The Historians' History of the World 08 [Parthians, Sassanids and Arabs; The Crusades and the Papacy]

The controversy slept during the reign of Nicephorus, and that of Michael, surnamed Rhangabé. The monks throughout this period seem to form an independent power (a power no doubt arising out of and maintained by their championship of image-worship), and to dictate to the emperor, and even to the church. On the other hand, among the soldiery are heard some deep but suppressed murmurs of attachment to the memory of Constantine Copronymus. Leo the Armenian ascended the throne.

As Irene had promoted Tarasius, so Leo raised an officer of his household, Theodotus Cassiteras, to the patriarchal throne. Image-worship was again proscribed by an imperial edict. The worshippers are said to have been ruthlessly persecuted; and Leo, according to the phraseology of the day, is accused of showing all the blood-thirstiness without the generosity of the lion. Yet no violent popular tumult took place; nor does the conspiracy which afterwards cut short the days of Leo the Armenian appear to have been connected with the strife of religious factions. Whatever hopes the clergy, at least the image-worshippers, or the monks, might have conceived at the murder of Leo, which they scrupled not to allege as a sign of the divine disfavour towards the iconoclasts, were disappointed on the accession of Michael the Stammerer. He favoured the Jews in the exaction of tribute (perhaps he was guilty of the sin of treating them with justice), he fasted on the Jewish Sabbath, he doubted the resurrection of the dead, and the personality of the devil, as unauthorised by the religion of Moses. Image-worship he treated with contemptuous impartiality. In a great public assembly (assembled for the purpose), he proclaimed the worship of images a matter altogether indifferent.

Theophilus could not but perceive the failure, and disdained to imitate his father’s temporising policy, who endeavoured to tolerate the monks, while he discouraged image-worship. He avowed his determination to extirpate both at once. Leo the Armenian and Michael the Stammerer had attempted to restrict the honours paid to images; Theophilus prohibited the making of new ones, and ordered that in every church they should be effaced, and the walls covered with pictures of birds and beasts. The sacred vessels, adorned with figures, were profaned by unhallowed hands, sold in the public markets, and melted for their metal. The prisons were full of painters, of monks and ecclesiastics of all orders. The monks, driven from their convents, fled to desert places; some perished of cold and hunger, some threw off the proscribed dress, yet retained the sacred character and habits; others seized the opportunity of returning to the pleasures as to the dress of the world.

The history of iconoclasm has a remarkable uniformity: another female in power, another restoration of images. After the death of Theophilus his widow Theodora administered the empire in the name of her youthful son Michael, called afterwards the Drunkard. Theodora, like her own mother Theoctista, had always worshipped images in private. No sooner was Theophilus dead than the monks, no doubt in the secret of Theodora’s concealed attachment to images, poured into Constantinople from all quarters. She now ventured to send an officer of the palace to command the patriarch, Joannes the Grammarian, either to recant his iconoclastic opinions, or to withdraw from Constantinople. The patriarch is accused of a paltry artifice. He opened a vein in the region of his stomach, and showed himself wounded and bleeding to the people. The rumour spread that the empress had attempted to assassinate the patriarch. But the fraud was detected, exposed, acknowledged. The abashed patriarch withdrew, unpitied and despised, into the suburbs (842). Methodius was raised to the dignity of the patriarchate. The worshippers of images were in triumph.

But Theodora, still tenderly attached to the memory of her husband, demanded, as the price of her inestimable services in the restoration of images, absolution for the sin of his iconoclasm and his persecution of the image-worshippers.

All was now easy; the fanaticism of iconoclasm was exhausted or rebuked. A solemn festival was appointed for the restoration of images. The whole clergy of Constantinople, and all who could flock in from the neighbourhood, met in and before the palace of the archbishop, and marched in procession with crosses, torches, and incense, to the church of St. Sophia. There they were met by the empress and her infant son Michael, Feb. 19th, 842. They made the circuit of the church, with their burning torches, paying homage to every image and picture, which had been carefully restored, never again to be effaced till the days of later, more terrible iconoclasts, the Ottoman Turks.