18 What profiteth the graven image that the maker thereof hath graven it; the molten image, and a teacher of lies, that the maker of his work trusteth therein, to make dumb idols?
(Verse 18.) What profit is there in a carved image, because the maker thereof hath carved it, a molten and a false image? because the maker thereof hath trusted in his own workmanship, to make dumb idols. LXX: What profit is there in a carved image, because they have carved it, and fashioned it by the molten workman, a false image? because the artificer thereof hath trusted in his own workmanship, to make dumb idols. Furthermore, it is said in the preceding (or in the preceding matter), concerning Nebuchadnezzar, that he made a statue of the idol Bel, and set it in the field of Dura: or, as it is written in Hebrew, Dora, about which we read more fully in Daniel (Dan. 3). Therefore, the Scripture marvels at the madness and foolishness of the king, because he commanded a golden statue to be made, and the artist places confidence in the image that he created. And indeed, we can apply this, generally speaking, to all idol worshippers. We cannot consider that which is sculpted and that which is cast to be the same thing. For the sculpting, we can understand it to be in stones and marbles; but the casting is understood in those metals which can be melted and cast, for example, gold, silver, bronze, lead, and tin. Let this saying be, that according to tropology we may understand what is the difference between a sculpture and an idol. We read in Deuteronomy: Cursed be he who makes a sculpture and an idol, the work of the craftsman's hands, and sets it up in secret (Deut. XXVII, 15). I believe that sculptures and idols are perverse doctrines which are worshiped by those who made them. See how Arianus sculpted an idol for himself and worshiped what he had sculpted. Cerne Eunomium conflasse imaginem falsam, et conflationi suae curvare cervicem. Signanterque Scriptura: Et ponet, inquit, illud in abscondito. Habent enim et ipsi orgia sua, et quasi pro perfectis quibusque discipulis tradunt abscondita sacramenta, quae si ad lucem processerint, statim quod ficta sunt, arguuntur. Nihil igitur eis proderit sculptura et conflatio sua. Sculptura, quae refertur ad lapides, in his dogmatibus intelligitur, quae stultitiam prima fronte demonstrant. Conflatio is where there appears to be a semblance of secular wisdom, and as if with gold, the image is formed of the disciplines of philosophers and the splendor of eloquence. Therefore, the fabrication will be of no benefit to its maker. And the mute and deaf image will not be able to hear its worshipper. If ever you see someone refusing to believe the truth, and despite the falsity of their own doctrines being exposed, persevering in their chosen pursuit, you can rightly say: They hope in their fabrication and create mute or deaf images. For κωφὰ signifies both among the Greeks: although Symmachus, interpreting as ἄλαλα, seems to have understood muta rather than surda. Nor does that expression of the Scriptures move anyone, of which we have often said: Who, do you think, is the faithful and wise steward (Luke XII, 42)? And in another place: Who is wise and understands these things (Psalm CVI, 43)? because who, or what, is taken for rarely: since we can also understand this very thing from another place as impossible: Who shall separate us from the love of Christ: tribulation, or distress (Romans VIII, 35)? And the rest. And in the present chapter: What does it profit the sculptor, because his own sculpted image? For in both cases, impossibility is demonstrated, that neither can tribulation and distress separate the love of the Apostles from Christ, nor is there any usefulness in idols.
[AD 420] Jerome on Habakkuk 2:18