Athenagoras, Plea for the Christians 26
The demons already mentioned are the ones who drag people toward idols: they have been consecrated with the blood of sacrifices and lick it up. The beings that please the crowds and are called gods and attached to images have, as their own histories show, become mere men. Faith in the power of each name is what makes demons the ones who mount those names. Some castrate themselves, the devotees of Rhea; others mutilate or cut themselves, the devotees of Artemis; and the goddess in Tauris kills strangers. Let those who are abused with swords and dice cubes speak for themselves, along with every kind of demon; for it is not in God's nature to drive anyone toward what is contrary to nature. When a demon brings evils upon a man, it first damages his mind. But God, being perfectly good, is eternally a doer of good. Therefore, the fact that some agents act while images are erected over others stands as the greatest proof. Troy has statues of Neryllinus, a man of our own time; Parium has statues of Alexander and Proteus, and Alexander's tomb and statue still stand in the marketplace. The other statues of Neryllinus serve as a public ornament, if a city can be adorned by such things, and one of them is even believed to prophesy and heal the sick. The Trojans sacrifice because of it, anoint the statue with gold, and crown it. The statue of Alexander and that of Proteus — you know Proteus threw himself into the fire at Olympia — are likewise said to prophesy, and public sacrifices and festivals are offered to Alexander's statue as to a god who hears. So are Neryllinus, Proteus, and Alexander the ones acting through the statues, or is it the material itself? But the material is bronze. What can bronze do by itself, when it can be melted down and reshaped into another form, like the footbasin that Amasis, the one Herodotus mentions, remade? And what more can Neryllinus, Proteus, and Alexander do for the sick? Whatever the statue is said to do now, it was already doing while Neryllinus was alive and sick.
Greek
Καὶ οἱ μὲν περὶ τὰ εἴδωλα αὐτοὺς ἕλκοντες οἱ δαίμονές εἰσιν οἱ προειρημένοι, οἱ προστετηκότες τῷ ἀπὸ τῶν ἱερείων αἵματι καὶ ταῦτα περιλιχμώμενοι· οἱ δὲ τοῖς πολλοῖς ἀρέσκοντες θεοὶ καὶ ταῖς εἰκόσιν ἐπονομαζόμενοι, ὡς ἔστιν ἐκ τῆς κατ᾿ αὐτοὺς ἱστορίας εἰδέναι, ἄνθρωποι γεγόνασιν. Καὶ τους μὲν δαίμονας εἶναι τοὺς ἐπιβατεύοντας τοῖς ὀνόμασι πίστις ἡ ἑκάστου αὐτῶν ἐνέργεια. Οἱ μὲν γὰρ ἀποτέμνουσι τὰ αἰδοῖα, οἱ περὶ τὴν Ῥέαν, οἱ δὲ ἐγκόπτουσιν ἢ ἐντέμνουσιν, οἱ περὶ τὴν Ἄρτεμιν, καὶ ἡ μὲν ἐν Ταύροις φονεύει τοὺς ξένους· ἐῶ γὰρ τοὺς ταῖς μαχαίραις καὶ τοῖς ἀστραγάλοις αἰκιζομένους αὐτοὺς λέγειν καὶ ὅσα εἴδη δαιμόνων· οὐ γὰρ θεοῦ κινεῖν ἐπὶ τὰ παρὰ φύσιν. Ὅταν δ᾿ ὁ δαίμων ἀνδρὶ πορσύνῃ κακά, Τὸν νοῦν ἔβλαψε πρῶτον. Ὁ δὲ θεός, τελείως ἀγαθὸς ὤν, ἀϊδίως ἀγαθοποιός ἐστιν. Τοῦ τοίνυν ἄλλους μὲν εἶναι τοὺς ἐνεργοῦντας, ἐφ᾿ ἑτέρων δὲ ἀνίστασθαι τὰς εἰκόνας, ἐκεῖνο μέγιστον τεκμήριον, Τρωὰς καὶ Πάριον· ἡ μὲν Νερυλλίνου εἰκόνας ἔχει, ὃς ἀνὴρ τῶν καθ᾿ ἡμᾶς, τὸ δὲ Πάριον Ἀλεξάνδρου καὶ Πρωτέως· τοῦ Ἀλεξάνδρου ἔτι ἐπὶ τῆς ἀγορᾶς καὶ ὁ τάφος καὶ ἡ εἰκών.Οἱ μὲν οὖν ἄλλοι ἀνδριάντες τοῦ Νερυλλίνου κόσμημά εἰσι δημόσιον, εἴπερ καὶ τούτοις κοσμεῖται πόλις, εἷς δὲ αὐτῶν καὶ χρηματίζειν καὶ ἰᾶσθαι νοσοῦντας νομίζεται, καὶ θύουσί τε δι᾿ αὐτὰ καὶ χρυσῷ περιαλείφουσι καὶ στεφανοῦσι τὸν ἀνδριάντα οἱ Τρωαδεῖς. Ὁ δὲ τοῦ Ἀλεξάνδρου καὶ ὁ τοῦ Πρωτέως (τοῦτον δ᾿ οὐκ ἀγνοεῖτε ῥίψαντα ἑαυτὸν εἰς τὸ πῦρ περὶ τὴν Ὀλυμπίαν), ὁ μὲν καὶ αὐτὸς λέγεται χρηματίζειν, τῷ δὲ τοῦ Ἀλεξάνδρου [Δύσπαρι, εἶδος ἄριστε, γυναιμανές] δημοτελεῖς ἄγονται θυσίαι καὶ ἑορταὶ ὡς ἐπηκόῳ θεῷ. Πότερον οὖν ὁ Νερυλλῖνος καὶ ὁ Πρωτεὺς καὶ ὁ Ἀλέξανδρός εἰσιν οἱ ταῦτα ἐνεργοῦντες περὶ τὰ ἀγάλματα ἢ τῆς ὕλης ἡ σύστασις; Ἀλλ᾿ ἡ μὲν ὕλη χαλκός ἐστιν. Τί δαὶ χαλκὸς δύναται καθ᾿ ἑαυτόν, ὃν μεταποιῆσαι πάλιν εἰς ἕτερον σχῆμα ἔξεστιν, ὡς τὸν ποδονιπτῆρα ὁ παρὰ τῷ Ἡροδότῳ Ἄμασις; Ὁ δὲ Νερυλλῖνος καὶ ὁ Πρωτεὺς καὶ ὁ Ἀλέξανδρος τί πλέον τοῖς νοσοῦσιν; Ἃ γὰρ ἡ εἰκὼν λέγεται νῦν ἐνεργεῖν, ἐνήργει καὶ ζῶντος καὶ νοσοῦντος Νερυλλίνου.