Athenagoras, Plea for the Christians 15
Let the opponents keep their view. What follows? Since the multitude cannot distinguish matter from God, or define the boundary between them, they turn to idols made of matter. Must we who do distinguish and separate the unbegotten from the begotten, true being from non-being, the intelligible from the sensible, and assign to each its proper name, also draw near and worship statues? If matter and God are identical—two names for one reality—then by refusing to call stones, wood, gold, and silver gods we are impious. But if they are separated by an infinite distance, as far apart as the craftsman and the material he prepares for his art, what charge lies against us? Just as the potter is the craftsman and the clay is the matter, so God is the Creator and matter obeys Him for the work. Yet clay by itself cannot become vessels without the craftsman, and the all-receptive matter, apart from the Creator God, never received distinction, shape, and order. We do not value the ceramic above the potter, nor the cups and gold ornaments above the metalsmith; rather, when we praise the craftsman for the skill shown in them, he is the one who receives the glory for the vessels. Likewise, regarding matter and the ordering of adorned things, the glory and due honor belong not to matter but to its Creator, God. Therefore, if we treated the forms of matter as gods, we would show ourselves ignorant of the true God’s glory, equating the perishable and corruptible with the eternal.
Greek
Ἀλλ᾿ ἔστωσαν τοὺς αὐτοὺς ἄγοντες. Τί οὖν; Ἐπεὶ οἱ πολλοί, διακρῖναι οὐ δυνάμενοι τί μὲν ὕλη τί δὲ θεὸς πόσον δὲ τὸ διὰ μέσου αὐτῶν, προσίασι τοῖς ἀπὸ τῆς ὕλης εἰδώλοις, δι᾿ ἐκείνους καὶ ἡμεῖς, οἱ διακρίνοντες καὶ χωρίζοντες τὸ ἀγένητον καὶ τὸ γενητόν, τὸ ὂν καὶ τὸ οὐκ ὄν, τὸ νοητὸν καὶ τὸ αἰσθητόν, καὶ ἑκάστῳ αὐτῶν τὸ προσῆκον ὄνομα ἀποδιδόντες, προσελευσόμεθα καὶ προσκυνήσομεν τὰ ἀγάλματα; Εἰ μὲν γὰρ ταὐτὸν ὕλη καὶ θεός, δύο ὀνόματα καθ᾿ ἑνὸς πράγματος, τοὺς λίθους καὶ τὰ ξύλα, τὸν χρυσὸν καὶ τὸν ἄργυρον οὐ νομίζοντες θεούς, ἀσεβοῦμεν. Εἰ δὲ διεστᾶσι πάμπολυ ἀπ᾿ ἀλλήλων, καὶ τοσοῦτον ὅσον τεχνίτης καὶ ἡ πρὸς τὴν τέχνην αὐτοῦ παρασκευή, τί ἐγκαλούμεθα; Ὡς γὰρ ὁ κεραμεὺς καὶ ὁ πηλός (ὕλη μὲν ὁ πηλός, τεχνίτης δὲ ὁ κεραμεύς), καὶ ὁ θεὸς δημιουργός, ὑπακούουσα δὲ αὐτῷ ἡ ὕλη πρὸς τὴν τέχνην. Ἀλλ᾿ ὡς ὁ πηλὸς καθ᾿ ἑαυτὸν σκεύη γενέσθαι χωρὶς τέχνης ἀδύνατος, καὶ ἡ πανδεχὴς ὕλη ἄνευ τοῦ θεοῦ τοῦ δημιουργοῦ διάκρισιν καὶ σχῆμα καὶ κόσμον οὐκ ἐλάμβανεν. Ὡς δὲ οὐ τὸν κέραμον προτιμότερον τοῦ ἐργασαμένου αὐτὸν ἔχομεν οὐδὲ τὰς φιάλας καὶ χρυσίδας τοῦ χαλκεύσαντος, ἀλλ᾿ εἴ τι περὶ ἐκείνας δεξιὸν κατὰ τὴν τέχνην τὸν τεχνίτην ἐπαινοῦμεν, καὶ οὗτός ἐστιν ὁ τὴν ἐπὶ τοῖς σκεύεσι δόξαν καρπούμενος, καὶ ἐπὶ τῆς ὕλης καὶ τοῦ θεοῦ τῆς διαθέσεως τῶν κεκοσμημένων οὐχ ὕλη τὴν δόξαν καὶ τὴν τιμὴν δικαίαν ἔχει ἀλλ᾿ ὁ δημιουργὸς αὐτῆς θεός. Ὥστε, εἰ τὰ εἴδη τῆς ὕλης ἄγοιμεν θεούς, ἀναισθητεῖν τοῦ ὄντος θεοῦ δόξομεν, τὰ λυτὰ καὶ φθαρτὰ τῷ ἀϊδίῳ ἐξισοῦντες.