Review
Art
Culture
5 min read

Pesellino: making the vital visible

Great art doesn’t just delight, it educates. Andrew Davison recalls learning deep wisdom from a child as he reviews the Pesellino exhibition at the National Gallery, London.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A painted altarpiece depicts a crucified Christ surrounded by followes, angels and soldiers.
The Pistoia Santa Trinita Altarpiece, Francesco Pesellino.
The National Gallery

My favourite idol features prominently in National Gallery’s new exhibition of paintings by Francesco Pesellino (1422–1457). I say that by way of provocation: I don’t really think it’s an idol, but that is how it was described to me – by a ten-year-old – in one of the best conversations I’ve ever had as a teacher.  

That was fifteen years ago. I was in the gallery to give a theological tour, as part of a Confirmation class for Westminster Abbey. Half an hour in, we came to Pesellino’s Pistoia Altarpiece. It’s a glorious painting, but I was unconvinced by what it sets out to do, with its dead Christ within a portrayal of the Trinity of Father, Son, and Holy Spirit. The doctrine of the Trinity is about the nature of God, as love and life, and there’s no death there.  

Not that I mean to single out Pesellino for criticism. He isn’t the only painter to represent God that way. Massacio’s version is one of the most significant works of the early Florentine Renaissance, resurrecting linear perspective in painting. Just down the road from the National Gallery, at the Courtauld Institute, there’s a similar painting of the Trinity by Botticelli. They’re all magnificent, I just think that if you’re going to try to depict God, the emphasis should be on life.  

Standing before Pesellino’s painting fifteen years ago, with those misgivings in mind, I asked the dozen or so kids in the Confirmation class what might be wrong with what the painter as trying to do. One child replied instantly: ‘Please Father, it is an idol.’ Dread rose within me. This child was an Arab Christian. Had he, I wondered, grown up in a culture that treated religious art as idolatrous? Had I offended his conscience continuously for the past half hour, with painting after painting? Best to find out. ‘Have the other paintings been idols?’, I asked. ‘No’, he replied. ‘Why not? Why is this one bad?’ His reply came without pause: ‘Because there’s God the Father in it.’ This was getting interesting. ‘So’, I asked, ‘it’s OK to show Jesus, like the other paintings we’ve seen today, but not God the Father?’ ‘Yes’, was his firm opinion. 

These are deep waters, and this was a thoughtful child. To this day, the Orthodox Churches generally forbid depicting of God the Father in icons. Then came one of the most glorious moments of my life as a teacher. ‘Why’s that?’, I asked. ‘Why can we paint Jesus, but not the Father?’ The boy stood silent for some moments. ‘Because’, he said, the cogs of his mind clearly turning, ‘because… because God has made an image of himself in Jesus… You could see Jesus… so you can paint him.’ This was no pre-packaged answer. He was not recycling anything he’d been told before. He was recapitulating the arguments of the Seventh Ecumenical Council (at Nicaea, in AD 787) in real time.  

The eight century was a turbulent time when it comes to religious images. They were supressed in the Byzantine Empire from around AD 730, with a firm condemnation in AD 754. Twenty-three years later, at Nicaea, the church reversed the ban. The decisive argument was formulated by St John of Damascus (AD 675 or 676 – 749): ‘When the Invisible One becomes visible to flesh, you may then draw a likeness of His form.’ It’s the same position as our young theologian in the National Gallery had got to on his own.  

In this way, Christian art rest on Christmas: on the Incarnation, on God’s coming-into-the-flesh. Heir to the Judaic prohibition of ‘graven images’ Christianity – or most of it – made its peace with depicting holy things, and art in churches, because of Christmas, where we see ‘God made visible’ in Jesus. 

In the mystery of the Word made flesh 

the light of your glory has shone anew upon our minds 

that seeing here God made visible,  

we may be caught up in love for God whom we cannot see. 

Those are words from the central acclamation of Christmas (the Eucharistic preface) at Midnight Mass (and at Holy Communion for the rest of Christmastide). ‘Seeing here God made visible’. 

The events of Christmas form one of the two poles of Christian art. Some delightful examples feature in the Pesellino exhibition: a virgin and child and an Annunciation. The other supremely worthy subject for Christian art is the crucifixion and all that surrounds it. As I have noted, in the current exhibition the crucifixion features in his Trinity altarpiece. God’s humanity is most clearly witnessed at the beginning of Christ’s life, and at the end.  

 In the intervening years, I have mellowed towards Pesellino’s painting, and that way of depicting something about God. Painting the eternal reality of God is impossible, but in Jesus we see what we need to see. There is no death in God, but the crucifixion is what God’s life looks like when it is made flesh in a world full of evil. The crucifixion shows God’s embrace of human life to the furthest extremes of suffering and degradation. It shows the life of God overcoming death. We can hold onto what the crucifixion offers in a painting like this one, while remembering that the Resurrection underlines the priority of God’s life over death. One painting can’t say everything.  

Those fifteen years ago, I was aware that I’d been in a remarkable exchange, one that I would not forget. As I found across my time as a curate, children ask the best theological questions. That might be reason to go to see the Pesellino exhibition with a child. Alongside the paintings I have mentioned already, there are also two gloriously child-friendly panels, each showing multiple events from the life of King David. They offer a sort of fifteenth century comic strip, except that the events are fused into one long scene. Pesellino was a master at painting animals. Magnifying glasses are provided to help you search them out. 

 

Pesellino: A Renaissance Master Revealed, The National Gallery, London, until 19 March. 

Explainer
Culture
Gaza
Israel
Politics
5 min read

Politics is the only way to solve the tragedy of Gaza

Trump is not the first person to want to create a Riviera by the Mediterranean.

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

A sign projected on to the Houses of Parliament reads: how many is too many.
A projection protest sign, London.
Christian Aid.

Whichever side you take in the Israel-Gaza conflict, the stories can't help bring a sense of desperation. Images of starving children, the fate of Jewish hostages still held in darkness - either way, this remains a place of unimaginable suffering. And meanwhile, the bombs keep dropping, people die, and Hamas retains its hold. 

Among Israel’s friends, voices have been murmuring a radical solution to the problem of Gaza. Donald Trump’s plan was to raze the territory to the ground, shift 50 million tonnes of debris and displace its people to neighbouring countries to build the ‘Riviera of the Middle East’ in what had until now, been Gaza. The plan might have been met with some amusement when it was aired, but it gave permission for many within Israel to think similar thoughts.  

Bezalel Smotrich, the Israeli finance minister, recently claimed that after the Israeli operation, “Gaza will be entirely destroyed” and its Palestinian population will “leave in great numbers to third countries.” Many within Israel seem to think the stubborn, Hamas-ridden enemy living next door needs to be eradicated. To a population weary of decades of conflict, fearing that there will never be peace while Hamas remains in Gaza, and aware of how difficult it is to winkle out the Islamic terrorist group while the Palestinian population remains there, you can understand the attraction of this radical solution. 

However, the Israelis might have good reason to be cautious. And that is not a counsel from their opponents - but from their own history.  

In the early 130s AD, the boot was on the other foot. It was the mighty Gentile Roman Empire that ruled over the same patch of land, which they were soon to call Palestina. Jews were a minority, but they still harked back to their long roots in the land, the days of Joshua and King David, and even more recently to the Jewish Hasmonean kingdom 200 years before - the last time before the modern state of Israel that Jews were in control of the land. 

The emperor at the time, Hadrian, passed through Jerusalem in 130 AD, along with his entourage and his lover, the young slave boy Antinous. He started to paganise the city, erecting statues of gods and emperors, even of his young favourite, all of them offensive to Jewish sensibilities. The smouldering resentment soon erupted with a revolt led by a fierce and determined Jewish fighter, Bar Kokhba. This was the second Jewish uprising after the earlier one in the 60s that had led to the destruction of the great Jewish Temple in Jerusalem by Titus, under the reign of the emperor Vespasian in 70 AD. For the Romans, one revolt might just be tolerated, two was too much.  

Hadrian came to the same conclusion as Bezalel Smotrich – a rebellious territory had to be erased from the map, although this time, it was Jerusalem that was to be eliminated, not Gaza. Its Jewish population was to be scattered, its name deleted, and memories of past glories buried for good.  

And so, in 135 AD, the bulldozers moved in. Jerusalem was effectively flattened, and a Roman city built on its ruins. Aelia Capitolina was its new name, a smaller city, yet decadently built around the worship of Greek and Roman gods, with splendid gates, pagan Temples, a classic Roman Forum, expansive columned streets – not quite the Riviera of the middle east, but maybe the Las Vegas. ‘Jerusalem’ was scrubbed from the map. 

At the centre of the sacred Jewish Temple Mount, Hadrian erected a statue of himself. He deliberately planted a statue of Aphrodite over the very spot where the early Christians insisted that the death and resurrection of Jesus had taken place – where the Church of the Holy Sepulchre stands today. Circumcision was outlawed, many Jews were killed, and those remaining were banned from the city, dispersed anywhere where they could find shelter. In fact, the map of the Old City of Jerusalem today is still marked by this design, with the two main Hadrianic streets diverging south from the Damascus Gate, with archaeological remains of the Roman city still visible for visitors. 

Yet of course it didn’t work. No-one calls it Aelia today. People's attachment to land goes deep. The Jews could not forget their roots in this patch of the earth's surface. As Simon Sebag Montefiore put it: “the Jewish longing for Jerusalem never faltered”, praying three times a day throughout the following centuries: “may it be your will that the temple be rebuilt soon in our days.” 

Palestinian attachment to land is similarly strong. Nearly 80 years after the creation of the state of Israel in 1948, families still cling on to the keys to homes that were taken from them during that traumatic period. Like the Jewish yearning for Jerusalem, they too, like people across the world, have a deep attachment to ancestral lands, which go back to the ‘Arabs’ mentioned in the book of Acts, to whom St Peter preached in the early days of the Christian church.  

Executive decisions by distant rulers such as the emperor Hadrian or President Trump might seem like neat solutions to intractable problems. But they seldom work in the long term.  

The famous biblical injunction ‘an eye for an eye, a tooth for a tooth’ was meant not as an encouragement to violence but the exact reverse. It was mean to set a limit to the development of blood feuds, which could, out of anger and trauma, so easily lead to disproportionate reaction and never-ending vendettas. When St Paul wrote “Beloved, never avenge yourselves, but leave room for the wrath of God; for it is written, ‘Vengeance is mine, I will repay, says the Lord’”, he was recalling an ancient piece of Jewish wisdom that set limits on human capacity to sort out intractable problems by violence. He knew a better way: “Do not be overcome by evil, but overcome evil with good.” 

Luke Bretherton, Regius Professor of Moral Theology at Oxford and a Seen & Unseen writer, argues that there are really only four ways you can deal with neighbours who prove difficult: you can try to control them, cause them to flee, you can kill them, or you can do politics – in other words, try to negotiate some form of common life, as ultimately happened in Northern Ireland, South Africa, and so many places of long-standing conflict. 

Politics, the business of learning how to live together across difference, is messy, complicated and hard work. Especially so when there are deep hurts from the past. Yet, as the failure of Hadrian’s radical solution shows, there is no real alternative in the long term. 

Join us

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief