Weekend essay
Creed
Ethics
Justice
7 min read

After the fall: the Post Office scandal and the search for justice

Falls from grace, like that of the Post Office’s CEO, prompt Graham Tomlin to dissect the problems of justice and mercy.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A tense-looking woman, sitting at  desk, stares into the middle disance.
Lia Williams as Paula Vennells in Mr Bates vs The Post Office.
ITV Studios/ITV.

It was November, and I was in Rome. With the new year on the horizon, newsagents were displaying calendars for 2024. One in particular seemed to show up in just about every street vendor available: the ‘Hot Priest Calendar’.  

It had pictures for every month of young, bronzed, good-looking priests, resplendent in brand new, ironed black clerical shirts, smouldering into the camera. I've no idea whether they were real priests or just models in clerical garb. I didn't buy one, but it did get me thinking of why they had produced it. Was this a recruitment drive for clergy in the Roman Catholic Church? Something for the nuns to put on the wall of the convent? It was hardly aiming to attract women by saying if you become a Catholic you could bag one of these hunky chaps, as priests are, well, supposed to be out of reach.  

I suspect it was just trying to tell the world that the Church is cool after all. That the church is for good-looking, shiny people, not just the regular ones with wrinkles and expanding waistlines.  

The embarrassment and shame are real and proper and yet there is, in my view, something at the heart of it which seems to be mistaken.

I was thinking of this recently while watching the story of the Post Office scandal unfold. This dreadful story is, to be frank, a bit of an embarrassment for the Church of England. This horrendous miscarriage of justice has its heart not just a Christian but a priest. I met Paula Vennells once. While I was Bishop of Kensington, we planned a big conference for all the vicars in the Diocese of London. At the time, Vennells’ star was rising in ecclesiastical circles. People had just noticed that the head of the Post Office not only went to church, but was also ordained, and so she was getting invited to speak at all kinds of conferences. She agreed to come and, to be fair, was gracious, unassuming, polite. There was nothing to suggest she was soon to become the object of public opprobrium that she is now. 

She would definitely not go on a Church Calendar these days. But then who would? The last decade has seen a succession of scandals and falls from grace – Harvey Epstein, Huw Edwards, Russell Brand, Philip Schofield - and Christian leaders are not exempt. Jean Vanier, Ravi Zacharias, Mike Pilavachi – the list goes on – and now Paula Vennells. We Christians hang our heads, as it seems such a deep failure - how can someone profess to be a Christian – even a vicar - and yet do such things? The embarrassment and shame are real and proper and yet there is, in my view, something at the heart of it which seems to be mistaken.  

Celebrities are celebrated because we believe they are different from us ordinary mortals. But sooner or later, it turns out they have the same temptations, their bodies sag, their flaws get exposed. 

Helmut Thielicke was a German theologian who opposed the Nazis during the Second World War and somehow survived. His was a crucial voice in the German church and nation as it struggled to its feet again after the trauma and destruction of those years. The big question Germany faced at the time was how a modern sophisticated Christian nation had been so easily seduced by evil? They also struggled with the question of shame. What were German Christians to do with the guilt that hung over them after the Nazi years? 

Thielicke was a brilliant preacher and drew huge crowds to his church in Hamburg. In one of his sermons he took as his text St Paul’s line, that Christians are “a letter from Christ, written not with ink but with the Spirit of the living God, on tablets of human hearts.” He asked his congregation the question: what kind of letter are you? Is a Christian meant to be an advert for God? Is the Christian a shiny product of divine handiwork so that God, like some marketing agent, says ‘Look at her – isn’t she is fine person? Wouldn’t you like to be like her?’ 

When she was being feted by all, we might have said that about Paula Vennells. But not any more. And that’s the problem of celebrity Christians, or celebrities of any kind for that matter. They are used as adverts for the brand they profess, religious or otherwise: “Use this shampoo, follow this diet, believe this religion, like this celebrity does, and you could be like them.”  

Celebrities are celebrated because we believe they are different from us ordinary mortals. But sooner or later, it turns out they have the same temptations, their bodies sag, their flaws tend to get exposed in the extra scrutiny they face in a gossipy age like ours. The hunky priests in the calendar may look good but I suspect their lives are as shadowy and compromised as the rest of us. Every now and again you find a life that is remarkable, but even then there are dark corners. Mother Teresa famously said that she rarely experienced the presence of God and struggled with lifelong depression. If we are meant to be adverts for God, we’re not very good ones. 

Thielicke’s point was that Christians are not meant to be adverts for God but letters from him. And the letter, written on the human heart, says something like this: “Here is a poor, weak human being with their own strengths and frailties, moments of courage and moments of great weakness, struggling to live a good life but failing much of the time. And yet, despite that failure, God still forgives, accepts, loves and stands by them.”  

And forgiveness is not an excuse. It doesn’t say ‘it didn’t happen’, but it says, ‘it did happen’ and it was bad, but a new start is always possible.

It sounds scandalous I know. Hearing about the Post Office scandal, all we want is for the perpetrators to be found guilty and punished. And rightly so. Justice must be done. Paula Vennells and her staff seems to have stuck stubbornly to the laughable view that the Post Office had been infiltrated by hundreds of criminal sub-postmasters, intend on defrauding the public purse. They lacked the sense or courage to question their own IT system, despite being warned it was faulty.  

Yet divine and human justice work in different ways. Not least because God, unlike human judges, sees the dodgy things we all do, not just those whose sins get found out because they are in the public eye. Human justice systems must take their course, crimes must be punished, and attempts made to turn around the lives of those caught in patterns of criminality. Yet underneath human justice lies divine justice, which promises an ultimate judgment, even for those who escape human justice. Yet at the same time, it offers not just justice, but mercy - the gift of a more profound and ultimate forgiveness, which, if accepted, does not override the penalties of human justice, but enables the possibility of redemption in the longer term. 

Martin Luther often used a Latin phrase to describe Christians – that they are simul iustus et peccator - ‘at the same time righteous and sinful’. Like an alcoholic who is never encouraged to say that were an alcoholic, but that they are a recovering one, an honest Christian doesn’t say ‘I was a chronic worrier, greedy, someone who struggles with lust,’ but ‘I am such things, and yet faith in Jesus makes a difference in helping me not to be.’ St Paul once said: ‘Christ Jesus came into the world to save sinners – of whom I am the worst.’  Not I was the worst, but I am. I remember Frank Bruno once saying “I’m not much of a Christian – I’ve been a sinner all my life.” He hadn’t quite understood - Christians are only ever recovering sinners.  

Paula Vennells and the others responsible for the Post Office scandal will have to face justice one day. It may, for some, even mean prison. But, as many in our prisons up and down the country know, lots of people find God in prison - not as a literal ‘get out of jail free card’ – the justice system doesn’t play Monopoly – but a realisation that however bad your crimes, however murky our misdemeanours or sly our sins, forgiveness is possible. And forgiveness is not an excuse. It doesn’t say ‘it didn’t happen’, but it says, ‘it did happen’ and it was bad, but a new start is always possible, and the love and forgiveness of God is available, even for the worst of people - for good-looking priests who struggle with temptation, for celebrities who fall from grace. Or even ordinary people like us.  

 

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.