851 
I M A 
bellilhed, the city of Ilium, called alfo Troy from his fa,- 
ther Tros. Jupiter gave him the Palladium, a celebrated 
ftatue of Minerva ; and promifed that, as long as it re¬ 
mained in Troy, fo long would the town remain impreg¬ 
nable. When the temple of Minerva was in flames, Ilus 
rufhed into the middle of the fire to five the Palladium ; 
for which action-he was deprived of his fight by the god- 
defs, though he recovered it fome time after. Homer. —A 
name of Afcanius, while he was at Troy.—A friend of 
Turnus, killed by Pallas. Virgil. 
IL'WITZKOLFLE, a town of Sweden, in the province 
of Skone : ten miles fouth of Clniftianftadt. 
I'LY, f. in botany. See Arundo bameos, vol. ii. 
p. 246. 
ILY'E, a town of Tranfilvania, on the river Maros : 
thirty-two miles fiouth-fouth-weft of Weifenburg. 
IL'ZA, a town of Poland, in the palatinate of Sando- 
mirz : fourteen miles fouth-fouth-eaft of Radom. 
IL'ZOLSTADT. See Passau. 
I’M. Contracted from I am. 
IM is ufed commonly, in compofition, for in before 
mute letters. What is im in Latin, when it is not nega¬ 
tive, is often em in French; and our writers, as the La¬ 
tin or French occurs to-their minds, ufe im or em : for¬ 
merly im was more common, and now em feems to prevail. 
IMA'BA, or Insju, a province of Japan. 
IM'AGE, f {image, Fr. imago, Lat.] Any corporeal 
reprefentation, generally tiled of Itatues; a ftatue; a pic¬ 
ture.— The one is too like an image, and fays nothing ; 
and the other too like my lady’s oldeft fon, evermore 
talking. Shakefpeare. 
Thy brother- 1 , 
Even like a ltony image, cold and numb. Shakefpeare. 
An idol; a falfe god.—Manafleh fet the carved image in 
God’s lioufe. Chron.—A copy ; reprefentation ; likenefs : 
He made us to his image all agree : 
That image is the foul, and that mult be, 
Or not the Maker’s image, or be tree. Dryden. 
Semblance; thow ; appearance : 
The face of things a frightful image bears, 
And prefent death in various forms appears. Dryden. 
An idea; a reprefentation of any thing to the mind ; a 
pifture drawn in the fancy.—When we fpeak.of a figure 
of a thoufand angles, we may have a clear idea of the 
number one thouland angles ; but the image or fenfible 
idea we cannot diftinguilh by fancy from the image of a 
figure that has nine hundred angles. Watts. 
Outcafts of mortal race ! can we conceive 
image of aught delightful, foft, or great ? Prior. 
Image, in rhetoric, fignifies a lively defcription of any 
thing in a difcourfe. Images in dilcourfe are defined by 
Longinus, to be, in general, any thoughts proper to pro¬ 
duce expreflions, and which prelent a kind of picture to 
the mind. Rut, in the more limited fenfe, he fays, images 
are fuch difcourfes as come from us, when, by a kind of 
enthufiafm, or an extraordinary emotion of the foul, we 
feem to fee the things whereof we fpeak, and prefent them 
before the eyes of thole who hear us. Images, in rheto¬ 
ric, have a very different ufe from what they have among 
the poets ; the end principally propofed in poetry is, ai- 
tonilhment and furprife; whereas the thing chiefly aimed 
at in profe, is to paint things naturally, and to fhow them 
clearly. They have this, however, in common, that they 
both tend to move, each in its kind. Thefe images, or 
pictures, are of vaft ufe, to give weight, magnificence, 
and ftrength, to a difcourfe. > They warm and animate it; 
and, when managed with art, according to Longinus, 
feem, as it were, to tame and fubdue the hearer, and put 
him in the power of the fpeaker. 
Image, in optics, a figure in the form of any object, 
made, by the rays of light bluing from the feveral points 
of it, and meeting in lb many other points, either at the 
I M A 
bottom of the eye, or on any other ground, or on any 
tranlparent medium, where there is no furface to reflect 
them. See the article Optics. 
Image, in a religious fenfe, is an artificial reprefenta¬ 
tion or fimilitude of fome perfon or thing, ufed either by 
way of decoration and ornament, or as an objeft of reli¬ 
gious worlhip and adoration ; in which laft fenfe, it is 
ufed indifferently with the word Idol. 
The noble Romans preferved the images of their an- 
ceftors with a great deal of care and concern, and had 
them carried in proceflion at their funerals and triumphs: 
thefe were commonly made of wax or wood, though 
fometimes of marble or brafs. They placed them in the 
veftibules of their houfes ; and they were to ftay there, 
even if the houfes happened to be fold, it being accounted 
impious to difplace them. Appius Claudius was the firft 
who brought them into the temples, in the year of Rome 
259 ; and he added infcriptions to them, fhowing the ori¬ 
gin of the perfons reprefented, and their brave and virtu¬ 
ous achievements. It was not, liou'ever, allowed for all, 
who had the images of their anceftors in their houfes, 
to have them carried at their funerals ; this was a thing 
only granted to fuch as had honourably difcharged them- 
felves of their offices ; for thofe who failed in this refpeft, 
forfeited that privilege; and, in cafe they had been guilty 
of any great crime, their images were broken in pieces. 
The Jews abfolutely condemn all images, and do not 
fo much as fuffer any ftatues or figures in their houfes, 
much lefs in their fynagogues or places of W'orftiip. We 
read frequently, in our Englifli bibles, of graven images;,. 
and of molten images ; and thefe words are become fo fami¬ 
liar, as names of idolatrous images, that, although they 
are not well chofen to exprefs the Hebrew names, it feems 
not advifable to change them for others that might more 
exactly correfpond with the original. The graven image 
was not a thing wrought in metal by the tool of the 
workman we fltould now call an engraver ; nor was the 
molten image an image made of metal, or any other fub- 
ftance, melted, and fliaped in a mould. In fact, the 
graven image and the molten image are the fame thing, 
under different names. The images of the ancient idola¬ 
ters were firft cut out of wood, by the carpenter, as is 
very evident from the prophet Ifaiah. .This figure of wood 
was overlaid with plates either of gold or filver, or, fome¬ 
times perhaps, of an inferior metal; and in this finilhed 
ftate it was called a graven image (i.e. a carved image), in 
reference to the inner folid figure of wood ; and a molten 
(i.. e. an overlaid, or covered) image, in reference to the 
outer metalline cafe or covering. And fometimes both 
epithets are applied to it at once : 1 will cut off the graven 
and molten image. Again, What profiteth the golden and mol~ 
ten image? Hab. ii. 18. The Englifli word molten conveys 
a notion of melting, or fufion ; but this is not the cafe 
with the Hebrew word for which it is given : the He¬ 
brew qw fignifies, generally, “to overfpread, or cover 
all over,” in whatever manner, according to the differ¬ 
ent fubjeft, the overfpreading or covering be effected ; 
whether by pouring forth a fubftartce in fufion, or by 
fpi-eading a cloth over or before, or by hammering on me¬ 
talline plates. It is on account of this metalline cafe*, 
that we find a founder employed to make a graven image; 
and that we rejid in Ifaiah of a workman that meltetli a 
graven image-, and in another place we find the queftion, 
who hath molten a graven image? In thefe. two paflages, 
the words ihould be overlayetk and overlaid. Ifa, xi. 20. 
xliv. 10. 
The ufe and adoration of images are things that have ' 
been a long time controverted in the world. It is plain, 
from the practice of the primitive church, recorded by 
the earlier fathers, that Chriftians, for the firft three cen¬ 
turies after Chrift, and the greater part of the fourth, 
neither worfliipped images nor ufed them in their wor¬ 
lhip. However, the greater part of the popilh divines 
maintain, that the ufe and worfliip of images were as an¬ 
cient as the ChrifUan religion itfelf s to proye this, they 
allege 
