we shall claim him  as our co-religionist.  A cross is, in its material, a sign of wood; amongst yourselves also the object of worship is a wooden figure. Only, whilst with you the figure is a human one, with us the wood is its own figure. Never mind  for the present what is the shape, provided the material is the same: the form, too, is of no importance,  if so be it be the actual body of a god. If, however, there arises a question of difference on this point what, (let me ask,) is the difference between the Athenian Pallas, or the Pharian Ceres, and wood formed into a cross,  when each is represented by a rough stock, without form, and by the merest rudiment of a statue  of unformed wood? Every piece of timber  which is fixed in the ground in an erect position is a part of a cross, and indeed the greater portion of its mass. But an entire cross is attributed to us, with its transverse beam,  of course, and its projecting seat. Now you have the less to excuse you, for you dedicate to religion only a mutilated imperfect piece of wood, while others consecrate to the sacred purpose a complete structure. The truth, however, after all is, that your religion is all cross, as I shall show. You are indeed unaware that your gods in their origin have proceeded from this hated cross.  Now, every image, whether carved out of wood or stone, or molten in metal, or produced out of any other richer material, must needs have had plastic hands engaged in its formation. Well, then, this modeller,  before he did anything else,  hit upon the form of a wooden cross, because even our own body assumes as its natural position the latent and concealed outline of a cross. Since the head rises upwards, and the back takes a straight direction, and the shoulders project laterally, if you simply place a man with his arms and hands outstretched, you will make the general outline of a cross. Starting, then, from this rudimental form and prop,  as it were, he applies a covering of clay, and so gradually completes the limbs, and forms the body, and covers the cross within with the shape which he meant to impress upon the clay; then from this design, with the help of compasses and leaden moulds, he has got all ready for his image which is to be brought out into marble, or clay, or whatever the material be of which he has determined to make his god. (This, then, is the process:) after the cross-shaped frame, the clay; after the clay, the god. In a well-understood routine, the cross passes into a god through the clayey medium. The cross then you consecrate, and from it the consecrated (deity) begins to derive his origin.  By way of example, let us take the case of a tree which grows up into a system of branches and foliage, and is a reproduction of its own kind, whether it springs from the kernel of an olive, or the stone of a peach, or a grain of pepper which has been duly tempered under ground. Now, if you transplant it, or take a cutting off its branches for another plant, to what will you attribute what is produced by the propagation? Will it not be to the grain, or the stone, or the kernel? Because, as the third stage is attributable to the second, and the second in like manner to the first, so the third will have to be referred to the first, through the second as the mean. We need not stay any longer in the discussion of this point, since by a natural law every kind of produce throughout nature refers back its growth to its original source; and just as the product is comprised in its primal cause, so does that cause agree in character with the thing produced. Since, then, in the production of your gods, you worship the cross which originates them, here will be the original kernel and grain, from which are propagated the wooden materials of your idolatrous images. Examples are not far to seek. Your victories you celebrate with religious ceremony  as deities; and they are the more august in proportion to the joy they bring you. The frames on which you hang up your trophies must be crosses: these are, as it were, the very core of your pageants.  Thus, in your victories, the religion of your camp makes even crosses objects of worship; your standards it adores, your standards are the sanction of its oaths; your standards it prefers before Jupiter himself. But all that parade  of images, and that display of pure gold, are (as so many) necklaces of the crosses. In like manner also, in the banners and ensigns, which your soldiers guard with no less sacred care, you have the streamers (and) vestments of your crosses. You are ashamed, I suppose, to worship unadorned and simple crosses.
 Comp. The Apology, c. xvi.  Crucis antistites.  Erit.  Consacraneus.  Viderint.  Viderit.  Stipite crucis.  Solo staticulo. The use of wood in the construction of an idol is mentioned afterward.  Omne robur.  Antemna. See our Anti-Marcion, p. 156. Ed. Edinburgh.  De isto patibulo.  Plasta.  In primo.  Statumini.  Comp. The Apology, c. xii.: "Every image of a god has been first constructed on a cross and stake, and plastered with cement. The body of your god is first dedicated upon a gibbet."  Veneramini.  Tropæum, for "tropæorum." We have given the sense rather than the words of this awkward sentence.  Suggestus.
 Crucis antistites.
 Stipite crucis.
 Solo staticulo. The use of wood in the construction of an idol is mentioned afterward.
 Omne robur.
 Antemna. See our Anti-Marcion, p. 156. Ed. Edinburgh.
 De isto patibulo.
 In primo.
 Comp. The Apology, c. xii.: "Every image of a god has been first constructed on a cross and stake, and plastered with cement. The body of your god is first dedicated upon a gibbet."
 Tropæum, for "tropæorum." We have given the sense rather than the words of this awkward sentence.