A digital today needs an old calendar

What’s the relevance of an ancient church calendar to life today? Julie Canlis explores its origins and why it is still applicable in today’s digital world.

Julie Canlis

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

A Calendar of Saints and Festivals.

Metropolitan Museum of Art via Wikimedia Commons.

Christians have an odd belief that their little lives are somehow joined up to the very life of God.

And not just God ‘generally’ or in a spiritual sense, but that they are interconnected to the life of someone who lived 2,000 years ago. That they have his ‘spirit.’ That he lives in them, and they in him.

They built cathedrals on this foundation. They faced lions for this claim. They reoriented their sense of time. They believed that in dying, they would meet him - a person - all the sooner, face to face. One of the first early Christian bishops begged his congregation to not try and stop him from entering the gladiatorial arena and going not to his death (as one would think) but, as he eloquently urged, to his birth.

These cultural relics grew from the soil of a deep conviction

It is in this context alone that we can understand something of the significance of things like Easter, Christmas, Michaelmas, Whitsuntide, and all the other festivals that shape our heritage. These cultural relics grew from the soil of a deep conviction that humans could keep step with the life of God, because he had kept step with them, in their skin. These were not celebrations of an ossified past, but of a living present - celebrating what had and was happening to them, in them.

And so these early preachers and teachers told their congregations that Christmas is not Jesus' birth, but their birth. That through these festivals, they were not remembering his past but the mystery that their present was forever bound with his past and future. And because they had died and been raised with him in baptism (an ongoing reality that was celebrated both annually at Easter, and weekly on Sunday which was called a ’little Easter‘) they were to now keep in step with him by caring for the poor (St Nicholas), feeding the hungry (St Thecla), preaching to the birds (St Francis), reconciling towns (St Martin), and averting war (St Leo - who met with Attila the Hun). There were goodies and baddies. There were odd ducks and beautiful virgins. Recluses and repentant sinners. They were an odd, but galvanized lot around the history of a man from Palestine, in whose shoes they sought to walk and to whom they believed they were mystically united.

Strange. But perhaps no odder than our own times, with our own calendar with our important festivals galvanizing our sense of nationalism, or our identity as consumers. The fiscal year. The academic year. The consumer cycle. We need something to hallow our days.

I am caught up in a transcendent pattern that offers me an escape from the narrowness of my echo-chambers, my appetites, my loneliness

So what are we to do with this ancient calendar, filled with its colourful saints and high days and holy fare? I don't know about you, but I need its naive defiance that my life, lived in my ordinary home on my ordinary street in my ordinary family, is somehow connected to something much larger than myself. That year after year I am caught up in a transcendent pattern that offers me an escape from the narrowness of my echo-chambers, my appetites, my loneliness. That my suffering need not destroy me. That my career (or its 24/7 maintenance due to the digital revolution) is not worth the price of my soul. This calendar provided our forebears with an opportunity for an inner journey, an acknowledgement of our hunger for life beyond the material. And perhaps it is time that we listened to their wisdom, if only by lighting a candle or eating a goose on Michaelmas day. Or maybe, just maybe, we might attend to that inner call that asks us how to hallow our lives, and welcome the one who hallows all time.

Review

Art

Character

Creed

Easter

Suffering

18 April 2025

5 min read

Why sculpt the face of Christ?

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

Jonathan Evens

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…?”

A sketch shows the hanging head of Christ wearing a crown of thorns.

This Storm Will Pass, 2024. Slademore Gallery.

A crucifix hands on a round-topped slab.

I Paid, 1993. Slademore Gallery.

Crown of Thorns, 2025. Nic Fiddian Green.

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.

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