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In this fragment occurs the following passage:

"Reflect that God has various images of Himself; some made, as it were, of gold, formed, that is, of a spiritual and purer substance, such are the angels; but some made of plaster or of brass such are men. Since then, here on earth, every image of a king, on account of his figure that is impressed thereon, is valued and honored, so is it by no means to be thought that we, who are the image of God, are so far to be dishonored as to have to be utterly annihilated."

St. Methodius, Bibl. PP. t. iii. pp 831-832.
Also The Faith of Catholics, Volume 3, Page 305

"The images of earthly kings, even though they may not be made of the more precious substances of gold and silver, have honor from all men; for men, after venerating those made of the more precious material, do not make small account of those made of a viler material, but honor every such image on earth, even though it be of plaster or of brass ; and whosoever utters a contumelious word against any one such whatever, is not let go as if he had despised a piece of clay, or judged as having slighted a piece of gold, but as having acted impiously against the King himself, and Lord. The golden images which we make of the Lord's angelic principalities and powers, we make unto His honor and glory."

The above extract is given by St. John Damascene as being from St. Methodius, in his:
Orat. iii. de Imagin. t. i. p. 301,
Also The Faith of Catholics, Volume 3, Page 305

"Since I have fallen upon the mention of this city (Cæsarea-Philippi), I do not think I ought to pass over a circumstance which deserves to have its remembrance preserved amongst us. They say that the woman who labored under an issue of blood, and who obtained a cure of her complaint from our Savior, as we learn from the sacred Gospels, was born here, that her house is shown in the city, and that there remains a wonderful monument of the Savior s bounty towards her. For near the gates of her house there is said to stand, on a lofty pedestal of stone, a representation in brass of a woman on her knees, and with her hands stretched out before her as in the act of supplication; and facing this another upright statue of a man, made of the same material, fairly enveloped in an outer garment, extending a hand to the woman. At the feet of this statue, out of its base, there is said to grow a strange kind of plant, rising up to the hem of the robe of brass, and that it is a choice cure for all kinds of diseases. They say that this statue is the image of Jesus. It has remained to this day, as we, when dwelling in that city, saw with our own eyes. And it is no wonder that they of the Gentiles who were formerly benefited by our Savior should have done this, when we have learnt, that the images also of the Apostles, Peter and Paul, and even of Christ Himself, are preserved in paintings. As is likely, the men of old were accustomed without discrimination (or, unguardedly), in this manner to honor amongst themselves after a Gentile custom such a had been their benefactors."

H. E. L. vii. c. xviii.
Also The Faith of Catholics, Volume 3, Page 304-306

Frequent mention is made by Eusebius of various images of the cross used under Constantine, and it will not be unprofitable to cite a few passages, in order to enable the reader to understand in what light this practice was viewed by this historian. Having described (L i. De Vita Const, c. xxviii.) the appearance of the cross to Constantine, he says in the next chapter:

"The emperor said that he doubted within himself what this appearance could be, and that night came on him whilst still pondering and busied in reflection; that then Christ the Son of God appeared to him during his sleep, with the sign which he had seen in Heaven, and ordered him to make a representation of the sign which he had seen in the heavens, and to use it as a defense, on his standards, for his armies."

Then follows a description of the (Labarum. In c. xxiii. Ibid), he tells us that Constantine sent for certain Christian priests to interpret the meaning of the vision and sign:

"they told him it was God, the only-begotten Son of the one and alone God; and that the sign which he had seen was the symbol of immortality, and a trophy of the victory over death which he had gained when he came upon this earth."

In the second book he introduces the pagan Licinius as scoffing at the cross, "as a disgraceful symbol with which Constantine dishonored his army," and then goes on to remark that, in the battles that ensued, complete victories were gained, "the saving sign being advanced in front of the emperor's armies"

"For where soever this sign appeared the enemy fled, and the victorious soldiers pursued. Which, when the emperor perceived, as soon as he noticed any division of his troops in difficulty, he ordered the saving sign to be advanced there as the means of securing victory, and victory instantly followed upon his order, resolution and strength, by a kind of divine certainty, being added to the combatants."

In chapters viii. and ix. he states that he learnt from Constantine's own lips, that of the fifty chosen to carry the Labarum, not one fell that clung round it; and he adds, that he had it from the same authority, that the staff which bore the cross received the weapons aimed at the standard-bearer, and served as a perfect defense. In chapter xvi. he notices that

"Licinius, having discovered by facts, what a divine and ineffable power there was in the saving trophy, by means of which the army of Constantine had learned to conquer, ordered his soldiers not to advance on any account against it, nor even incautiously to cast their eyes upon it; for it was fearful in power, and his enemy fought against him."

In the third book (c. ii.), having remarked that Constantine gloried in the name of Christian, he says:

"At one time signing his countenance with the saving sign, at another glorying in the victorious sign." (c. iii.)

"He also on a lofty tablet placed before the vestibule of his palace, placed, to be seen by all, the saving sign painted as resting on his head; but that enemy and adverse wild beast, which, by means of the tyranny of the ungodly, had vexed the Church, he represented under the shape of a dragon rushing headlong down. ... I am filled with wonder at the powerful understanding of the emperor, who, as it were, by a divine inspiration, symbolized those things which the words of the prophet had long before proclaimed."

Also The Faith of Catholics, Volume 3, Page 307-308

In the same work (I. iii. c. xlix.) he says:

"You might see at the fountains, in the middle of the market-places, representations of the Good Shepherd, well known to those acquainted with the divine word, and Daniel with the lions, fashioned in brass. . . . And so great was the love of God that possessed the soul of the emperor, that, in the noblest chamber of the royal palace, he fixed up the symbol of the saving Passion, and this the godly emperor seems to have made the defense of his empire."

Also The Faith of Catholics, Volume 3, Page 308

"The emperor honored that sign which brings victory, having learnt by experience the divinity that is in it. For by this he subdued the hosts of hostile troops; by this the powers of invisible demons are troubled (or, expelled); by this the vauntings of those who warred against God were repressed; by this slanderous and impious tongues were silenced; by this barbarous tribes were subdued; by this the childish follies of superstitious deceit were refuted; to this the perfection of all good things, the emperor, as if paying back a debt, has built in every part of the earth triumphal monuments."

De Laudio. Constant c. ix. p. 740.
Also The Faith of Catholics, Volume 3, Page 309

The following is the account given by Eusebius of the public respect shown by Constantine to the cross, immediately after his victory over Maxentius:

"He (Constantine), as if piety towards God had been inbred in him, was no wise moved by their acclamations, nor elated by their praises; but feeling deeply the assistance which he had received from God, he immediately ordered the trophy of the Lord's passion to be placed in the hand of his own statue; and the Romans having set up his statue, holding in its right hand the saving sign of the cross, in the most thickly peopled part of Rome, he ordered this very inscription, in the Latin language, to be placed on the base: "By this saving sign, the true proof of manly resolution, I freed your city from the yoke of the tyrant."

H. E. 1. ix. c. ix.
See also De Vita Constant. l.i. c. xl.
Also The Faith of Catholics, Volume 3, Page 306-307

"White and shining robes are such as are given to angels when they are represented in a bodily shape, this being, I fancy, a symbol of the purity of their nature."

T. i. Orat. xxiii. p. 409.
Also The Faith of Catholics, Volume 3, Page 309

After having condemned a number of superstitious practices in use amongst Christians, he says:

"Now, that amongst Greeks (Gentiles) indeed these things should be done, is no marvel, but that, amongst those who worship the cross, and have been made partakers of ineffable mysteries, and who hold principles so sublime, this unseemliness should prevail, this is indeed a matter that deserves many tears. God has honored thee with a spiritual anointing, and dost thou defile thy child with mud? God has honored thee, and dost thou dishonor thyself? And when thou ought to inscribe the cross on his forehead, the cross, which affords an invincible security, dost thou put this aside, and fall into a Satanic madness? . . , How canst thou ask for the seal to be put, by the hand of the priest, where thou hast been smearing the mud? Let not these things be, brethren; but, from earliest childhood, encompass them with spiritual weapons, and instruct them to seal the forehead with the hand; and before they are able to do this with their (own) hand, do you imprint upon them the cross."

T. x. Hom. xii. in 1 Ep. ad Cor. n. 7, p. 126.
Also The Faith of Catholics, Volume 3, Page 310-311

"Whilst our father's house is burning, we are slumbering in a deep and senseless sleep. Yet whom has not this fire touched? Which of the images (or, statues) that stood in the Church?"

T. xi. Hom. x. in Ep. ad Ephes. n. 2, page 89.
Also The Faith of Catholics, Volume 3, Page 311

"Whilst on my journey to the world's mistress, Rome, a hope sprang up within me, that Christ would be triumphant. I was lying prostrate on a tomb, which a sacred martyr, Cassian, with his body dedicated (to God) made beautiful. Whilst with tear I was considering within myself my wounds, and all the labors and bitter pains of life, I raised my face upwards; there was before me, painted in dark colors, the representation of the martyr, covered with countless wounds, lacerated in every limb, and with the skin minutely punctured. Around him, oh sad sight, there was a countless crowd of boys who with their pens pierced the wounded limbs. . . . The keeper of the building said, in answer to my inquiries, That which thou seest, stranger, is no empty or idle fable. The picture tells a history [after the well-known history, he continues:] These are the circumstances which, expressed in colors, have excited your wonder: This is Cassian's glory. If thou hast any just, or praiseworthy desire, if there be anything that thou hope for; if thou be inwardly troubled, but whisper it. The most glorious martyr hears, believe me, every prayer, and those which he sees deserving of approval, he renders effectual. I then ran through the list of my secret difficulties; I then murmur forth my desires, and my fears, my household left behind in hopes of future good. I am heard. I visit Rome; I am successful; I return to my home, and I loudly praise Cassian."

Galland. T. viii. Hymn. ix. pp. 452-3.
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"As your Scripture no where permits you to adore the cross, why then do you adore it? Reply to this to us Jews and Greeks, and all the Gentiles who put this question to you." Answer: "On this account, O foolish and shameless of heart, did God perhaps permit every nation that venerated Him, without exception, to adore something on earth that was the handiwork of man, that you might not be able to reclaim against Christians in the matter of the cross, and the veneration (adoration) of images. As, therefore, the Jews venerated (adored) the ark of the covenant, and the two molten images of gold of the cherubim, and the two tables that Moses polished, though it was nowhere permitted of God that these things should be adored or worshipped, so neither do we Christians worship the cross as God, but as showing the sincere affection of our souls towards Him that was crucified."

Galland. t. vii. p. 530; ap. S. J. Damase; l. iii. De Imag. t.i. page 385.
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"Thence I went to the temple of God to pray at leisure; and after having done this, as I was passing hurriedly through one of the porticoes, I saw there a certain picture, and the sight of it completely arrested me. You would have said it was one of Euphranor's skillful pieces, or of one of those old painters, who raised their art to so great eminence, making their canvas (tables) well nigh breathe into life. Come, if you please, for I have now leisure for the narrative, and I will explain the painting to you. . . . A certain holy woman, a spotless virgin, had consecrated her virginity to God. They call her Euphemia. By a tyrant of that time persecuting the truly religious, she very readily chose to encounter death. Her fellow-citizens and associates in the religion for which she died, admiring her as a resolute and holy virgin, reverencing her sepulcher, and also placing her bier near the temple, pay her honor, celebrating her anniversary as a common and crowded festival. . . . And the painter also has piously, by his art, to the best of his ability, represented on canvas the whole history, and placed the sacred spectacle near her sepulcher. And the beautiful work is as follows. The judge is seated aloft on his throne, looking at the virgin intently and fiercely . . . there are the magistrate's attendants, and numerous soldiers, and men with their writing tablets for their notes, and styles in their hands, one of whom has raised his hand from the wax, and looks earnestly at the virgin who is being questioned, with his whole countenance bent towards her, as though bidding her speak louder. . . . The virgin stands there in a dark robe, indicating her wisdom by her dress, and is of a beautiful countenance, as the painter has fancied her, but, to my judgment, beautified in mind by her virtues. Two soldiers force her towards the president (archon), one dragging her forward, the other urging her from behind. . . . One of the soldiers has seized the virgin's head and bent it back, and presents the virgin's face as to the other soldier, in a favorable posture for punishment, and he standing by her has dashed out her teeth. . . . The instruments of punishment are seen to be a mallet and chisel. At this I burst into tears, and my feelings intercept my words. For the painter has so plainly depicted the drops of blood, that you would say that they were really flowing from her lips, and would go your way sorrowing. After this there is a prison, and again the venerable virgin in her dark robes is seated alone, stretching out both her hands to Heaven, and calling upon God, the helper in trouble; and there appears to her whilst in prayer, above her head, the sign which it is the custom of Christians both to adore and to represent in colors, a symbol, I think, of the passion which awaited her. The painter then, a little further on, has lit up in an other compartment, a vehement fire . . . and has placed her in the midst of it, with her hands stretched out towards Heaven ; her countenance bears on it no sign of sadness; but, on the contrary, is lit up with joy, for that she is departing unto a blessed and incorporeal life."

Combefis, t. i. Enar. in Martyr. S. Euphem. pp. 207-210.
See also in the last of the Photian. Excerpta, the usual account of the statue erected by the Syrophenician woman, Ib.p. 285.
Also for some curious customs connected with pious pictures on clothing, see his sermon
"In Divit. et Lazar. Ibid. p. 6."
Also The Faith of Catholics, Volume 3, Page 311-313