ICONOLATRY IDEAL. 



39 



stantinople (754), in which the use, as well as the 

 worship of images, was condemned. Constantine's 

 son, Leo IV., who ascended the throne 773, followed 

 the same course; but his wife, Irene, caused him to 

 be poisoned, in 780, and a council at Nice, in Bithy- 

 nia, Natolia, restored the worship of images (786), 

 and inflicted punishment upon those who maintained 

 that nothing but God ought to be worshipped. Al- 

 though the Greeks and Italians were addicted to the 

 worship of images, yet most Christians of the West, 

 as the Britons, Germans, Gauls, did not follow their 

 example ; on the contrary, they asserted that it was 

 lawful to retain images, and expose them in the 

 churches, but that they could not be worshipped 

 without offending God. Charlemagne, probably 

 assisted by Alcuin, wrote against the worship of 

 images, and a council which he caused to be held at 

 Frankfort on the Maine (794) confirmed his opinion, 

 notwithstanding the opposition of pope Adrian. 

 Among the G reeks, the controversy concerning 

 images broke out anew after the banishment of Irene 

 (802), and lasted almost half a century. Her suc- 

 cessor, Nicephorus, did not, indeed, remove the 

 images from the churches, but he forbade the ad- 

 herents of the images from persecuting their adver- 

 saries. Finally, the empress Theodora, by a council 

 held at Constantinople, 840, restored the worship of 

 images among the Greeks, which was confirmed by a 

 second council, held, 879, hi the same place. In the 

 Western Empire, images were at first retained only 

 to preserve the memory of pious men, but the wor- 

 ship of them was forbidden. This use of them was 

 confirmed by a council summoned by Louis the De- 

 boiinaire, in 824; but this opinion was gradually 

 abandoned, and the decision of the pope, which 

 allowed the worship of images, finally prevailed in 

 the Western church. See the following article. 



ICONOLATRY (from the Greek tlx&n, image, 

 and Xargi/a, worship); the worship or adoration of 

 images. The preceding article shows what dissen- 

 sions the worship of images has produced in Christen- 

 dom. To Protestants, the respect (whatever it may 

 be called) which the catholics pay to images is an 

 object of great dislike : they consider it the breach 

 of one of the first commandments of Christianity 

 to worship in the spirit and in truth whilst, on the 

 other hand, the Catholics say that malice or ignorance 

 only can ascribe to them the heathen custom of ador- 

 ing images. Every thing, say they, depends upon 

 the meaning given to the word adore. " In vain," 

 says the Catholic writer in the Dictionnaire de Theo- 

 logie, article Adoration, " do they (the Protestants) 

 maintain that God alone shall be adored : if they 

 mean by it, honoured as the Supreme Being, it is 

 true ; if they understand by it, that he is the only 

 being to be honoured, it is a falsehood." He thus 

 continues : " We respect their (the saints') images, 

 because they represent them, and their relics, because 

 they belonged to them ; but we do not adore them, 

 if by adoring is understood worshipping them like 

 the Supreme. If some Catholic authors, from a 

 careless use of language, have improperly applied 

 the expression adoration, this proves nothing, as our 

 creed is clearly exposed in all our catechisms." The 

 Protestants maintain, first, that " none is holy but 

 the Father;" and no gradation in worship can exist; 

 that the mass of men, always being inclined to take 

 the form or sign for the essence, do so also among 

 the Catholics (if we are to suppose the images were 

 not intended for real worship by the church), as all 

 Catholic countries sufficiently prove, by the unre- 

 strained worship and miraculous powers ascribed to 

 images ; and, thirdly, that there is a vast difference 

 between the " respect " paid by Catholics to images, 

 and that shown to them by Lutaerans, who un- 



doubtedly respect the religious paintings in their 

 churches, on account of the subjects represented, 

 but neither pray before them, nor kiss them, nor 

 ascribe miraculous power to them, nor think them 

 essential to religious service. The Calvinists are 

 still more rigid than the Lutherans in regard to 

 paintings and similar ornaments in churches. 



ICONONZO; the name of two natural bridges in 

 Colombia, province of Cundinamarca (New Granada), 

 on the road from Santa Fe de Bogota to Ibaque 

 south-east of the village of Pandi. They traverse 

 the river of Somma Paz, which runs in a narrow, 

 deep valley, that would be inaccessible, if it were 

 not for these bridges, which stand one above the 

 other. The most elevated is 325 feet above the river. 

 2870 feet above the level of the sea, over forty feet 

 wide, and is composed of a solid rock, in the form of 

 an arch ; its thickness in the centre is seven or eight 

 feet. The second bridge is more than fifty feet below 

 the other. It appears to be the result of the fall of 

 a part of the rock which formed the first. In the 

 centre is an opening, through which is seen the 

 abyss, and innumerable night-birds hovering above 

 the water, which falls into a cavern so dark that its 

 sides are not distinguishable. 



ID., IBID.; abbreviations of idem, ibidem, the 

 same (author), or at the same place. 



IDA in ancient geography; 



1. A mountain in the Troad, at the foot of which 

 lay the city of Troy, and whose declivity towards the 

 sea forms the scene of the famous events during the 

 siege of Troy. Its southern part was called Garga- 

 rus, and one of its highest peaks, Cotyllus. On 

 mount Ida was a temple to Cybele, who was called 

 the Idgean mother (Ideea mater). Elere Paris ended 

 the strife between the three goddesses, and gave to 

 Venus the prize of beauty; here Ganymede was seized 

 and carried to Olympus; and in general, mount Ida 

 was the scene of many Grecian fables. It produced 

 a great number of pines, and was famous for its 

 pitch. 



2. A mountain in the island of Crete, or, more 

 properly, the middle and highest summit of the chain 

 which divides the island from east to west. The 

 eastern part was called Dicte, the western Leuci 

 (albi mantes) . This highest peak, particularly called 

 Ida (now Psiloriti), has at its foot a circumference of 

 600 stadia. This peak terminates in two rocky sum- 

 mits, almost always covered with snow and ice. It 

 aft'ords, from its height, a fine prospect, and is covered 

 with woods of pine, maple, and cedar, but it is not 

 very fertile. Among the few plants which grow 

 upon this mountain is the tragacantha (goat's thorn). 

 Copious streams flow down its sides, and enrich the 

 neighbouring summits. The first inhabitants of 

 Crete dwelt in its caves, and iron is said to have been 

 first found there. Mount Ida is famous as the birth- 

 place of Jupiter. See Candia. 



IDEAL; an imaginary model of perfection. In 

 the fine arts, the ideal is distinguished from the exact 

 imitation of reality by avoiding the imperfections 

 which always disfigure the individual, and giving 

 to each excellence its highest perfection. Imagina- 

 tion creates ideals, in the fine arts, by abstractions 

 rom individual forms, separating the individual and 

 casual from the general and the essential, and thus 

 produces ideals of a particular kind. If it performs 

 ;he same process on these, again abstracting the 

 general and essential, it creates new ideals of a still 

 ligher kind; and, if this abstraction be carried on 

 farther, we arrive at last at the pure ideal, which is 

 ncapable of any further separation and generalization 

 the ideal form of the whole genus. Thus maw 

 creates forms elevated above the real forms of nature: 

 we do not say above nature itself, because we under- 



