# Ascent of Mount Carmel/Book 3/Chapter XXXV

CHAPTER XXXV
Of the delectable spiritual good things which can be distinctly apprehended by the will. Describes the kinds of these.
We can reduce all the kinds of good which can distinctly cause joy to the will to four: namely, motive, provocative, directive and perfective. Of these we shall speak in turn, each in its order; and first, of the motive kind — namely, images and portraits of saints, oratories and ceremonies.
2. As touching images and portraits, there may be much vanity and vain rejoicing in these. For, though they are most important for Divine worship and most necessary to move the will to devotion, as is shown by the approval given to them and the use made of them by our Mother Church (for which reason it is always well that we should employ them, in order to awaken our lukewarmness), there are many persons who rejoice rather in the painting and decoration of them than in what they represent.
3. The use of images has been ordained by the Church for two principal ends — namely, that we may reverence the saints in them, and that the will may be moved and devotion to the saints awakened by them. When they serve this purpose they are beneficial and the use of them is necessary; and therefore we must choose those that are most true and lifelike, and that most move the will to devotion, and our eyes must ever be fixed upon this motive rather than upon the value and cunning of their workmanship and decoration. For, as I say, there are some who pay more attention to the cunning with which an image is made, and to its value, than to what it represents; and that interior devotion which they ought to direct spiritually to the saint whom they see not, forgetting the image at once, since it serves only as a motive, they squander upon the cunning and the decoration of its outward workmanship. In this way sense is pleased and delighted, and the love and rejoicing of the will remain there. This is a complete hindrance to true spirituality, which demands annihilation of the affections as to all particular things.
4. This will become quite clear from the detestable custom which certain persons observe with regard to images in these our days. Holding not in abhorence the vain trappings of the world, they adorn images with the garments which from time to time vain persons invent in order to satisfy their own pleasures and vanities. So they clothe images with garments reprehensible even in themselves, a kind of vanity which was, and is still, abhorrent to the saints whom the images represent. Herein, with their help, the devil succeeds in canonizing his vanities, by clothing the saints with them, not without causing them great displeasure. And in this way the honest and grave devotion of the soul, which rejects and spurns all vanity and every trace of it, becomes with them little more than a dressing of dolls; some persons use images merely as idols upon which they have set their rejoicing. And thus you will see certain persons who are never tired of adding one image to another, and wish them to be of this or that kind and workmanship, and to be placed in this or that manner, so as to be pleasing to sense; and they make little account of the devotion of the heart. They are as much attached to them as was Michas to his idols, or as was Laban; for the one ran out of his house crying aloud because they were being taken from him; and the other, having made a long journey and been very wroth because of them, disturbed all the household stuff of Jacob, in searching for them.
5. The person who is truly devout sets his devotion principally upon that which is invisible; he needs few images and uses few, and chooses those that harmonize with the Divine rather than with the human, clothing them, and with them himself, in the garments of the world to come, and following its fashions rather than those of this world. For not only does an image belonging to this world in no way influence his desire; it does not even lead him to think of this world, in spite of his having before his eyes something worldly, akin to the world’s interests. Nor is his heart attached to the images that he uses; if they are taken from him, he grieves very little, for he seeks within himself the living image, which is Christ crucified, for Whose sake he even desires that all should be taken from him and he should have nothing. Even when the motives and means which lead him closest to God are taken from him, he remains in tranquility. For the soul is nearer perfection when it is tranquil and joyous, though it be deprived of these motives, than if it has possession of them together with desire and attachment. For, although it is good to be pleased to have such images as assist the soul to greater devotion (for which reason it is those which move it most that must always be chosen), yet it is something far removed from perfection to be so greatly attached to them as to possess them with attachment, so that, if they are taken away from the soul, it becomes sad.
6. Let the soul be sure that, the more closely it is attached to an image or a motive, the less will its devotion and prayer mount to God. For, although it is true that, since some are more appropriate than others, and excite devotion more than others, it is well, for this reason alone, to be more affectioned to some than to others, as I have just now said, yet there must be none of the attachment and affection which I have described. Otherwise, that which has to sustain the spirit in its flight to God, in total forgetfulness, will be wholly occupied by sense, and the soul will be completely immersed in a delight afforded it by what are but instruments. These instruments I have to use, but solely in order to assist me in devotion; and, on account of my imperfection, they may well serve me as a hindrance, no less so than may affection and attachment to anything else.
7.But, though perhaps in this matter of images you may think that there is something to be said on the other side, if you have not clearly understood how much detachment and poverty of spirit is required by perfection, at least you cannot excuse the imperfection which is commonly indulged with regard to rosaries; for you will hardly find anyone who has not some weakness with regard to these, desiring them to be of this workmanship rather than of that, or of this colour or metal rather than of that, or decorated in some one style or in some other. Yet no one style is better than another for the hearing of a prayer by God, for this depends upon the simple and true heart, which looks at no more than pleasing God, and, apart from the question of indulgences, cares no more for one rosary than for another.
8. Our vain concupiscence is of such a nature and quality that it tries to establish itself in everything; and it is like the worm which destroys healthy wood, and works upon things both good and evil. For what else is your desire to have a rosary of cunning workmanship, and your wish that it shall be of one kind rather than of another, but the fixing of your rejoicing upon the instrument? It is like desiring to choose one image rather than another, and considering, not if it will better awaken Divine love within you, but only if it is more precious and more cunningly made. If you employed your desire and rejoicing solely in the love of God, you would care nothing for any of these considerations. It is most vexatious to see certain spiritual persons so greatly attached to the manner and workmanship of these instruments and motives, and to the curiosity and vain pleasure which they find in them: you will never see them satisfied; they will be continually leaving one thing for another, and forgetting and forsaking spiritual devotion for these visible things, to which they have affection and attachment, sometimes of just the same kind as that which a man has to temporal things; and from this they receive no small harm.

## Footnotes

* ↑ Judges xviii, 22-4.
* ↑ Genesis xxxi, 34-7.
* ↑ [In this and the next paragraph the Saint is more than usually personal in his approach to the reader. The word tú(you) is repeated many times, and placed in emphatic positions, in a way which cannot be exactly reproduced in English.]