.<ref name="BusinessWeek">{{cite web |url = http://www.businessweek.com/news/2012-08-07/former-apple-designer-kare-testifies-at-samsung-patent-trial |title=Former Apple Designer Kare Testifies at Samsung Patent Trial |first=Joel|last=Rosenblatt |date=August 7, 2012 | work=[[Businessweek]] |publisher=[[Bloomberg LP]]|accessdate=August 7, 2012}}</ref>

The class of graphic [[art]] forms of ''iconic'' imagery of any [[culture]] or people or religion is termed by art historians and historians in general as a particular '''iconography''', roughly divided into [[Ethnic Group|ethnic]], pagan<ref>[https://voynichportal.com/tag/pagan-iconography Pagan Iconography - Voynich Portal (voynichportal.com)]</ref>, and Jewish and Christian iconographies<ref>[https://www.oakland.edu/Assets/Oakland/religiousstudies/files-and-documents/student-research/Durnbaugh,%20Elena%20Marie%20%20-%20%20Iconography%20in%20Judaism%20and%20Christianity%20in%20Relation%20to%20the%20Roman%20World.pdf Helios in the Synagogue and Sol Invictus Burial with the Saints: Iconography in Judaism and Christianity in Relation to the Roman World, Elena Marie Durnbaugh, Anthropology/Linguistics, Oakland University–pdf (oakland.edu)].</ref>. [[Vexillology]] is the study of the iconography of flag imagery and worship from ancient times to the present.<ref>Members of some religious sects, for example, [[Jehovah's Witnesses]], do not participate in the [[Pledge of Allegiance]] because they have been taught that it is an act of [[idolatry]].</ref> An example of U.S. political iconography includes the National Statuary Hall in the Capitol Building in Washington, D.C.<ref>National Statuary Hall is a chamber in the United States Capitol devoted to sculptures of prominent Americans. The hall, also known as the Old Hall of the House, is a large, two-story, semicircular room with a second story gallery along the curved perimeter. It is located immediately south of the Rotunda.  —[https://en.wikipedia.org/wiki/National_Statuary_Hall National Statuary Hall - Wikipedia]</ref>, and the various memorials and monuments around the Washington Mall, including the Pacific War Memorial of the [[United States Marine Corps]] based on the famous [[World War II]] photograph taken by Joe Rosenthal on top of [[Iwo Jima]].

 

The class of graphic [[art]] forms of ''iconic'' imagery of any [[culture]] or people or religion is termed by art historians and historians in general as a particular '''iconography''', roughly divided into [[Ethnic Group|ethnic]], pagan<ref>[https://voynichportal.com/tag/pagan-iconography Pagan Iconography - Voynich Portal (voynichportal.com)]</ref>, and Jewish and Christian iconographies<ref>[https://www.oakland.edu/Assets/Oakland/religiousstudies/files-and-documents/student-research/Durnbaugh,%20Elena%20Marie%20%20-%20%20Iconography%20in%20Judaism%20and%20Christianity%20in%20Relation%20to%20the%20Roman%20World.pdf Helios in the Synagogue and Sol Invictus Burial with the Saints: Iconography in Judaism and Christianity in Relation to the Roman World, Elena Marie Durnbaugh, Anthropology/Linguistics, Oakland University–pdf (oakland.edu)].</ref>. [[Vexillology]] is the study of the iconography of flag imagery and flag worship from ancient times to the present.<ref>Members of some religious sects, for example, [[Jehovah's Witnesses]], do not participate in the [[Pledge of Allegiance]] because they have been taught that it is an act of [[idolatry]].</ref> An example of U.S. political iconography includes the National Statuary Hall in the Capitol Building in Washington, D.C.<ref>National Statuary Hall is a chamber in the United States Capitol devoted to sculptures of prominent Americans. The hall, also known as the Old Hall of the House, is a large, two-story, semicircular room with a second story gallery along the curved perimeter. It is located immediately south of the Rotunda.  —[https://en.wikipedia.org/wiki/National_Statuary_Hall National Statuary Hall - Wikipedia]</ref>, and the various memorials and monuments around the Washington Mall, including the Pacific War Memorial of the [[United States Marine Corps]] based on the famous [[World War II]] photograph taken by Joe Rosenthal on top of [[Iwo Jima]].

 

In "Christian Adaptation of Pagan Iconography"<ref>[http://talesoftimesforgotten.com/2017/12/11/christian-adaptation-of-pagan-iconography/ "Christian Adaptation of Pagan Iconography"], Spencer Alexander McDaniel, Posted on  

In "Christian Adaptation of Pagan Iconography"<ref>[http://talesoftimesforgotten.com/2017/12/11/christian-adaptation-of-pagan-iconography/ "Christian Adaptation of Pagan Iconography"], Spencer Alexander McDaniel, Posted on  

December 11, 2017, Categories: Ancient art, Early Christianity, Greek mythology, Jesus</ref> Spencer Alexander McDaniel presents a multitude of examples of how Christians adapted and redefined the imagery of pagan art for the purpose of illustrating to illiterate persons the purely moral and virtuous doctrines of Christianity. There is a striking total absence of images of [[polytheism]], of fertility goddesses and gods.

December 11, 2017, Categories: Ancient art, Early Christianity, Greek mythology, Jesus</ref> Spencer Alexander McDaniel presents a multitude of examples of how Christians adapted and redefined the imagery of pagan art for the purpose of illustrating to illiterate persons the purely moral and virtuous doctrines of Christianity. There is a striking total absence of images of [[polytheism]], of fertility goddesses and gods.

In Christianity, an '''icon''' is a [[holy]] image which is an art form of the [[Eastern Orthodox Church]]. The icon is not simply decorative. Many Orthodox churches have icons on the walls and the ceilings. In the ceiling or dome is the icon of Christ the Almighty, the Pantocrator.  

In Christianity, an '''icon''' is a [[holy]] image which is an art form of the [[Eastern Orthodox Church]]. The icon is not simply decorative. Many Orthodox churches have icons on the walls and the ceilings. In the ceiling or dome is the icon of Christ the Almighty, the Pantocrator.  

It is common practice for iconographers not to sign their work in the belief that the glory goes to God, not to the artist.

It is common practice for iconographers not to sign their work in the belief that the glory goes to God, not to the artist.

Byzantine iconography is the oldest and only Christian art form which has continued unchanged for the past 2000 years. The Eastern Orthodox believe that the first icons of Christ and the Virgin Mary were painted by St. Luke the Evangelist. St. Luke is the Patron Saint of iconographers.

 

 

[[Byzantine Empire|Byzantine]] iconography is the oldest and only Christian art form which has continued unchanged for the past 2000 years. The Eastern Orthodox believe that the first icons of Christ and the Virgin Mary were painted by [[Luke|St. Luke the Evangelist]]. St. Luke is the Patron Saint of iconographers.

Iconography is considered to have begun the day our Lord Jesus Christ pressed a cloth to His face and imprinted His divine-human image thereon<ref>This is according to tradition the Veil of Veronica ("true image") which she offered in pity to the Lord with which He (or she) wiped the sweat and spit from His face, also simply called the Veronica. [http://www.catholictradition.org/Christ/veronica.htm The Holy Face: Veil of Veronica (catholictraditon.org)]</ref>. According to Tradition, Luke the Evangelist painted the image of the Mother of God; and, also according to tradition, there still exist today many Icons which were painted by him. An artist, he painted not only the first Icons of the Mother of God, but also those of the holy Apostles Peter and Paul, as well as possibly, others. Many early Church fathers from the 2nd century through the 3rd and 4th centuries before the time of [[Constantine]] supported the "underground" (literally, in the catacombs) use of relics, statues and images including icons.<ref name=Fathers>[https://practicalapologetics.blogspot.com/2013/07/early-church-fathers-on-relics-statues.html Early Church Fathers on Relics, Statues and Images (practicalapologetics.blogspot.com)] ''Includes [[Apologetics|apologetic]] quotations from [[Ante-Nicene Fathers]] in support of the use of images in early Christian worship and devotion''.</ref>

Iconography is considered to have begun the day our Lord Jesus Christ pressed a cloth to His face and imprinted His divine-human image thereon<ref>This is according to tradition the Veil of Veronica ("true image") which she offered in pity to the Lord with which He (or she) wiped the sweat and spit from His face, also simply called the Veronica. [http://www.catholictradition.org/Christ/veronica.htm The Holy Face: Veil of Veronica (catholictraditon.org)]</ref>. According to Tradition, Luke the Evangelist painted the image of the Mother of God; and, also according to tradition, there still exist today many Icons which were painted by him. An artist, he painted not only the first Icons of the Mother of God, but also those of the holy Apostles Peter and Paul, as well as possibly, others. Many early Church fathers from the 2nd century through the 3rd and 4th centuries before the time of [[Constantine]] supported the "underground" (literally, in the catacombs) use of relics, statues and images including icons.<ref name=Fathers>[https://practicalapologetics.blogspot.com/2013/07/early-church-fathers-on-relics-statues.html Early Church Fathers on Relics, Statues and Images (practicalapologetics.blogspot.com)] ''Includes [[Apologetics|apologetic]] quotations from [[Ante-Nicene Fathers]] in support of the use of images in early Christian worship and devotion''.</ref>

Iconography did not develop further during the time of the Roman persecutions, but Christians did attempt to express in symbols what they wished to convey. Christ was portrayed as the Good Shepherd and in the guise of various personalities from pagan mythology. Then, when Constantine became emperor, Christians were free to express themselves. As Christianity quickly transformed the Roman Empire and replaced paganism, iconography flourished with full force. Directives concerning Iconography were recorded in the first ecumenical councils.

Iconography did not develop further during the time of the Roman persecutions A.D. 64–313, but Christians did attempt to express in symbols what they wished to convey. In the catacombs Christ is portrayed as the Good Shepherd and in the guise of various personalities from pagan mythology.

The [[Iconoclasm|Iconoclastic controversy]] was a dispute over the veneration of icons within Christianity.  

Directives concerning Iconography were recorded in the first ecumenical councils, from Fourth through the Eighth centuries.

 

The early church appears to have inherited the opposition to icons inherent in second temple, Talmudic Judaism. Hence, early Christians were accused of being "atheists" by Romans who assumed the absence of images meant the absence of belief in gods.<ref>For example, ''Martyrdom of Polycarp'', chapter 9; cited by John B. Carpenter, "Icons and the Eastern Orthodox Claim to Continuity with the Early Church," ''Journal of the International Society of Christian Apologetics'', Vol. 6, No. 1, 2013, p. 111.</ref>  

The early church appears to have inherited the opposition to icons inherent in second temple, Talmudic Judaism. Hence, early Christians were accused of being "atheists" by Romans who assumed the absence of images meant the absence of belief in gods.<ref>For example, ''Martyrdom of Polycarp'', chapter 9; cited by John B. Carpenter, "Icons and the Eastern Orthodox Claim to Continuity with the Early Church," ''Journal of the International Society of Christian Apologetics'', Vol. 6, No. 1, 2013, p. 111.</ref>  

Origen (184-254) responded to the charge of "atheism" by admitting that Christians did not use images in worship, following the Second Commandment.<ref>Origin, Contra Celsus, Book VII, Chapter 64; according to John B. Carpenter, "Icons and the Eastern Orthodox Claim to Continuity with the Early Church," ''Journal of the International Society of Christian Apologetics'', Vol. 6, No. 1, 2013, p. 112.</ref>  

Origen (184-254) responded to the charge of "atheism" by admitting that Christians did not use idolatrous images in worship, following the Second Commandment.<ref>Origin, Contra Celsus, Book VII, Chapter 64; according to John B. Carpenter, "Icons and the Eastern Orthodox Claim to Continuity with the Early Church," ''Journal of the International Society of Christian Apologetics'', Vol. 6, No. 1, 2013, p. 112.</ref>  

 

 

Council of Elvira, Canon 36 (c. 305) states, “Pictures are not to be placed in churches, so that they do not become objects of worship and adoration.”  

The '''Council of Elvira, Canon 36'''<ref>The Council of Elvira was a local synod of bishops, not an [[Ecumenical council]]. It was called to address an abuse that had arisen involving a deviation from the custom of the devout use of religious imagery for the benefit of illiterate Christians in true Christian worship.</ref> (c. 305) states, “Pictures are not to be placed in churches, so that they do not become objects of worship and adoration.”

The early church historian Eusebius (c. AD 263 – 339) about the year 327 wrote, "To depict purely the human form of Christ before its transformation, on the other hand, is to break the commandment of God and to fall into pagan error."<ref>David M. Gwynn, “From Iconoclasm to Arianism: The Construction of Christian Tradition in the Iconoclast Controversy” [Greek, Roman, and Byzantine Studies 47 (2007) 225–251], p. 227.</ref>  

The early church historian Eusebius (c. AD 263 – 339) about the year 327 wrote, "To depict purely the human form of Christ before its transformation, on the other hand, is to break the commandment of God and to fall into pagan error."<ref>David M. Gwynn, “From Iconoclasm to Arianism: The Construction of Christian Tradition in the Iconoclast Controversy” [Greek, Roman, and Byzantine Studies 47 (2007) 225–251], p. 227.</ref>  

John Chrysostom '''Homilies 21 on the Statues''' paragraph 10 [A.D. 347-407] admonishes those who were disconsolate over the destruction of holy images by the [[Iconoclasm|iconoclasts]]: "Were your Statues thrown down? You have it in your power again to set up others yet more splendid."<ref name=Fathers/>

John Chrysostom '''Homilies 21 on the Statues''' paragraph 10 [A.D. 347-407] admonishes those who were disconsolate over the destruction of holy images by the [[Iconoclasm|iconoclasts]]: "Were your Statues thrown down? You have it in your power again to set up others yet more splendid."<ref name=Fathers/>

'''[[Council of Ephesus]] Extracts from session 1''' (A.D. 431) "Theodosius, the humble Christian, to the holy and Ecumenical Synod: I confess and I agree to (''suntiqemai'') and I receive and I salute and I venerate in the first place the spotless image of our Lord Jesus Christ, our true God, and the holy image of her who bore him without seed, the holy Mother of God, and her help and protection and intercessions each day and night as a sinner to my aid I call for, since she has confidence with Christ our God, as he was born of her. Likewise also I receive and venerate the images of the holy and most laudable Apostles, prophets, and martyrs and the fathers and cultivators of the desert. Not indeed as gods (God forbid!) do I ask all these with my whole heart to pray for me to God, that he may grant me through their intercessions to find mercy at his hands at the day of judgment, for in this I am but showing forth more clearly the affection and love of my soul which I have borne them from the first. Likewise also I venerate and honor and salute the reliques of the Saints as of those who fought for Christ and who have received grace from him for the healing of diseases and the curing of sicknesses and the casting out of devils, as the Christian Church has received from the holy Apostles and Fathers even down to us to-day."<ref name=Fathers/>

'''[[Council of Ephesus]] Extracts from session 1''' (A.D. 431) "Theodosius, the humble Christian, to the holy and Ecumenical Synod: I confess and I agree to (''suntiqemai'') and I receive and I salute and I venerate in the first place the spotless image of our Lord Jesus Christ, our true God, and the holy image of her who bore him without seed, the holy Mother of God, and her help and protection and intercessions each day and night as a sinner to my aid I call for, since she has confidence with Christ our God, as he was born of her. Likewise also I receive and venerate the images of the holy and most laudable Apostles, prophets, and martyrs and the fathers and cultivators of the desert. Not indeed as gods (God forbid!) do I ask all these with my whole heart to pray for me to God, that he may grant me through their intercessions to find mercy at his hands at the day of judgment, for in this I am but showing forth more clearly the affection and love of my soul which I have borne them from the first. Likewise also I venerate and honor and salute the reliques of the Saints as of those who fought for Christ and who have received grace from him for the healing of diseases and the curing of sicknesses and the casting out of devils, as the Christian Church has received from the holy Apostles and Fathers even down to us to-day."<ref name=Fathers/>

'''[[Gregory I|Gregory the Great]] Letters Book 4 letter 30''' (A.D. 540-604) testifies to the reverent dread of respect given even the silver over the body of the apostle Peter: "The Serenity of your Piety, conspicuous for religious zeal and love of holiness, has charged me with your commands to send to you the head of Saint Paul, or some other part of his body, for the church which is being built in honor of the same Saint Paul in the palace. And, being desirous of receiving commands from you, by exhibiting the most ready obedience to which I might the more provoke your favor towards me, I am all the more distressed that I neither can nor dare do what you enjoin. For the bodies of the apostles Saint Peter and Saint Paul glitter with so great miracles and terrors in their churches that one cannot even go to pray there without great fear. In short, when my predecessor, of blessed memory, was desirous of changing the silver which was over the most sacred body of the blessed apostle Peter, though at a distance of almost fifteen feet from the same body, a sign of no small dreadfulness appeared to him."<ref name=Fathers/>

'''[[Gregory I|Gregory the Great]] Letters Book 4 letter 30''' (A.D. 540-604) testifies to the reverent dread of respect given even the silver over the body of the apostle Peter: "The Serenity of your Piety, conspicuous for religious zeal and love of holiness, has charged me with your commands to send to you the head of Saint Paul, or some other part of his body, for the church which is being built in honor of the same Saint Paul in the palace. And, being desirous of receiving commands from you, by exhibiting the most ready obedience to which I might the more provoke your favor towards me, I am all the more distressed that I neither can nor dare do what you enjoin. For the bodies of the apostles Saint Peter and Saint Paul glitter with so great miracles and terrors in their churches that one cannot even go to pray there without great fear. In short, when my predecessor, of blessed memory, was desirous of changing the silver which was over the most sacred body of the blessed apostle Peter, though at a distance of almost fifteen feet from the same body, a sign of no small dreadfulness appeared to him."<ref name=Fathers/>

'''Gregory the Great Letters Book 11 letter 13''' (A.D. 540-604) explains that images are permitted by him but that adoration paid to them is improper: "If for this instruction for which images were anciently made you wish to have them in the church, I permit them by all means both to be made and to be had. And explain to them that it was not the sight itself of the story which the picture was hanging to attest that displeased thee, but the adoration which had been improperly paid to the pictures.<ref name=Fathers/>

'''Gregory the Great Letters Book 11 letter 13''' (A.D. 540-604) explains that images are permitted by him but that adoration paid to them is improper: "If for this instruction for which images were anciently made you wish to have them in the church, I permit them by all means both to be made and to be had. And explain to them that it was not the sight itself of the story which the picture was hanging to attest that displeased thee, but the adoration which had been improperly paid to the pictures.<ref name=Fathers/>

John of Damascus '''Apologia Against those who Decry Holy Images''' (A.D. 676-749)—From the Life of the Abbot Daniel, on Eulogius the Quarryman: "Then he went away dejected, and threw himself before an image of Our Lady, and crying out, he said: "Lord, enable me to pay what I promised this man."<ref name=Fathers/><br>—"St Basil says, ‘Honouring the image leads to the prototype.’ If you raise churches to the saints of God, raise also their trophies."<ref name=Fathers/><br>—"A tradition has come down to us that Angaros, King of Edessa, was drawn vehemently to divine love by hearing of our Lord,and that he sent envoys to ask for His likeness. If this were refused, they were ordered to have a likeness painted. Then He, who is all-knowing and all-powerful, is said to have taken a strip of cloth, and pressing it to His face, to have left His likeness upon the cloth, which it retains to this day."<ref>According to the tradition associated with an ancient document purporting to be "The Letters of Abgarus king of Edessa and Jesus Christ the Lord" this was before the Lord's passion, death, crucifixion and resurrection.</ref> ([[Shroud of Turin]]?)<ref name=Fathers/><br>—"If you say to this that blessed Epiphanius clearly rejected our use of images, you must know that the work in question is spurious and written by some one else in the name of Epiphanius, as often happens. A father does not fight his own children. All have become participators in the one Spirit. The Church is a witness of this in adorning images, until some men rose up against her and disturbed the peace of Christ's fold, putting poisoned food before the people of God."<ref name=Fathers/><br>—"Listen to what I am going to say as a proof that images are no new invention. It is an ancient practice well known to the best and foremost of the fathers. Elladios, the disciple of blessed Basil and his successor, says in his ''Life of Basil'' that the holy man was standing by the image of Our Lady, on which was painted also the likeness of Mercurius, the renowned martyr. He was standing by it asking for the removal of the impious apostate [[Julian]], and he received this revelation from the statue. He saw the martyr vanish for a time, and then reappear, holding a bloody spear."<ref name=Fathers/>

John of Damascus '''Apologia Against those who Decry Holy Images''' (A.D. 676-749)—From the Life of the Abbot Daniel, on Eulogius the Quarryman: "Then he went away dejected, and threw himself before an image of Our Lady, and crying out, he said: "Lord, enable me to pay what I promised this man."<ref name=Fathers/><br>—"St Basil says, ‘Honouring the image leads to the prototype.’ If you raise churches to the saints of God, raise also their trophies."<ref name=Fathers/><br>—"A tradition has come down to us that Angaros, King of Edessa, was drawn vehemently to divine love by hearing of our Lord,and that he sent envoys to ask for His likeness. If this were refused, they were ordered to have a likeness painted. Then He, who is all-knowing and all-powerful, is said to have taken a strip of cloth, and pressing it to His face, to have left His likeness upon the cloth, which it retains to this day."<ref>According to the tradition associated with an ancient document purporting to be "The Letters of Abgarus king of Edessa and Jesus Christ the Lord" this was before the Lord's passion, death, crucifixion and resurrection.</ref> ([[Shroud of Turin]]?)<ref name=Fathers/><br>—"If you say to this that blessed Epiphanius clearly rejected our use of images, you must know that the work in question is spurious and written by some one else in the name of Epiphanius, as often happens. A father does not fight his own children. All have become participators in the one Spirit. The Church is a witness of this in adorning images, until some men rose up against her and disturbed the peace of Christ's fold, putting poisoned food before the people of God."<ref name=Fathers/><br>—"Listen to what I am going to say as a proof that images are no new invention. It is an ancient practice well known to the best and foremost of the fathers. Elladios, the disciple of blessed Basil and his successor, says in his ''Life of Basil'' that the holy man was standing by the image of Our Lady, on which was painted also the likeness of Mercurius, the renowned martyr. He was standing by it asking for the removal of the impious apostate [[Julian]], and he received this revelation from the statue. He saw the martyr vanish for a time, and then reappear, holding a bloody spear."<ref name=Fathers/>

'''''Avenging of the Savior''''' (A.D. 700) gives testimony to the martyrdom of Veronica, the woman who, according to tradition, was healed of the hemorrhage she had suffered for 12 years, and to the iconic image she kept: "It is the woman called Veronica who has the portrait of the Lord in her house. And immediately he ordered her to be brought before his power. And he said to her: Hast thou the portrait of the Lord in thy house? But she said, No. Then Velosianus ordered her to be put to the torture, until she should give up the portrait of the Lord. And she was forced to say: I have it in clean linen, my lord, and I daily adore it. Velosianus said: Show it to me. Then she showed the portrait of the Lord." (Veronica was the woman who suffered for 12 years with the issue of blood)<ref name=Fathers/>

'''''Avenging of the Savior''''' (A.D. 700) gives testimony to the martyrdom of Veronica, the woman who, according to tradition, was healed of the hemorrhage she had suffered for 12 years, and to the iconic image she kept: "It is the woman called Veronica who has the portrait of the Lord in her house. And immediately he ordered her to be brought before his power. And he said to her: Hast thou the portrait of the Lord in thy house? But she said, No. Then Velosianus ordered her to be put to the torture, until she should give up the portrait of the Lord. And she was forced to say: I have it in clean linen, my lord, and I daily adore it. Velosianus said: Show it to me. Then she showed the portrait of the Lord." (Veronica was the woman who suffered for 12 years with the issue of blood)<ref name=Fathers/>

'''2nd Council of Nicaea'''—During the time of Pope Stephen II [A.D. 787-788]: "We, therefore, following the royal pathway and the divinely inspired authority of our Holy Fathers and the traditions of the Catholic Church (for, as we all knoweth Holy Spirit indwells her), define with all certitude and accuracy that just as the figure of the precious and life-giving Cross, so also the venerable and holy images, as well in painting and mosaic as of other fit materials, should be set forth in the holy churches of God, and on the sacred vessels and on the vestments and on hangings and in pictures both in houses and by the wayside, to wit, the figure of our Lord God and Savior Jesus Christ, of our spotless Lady, the Mother of God, of the honorable Angels, of all Saints and of all pious people. For by so much more frequently as they are seen in artistic representation, by so much more readily are men lifted up to the memory of their prototypes, and to a longing after them; and to these should be given due salutation and honorable reverence not indeed that true worship of faith which pertains alone to the divine nature; but to these, as to the figure of the precious and life-giving Cross and to the Book of the Gospels and to the other holy objects, incense and lights may be offered according to ancient pious custom. For the honor which is paid to the image passes on to that which the image represents, and he who reveres the image reveres in it the subject represented....<ref name=Fathers/>

 

 

'''The Second Council of Nicaea''', during the time of Pope Stephen II [A.D. 787-788] authoritatively asserted: "We, therefore, following the royal pathway and the divinely inspired authority of our Holy Fathers and the traditions of the Catholic Church (for, as we all knoweth Holy Spirit indwells her), define with all certitude and accuracy that just as the figure of the precious and life-giving Cross, so also the venerable and holy images, as well in painting and mosaic as of other fit materials, should be set forth in the holy churches of God, and on the sacred vessels and on the vestments and on hangings and in pictures both in houses and by the wayside, to wit, the figure of our Lord God and Savior Jesus Christ, of our spotless Lady, the Mother of God, of the honorable Angels, of all Saints and of all pious people. For by so much more frequently as they are seen in artistic representation, by so much more readily are men lifted up to the memory of their prototypes, and to a longing after them; and to these should be given due salutation and honorable reverence not indeed that true worship of faith which pertains alone to the divine nature; but to these, as to the figure of the precious and life-giving Cross and to the Book of the Gospels and to the other holy objects, incense and lights may be offered according to ancient pious custom. For the honor which is paid to the image passes on to that which the image represents, and he who reveres the image reveres in it the subject represented....<ref name=Fathers/>

 

 

 

 

 

 

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