VI.

But come now, since there is need of many examples in matters of this kind, let us examine them particularly from this point of view, without desisting till our argument ends in clearer explanation and proof. It appears, then, as if an eminent craftsman were to cast over again a noble image, wrought by himself of gold or other material, and beautifully proportioned in all its members, upon his suddenly perceiving that it had been mutilated by some infamous man, who, too envious to endure the image being beautiful, spoiled it, and thus enjoyed the empty pleasure of indulged jealousy. For take notice, most wise Aglaophon, that, if the artificer wish that that upon which he has bestowed so much pains and care and labour, shall be quite free from injury, he will be impelled to melt it down, and restore it to its former condition. But if he should not cast it afresh, nor reconstruct it, but allow it to remain as it is, repairing and restoring it, it must be that the image, being passed through the fire and forged, cannot any longer be preserved unchanged, but will be altered and wasted. Wherefore, if he should wish it to be perfectly beautiful and faultless, it must be broken up and recast, in order that all the disfigurements and mutilations inflicted upon it by treachery and envy, may be got rid of by the breaking up and recasting of it, while the image is restored again uninjured and unalloyed to the same form as before, and made as like itself as possible. For it is impossible for an image under the hands of the original artist to be lost, even if it be melted down again, for it may be restored; but it is possible for blemishes and injuries to be put off, for they melt away and cannot be restored; because in every work of art the best craftsman looks not for blemish or failure, but for symmetry and correctness in his work. Now God's plan seems to me to have been the same as that which prevails among ourselves. For seeing man, His fairest work, corrupted by envious treachery, He could not endure, with His love for man, to leave him in such a condition, lest he should be for ever faulty, and bear the blame to eternity; but dissolved him again into his original materials, in order that, by remodelling, all the blemishes in him might waste away and disappear. For the melting down of the statue in the former case corresponds to the death and dissolution of the body in the latter, and the remoulding of the material in the former, to the resurrection after death in the latter; as also saith the prophet Jeremiah, for he addresses the Jews in these words, "And I went down to the potter's house; and, behold, he wrought a work upon the stones. And the vessel which he made in his hands was broken; and again he made another vessel, as it pleased him to make it. And the word of the Lord came to me, saying, Cannot I do to you as this potter, O house of Israel? Behold, as the clay of the potter are ye in my hands." ¹