Article
Leading
5 min read

The Nicene Creed: a 1,700-year-old game changer

Why we should celebrate the Council of Nicaea today.

Jane Williams is the McDonald Professor in Christian Theology at St Mellitus College.

A ink drawing of Constantine the Emperor on a throne listening to people showing him books.
Constantine and the council.
Wikimedia Commons.

The are not many 1,700-year-old documents that are read out loud every week and known by heart by millions of people across the world. The Nicene Creed is one of them. In 2025 it will be 1,700 years since the Council of Nicaea was called by the Emperor Constantine, and came up with the first version of the Creed. Next year will be full of conferences planned to interrogate and reassess but, mostly, to thank God for the Nicene Creed 

But many people will be bewildered, which is a polite way of saying ‘indifferent’ or even ‘hostile’, to this outpouring of Nicaea-mania. Lots of people don’t know the Creed at all, or, if they do, they see it as dogmatic, exclusionary and couched in the arcane language of fourth century classical philosophy, which seems to have little relevance to the world we live in today. Is it really worth celebrating? Let me suggest some reasons why I think it is. 

Suddenly, Christians had a chance to shape the world, to shape culture, from the top down as well as from the bottom up. 

First of all, 325 marked a period of huge transition for the Christian faith. For the previous 300 years since the time of Jesus, Christianity had been spreading surprisingly rapidly, but generally without support from the wealthy or powerful, and suffering regular persecution. But at the beginning of the fourth century, the Emperor Constantine declared himself to be a ‘Christian’. There is a lot of debate about what he meant by that – it didn’t stop him from murdering most of his family, for example. But Constantine ascribed his victorious Imperial campaign to the protection of the Christian God, and began to offer safety and privilege to Christians and their leaders. It was Constantine who called the Council of Nicaea, wanting to assert his own authority but also wanting this nascent ‘institutional’ Church to get a grip and unite behind him. Suddenly, Christians had a chance to shape the world, to shape culture, from the top down as well as from the bottom up. Whether this is a good thing or a bad one, and what it did and does to the character of Christian faith in the 1,700 years since Nicaea is undoubtedly something that 2025 will have to examine. 

Secondly, the Council of Nicaea offered a model of decision-making that has been profoundly important in Christian life ever since. Nicaea was deliberately chosen as the place to hold this council because it sat roughly on the dividing line between the Eastern part of the Roman Empire, where Greek was the lingua franca, and the Western part, where Latin was the language of public discourse. Constantine was seeking to establish himself as sole emperor over both parts, and he called together at Nicaea Christian leaders from across the Empire. We have a good idea of who was there because of the signatories to the resolutions of the Council. 

Leaders came from some of the most sophisticated, wealthy and educated parts of the Roman Empire, like Alexandria, with its famous school and library. But they also came from some of the simplest parts, where peasant life was the norm for both the bishop and the congregations. St Spiridion, now the patron saint of Corfu, was one of the signatories; he maintained his hard life as shepherd while leading his human flock; St Nicholas of Myra, whom we now know as Santa Claus, was there, too; altogether there were probably 200 to 300 bishops there, highlighting the extraordinary spread of Christian faith across the Roman Empire. That is why the Council of Nicaea is called the First Ecumenical or world-wide Council. This was the first opportunity for the Church to take stock of itself and to notice and learn from its diversity.  

This is a game-changing concept, both for theology and for anthropology. 

This model of ‘conciliar’ discussion has remained key to the way in which Christians try to resolve conflict and make decisions, by meeting, discussing, praying and hearing from voices and experiences that represent the whole diversity of humanity. No one can pretend that the Council of Nicaea was exactly such a process – no women were part of the consultation, for one thing – but the intention was significant. In our own time of deep disagreement between Christians, a commitment to the Nicene method of consultative decision-making would be a good focus for examination of 1,700 years of trying to listen to each other, even if we often fail. 

Thirdly, and most importantly of all, of course, the Council of Nicaea produced the Nicene Creed, a succinct statement of what Christians affirm about God and the world because of the paradigm-changing life, death, resurrection and ascension of Jesus. The short, clear statements of faith in the Creed were hard-fought for and not accepted by everyone, then or now. They became necessary as people tried out different descriptions of who Jesus is in relation to God, which brought out more and more clearly how fundamental this question is for our understanding of God, and so our understanding of our own purpose and destiny. Some suggested that Jesus was just an exceptionally gifted human being, favoured by God. But the world has been full of great prophets, most of whom receive lip-service at best, but make no actual difference. Others proposed that Jesus was God, wearing a disguise but not really, actually, human, suggesting that God can’t really commit to the created order. The most popular suggestion in the fourth century, put forward by a learned teacher called Arius, was that Jesus is something in between, not the eternal God, but not just a human being either. But that’s the worst of all worlds: we can’t trust what Jesus shows us either about God or about human beings. 

All of these ‘solutions’ protected God’s transcendence and otherness – God is above and beyond created existence and divinity cannot or will not sully itself with the earthly, historical lives that human beings live.  

The radical suggestion of the Nicene Creed, trying to be faithful to the witness of the Bible, is that Jesus is really God, living among us, but also really a human being, born into a particular time and place in history and dying a real, historical death. And that must mean that the Almighty God doesn’t think it compromises God’s power and majesty to come and share our lives. Imagine the dignity that gives us and our lives – God loves and honours the world and thinks that a human life is capable of showing us the nature of God. But it also means that the full life-giving power of God is not just ‘outside’ but ‘inside’ the world. 

This is a game-changing concept, both for theology and for anthropology.  

 

To find out more about the McDonald Agape Nicaea Project being held by St. Mellitus College in London, come and join the public lectures, or look out for other Nicene celebrations in 2025.

Participants will hear from some of the world’s leading scholars on various issues related to Nicaea, including Professor Khaled Anatolios, Dr. Beverly Roberts Gaventa, Professor Ilaria Ramelli, Professor Bruce McCormack, Dr. Willie James Jennings, and many more.  

A significant part of the Nicaea conference in 2025 will be a call for papers, expanding dialogue on the topic and hearing from a wide array of voices.  

For more information or to register for these events, you can visit the Nicaea Project website 

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.