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20 results for "art"

1. Hebrew Bible, Isaiah, 6.3 (8th cent. BCE - 5th cent. BCE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 935

6.3. "וְקָרָא זֶה אֶל־זֶה וְאָמַר קָדוֹשׁ קָדוֹשׁ קָדוֹשׁ יְהוָה צְבָאוֹת מְלֹא כָל־הָאָרֶץ כְּבוֹדוֹ׃",

6.3. "And one called unto another, and said: Holy, holy, holy, is the LORD of hosts; The whole earth is full of His glory.",

2. Terence, The Eunuch, 580 (2nd cent. BCE - 2nd cent. BCE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 908

580. Abducit secum ancillas: paucae quae circum illam essent manent

3. Mishnah, Avodah Zarah, 3.4, 4.4 (1st cent. CE - 3rd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 907

3.4. "שָׁאַל פְּרוֹקְלוֹס בֶּן פִלוֹסְפוֹס אֶת רַבָּן גַּמְלִיאֵל בְּעַכּוֹ, שֶׁהָיָה רוֹחֵץ בַּמֶּרְחָץ שֶׁל אַפְרוֹדִיטִי, אָמַר לוֹ, כָּתוּב בְּתוֹרַתְכֶם, וְלֹא יִדְבַּק בְּיָדְךָ מְאוּמָה מִן הַחֵרֶם. מִפְּנֵי מָה אַתָּה רוֹחֵץ בַּמֶּרְחָץ שֶׁל אַפְרוֹדִיטִי. אָמַר לוֹ, אֵין מְשִׁיבִין בַּמֶּרְחָץ. וּכְשֶׁיָּצָא אָמַר לוֹ, אֲנִי לֹא בָאתִי בִגְבוּלָהּ, הִיא בָאתָה בִגְבוּלִי, אֵין אוֹמְרִים, נַעֲשֶׂה מֶרְחָץ לְאַפְרוֹדִיטִי נוֹי, אֶלָּא אוֹמְרִים, נַעֲשֶׂה אַפְרוֹדִיטִי נוֹי לַמֶּרְחָץ. דָּבָר אַחֵר, אִם נוֹתְנִין לְךָ מָמוֹן הַרְבֵּה, אִי אַתָּה נִכְנָס לַעֲבוֹדָה זָרָה שֶׁלְּךָ עָרוֹם וּבַעַל קֶרִי וּמַשְׁתִּין בְּפָנֶיהָ, וְזוֹ עוֹמֶדֶת עַל פִּי הַבִּיב וְכָל הָעָם מַשְׁתִּינִין לְפָנֶיהָ. לֹא נֶאֱמַר אֶלָּא אֱלֹהֵיהֶם. אֶת שֶׁנּוֹהֵג בּוֹ מִשּׁוּם אֱלוֹהַּ, אָסוּר. וְאֶת שֶׁאֵינוֹ נוֹהֵג בּוֹ מִשּׁוּם אֱלוֹהַּ, מֻתָּר:", 4.4. "עֲבוֹדָה זָרָה שֶׁל נָכְרִי, אֲסוּרָה מִיָּד. וְשֶׁל יִשְׂרָאֵל, אֵין אֲסוּרָה עַד שֶׁתֵּעָבֵד. נָכְרִי מְבַטֵּל עֲבוֹדָה זָרָה שֶׁלּוֹ וְשֶׁל חֲבֵרוֹ, וְיִשְׂרָאֵל אֵינוֹ מְבַטֵּל עֲבוֹדָה זָרָה שֶׁל נָכְרִי. הַמְבַטֵּל עֲבוֹדָה זָרָה, בִּטֵּל מְשַׁמְּשֶׁיהָ. בִּטֵּל מְשַׁמְּשֶׁיהָ, מְשַׁמְּשֶׁיהָ מֻתָּרִין וְהִיא אֲסוּרָה: \n",

3.4. "Proclos, son of a plosphos, asked Rabban Gamaliel in Acco when the latter was bathing in the bathhouse of aphrodite. He said to him, “It is written in your torah, ‘let nothing that has been proscribed stick to your hand (Deuteronomy 13:18)’; why are you bathing in the bathhouse of Aphrodite?” He replied to him, “We do not answer [questions relating to torah] in a bathhouse.” When he came out, he said to him, “I did not come into her domain, she has come into mine. People do not say, ‘the bath was made as an adornment for Aphrodite’; rather they say, ‘Aphrodite was made as an adornment for the bath.’ Another reason is, even if you were given a large sum of money, you would not enter the presence of your idol while you were nude or had experienced seminal emission, nor would you urinate before it. But this [statue of Aphrodite] stands by a sewer and all people urinate before it. [In the torah] it is only stated, “their gods” (Deuteronomy 12:3) what is treated as a god is prohibited, what is not treated as a deity is permitted.", 4.4. "The idol of an idolater is prohibited immediately; but if it belonged to a Jew it is not prohibited until it is worshipped. An idolater can annul an idol belonging to himself or to another idolater, but a Jew cannot annul the idol of an idolater. He who annuls an idol annuls the things that pertain to it. If he only annulled the things that pertain to it these are permitted but the idol itself is prohibited.",

4. Longinus, On The Sublime, 4.1 (1st cent. CE - 1st cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 910, 911

5. Heliodorus, Ethiopian Story, 4.8 (2nd cent. CE - 4th cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 910

6. Palestinian Talmud, Avodah Zarah, None (2nd cent. CE - 5th cent. CE) Tagged with subjects: •nan Found in books: Bickerman and Tropper (2007) 907

7. Achilles Tatius, The Adventures of Leucippe And Cleitophon, 3.6.1, 3.7, 4.8 (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 908, 909

8. Philostratus The Athenian, Life of Apollonius, 2.20, 2.22, 4.28 (2nd cent. CE - missingth cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 909, 910, 935

2.20. πορευθέντας δὲ αὐτοὺς ὑπὲρ τὸν ποταμὸν ἦγεν ὁ παρὰ τοῦ σατράπου ἡγεμὼν εὐθὺ τῶν Ταξίλων, οὗ τὰ βασίλεια ἦν τῷ ̓Ινδῷ. στολὴν δὲ εἶναι τοῖς μετὰ τὸν ̓Ινδὸν λίνου φασὶν ἐγχωρίου καὶ ὑποδήματα βύβλου καὶ κυνῆν, ὅτε ὕοι, καὶ βύσσῳ δὲ τοὺς φανερωτέρους αὐτῶν φασιν ἐστάλθαι, τὴν δὲ βύσσον φύεσθαι δένδρου φασὶν ὁμοίου μὲν τῇ λεύκῃ τὴν βάσιν, παραπλησίου δὲ τῇ ἰτέᾳ τὰ πέταλα. καὶ ἡσθῆναι τῇ βύσσῳ φησὶν ὁ ̓Απολλώνιος, ἐπειδὴ ἔοικε φαιῷ τρίβωνι. καὶ ἐς Αἴγυπτον δὲ ἐξ ̓Ινδῶν ἐς πολλὰ τῶν ἱερῶν φοιτᾷ ἡ βύσσος. τὰ δὲ Τάξιλα μέγεθος μὲν εἶναι κατὰ τὴν Νῖνον, τετειχίσθαι δὲ ξυμμέτρως, ὥσπερ αἱ ̔Ελλάδες, βασίλεια δὲ εἶναι ἀνδρὸς τὴν Πώρου τότε ἀρχὴν ἄρχοντος, νεὼν δὲ πρὸ τοῦ τείχους ἰδεῖν φασιν οὐ παρὰ πολὺ τῶν ἑκατομπόδων λίθου κογχυλιάτου, καὶ κατεσκευάσθαι τι ἱερὸν ἐν αὐτῷ ἧττον μὲν ἢ κατὰ τὸν νεὼν τοσοῦτόν τε ὄντα καὶ περικίονα, θαυμάσαι δὲ ἄξιον: χαλκοῖ γὰρ πίνακες ἐγκεκρότηνται τοίχῳ ἑκάστῳ, γεγραμμένοι τὰ Πώρου τε καὶ ̓Αλεξάνδρου ἔργα: γεγράφαται δὲ ὀρειχάλκῳ καὶ ἀργύρῳ καὶ χρυσῷ καὶ χαλκῷ μέλανι ἐλέφαντες ἵπποι στρατιῶται κράνη ἀσπίδες, λόγχαι δὲ καὶ βέλη καὶ ξίφη σιδήρου πάντα, καὶ ὥσπερ λόγος εὐδοκίμου γραφῆς, οἷον εἰ Ζεύξιδος εἴη τι ἢ Πολυγνώτου τε καὶ Εὐφράνορος, οἳ τὸ εὔσκιον ἠσπάσαντο καὶ τὸ ἔμπνουν καὶ τὸ ἐσέχον τε καὶ ἐξέχον, οὕτως, φασί, κἀκεῖ διαφαίνεται, καὶ ξυντετήκασιν αἱ ὕλαι καθάπερ χρώματα. ἡδὺ δὲ καὶ αὐτὸ τὸ ἦθος τῆς γραφῆς: ἀναθεὶς γὰρ ταῦτα μετὰ τὴν τοῦ Μακεδόνος τελευτὴν ὁ Πῶρος νικᾷ ἐν αὐτοῖς ὁ Μακεδὼν καὶ τὸν Πῶρον ἀνακτᾶται τετρωμένον καὶ δωρεῖται τὴν ̓Ινδικὴν ἑαυτοῦ λοιπὸν οὖσαν. λέγεται δὲ καὶ πενθῆσαι τὸν ̓Αλέξανδρον ἀποθανόντα ὁ Πῶρος ὀλοφύρασθαί τε ὡς γενναῖον καὶ χρηστὸν βασιλέα, ζῶντός τε ̓Αλεξάνδρου μετὰ τὴν ἐκ τῆς ̓Ινδικῆς ἀναχώρησιν μήτε εἰπεῖν τι ὡς βασιλεὺς καίτοι ξυγχωροῦντος, μήτε προστάξαι τοῖς ̓Ινδοῖς, ἀλλ' ὥσπερ σατράπης σωφροσύνης μεστὸς εἶναι καὶ πράττειν ἐς χάριν τὴν ἐκείνου πάντα. 2.22. ὃν δὲ διέτριβεν ἐν τῷ ἱερῷ χρόνον, πολὺς δὲ οὗτος ἐγένετο, ἔστ' ἂν ἀγγελθῇ τῷ βασιλεῖ ξένους ἥκειν, “ὦ Δάμι” ἔφη ὁ ̓Απολλώνιος, “ἔστι τι γραφική;” “εἴ γε” εἶπε “καὶ ἀλήθεια.” “πράττει δὲ τί ἡ τέχνη αὕτη;” “τὰ χρώματα” ἔφη “ξυγκεράννυσιν, ὁπόσα ἐστί, τὰ κυανᾶ τοῖς βατραχείοις καὶ τὰ λευκὰ τοῖς μέλασι καὶ τὰ πυρσὰ τοῖς ὠχροῖς.” “ταυτὶ δὲ” ἦ δ' ὃς “ὑπὲρ τίνος μίγνυσιν; οὐ γὰρ ὑπὲρ μόνου τοῦ ἄνθους, ὥσπερ αἱ κήριναι.” “ὑπὲρ μιμήσεως” ἔφη “καὶ τοῦ κύνα τε ἐξεικάσαι καὶ ἵππον καὶ ἄνθρωπον καὶ ναῦν καὶ ὁπόσα ὁρᾷ ὁ ἥλιος: ἤδη δὲ καὶ τὸν ἥλιον αὐτὸν ἐξεικάζει τοτὲ μὲν ἐπὶ τεττάρων ἵππων, οἷος ἐνταῦθα λέγεται φαίνεσθαι, τοτὲ δ' αὖ καὶ διαπυρσεύοντα τοῦ οὐρανοῦ, ἐπειδὰν αἰθέρα ὑπογράφῃ καὶ θεῶν οἶκον.” “μίμησις οὖν ἡ γραφική, ὦ Δάμι;” “τί δὲ ἄλλο;” εἶπεν “εἰ γὰρ μὴ τοῦτο πράττοι, γελοία δόξει χρώματα ποιοῦσα εὐήθως.” “τὰ δ' ἐν τῷ οὐρανῷ” ἔφη “βλεπόμενα, ἐπειδὰν αἱ νεφέλαι διασπασθῶσιν ἀπ' ἀλλήλων, τοὺς κενταύρους καὶ τραγελάφους καὶ, νὴ Δί', οἱ λύκοι τε καὶ οἱ ἵπποι, τί φήσεις; ἆρ' οὐ μιμητικῆς εἶναι ἔργα;” “ἔοικεν,” ἔφη. “ζωγράφος οὖν ὁ θεός, ὦ Δάμι, καὶ καταλιπὼν τὸ πτηνὸν ἅρμα, ἐφ' οὗ πορεύεται διακοσμῶν τὰ θεῖά τε καὶ ἀνθρώπεια, κάθηται τότε ἀθύρων τε καὶ γράφων ταῦτα, ὥσπερ οἱ παῖδες ἐν τῇ ψάμμῳ;” ἠρυθρίασεν ὁ Δάμις ἐς οὕτως ἄτοπον ἐκπεσεῖν δόξαντος τοῦ λόγου. οὐχ ὑπεριδὼν οὖν αὐτὸν ὁ ̓Απολλώνιος, οὐδὲ γὰρ πικρὸς πρὸς τὰς ἐλέγξεις ἦν, “ἀλλὰ μὴ τοῦτο” ἔφη “βούλει λέγειν, ὦ Δάμι, τὸ ταῦτα μὲν ἄσημά τε καὶ ὡς ἔτυχε διὰ τοῦ οὐρανοῦ φέρεσθαι τόγε ἐπὶ τῷ θεῷ, ἡμᾶς δὲ φύσει τὸ μιμητικὸν ἔχοντας ἀναρρυθμίζειν τε αὐτὰ καὶ ποιεῖν;” “μᾶλλον” ἔφη “τοῦτο ἡγώμεθα, ὦ ̓Απολλώνιε, πιθανώτερον γὰρ καὶ πολλῷ βέλτιον.” “διττὴ ἄρα ἡ μιμητική, ὦ Δάμι, καὶ τὴν μὲν ἡγώμεθα οἵαν τῇ χειρὶ ἀπομιμεῖσθαι καὶ τῷ νῷ, γραφικὴν δὲ εἶναι ταύτην, τὴν δ' αὖ μόνῳ τῷ νῷ εἰκάζειν.” “οὐ διττήν,” ἔφη ὁ Δάμις “ἀλλὰ τὴν μὲν τελεωτέραν ἡγεῖσθαι προσήκει γραφικήν γε οὖσαν, ἣ δύναται καὶ τῷ νῷ καὶ τῇ χειρὶ ἐξεικάσαι, τὴν δὲ ἑτέραν ἐκείνης μόριον, ἐπειδὴ ξυνίησι μὲν καὶ μιμεῖται τῷ νῷ καὶ μὴ γραφικός τις ὤν, τῇ χειρὶ δὲ οὐκ ἂν ἐς τὸ γράφειν αὐτὰ χρήσαιτο.” “ἆρα,” ἔφη “ὦ Δάμι, πεπηρωμένος τὴν χεῖρα ὑπὸ πληγῆς τινος ἢ νόσου;” “μὰ Δί'” εἶπεν “ἀλλ' ὑπὸ τοῦ μήτε γραφίδος τινὸς ἧφθαι, μήτε ὀργάνου τινὸς ἢ χρώματος, ἀλλ' ἀμαθῶς ἔχειν τοῦ γράφειν.” “οὐκοῦν,” ἔφη “ὦ Δάμι, ἄμφω ὁμολογοῦμεν μιμητικὴν μὲν ἐκ φύσεως τοῖς ἀνθρώποις ἥκειν, τὴν γραφικὴν δὲ ἐκ τέχνης. τουτὶ δ' ἂν καὶ περὶ τὴν πλαστικὴν φαίνοιτο. τὴν δὲ δὴ ζωγραφίαν αὐτὴν οὔ μοι δοκεῖς μόνον τὴν διὰ τῶν χρωμάτων ἡγεῖσθαι, καὶ γὰρ ἓν χρῶμα ἐς αὐτὴν ἤρκεσε τοῖς γε ἀρχαιοτέροις τῶν γραφέων καὶ προϊοῦσα τεττάρων εἶτα πλειόνων ἥψατο, ἀλλὰ καὶ γραμμὴν καὶ τὸ ἄνευ χρώματος, ὃ δὴ σκιᾶς τε ξύγκειται καὶ φωτός, ζωγραφίαν προσήκει καλεῖν: καὶ γὰρ ἐν αὐτοῖς ὁμοιότης τε ὁρᾶται εἶδός τε καὶ νοῦς καὶ αἰδὼς καὶ θρασύτης, καίτοι χηρεύει χρωμάτων ταῦτα, καὶ οὔτε αἷμα ἐνσημαίνει οὔτε κόμης τινὸς ἢ ὑπήνης ἄνθος, ἀλλὰ μονοτρόπως ξυντιθέμενα τῷ τε ξανθῷ ἀνθρώπῳ ἔοικε καὶ τῷ λευκῷ, κἂν τούτων τινὰ τῶν ̓Ινδῶν λευκῇ τῇ γραμμῇ γράψωμεν, μέλας δήπου δόξει, τὸ γὰρ ὑπόσιμον τῆς ῥινὸς καὶ οἱ ὀρθοὶ βόστρυχοι καὶ ἡ περιττὴ γένυς καὶ ἡ περὶ τοῖς ὀφθαλμοῖς οἷον ἔκπληξις μελαίνει τὰ ὁρώμενα καὶ ̓Ινδὸν ὑπογράφει τοῖς γε μὴ ἀνοήτως ὁρῶσιν. ὅθεν εἴποιμ' ἂν καὶ τοὺς ὁρῶντας τὰ τῆς γραφικῆς ἔργα μιμητικῆς δεῖσθαι: οὐ γὰρ ἂν ἐπαινέσειέ τις τὸν γεγραμμένον ἵππον ἢ ταῦρον μὴ τὸ ζῷον ἐνθυμηθείς, ᾧ εἴκασται, οὐδ' ἂν τὸν Αἴαντά τις τὸν Τιμομάχου ἀγασθείη, ὃς δὴ ἀναγέγραπται αὐτῷ μεμηνώς, εἰ μὴ ἀναλάβοι τι ἐς τὸν νοῦν Αἴαντος εἴδωλον καὶ ὡς εἰκὸς αὐτὸν ἀπεκτονότα τὰ ἐν τῇ Τροίᾳ βουκόλια καθῆσθαι ἀπειρηκότα, βουλὴν ποιούμενον καὶ ἑαυτὸν κτεῖναι. ταυτὶ δέ, ὦ Δάμι, τὰ τοῦ Πώρου δαίδαλα μήτε χαλκευτικῆς μόνον ἀποφαινώμεθα, γεγραμμένοις γὰρ εἴκασται, μήτε γραφικῆς, ἐπειδὴ ἐχαλκεύθη, ἀλλ' ἡγώμεθα σοφίσασθαι αὐτὰ γραφικόν τε καὶ χαλκευτικὸν ἕνα ἄνδρα, οἷον δή τι παρ' ̔Ομήρῳ τὸ τοῦ ̔Ηφαίστου περὶ τὴν τοῦ ̓Αχιλλέως ἀσπίδα ἀναφαίνεται. μεστὰ γὰρ καὶ ταῦτα ὀλλύντων τε καὶ ὀλλυμένων, καὶ τὴν γῆν ᾑματῶσθαι φήσεις χαλκῆν οὖσαν.” 4.28. ἰδὼν δὲ ἐς τὸ ἕδος τὸ ἐν ̓Ολυμπίᾳ “χαῖρε,” εἶπεν “ἀγαθὲ Ζεῦ, σὺ γὰρ οὕτω τι ἀγαθός, ὡς καὶ σαυτοῦ κοινωνῆσαι τοῖς ἀνθρώποις.” ἐξηγήσατο δὲ καὶ τὸν χαλκοῦν Μίλωνα καὶ τὸν λόγον τοῦ περὶ αὐτὸν σχήματος. ὁ γὰρ Μίλων ἑστάναι μὲν ἐπὶ δίσκου δοκεῖ τὼ πόδε ἄμφω συμβεβηκώς, ῥόαν δὲ ξυνέχει τῇ ἀριστερᾷ, ἡ δεξιὰ δέ, ὀρθοὶ τῆς χειρὸς ἐκείνης οἱ δάκτυλοι καὶ οἷον διείροντες. οἱ μὲν δὴ κατ' ̓Ολυμπίαν τε καὶ ̓Αρκαδίαν λόγοι τὸν ἀθλητὴν ἱστοροῦσι τοῦτον ἄτρεπτον γενέσθαι καὶ μὴ ἐκβιβασθῆναί ποτε τοῦ χώρου, ἐν ᾧ ἔστη, δηλοῦσθαι δὲ τὸ μὲν ἀπρὶξ τῶν δακτύλων ἐν τῇ ξυνοχῇ τῆς ῥόας, τὸ δὲ μηδ' ἂν σχισθῆναί ποτ' ἀπ' ἀλλήλων αὐτούς, εἴ τις πρὸς ἕνα αὐτῶν ἁμιλλῷτο, τῷ τὰς διαφυὰς ἐν ὀρθοῖς τοῖς δακτύλοις εὖ ξυνηρμόσθαι, τὴν ταινίαν δέ, ἣν ἀναδεῖται, σωφροσύνης ἡγοῦνται ξύμβολον. ὁ δὲ ̓Απολλώνιος σοφῶς μὲν εἶπεν ἐπινενοῆσθαι ταῦτα, σοφώτερα δὲ εἶναι τὰ ἀληθέστερα. “ὡς δὲ γιγνώσκοιτε τὸν νοῦν τοῦ Μίλωνος, Κροτωνιᾶται τὸν ἀθλητὴν τοῦτον ἱερέα ἐστήσαντο τῆς ̔́Ηρας. τὴν μὲν δὴ μίτραν ὅ τι χρὴ νοεῖν, τί ἂν ἐξηγοίμην ἔτι, μνημονεύσας ἱερέως ἀνδρός; ἡ ῥόα δὲ μόνη φυτῶν τῇ ̔́Ηρᾳ φύεται, ὁ δὲ ὑπὸ τοῖς ποσὶ δίσκος, ἐπὶ ἀσπιδίου βεβηκὼς ὁ ἱερεὺς τῇ ̔́Ηρᾳ εὔχεται, τουτὶ δὲ καὶ ἡ δεξιὰ σημαίνει, τὸ δὲ ἔργον τῶν δακτύλων καὶ τὸ μήπω διεστὼς τῇ ἀρχαίᾳ ἀγαλματοποιίᾳ προσκείσθω.”

2.20. And after they had crossed the river, they were conducted by the satrap's guide direct to Taxila, where the Indian had his royal palace. And they say that on that side of the Indus the dress of the people consists of native linen, with shoes of byblus and a hat when it rains; but that the upper classes there are appareled in byssus; and that the byssus grows upon a tree of which the stem resembles that of the white poplar, and the leaves those of the willow. And Apollonius says that he was delighted with the byssus, because it resembled his sable philosopher's cloak. And the byssus is imported into Egypt from India for many sacred uses. Taxila, they tell us, is about as big as Nineveh, and was fortified fairly well after the manner of Greek cities; and here was the royal residence of the personage who then ruled the empire of Porus. And they saw a Temple, they saw, in front of the wall, which was not far short of 100 feet in size, made of porphyry, and there was constructed within it a shrine, somewhat small as compared with the great size of the Temple which is surrounded with columns, but deserving of notice. For bronze tablets were nailed into each of its walls on which were engraved the exploits of Porus and Alexander. But the pattern was wrought with orichalcus and silver and gold and black bronze, of elephants, horses, soldiers, helmets, shields, but spears, and javelins and swords, were all made of iron; and the composition was like the subject of some famous painting by Zeuxis or Polygnotus and Euphranor, who delighted in light and shade; and, they say, here also was an appearance of real life, as well as depth and relief. And the metals were blended in the design, melted in like so many colors; and the character of the picture was also pleasing in itself, for Porus dedicated these designs after the death of the Macedonian, who is depicted in the hour of victory, restoring Porus who is wounded, and presenting him with India which was now his gift. And it is said that Porus mourned over the death of Alexander, and that he lamented him as generous and a good prince; and as long as Alexander was alive after his departure from India, he never used the royal diction and style, although he had license to do so, nor issued kingly edicts to the Indians, but figured himself as satrap full of moderation, and guided every action by the wish to please Alexander. 2.22. While he was waiting in the Temple, — and it took a long time for the king to be informed that strangers had arrived, — Apollonius said: O Damis, is there such a thing as painting? Why yes, he answered, if there be any such thing as truth. And what does this art do? It mixes together, replied Damis, all the colors there are, blue with green, and white with black, and red with yellow. And for what reason, said the other, does it mix these? For it isn't merely to get a color, like dyed wax. It is, said Damis, for the sake of imitation, and to get a likeness of a dog, or a horse, or a man, or a ship, or of anything else under the sun; and what is more, you see the sun himself represented, sometimes borne upon a four horse car, as he is said to be seen here, and sometimes again traversing the heaven with his torch, in case you are depicting the ether and the home of the gods. Then, O Damis, painting is imitation? And what else could it be? said he: for if it did not effect that, it would voted to be an idle playing with colors. And, said the other, the things which are seen in heaven, whenever the clouds are torn away from one another, I mean the centaurs and stag-antelopes, yes, and the wolves too, and the horses, what have you got to say about them? Are we not to regard them as works of imitation? It would seem so, he replied. Then, Damis, God is a painter, and has left his winged chariot, upon which he travels, as he disposes of affairs human and divine, and he sits down on these occasions to amuse himself by drawing these pictures, as children make figures in the sand. Damis blushed, for he felt that his argument was reduced to such an absurdity. But Apollonius, on his side, had no wish to humiliate him, for he was not unfeeling in his refutations of people, and said: But I am sure, Damis, you did not mean that; rather that these figures flit through the heaven not only without meaning, but, so far as providence is concerned, by mere chance; while we who by nature are prone to imitation rearrange and create them in these regular figures. We may, he said, rather consider this to be the case, O Apollonius, for it is more probable, and a much sounder idea. Then, O Damis, the mimetic art is twofold, and we may regard the one kind as an employment of the hands and mind in producing imitations, and declare that this is painting, whereas the other kind consists in making likenesses with the mind alone. Not twofold, replied Damis, for we ought to regard the former as the more perfect and more complete kind, being anyhow painting and a faculty of making likenesses with the help both of mind and hand; but we must regard the other kind as a department that, since its possessor perceives and imitates with the mind, without having the delineative faculty, and would never use his hand in depicting its objects. Then, said Apollonius, you mean, Damis, that the hand may be disabled by a blow or by disease? No, he answered, but it is disabled, because it has never handled pencil nor any instrument or color, and has never learned to draw. Then, said the other, we are both of us, Damis, agreed that man owes his mimetic faculty to nature, but his power of painting to art. And the same would appear to be true of plastic art. But, methinks, you would not confine painting itself to the mere use of colors, for a single color was often found sufficient for this purpose by our older painters; and as the art advanced, it employed four, and later, yet more; but we must also concede the name of a painting to an outline drawn without any color at all, and composed merely of shadow and light. For in such designs we see a resemblance, we see form and expression, and modesty and bravery, although they are altogether devoid of color; and neither blood is represented, nor the color of a man's hair or beard; nevertheless these compositions in monochrome are likenesses of people either tawny or white, and if we drew one of these Indians with a pencil without color, yet he would be known for a negro, for his flat nose, and his stiff curling locks and prominent jaw, and a certain gleam about his eyes, would give a black look to the picture and depict an Indian to the eyes of all those who have intelligence. And for this reason I should say that those who look at works of painting and drawing require a mimetic faculty; for no one could appreciate or admire a picture of a horse or of a bull, unless he had formed an idea of the picture represented. Nor again could one admire a picture of Ajax, by the painter Timomachus, which represents him in a state of madness, unless one had conceived in one's mind first an idea or notion of Ajax, and had entertained the probability that after killing the flocks in Troy he would sit down exhausted and even meditate suicide. But these elaborate works of Porus we cannot, Damis, regard as works of brass founding alone, for they are cast in brass; so let us regard them as the chefs d'oeuvre of a man who is both painter and brass-founder at once, and as similar to the work of Hephaestus upon the shield of Achilles, as revealed in Homer. For they are crowded together in that work too men slaying and slain, and you would say that the earth was stained with gore, though it is made of brass. 4.28. And looking at the statue set up at Olympia, he said: Hail, O thou good Zeus, for thou art so good that thou dost impart thine own nature unto mankind. And he also gave them an account of the brazen statue of Milo and explained the attitude of this figure. For this Milo is seen standing on a disk with his two feet close together, and in his left hand he grasps a pomegranate, whole of his right hand the fingers are extended and pressed together as if to pass through a chink. Now among the people of Olympia and Arcadia the story told about this athlete is, that he was so inflexible that he could never be induced to leave the spot on which he stood; and they infer the grip of the clenched fingers from the way he grasps the pomegranate, and that they could never be separated from another, however much you struggled with any one of them, because the intervals between the extended fingers are very close; and they say that the fillet with which his head is bound is a symbol of temperance and sobriety. Apollonius while admitting that this account was wisely conceived, said that the truth was still wiser. In order that you may know, said he, the meaning of the statue of Milo, the people of Croton made this athlete a priest of Hera. As to the meaning then of this mitre, I need not explain it further than by reminding you that the hero was a priest. But the pomegranate is the only fruit which is grown in honor of Hera; and the disk beneath his feet means that the priest is standing on a small shield to offer his prayer to Hera; and this is also indicated by his right hand. As for the artist's rendering the fingers and feet, between which he has left no interval, that you may ascribe to the antique style of the sculpture.

9. Clement of Alexandria, Christ The Educator, 3.11.59 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 909

10. Tertullian, Apology, 28 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 911

28. But as it was easily seen to be unjust to compel freemen against their will to offer sacrifice (for even in other acts of religious service a willing mind is required), it should be counted quite absurd for one man to compel another to do honour to the gods, when he ought ever voluntarily, and in the sense of his own need, to seek their favour, lest in the liberty which is his right he should be ready to say, I want none of Jupiter's favours; pray who are you? Let Janus meet me with angry looks, with whichever of his faces he likes; what have you to do with me? You have been led, no doubt, by these same evil spirits to compel us to offer sacrifice for the well-being of the emperor; and you are under a necessity of using force, just as we are under an obligation to face the dangers of it. This brings us, then, to the second ground of accusation, that we are guilty of treason against a majesty more august; for you do homage with a greater dread and an intenser reverence to C sar, than Olympian Jove himself. And if you knew it, upon sufficient grounds. For is not any living man better than a dead one, whoever he be? But this is not done by you on any other ground than regard to a power whose presence you vividly realize; so that also in this you are convicted of impiety to your gods, inasmuch as you show a greater reverence to a human sovereignty than you do to them. Then, too, among you, people far more readily swear a false oath in the name of all the gods, than in the name of the single genius of C sar.

11. Tertullian, Against Marcion, 2.2.22 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 907

12. Clement of Alexandria, Exhortation To The Greeks, 4.60.1-4.60.2, 12.119 (2nd cent. CE - 3rd cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 908, 909, 910

13. Eusebius of Caesarea, Ecclesiastical History, 7.18 (3rd cent. CE - 4th cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 907, 911

14. Nilus of Ancyra, Letters, 4.61 (4th cent. CE - 5th cent. CE) Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 909

15. Augustine, Letters, 47, 46 (7th cent. CE - 7th cent. CE) Tagged with subjects: •nan Found in books: Bickerman and Tropper (2007) 907

16. Epigraphy, Bch, 1963.637 Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 910

17. Epigraphy, Gibm, 51 Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 938

18. Hebrew Bible, Lxx Psalms, 16 Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 907

19. Babylonian Talmud, Avodah Zarah, None Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 907

51b. עד כאן הוא מדבר בקדשים שהקדישן בשעת איסור הבמות והקריבן בשעת איסור הבמות,שהרי עונשן אמור שנאמר (ויקרא יז, ד) ואל פתח אהל מועד לא הביאו וגו' עונש שמענו אזהרה מנין ת"ל (דברים יב, יג) פן תעלה עולותיך,וכדר' אבין א"ר אילא דאמר ר' אבין א"ר אילא כל מקום שנאמר השמר ופן ואל אינו אלא בלא תעשה,מכאן ואילך הוא מדבר בקדשים שהקדישן בשעת היתר הבמות והקריבן בשעת איסור הבמות,שנאמר (ויקרא יז, ה) למען אשר יביאו בני ישראל את זבחיהם אשר הם זובחים שהתרתי לך כבר על פני השדה מלמד שכל הזובח בבמה בשעת איסור הבמות מעלה עליו הכתוב כאילו הוא זובח על פני השדה,והביאום לה' זו מצות עשה ומצות לא תעשה מנין ת"ל (ויקרא יז, ז) ולא יזבחו עוד את זבחיהם,יכול יהא ענוש כרת ת"ל (ויקרא יז, ז) חקת עולם תהיה זאת להם זאת להם ולא אחרת להם,אמר רבא קרי ביה ולא יזבחו וקרי ביה ולא עוד:, big strongמתני׳ /strong /big מצא בראשו מעות כסות או כלים הרי אלו מותרין פרכילי ענבים ועטרות של שבלים ויינות ושמנים וסלתות וכל דבר שכיוצא בו קרב ע"ג המזבח אסור:, big strongגמ׳ /strong /big מנהני מילי א"ר חייא בר יוסף א"ר אושעיא כתוב אחד אומר (דברים כט, טז) ותראו את שקוציהם ואת גלוליהם עץ ואבן כסף וזהב אשר עמהם וכתוב אחד אומר (דברים ז, כה) לא תחמוד כסף וזהב עליהם הא כיצד,עמהם דומיא דעליהם מה עליהם דבר של נוי אסור שאינו של נוי מותר אף עמהם דבר של נוי אסור ושאינו של נוי מותר,ואימא עליהם דומיא דעמהם מה עמהם כל מה שעמהם אף עליהם כל שעליהם א"כ לא יאמר עליהם,מעות דבר של נוי הוא אמרי דבי ר' ינאי בכיס קשור ותלוי לו בצוארו,כסות דבר של נוי הוא אמרי דבי ר' ינאי בכסות מקופלת ומונחת לו על ראשו כלי דבר של נוי הוא אמר רב פפא דסחיפא ליה משכילתא ארישיה,אמר רב אסי בר חייא כל שהוא לפנים מן הקלקלין אפי' מים ומלח אסור חוץ לקלקלין דבר של נוי אסור שאינו של נוי מותר א"ר יוסי בר חנינא נקטינן אין קלקלין לא לפעור ולא למרקוליס,למאי אילימא דאפי' פנים כחוץ דמי ושרי השתא פעורי מפערין קמיה מים ומלח לא מקרבין ליה אלא אפי' חוץ כבפנים דמי ואסור:, big strongמתני׳ /strong /big עבודת כוכבים שהיה לה גינה או מרחץ נהנין מהן שלא בטובה ואין נהנין מהן בטובה היה שלה ושל אחרים נהנין מהן בין בטובה ובין שלא בטובה עבודת כוכבים של עובד כוכבים אסורה מיד ושל ישראל אין אסורה עד שתיעבד:, big strongגמ׳ /strong /big אמר אביי בטובה בטובת כומרין שלא בטובה שלא בטובת כומרין לאפוקי טובת עובדיה דשרי,איכא דמתני לה אסיפא היה שלה ושל אחרים נהנין מהן בטובה ושלא בטובה אמר אביי בטובה בטובת אחרים שלא בטובה שלא בטובת כומרין,מאן דמתני אסיפא כ"ש ארישא ומאן דמתני ארישא אבל אסיפא כיון דאיכא אחרים בהדה אפי' בטובת כומרין נמי שפיר דמי:,עבודת כוכבים של עובד כוכבים אסורה מיד: מתני' מני ר"ע היא דתניא (דברים יב, ב) אבד תאבדון את כל המקומות אשר עבדו שם הגוים בכלים שנשתמשו בהן לעבודת כוכבים הכתוב מדבר,יכול עשאום ולא גמרום גמרום ולא הביאום הביאום ולא נשתמשו בהן יכול יהו אסורים ת"ל אשר עבדו שם הגוים שאין אסורין עד שיעבדו מכאן אמרו עבודת כוכבים של עובד כוכבים אינה אסורה עד שתיעבד ושל ישראל אסורה מיד דברי ר' ישמעאל,ר"ע אומר חילוף הדברים עבודת כוכבים של עובד כוכבים אסורה מיד ושל ישראל עד שתיעבד,אמר מר בכלים שנשתמשו בהן לעבודת כוכבים הכתוב מדבר הא מקומות כתיב אם אינו ענין למקומות דלא מיתסרי דכתיב (דברים יב, ב) אלהיהם על ההרים ולא ההרים אלהיהם

51b. The verse states: “Any man…that slaughters an ox…outside the camp, and to the entrance of the Tent of Meeting he did not bring it, to sacrifice an offering to the Lord” (Leviticus:17:3–4). b Until this point, /b the verse is b speaking about sacrificial /b animals b that one consecrated during a period when the prohibition of /b sacrificing offerings on private b altars /b was in effect, after the Tabernacle was erected, b and /b then b he /b also b sacrificed them during a period when the prohibition of /b sacrificing on private b altars /b was in effect.,This is apparent b as /b the b punishment /b for sacrificing b them is stated /b in this verse, b as it is stated: “And to the entrance of the Tent of Meeting he did not bring it, /b to sacrifice an offering to the Lord, before the Tabernacle of the Lord…that man shall be cut off from among his people” (Leviticus:17:4). b We have heard /b from that verse the b punishment, /b but with regard to the b prohibition /b against sacrificing on a private altar, b from where /b is it derived? b The verse states: /b “Take heed to yourself b lest you offer up your burnt-offerings /b in every place that you see” (Deuteronomy 12:13).,The Gemara comments: b And /b this is b in accordance with /b the principle b that Rabbi Avin /b says that b Rabbi Ile’a says, as Rabbi Avin says /b that b Rabbi Ile’a says: Wherever it is stated: “Beware,” “lest,” or “do not,” /b this is b nothing other than a prohibition. /b ,The i baraita /i continues: b From that /b point b onward, /b the verse is b speaking about sacrificial /b animals b that one consecrated during a period when /b there was b permission /b to sacrifice offerings on private b altars, /b before the Tabernacle was erected, b and /b then b one sacrificed them /b outside the Tabernacle b during a period when the prohibition of /b sacrificing on private b altars /b was in effect.,This is apparent, b as it is stated: “In order that the children of Israel shall bring their sacrifices, which they slaughter /b upon the open field, that they shall bring them to the Lord, to the entrance of the Tent of Meeting” (Leviticus 17:5). The phrase: “Their sacrifices, which they slaughter,” is interpreted as referring to offerings b that I have previously permitted you /b to slaughter on private altars. This verse teaches that those offerings may now be sacrificed only inside the Tabernacle. The phrase b “upon the open field” teaches that /b in the case of b anyone who slaughters /b an offering b on /b a private b altar during a period when the prohibition of /b sacrificing on private b altars /b is in effect, even if he sacrifices the offering to God, b the verse ascribes him /b blame b as if he is slaughtering /b it b upon the open field /b in idolatrous worship.,The verse continues: b “That they shall bring them to the Lord.” This /b is b a positive mitzva /b to sacrifice even offerings that were consecrated before the Tabernacle was erected in the wilderness. b And from where /b is it derived that there is b a prohibition /b against sacrificing them outside the Tabernacle? b The verse states: “And they shall not slaughter their offerings anymore /b to the i se’irim /i after whom they go astray; this shall be to them an eternal statute, throughout their generations” (Leviticus 17:7).,One b might /b have thought that sacrificing these offerings outside the Tabernacle b would be punishable by i karet /i , /b as this is the i halakha /i with regard to offerings consecrated after the Tabernacle was consecrated. Therefore, b the verse states: “This shall be to them an eternal statute, /b throughout their generations” (Leviticus 17:7). One can infer from this verse that b this, /b the punishment for transgressing a positive mitzva and a prohibition, applies b to them, but no other /b punishment applies b to them. /b In any event, the i baraita /i interprets the verse: “And they shall not slaughter their offerings anymore to the i se’irim /i ,” as prohibiting sacrificing to God on private altars, not as Rabbi Elazar interpreted it, as prohibiting the worship of an idol in an atypical manner., b Rava said: /b One may derive both i halakhot /i from the verse, as the term “And they shall not” can be interpreted as referring to two distinct prohibitions. b Read into /b the verse: b “And they shall not slaughter,” /b which is interpreted as prohibiting offerings to God on private altars. b And /b also b read into /b the verse: b “And they shall not /b slaughter… b anymore /b to the i se’irim /i ,” which is interpreted as prohibiting the worship of an idol in an atypical manner., strong MISHNA: /strong If one b found money, a garment, or vessels at the head of /b Mercury, b these are permitted. /b If one found vine b branches /b laden with clusters b of grapes, or wreaths /b made b of stalks, or /b containers of b wine, oil, or flour, or any /b other b item the likes of which is sacrificed on the altar /b there, it is b prohibited. /b , strong GEMARA: /strong The mishna teaches that money, clothing, or vessels found at the head of the idol are not forbidden. The Gemara asks: b From where are these matters /b derived? b Rav Ḥiyya bar Yosef says /b that b Rabbi Oshaya says: One verse states: “And you have seen their detestable things and their idols, wood and stone, silver and gold, which are with them” /b (Deuteronomy 29:16). b And one verse states: “You shall not covet the silver or the gold that is on them, /b nor take it for yourself” (Deuteronomy 7:25). b How /b can b these /b texts be reconciled? The second verse mentions the prohibition of only silver and gold, whereas the first verse also mentions wood and stone.,The Gemara answers: This teaches that the prohibition with regard to those items that are b “with them,” /b i.e., those found next to the idols, is b similar to /b the prohibition with regard to those items that are b “on them.” Just as /b with regard to those items that are b on /b the idols, b a decorative item, /b e.g., gold or silver, is b prohibited, /b but that b which is not a decorative /b item is b permitted, so too, /b with regard to those items that are b with /b the idols, b a decorative item /b is b prohibited, and /b that b which is not a decorative /b item is b permitted. /b ,The Gemara challenges: b But /b one could b say /b to the contrary, that the prohibition with regard to those items that are b “on them” /b is b similar to /b the prohibition with regard to those items that are b “with them.” Just as /b with regard to those items that are b with /b the idols, b everything that is /b found b with them /b is included in the prohibition, as the verse mentions wood and stone, which are not decorative items, b so too, /b with regard to those items that are b on /b the idols, b everything that is on them /b is forbidden. The Gemara explains: b If so, /b the verse b should not state /b the prohibition with regard to items that are b on /b the idols, as it may be inferred i a fortiori /i from the prohibition with regard to items that are found next to them.,The Gemara challenges: The mishna teaches that money that is found at the head of the idol is permitted. This is difficult, as b money is a decorative item. The school of Rabbi Yannai say: /b The ruling of the mishna is not stated with regard to a case where coins were placed on the idol in order to adorn it. Rather, the ruling of the mishna is stated b with regard to /b a case where the money is inside b a purse /b that is b tied /b onto the idol b and suspended from its neck /b for safekeeping, or left there as payment for the priests.,The Gemara challenges: The mishna teaches that a garment found at the head of the idol is permitted. This is difficult, as b a garment is a decorative item. The school of Rabbi Yannai say: /b The ruling of the mishna is not stated with regard to a garment that was placed on the idol in order to adorn it. Rather, the ruling of the mishna is stated b with regard to a garment /b that is b folded and placed upon the head of /b the idol. The Gemara challenges: The mishna teaches that vessels found at the head of the idol are permitted. This is difficult, as b a vessel is a decorative item. Rav Pappa said: /b The mishna is referring to b where a pot [ i mashkilta /i ] is placed upside down upon the head of /b the idol, in which case it does not serve as decoration., b Rav Asi bar Ḥiyya says: Any /b item b that is /b found b within the /b inner b partitions [ i hakilkalin /i ] /b that surround the idol, b even water or salt, is prohibited, /b as it is assumed to be an offering brought in idolatrous worship. With regard to items that are found b outside the partitions, a decorative item /b is b prohibited, /b but that b which is not a decorative /b object is b permitted. Rabbi Yosei bar Ḥanina says: We have a tradition /b that the i halakha /i with regard to the b partitions /b applies b neither to Peor nor to Mercury. /b ,The Gemara asks: b With regard to what /b i halakha /i is this stated? b If we say /b that this means b that /b with regard to Peor and Mercury b even /b items that are found b inside /b the partitions b are /b treated b like /b those that are found b outside /b the partitions b and /b they are b permitted, /b this is difficult. b Now, /b Peor is worshipped by b defecating before it. /b Even excrement is offered to Peor. Is it possible that its worshippers b do not sacrifice water and salt to it? /b Although water and salt are not generally offered to an idol, in the case of Peor they certainly can be. b Rather, /b Rabbi Yosei bar Ḥanina means that with regard to Peor and Mercury b even /b items that are found b outside /b the partitions b are /b treated b like /b those that are found b inside /b the partitions, b and /b they b are prohibited /b even if they are not decorative items., strong MISHNA: /strong In the case of an object of b idol worship that had a garden or a bathhouse, /b one b may derive benefit from them when /b it is b not to /b the b advantage /b of the idol worship, i.e., when he does not pay for his use, b but /b one b may not derive benefit from them /b when it is b to /b their b advantage, /b i.e., if one is required to pay for his use. If the garden or bathhouse b belonged /b jointly b to /b the place of idol worship b and to others, /b one b may derive benefit from them, both /b when it is b to /b their b advantage and when /b it is b not to /b their b advantage. A gentile’s /b object of b idol worship /b is b prohibited immediately, /b i.e., as soon as it is fashioned for that purpose, b but a Jew’s /b object of idol worship is b not prohibited until it is /b actually b worshipped. /b , strong GEMARA: /strong b Abaye says: /b The case where use of the garden or bathhouse is b to /b the ficial b advantage /b of the idol worship is referring to a case where it is b to /b the ficial b advantage of /b the b priests [ i komarin /i ], /b who receive payment for the use of the garden or bathhouse. The case b where /b it is b not to /b their ficial b advantage /b is referring to a case b where /b it is b not to /b the ficial b advantage of /b the b priests. /b This is b to the exclusion of /b a situation where using the facility is only to the ficial b advantage of /b the idol’s b worshippers, /b in b which /b case one is b permitted /b to derive benefit from them.,The Gemara comments: b There are those who teach /b Abaye’s statement b with regard to the latter clause /b of the mishna: If the garden or bathhouse b belonged to /b the place of idol worship b and to others, /b one b may derive benefit from them /b both when it is b to /b their b advantage and when /b it is b not to /b their b advantage. Abaye says: /b The term: When it is b to /b their b advantage, /b is referring to a case where it is b to /b the ficial b advantage of /b the b other /b owners, while the term: b When /b it is b not to /b their b advantage, /b is referring to a case b where /b it is b not to /b the ficial b advantage of /b the b priests. /b But if the use of the place is to the ficial advantage of the priests, one may not derive benefit from the place.,The Gemara notes: According to the b one who teaches /b Abaye’s statement b with regard to /b the case presented in b the latter clause /b of the mishna, where the garden or bathhouse is only partially owned by the place of idol worship, b all the more so /b does this statement apply b to /b the case presented in b the first clause /b of the mishna, where the garden or bathhouse is owned exclusively by the place of idol worship. b But /b according to the b one who teaches /b Abaye’s statement b with regard to /b the case presented in b the first clause, /b Abaye’s statement applies only to that case. b But with regard to /b the case presented in b the latter clause, since there are others /b who own the place b together with /b the place of idol worship, b even /b if the use of the garden or bathhouse is b to /b the ficial b advantage of /b the b priests /b it is b permitted. /b ,§ The mishna teaches: b A gentile’s /b object of b idol worship /b is b prohibited immediately, /b i.e., as soon as it is fashioned for that purpose. The Gemara asks: b Whose /b opinion is expressed in b the mishna? /b The Gemara answers: b It is /b the opinion of b Rabbi Akiva, as it is taught /b in a i baraita /i : b “You shall destroy all the places, where the nations /b that you are to dispossess b served /b their gods, upon the high mountains, and upon the hills, and under every leafy tree” (Deuteronomy 12:2). b The verse is speaking of vessels that were used /b by the gentiles b for idol worship. /b ,One b might /b have thought that the vessels are prohibited even if the gentiles b fashioned them but did not complete them, completed them but did not bring them /b to the idol, or b brought them /b to the idol b but did not use them /b for idolatrous worship. b Might /b one have thought that in these cases the vessels b are prohibited? The verse states: “Where the nations /b that you are to dispossess b served /b their gods” (Deuteronomy 12:2). This indicates b that /b the vessels b are not prohibited until they are /b used for b worship. /b It is b from here /b that the Sages b stated: A gentile’s /b object of b idol worship is not prohibited until it is worshipped, but a Jew’s /b object of idol worship b is prohibited immediately. /b This is b the statement of Rabbi Yishmael. /b , b Rabbi Akiva says: The matters are reversed. A gentile’s /b object of b idol worship is prohibited immediately, but a Jew’s /b object of idol worship is not forbidden b until it is worshipped. /b The mishna is therefore in accordance with the opinion of Rabbi Akiva., b The Master said /b above: b The verse is speaking of vessels that were used /b by the gentiles b for idol worship. /b The Gemara asks: b Isn’t /b it b written /b “You shall destroy all b the places” /b (Deuteronomy 12:2), indicating that the verse is not referring to vessels? The Gemara answers: b If /b the i halakha /i stated in this verse b is not /b applicable for the b matter of places /b that were worshipped, it must apply to another matter. The verse cannot apply to the places themselves, b as they are not rendered prohibited, as it is written: /b “You shall destroy… b their gods, upon the /b high b mountains” /b (Deuteronomy 12:2), indicating that one is b not /b required to destroy b the mountains /b that are themselves b their gods. /b Something that is attached to the ground is not rendered forbidden, and therefore even if idol worshippers worshipped the mountain itself it does not need to be destroyed.

20. Epigraphy, Dge, 476 Tagged with subjects: •art, loss of pagan meaning for christians and jews Found in books: Bickerman and Tropper (2007) 910

Tiresias: The Ancient Mediterranean Religions Source Database