[Rationale divinorum officiorum]

...shall always burn, which the priest shall feed, putting wood on it every morning." original: "Ignis in altari meo semper ardebit, quem nutriet sacerdos, subiciens ligna mane per singulos dies." This fire is the flame of charity. For the fire of charity, once placed in the heart, must be nourished every day by the priest, that is, the soul, through the wood of holy meditation and the sacrifice of good works, so that it may not be extinguished.

Concerning Images and Paintings

...who or what was under the earth original: "quis vel sub terra fuit" — reference to Exodus 20:4, prohibiting the making of graven images of things in the heavens above or the earth beneath.. And from other authorities which follow immediately, we are greatly reproved regarding this, but we do not adore them, nor do we call them gods, nor do we place our hope of salvation in them, because that would be to commit idolatry. Rather, we venerate them as a memorial and remembrance of things done in the past. Whence Jesus referring to the tradition of sacred imagery, likely citing a verse attributed to devotional practice: "Honor the likeness of Christ, which you pass by; do not adore the likeness itself, but what it designates." It lacks reason to call that a god to which the material stone or the fashioned hand has granted existence. What you see is not God, nor is the image present a man; but it is God and man whom the sacred image represents.

The Greeks also use images, painting them, as is said, only from the navel up and not below, so that every occasion for foolish thought might be removed. They also do not make any sculpted image, for the reason that it is read in Exodus, chapter 20: "You shall not make a graven thing, nor images." Likewise in Leviticus, chapter 26: "You shall not make to yourselves an idol or a graven thing." Likewise in Deuteronomy, chapter 4: "Lest perhaps being deceived, you make to yourselves a graven likeness." Likewise, "You shall not make to yourselves gods of gold and silver." Likewise, the Psalmist: "The idols of the Gentiles are silver and gold, the works of the hands of men. Let them that make them become like unto them, and all such as trust in them. Let them all be confounded who adore Note graven things and who glory in their idols."

Likewise, Moses says to the people of Israel: "Lest perhaps being deceived by error, you adore those things which the Lord thy God has created." Hence it is also that Hezekiah the king broke the brazen serpent which Moses had erected, because the people were burning incense to it against the precept of the law. From these and similar authorities, the excessive use of images is reproved. For the Apostle says in 1 Corinthians: "We know that an idol is nothing in the world and there is no God but one." For simple and infirm people could easily be drawn to idolatry through excessive and indiscreet use. Whence Wisdom, chapter 14: "The idols of the nations are not to be regarded, for they were made in hatred, having been created as creatures of God, and for a temptation to the souls of men and a snare for the feet of the unwise."

Note It is not reprehensible to use paintings in a moderate way to represent evils to be avoided and goods to be imitated. Whence the Lord to Ezekiel: "Enter and see the wicked abominations which they do." And having entered, he saw every likeness of reptiles and animals and abominations, and all the idols of the house of Israel depicted on the wall. Indeed, Gregory, explaining this in Pastoral Care, book 2, chapter 20, says: "While the appearances of exterior things attract the interior, whatever is hidden in feigned images is painted as if on the heart." Again, to the same Ezekiel it is said: "Take a tile and place it before you, and describe upon it the city of Jerusalem."

As for that which is said, that images are the books of the laity, it is met by that word of the Gospel: "Let them have Moses and the prophets, let them hear them." And this I will also say in the fourth part under the fourth danger of the canon, concerning the vow of servitude. The Council of Agde inhibited paintings from being made in churches, and that which is worshipped and adored from being painted on walls. But Gregory says that it is not permitted to break paintings for the reason that they ought not to be adored, for a painting moves the soul more than writing. For through a painting, the event is placed before the eyes as if it were being seen in the present; but through

writing, the past event is recalled to memory as if through hearsay, which moves the soul less. Hence it is also that in the church we do not show as much reverence to books as we do to images and paintings.

Some images or paintings are above the church, like the rooster or the eagle. Others are outside the church, that is, on the front of the church, like the ox and the lion. Others are inside, such as icons, statues, and various kinds of paintings and sculptures which are depicted on vestments, walls, or interior parts, regarding some of which it has been said under the treatise on the church. For it is written concerning the tabernacle of Moses and the temple of Solomon: Moses sculpted, and Solomon sculpted and painted, and he adorned the walls with carvings and paintings.

It must be known, however, that the image of the Savior is depicted in the church more appropriately in three ways: namely, either as sitting on a throne, or as hanging on the gallows of the cross, or as sitting in the mother’s lap. But because John the Baptist pointed out Christ with his finger, saying, "Behold the Lamb of God," therefore some used to depict Christ under the appearance of a lamb. However, that shadow has passed, and Christ is true man. Pope Adrian says that we ought to depict Him in human form. Whence, the Lamb of God ought to be depicted primarily on the cross; but it is not forbidden for a lamb to be depicted in the lower or rear part with the human figure depicted, since He himself is the true Lamb who takes away the sins of the world.

In these and other various ways, the image of the Savior is depicted because of various meanings. For when painted in the manger, it reminds us of the nativity; when depicted in the mother’s lap, it signifies his childhood age; when painted or sculpted on the cross, it signifies the passion, and sometimes the sun and moon are depicted in the cross itself as if suffering an eclipse. When depicted on the ascent of stairs, it indicates the ascension. When painted as sitting on a throne or on an exalted seat, it indicates power and authority, as if saying: "All power is given to Him in heaven and on earth," according to that: "I saw the Lord sitting." Likewise, the deity is depicted as reigning above the angels, according to that: "You who sit above the Cherubim."

Sometimes, however, He is depicted as Moses and Aaron, Nadab and Abihu saw Him, namely above the mountain, and under His feet as it were the work of a sapphire stone and as the serene heaven. And because, as Luke says: "Then they shall see the Son of Man coming in a cloud with great power and majesty," therefore angels are sometimes depicted around Him, who always serve and assist Him. They are depicted with wings according to Isaiah 6: "The Seraphim were standing, six wings to one and six wings to another; with two they covered His face, with two they covered His feet, and with two they flew." Angels are also depicted as if flourishing in youthful age, for they never grow old. Sometimes the Archangel Michael is also depicted surrounding Him, overcoming the dragon, according to that: "There was a battle in heaven; Michael was fighting with the dragon," which battle is the disagreement of the angels, the confirmation of the good, and the ruin of the bad, or in the present church, the persecution of the faithful. Sometimes twenty-four elders are also depicted surrounding Him, according to the vision of John himself, in white garments and golden crowns, by whom are signified the doctors of the Old and New Law, who are twelve because of the faith of the Trinity which they announce through the four corners of the world.