Explainer
Creed
Humility
Leading
Pride
Weirdness
5 min read

Humility is just plain weird

Can leaders be humble?

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

The Pope, wearing white, kneels, crades a bare foot, and kisses it.
Pope Francis kisses the foot of a woman inmate of the Rebibbia prison.
Vatican Media.

Last week I met the Pope. You don’t often get to write a sentence like that but despite the shameless name-dropping, I mention it because it got me thinking about something that shed light on our political and social life.  

It wasn’t just me and him. I was with a group of Anglican bishops and Archbishops and we had an hour with Pope Francis in one of the grand reception rooms in the Vatican. When you enter the Vatican, you can’t but be impressed by the sheer grandeur and size of the place. Long corridors with statues and huge windows, large reception rooms with elaborate frescoes of biblical scenes, Swiss guards with their brightly coloured uniforms saluting as you walk past.  

The grandeur is perhaps not surprising, and perhaps even modest for an institution that that has 1.4 billion followers – that’s about the population of China – and one of the greatest patrons of the arts in western history.  

We filed into a long elaborately painted room with marble floor, and decorated ceiling, took our seats and waited. Finally, a frail, white-robed figure hobbled in, aided by attendants in suits and white bowties. Pope Francis was a bit unsteady on his legs, but sharp, mentally alert, and with a smile that broke out over his face from time to time. 

If the Vatican felt like the palace of an ancient city state, the headquarters of a global network, like the Kremlin or the headquarters of Google, something else felt very different. The difference was brought to mind by a picture I saw a few weeks ago. 

... but Keir Starmer or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird. 

Just before Easter, the Pope went to prison. In case you are wondering how you missed this extraordinary story, it wasn't of course that he had been convicted of some terrible crime, but on this occasion, he went to visit the Rebibbia prison in Rome. While there, the 87-year-old, increasingly frail pontiff, stepped out of his wheelchair, and bent down to wash the bare feet of twelve women prisoners, many of whom were in tears as he did so. There is an extraordinary picture of him with his eyes closed, kissing the right foot of one of the women, clothed in her grey prison tracksuit trousers, as if it was him who had the privilege in the encounter and not her.  

When I saw this picture, it struck me how truly extraordinary this action was.  Here is the leader of the world’s 1.4 billion Catholics, performing an act of such staggering…. well, meekness, is the only word I can find for it - kissing the sweaty feet of criminal women, feet that had presumably led them into decidedly questionable places in the past, while doing so not reluctantly but gladly, thinking this was the most wonderful thing he could ever do.  

I tried to imagine other world leaders - the American President, the UK's Prime Minister, the leader of the European Union, the President of China, or the CEO of Google doing something similar. And couldn't. I could imagine politicians visiting a homeless centre to dole out food for the social media coverage, but Keir Starmer or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird.  

If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God.

Yet was not entirely surprising, because humility is a distinctly Christian virtue. The Greeks were decidedly lukewarm about it. Aristotle wrote: “With regard to honour and dishonour the mean is proper pride, the excess is known as a sort of ‘empty vanity’, and the deficiency is undue humility…” Humility was appropriate for slaves but not for noble-born people, certainly not for political leaders, leaders of multinational giants – or popes for that matter.  

Yet Christians have always valued humility. One of the New Testament writers says: “Clothe yourselves with humility toward one another, because, God opposes the proud but shows favour to the humble.” So why does God show favour to the humble? 

The answer is, I think, surprising. It is not that God is majestic and demands humility from us measly creatures. It is that, in the Christian understanding, God is humble. Even though he appears to have not that much to be humble about. If the phrase that captures the understanding of Allah in Islam is ‘God is Great’, the main claim of Christianity is that ’God is Love’. And love cannot be proud or arrogant. It has to be humble. 

The God Christians believe in doesn’t draw attention to himself, and doesn’t shout about his own qualities. Instead, he leaves it to others to do that for him. That fits with the way the world is made. If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God. There is no signature written in the sky, billboards or flashing neon lights saying ‘Made by God, just for YOU!’. In fact it is quite possible to go through life and completely miss God altogether.  

If there is a God, he seems oddly reticent, unwilling to advertise his existence, or as the prophet Isaiah put it, perhaps in a moment of frustration many centuries ago, “Truly, you are a God who hides himself.” This theme, of the ‘hidden God’ has fascinated theologians and philosophers from St Paul to Martin Luther, from Blaise Pascal to Søren Kierkegaard.  

Even when God does reveal himself, in the arrival on the human scene of Jesus Christ, even then he is oddly hidden. Jesus was perplexingly reluctant to identify himself as God. He didn’t by and large go around saying “Look at me, I am divine!” It was possible to meet Jesus of Nazareth face to face and go away thinking he was just another Jewish rabbi or teacher. In fact, he was more likely to be found acting out the role of a servant, washing the feet of his friends, providing them with food, living a wandering homeless existence, dying on a criminal’s cross, than doing important things like wearing robes, exerting political power or living in palaces.  Nowhere does God appear to us unmistakably. He is not an in-your-face kind of God. He seems, odd though it is to say it, quite shy. Or perhaps the best word is simply: humble.   

So what the Pope did in that Italian prison may have been unlike any other ruler. Yet on another level it was just like the ultimate ruler of all things.  

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.