|Second Council of Nicaea|
|Convoked by||Constantine VI and Empress Irene (as regent)|
|President||Patriarch Tarasios of Constantinople, and legates of Pope Adrian I|
|Attendance||308 bishops, 350 members total (including two papal legates)|
Documents and statements
|veneration of icons approved|
|Chronological list of ecumenical councils|
|Part of a series on the|
|Eastern Orthodox Church|
|Part of a series on|
of the Catholic Church
The Second Council of Nicaea is recognized as the last of the first seven ecumenical councils by the Eastern Orthodox Church and the Catholic Church. In addition, it is also recognized as such by the Old Catholics, the Anglican Communion, and others. Protestant opinions on it are varied.
It met in AD 787 in Nicaea (site of the First Council of Nicaea; present-day İznik, Bursa, in Turkey), to restore the use and veneration of icons (or holy images), which had been suppressed by imperial edict inside the Byzantine Empire during the reign of Leo III (717–741). His son, Constantine V (741–775), had held the Council of Hieria to make the suppression official.
Further information: Byzantine Iconoclasm
The veneration of icons had been banned by Byzantine Emperor Constantine V and supported by his Council of Hieria (754 AD), which had described itself as the seventh ecumenical council. The Council of Hieria was overturned by the Second Council of Nicaea only 33 years later, and has also been rejected by Catholic and Orthodox churches, since none of the five major patriarchs were represented. The emperor's vigorous enforcement of the ban included persecution of those who venerated icons and of monks in general. There were also political overtones to the persecution—images of emperors were still allowed by Constantine, which some opponents saw as an attempt to give wider authority to imperial power than to the saints and bishops. Constantine's iconoclastic tendencies were shared by Constantine's son, Leo IV. After the latter's early death, his widow, Irene of Athens, as regent for her son, began its restoration for personal inclination and political considerations.
In 784 the imperial secretary Patriarch Tarasius was appointed successor to the Patriarch Paul IV—he accepted on the condition that intercommunion with the other churches should be reestablished; that is, that the images should be restored. However, a council, claiming to be ecumenical, had abolished the veneration of icons, so another ecumenical council was necessary for its restoration.
Pope Adrian I was invited to participate, and gladly accepted, sending an archbishop and an abbot as his legates.
In 786, the council met in the Church of the Holy Apostles in Constantinople. However, soldiers in collusion with the opposition entered the church, and broke up the assembly. As a result, the government resorted to a stratagem. Under the pretext of a campaign, the iconoclastic bodyguard was sent away from the capital – disarmed and disbanded.
The council was again summoned to meet, this time in Nicaea, since Constantinople was still distrusted. The council assembled on September 24, 787 at the church of Hagia Sophia. It numbered about 350 members; 308 bishops or their representatives signed. Tarasius presided, and seven sessions were held in Nicaea.
It was determined that
This definition of the proper religious veneration of images centers on the distinction between timētikē proskynēsis, meaning the "veneration of honour", and "alēthinē latreia", meaning "true adoration". The former is permitted to images in the same way as to other holy things, notably the cross and the gospel-book, while the latter, "latreia", is reserved for God alone. But the statement that follows, to the effect that the honor paid to the image passes over to its prototype implies on the contrary that there are not two different degrees of veneration, but a single veneration that is not idolatrous since it treats the image as a door or window through which the person praying to the image perceives and adores the heavenly personage who is depicted in it. This could not lead to a worship of images of the Godhead in Byzantium, since no attempt was made to represent Godhead in art. But a problem remains over the human nature of Christ, which is certainly represented in art and which at the same time shares fully in the adoration paid to Christ as God: it would be heretical to worship Christ's Godhead but only honour his humanity.
As the sacred and life-giving cross is everywhere set up as a symbol, so also should the images of Jesus Christ, the Virgin Mary, the holy angels, as well as those of the saints and other pious and holy men be embodied in the manufacture of sacred vessels, tapestries, vestments, etc., and exhibited on the walls of churches, in the homes, and in all conspicuous places, by the roadside and everywhere, to be revered by all who might see them. For the more they are contemplated, the more they move to fervent memory of their prototypes. Therefore, it is proper to accord to them a fervent and reverent veneration, not, however, the veritable adoration which, according to our faith, belongs to the Divine Being alone – for the honor accorded to the image passes over to its prototype, and whoever venerate the image venerate in it the reality of what is there represented.
The twenty-two canons drawn up in Constantinople also served ecclesiastical reform. Careful maintenance of the ordinances of the earlier councils, knowledge of the scriptures on the part of the clergy, and care for Christian conduct are required, and the desire for a renewal of ecclesiastical life is awakened.
The council also decreed that every altar should contain a relic, which remains the case in modern Catholic and Orthodox regulations (Canon VII), and made a number of decrees on clerical discipline, especially for monks when mixing with women.
The papal legates voiced their approval of the restoration of the veneration of icons in no uncertain terms, and the patriarch sent a full account of the proceedings of the council to Pope Hadrian I, who had it translated (Pope Anastasius III later replaced the translation with a better one). The papacy did not, however, formally confirm the decrees of the council till 880. In the West, the Frankish clergy initially rejected the Council at a synod in 794, and Charlemagne, then King of the Franks, supported the composition of the Libri Carolini in response, which repudiated the teachings of both the Council and the iconoclasts. A copy of the Libri was sent to Pope Hadrian, who responded with a refutation of the Frankish arguments. The Libri would thereafter remain unpublished until the Reformation, and the Council is accepted as the Seventh Ecumenical Council by the Catholic Church.
The council, or rather the final defeat of iconoclasm in 843, is celebrated in the Eastern Orthodox Church, and Eastern Catholic Churches of Byzantine Rite as "The Sunday of the Triumph of Orthodoxy" each year on the first Sunday of Great Lent, the fast that leads up to Pascha (Easter), and again on the Sunday closest to October 11 (the Sunday on or after October 8). The former celebration commemorates the defeat of iconoclasm, while the latter commemorates the council itself.
Many Protestants who follow the French reformer John Calvin generally agree in rejecting the canons of the council, which they believe promoted idolatry. He rejected the distinction between veneration (douleia, proskynesis) and adoration (latreia) as unbiblical "sophistry" and condemned even the decorative use of images. In subsequent editions of the Institutes, he cited an influential Carolingian source, now ascribed to Theodulf of Orleans, which reacts negatively the council's acts. Calvin did not engage the apologetic arguments of John of Damascus or Theodore the Studite, apparently because he was unaware of them.
There are only a few translations of the above Acts in the modern languages:
((cite encyclopedia)): Missing or empty
There is no up-to-date English monograph on either the council or the iconoclast controversy in general. But see L. Brubaker and J. Haldon, Byzantium in the Iconoclast Era c. 680 to 850: A History (Cambridge 2011).