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Creed
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8 min read

Manchester City and the surprises of Grace

What a footballing dynasty's dominance tells us about the problems of meritocracy

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

A football team wearing a sky blue kit leaps for joy holding a trophy.
Celebrating winning the English Premiership.
Manchester City.

So Manchester City didn’t quite win the double double. Manchester United, against all the odds, spoilt the party and created their own by winning the FA Cup. But City won the Premier League yet again. That makes six times out of the last seven seasons. It would take a brave person to bet against them doing it again next season. Supporters of other teams look on with a mixture of resentment, admiration and envy. Despite losing the Cup Final, Manchester City fans are basking in the time of their lives.

When our team wins, we football fans gloat. Especially over our rivals. We all do it. We assume it means our team is superior, that victory is deserved, that there is some kind of moral credit involved in winning. Football fans are meritocratic to a tee.  

In 2020, Michael Sandel, Harvard Professor of Political Philosophy published The Tyranny of Merit. In the book, he traced the rise of the idea of meritocracy, the notion that if you succeed in life it is to your credit, and if you fail it is your fault. We talk about “going as far as your talents take you”, “getting what you deserve in life” and so on. Speaking from the American context in particular, he argues, it means a belief that we are masters of our own fate, that achievement is to our credit and failure due to our fault.  

He also sheds light on the dark side of meritocracy. The most important factor in whether people voted for Trump or Brexit was educational background. Getting into college or university meant you stood a much better chance of landing a good, well-paid job and rising through the rungs of society. And if you did so you tended to end up more liberal in political and social outlook. If you didn't go to college, you were more likely to stay in manual or blue-collar work, looking at a distance at the educated class of people who ran the government, the economy and the legal system, and feeling they didn't represent you.  

Meritocracy, Sandel argues, generates on the one hand hubris and on the other hand shame. It makes the successful feel proud in their own achievements, looking down with a secret smugness at those who didn't get the big jobs with the big money, and on the other, generates resentment and a sense of shame in those who missed out on the educational and financial gravy train.  

A meritocratic society makes parents more and more obsessive about getting their kids the advantages that will set them up for life. Yet such obsessive parenting for success has so often led to an epidemic of teenage depression and distress. College life becomes increasingly competitive, aiming to build an impressive CV to land the big jobs when you leave university for the big wide world of competition. 

Yet the reality is, he argued, that most of what made for ‘success’ was fairly random and the result of chance. If you happened to be born into an educated family with a reasonable income you are more likely to get the education that would keep you within that class. Without that origin it is much harder to break through the social barriers. Of course, there are plenty of examples of people born into disadvantaged circumstances who rose through the ranks to get good well-paid and high-profile jobs. Yet such stories fit neatly into the meritocratic story, as these people are held up as the poster boys and girls of meritocracy - exemplars of precisely the kind of moral virtue and character that is needed to succeed.

Some would say beautiful brand of football that out-passes and outplays virtually everyone else. 

Aristocracy by contrast, may have contained many flaws and inequalities, but at least the poor didn't feel that their poverty was their fault. We talk about our talents as ‘gifts’, which implies they have been given to us rather than earned by us. If we happen to have a talent for numbers, for writing, an instinct for strategy, reading people well, or managing stress, that is not really to our credit but something we have inherited in our personality. Of course we can and need to develop these skills, but again society has a fairly random way of rewarding certain talents and not others - we pay people skilled at football far more than people similarly skilled at netball, and hedge fund traders far more than nurses.

So what does all this have to do with Manchester City?

In September 2008, Sheikh Mansour Bin Zayed Al Nahyan, a member of the Abu Dhabi royal family, who is currently the vice president and deputy prime minister of the United Arab Emirates, completed the purchase of Manchester City, a club that had finished ninth in the Premier League the season before and was without a trophy in 32 seasons. From that moment they had the financial resources of virtually an entire Arab state at their disposal. Since then, they have spent a net amount of £1.4 billion on transfers. They hired the best manager and the best striker in the world, and play the most finely-tuned, relentless, some would say beautiful brand of football that out-passes and outplays virtually everyone else. In a recent match against Tottenham, they lost their number one goalkeeper Ederson to injury who was then replaced by Stefan Ortaga, who played a blinder and effectively won the league by keeping Tottenham from scoring. Ortega would walk into almost any other Premier League club. City’s strength in depth is such that they could almost turn out two teams that could win the Premier League on their own.

If the mind of Sheikh Mansour had gone in a different direction, Reading fans might have been celebrating a treble by the M4, or Wigan could be playing Real Madrid.

Back in the 2008 season, presumably the group from Abu Dhabi looked at the Premier League table for clubs they might buy, presumably discounting the already successful ones like Manchester United (who won the league that year), Chelsea, Liverpool or Arsenal. Looking just below City, they would have seen Blackburn Rovers in 7th (who had won the league as recently as 1995, Portsmouth in 8th, or a little lower, Middlesborough in 13th or Wigan in 14th. Sunderland, Bolton, Reading, Birmingham and Derby made up the numbers further down the table.

Of these teams, this past season, Portsmouth, Derby, Bolton and Reading played in the third tier of English football, struggling to make ends meet before small crowds against small clubs such as Stevenage, Burton, Fleetwood and Bristol Rovers. Birmingham were relegated into the third tier. None of the others were playing in the Premier League, let alone the Champions League.

Manchester City, by contrast, in their spanking new stadium, fresh from a season where they had won the treble (Premier League, FA Cup and Champions League), were winning the World Club Championship, marching towards another League title, only just missing out on the Champions League on penalties in the semi-final.

Did the rulers of Abu Dhabi consider buying Reading? Or Blackburn Rovers? Or Portsmouth? Whether they actually did or not, in theory they might have done. In other words, picking out Manchester City has a high degree of randomness. If the mind of Sheikh Mansour had gone in a different direction, Reading fans might have been celebrating a treble by the M4, or Wigan could be regularly playing Real Madrid.

Maybe they can teach us the humility of knowing that our success or failure is much less to our credit or fault than we think.

Manchester City is a prime example of the element of randomness in success.  Now of course it's not all random. Many other clubs have spent huge amounts of money but without the success of Manchester City. You have to say their owners know how to run a football club, unlike the shambles of the owners of clubs such as Chelsea or Manchester United in recent times.

Yet there is undoubtedly an element of sheer chance, luck, or to put it in Christian terms, undeserved Grace about it. Manchester City’s being chosen by Abu Dhabi is a strange worldly echo of the Christian doctrine of Election (no - not that election!). This is the idea that in the Bible, God chooses a part out of the whole, for example choosing Humanity out of all the species of animal life on the planet to look after and care for it, choosing Israel out of all the nations of the world to bear the message of God's care and love for that world, and choosing the Church as God’s chosen people, to bear witness to Jesus Christ the Saviour of the world.

The difference in this Christian notion is that election is never for success. God does not choose humanity, Israel or the church so that they can outstrip all the others and bask in their own superiority, even though all three have fallen into the trap of thinking that way many, many times. God chooses them precisely so that they might be a blessing to the rest of the world, the channel through which God desires to pour out his goodness to everyone, the bearers of a message of good news that everyone needs to hear. Election therefore breeds not a sense of superiority, but a deep sense of humility at having received a status that was not earned, undeserved, but that carries great responsibility.

So Manchester City's triumphant progress is perhaps an object lesson for the rest of us, that any success we may have achieved in life, anything we are tempted to boast about, whether privately or publicly, is not as much to our credit as we think. Just as they were plucked from mid-table obscurity to become one of the great teams of recent times, while the likes of Reading and Wigan languish in mediocrity, a large part of any success that may have come our way, is not down to our credit, but derives from a gift, something bestowed on  us, so that we might use whatever good comes our way to raise up others and be a blessing to those who don’t have such fortune.

While Manchester City win everything (and it won’t last, as we Manchester United fans know only too well) maybe they can teach us the humility of knowing that our success or failure is much less to our credit or fault than we think. We can learn generosity to those less fortunate than we are, contentment when things go badly, and gratitude for the grace that we have neither deserved or earned.

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.