Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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Explainer
Creed
Identity
Leading
6 min read

Why read Martin Luther today?

Innovative ideas around identity shaped the world around him.

Robert is professor emeritus of Systematic Theology at Concordia Seminary, St. Louis.

A head and shoulder painting of Martin Luther against a red background
Luther, by Cranach the Elder.
Public domain, via Wikimedia Commons.

Tensions build as the German election approaches. Money is flowing, bargaining going on behind the scenes. (We are talking the election of 1519 here). There is the favorite, Karl—they called him Carlos in the Spanish dominions he had  inherited from his maternal grandparents, Ferdinand and Isabella—, grandson of the German emperor, Maximilian of Austria, and there is the challenger, the King of France, Francis I, and there is the wild card, the duke of Saxony, one of the seven electors who would elect the next emperor, Frederick, called the Wise.  Frederick had no imperial ambitions, and he tipped the election to his distant cousin, the then young man we call Charles V.  Two years later, that gave Frederick the leverage to win a hearing for his most prominent professor at the pride of his heart, his new university in Wittenberg, Martin Luther. 

Charles regarded this Augustinian friar, who had been excommunicated at the beginning of 1521 by Pope Leo X, as a dangerous heretic.  He wanted to declare Luther a criminal, open for execution on the open road by whoever might find him and run him through.  Frederick advised the young emperor not to treat a German subject like that, so Charles arranged for Luther to come to the imperial diet in Worms in May 1521 to recant.  Luther explained to the emperor that he really could not recant since his writings contained many truths.  He continued, “I am bound by the Scriptures I have quoted, and my conscience is captive to the Word of God.”  Later reports say that he added the words, “I cannot do anything else. Here I stand. God help me!”  Whether he said “here I stand” or not, that is what Martin Luther did at Worms and continued to do for the next quarter century until his death. 

Upon what was he standing?  As a “doctor in Biblia,” a “teacher of the Scriptures,” Luther had taken up the latest methods of the so-called humanist movement for exploring ancient texts in their original languages.  Jurists turned to Justinian’s Code in sixth century Latin. Physicians were reading Galen’s medical advice in ancient Greek. Theologians immersed themselves in the Bible in Hebrew and Greek.  Luther had put the tools of these methods to use as he lectured in the 1510s on the Hebrew Psalms, and then the apostle Paul’s letters to the Romans and to the Galatians.  There he found a new way of viewing himself, the God whom he found speaking to him in the pages of the Bible, and his fellow human creatures.  He used the world “righteousness” in the way we might use “personal identity” today.  He heard from the biblical writers a different way of identifying who he was at his core by listening to God’s regard for him.

Just as our DNA is a gift, not something we have to work to earn, so Luther’s core identity came from outside himself.

Luther certainly did not deny that human performance helps give each human being a variety of identities as we go about what he saw as callings from God in our exercise of responsibilities in our homes, in our economic life, in our societal networks and political structures.  He believed that in these spheres of life we are active in shaping the way other people view and identify us.  But at his core, Luther found the person behind the masks of his everyday life to be unable to perform everything that would make him the good person he wanted to be, the good person he thought God wanted him to be.  Just as our DNA is a gift, not something we have to work to earn, so Luther’s core identity came from outside himself.  It came as a gift from God, his Creator.  He received it passively, and his trust in the God who gave him this passively bestowed identity set his entire life in order.  Because he trusted God to be his support and to justify who he was, he felt freed to perform his responsibilities toward other human creatures actively. 

Luther believed that on his own he had not been able to trust God, to love him and give him proper respect.  Like the modern psychiatrist and philosopher, Erik Erikson, Luther believed that trust forms the basis of human personhood and personality.  He saw that his trusting some Absolute and Ultimate formed his character and enabled him to function as a human being.  He recognized in the God presented by the Old Testament prophets of Israel and the New Testament evangelists and apostles the ultimate and absolute person, who approached the human creatures who had turned their backs on him by becoming one of them as Jesus of Nazareth.  In the mysterious ways of the Creator, Jesus’s death covered the transgressions and offenses, the mistakes and failures, of all human beings, and in his resurrection God gave new life, a new identity, true righteousness to those who trust in him. 

Luther found that message liberating.  It freed him from being imprisoned in a cycle of always insufficient attempts to be the person he wanted to be to please his Creator.  He rested in the unconditional love of this Creator, who had come face to face with humankind as the rabbi from Nazareth, crucified but back from death itself.  That freed Dr. Luther to be bonded to those within his reach who needed his care and love.  He need not manipulate them by doing them the good he needed to make himself look good in God’s sight and feel satisfied with himself.  He now could do them the good that they truly needed.  That gave his tempestuous spirit a sense of joy and peace. 

He lived out a rather peaceable life under the ban of church and empire, but safely ensconced in the lands of his Saxon electors.  Family life brought him much joy.  His judgment that God had given human beings the gift of sexuality for companionship and support as well as procreation made him uncomfortable with his own vows of celibacy, but not so uncomfortable that he would have married had not a nun named Katharina von Bora, who had left the cloister, laid claim to him.  Together they created a bustling household with their six children being raised in the cloister where Martin had lived as an Augustinian Brother, large enough to house students and guests from places far from Wittenberg.  Katharina served as his counsellor and theological conversation partner as well as the efficient manager of this ever-changing parade of co-inhabitants of their home. 

Music filled their home.  Luther’s firm tenor voice and his lute and his flute led family and visitors in evenings of song, sometimes giving voice to hymns he had written.  His sense of tone and rhythm coupled with sensitivity to the fine points of spoken and written speech made him a scholar of great skill and a translator who “looked into the mouths” of the people in the marketplace and render the Bible in their tongue.  His curiosity stimulated or at least supported colleagues at the university across the disciplines, including a botany instructor who took students the woods to look at leaves and colleagues in mathematics and astronomy who were playing with the new calculation of the heavens by Nikolaus Copernicus. 

Luther’s lively engagement with life and his dramatic search for peace in the pages of the Bible produced a man who enjoyed life despite his struggles with “melancholy,” a widespread disease of his time, and the threats of violence to his person that never disappeared.  His robust wrestling with the biblical texts provides even today stimulating, even provocative reading for anyone, who is looking for the heart of the matter, the matter of self and life. 

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