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. 

Article
Culture
Holidays/vacations
Mental Health
Wildness
5 min read

This is why we must go down to the sea

Stepping off the shore restores more than our sanity

Paul is a pioneer minister, writer and researcher based in Poole, Dorset.

A sunset over an island casts golden light on the sea and a beach.
An Argyll beach.
Nick Jones.

It’s that time of year again. Much of Britain has been enjoying (or possibly enduring) a heatwave, the summer holidays are approaching, and our thoughts naturally turn toward an escape from our ordinary, often urban, landlocked, lives. And for many of us that escape will be to the sea. It’s true, we really do like to be beside the seaside. As a nation our souls seem to suffer from an annual experience like that described in John Masefield’s poem Sea-Fever as we head coastwards muttering ‘I must go down to the sea again...’  

We want to holiday by the sea – as the market for second homes in places like Cornwall will confirm. We also want to live permanently by the sea, or at the very least by the water. Some experts estimate that properties by the water have an average increased value of around 48 per cent. Water sells. It does so perhaps because proximity to it provides something of a mental escape from the overwhelming rigidity and linearity of our predominantly urban environments.  

Iain MacGilchrist has argued that our modern lives suffer from the triumph of the left-brain hemisphere’s attention to the world. This is a focussed attention that is all about controlling and getting. It leads to the creation of a self-contained and ordered world with little attention to context. And so little attention to the natural, complex, fluid reality of creation. MacGilchrist goes on to correlate the rise in a variety of mental illnesses characterised by what he calls ‘right hemisphere deficits’ with industrialisation and the development of our culture of modernity.  

In his book Blue Mind Wallace Nichols explores the evidence for the positive effect of water on the brain. He highlights how a proximity to water can heal, restore, give us a sense of connection and promote calm. He argues that water can shift our minds into what he calls ‘drift’, the kind of mental attention which generates calm. Being with, on, better still in water, is undoubtedly good for us. No wonder we are drawn to it.  

Yet at the same time water, and particularly the sea, has been a source of terror. A no-go area ‘where there be dragons’, OK, lobsters for sure, probably sharks, and whales like Moby Dick. The sea remains one of the last places of mystery, an unfathomed, unfathomable place of endless dark water. We know more about the far reaches of the universe than we do about the truly deep ocean. Mythical creatures of the deep, whether Nessie, or one of various giant specimens hauled unsuspectingly from the ocean, continue to populate the diminishing space of our wonder and fear of the unknown.  

So whilst elucidating the psychological benefits of water is certainly helpful, it’s all a bit…tame. Is it just another way of humans turning the wild and numinous into something we now think we understand? Something we can now control and apply in our lives for our own benefit and comfort? Have we demystified the sea? Reducing its mysteries to little more than a balm for our troubled modern minds? A lure for our attention and our debt in an overheated housing market? 

In the Christian tradition the sea is a place of profound paradox. Creation begins with God’s Spirit hovering over the water. However, the Hebrew scriptures also present the sea as a place of God’s absence. The sea is the place of monsters and mystery, and death. It’s also the place of perhaps the most famous whale in all literature. The whale that swallows the hapless Jonah. Jonah’s story expresses the deep paradox of the sea as a place of death and yet also a place of divine encounter. It is in the depths of the sea, and the digestive system of the whale, that Jonah’s epiphany takes place and his journey starts anew. 

Stories of Jesus also deal with this paradox of wildness and encounter in the chaos of the sea. In the story of the calming of the storm the wild threat of the sea is not rendered as simply something to be avoided. Jesus is not a fixer making all daily dangers obsolete. Rather the story says that it is precisely in such moments of wildness, fury and terror that his powerful presence can be encountered.  

To step off the shore and into the sea is to enter the possibility of the death and (paradoxically) the real possibility of deeper life.

It’s for these reasons perhaps that, John Good, a friend of mine, has formed a Christian community that’s based around encounter with the sea. Located as it is in an area almost surrounded by the sea, it started as a social enterprise helping people access the water who otherwise lacked the equipment or resource to do so. Pretty soon it became clear that this was transformational for people. Enabling families otherwise excluded from a life-giving resource to enjoy it as much as anyone else was powerful. One person referred to the experience by saying that on that day the sea had been ‘her saviour.’ Ocean Church began with a gathering on three large, tethered paddleboards some metres offshore. They now run retreats and pilgrimages on the sea, practice centering prayer (a form of Christian meditation or contemplative prayer) on the sea and continue to explore what it means to meet God on the water.  

We yearn for the sea, and the water, for more than a balm for the mind. The sea remains that place, in our mechanised, technological world with its constant lure of control and mastery, where an immersion in dangerous mystery can still be experienced. To step off the shore and into the sea is to enter the possibility of the death and (paradoxically) the real possibility of deeper life. To be held buoyant by the sea and look to the horizon is to get it touch with our finitude in the context of the vastness of the seas. It is to engage with our utter dependency on the creation which we inhabit and to connect with the presence that holds that creation together.  

To step into the sea is even therefore a step of faith. A step in the direction of our own vulnerability. A brave step away from the world in which our technology, our algorithms, our machines and our skyscrapers dupe us into a faith in our own control, our own supremacy. A step into the depths. ‘Deep calls to deep’ says the psalmist as ‘all your waves and breakers have swept over me.’ As many of us step into the sea this summer it may certainly be a step toward a restored sanity, but it might also be a step toward a restored soul.   

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