Explainer
Christmas culture
Generosity
7 min read

Red radical: the tales behind the Santa we see today

A determined, fiery, culture warrior lies behind the iconic image of Santa.

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

A Lego Stanta figure strolls across a table holding a wrench
Artem Maltsev on Unsplash.

There is one figure in our cultural memory who pops up at this time of year without fail. It is the unmistakable figure of Santa. 

Santa Claus, AKA Father Christmas, Sinterklaas in Holland or Kris Kringle in the USA conjures up a definite image in the mind’s eye. The Santa of popular imagination with elves, red suit, bushy white beard flying in a sleigh towed by reindeer was shaped more by the famous Coca Cola adverts of the 1930s than anything else, and may seem to have very little connection with the birth of Christ. There are, however, strong connections between Santa and the Christian celebration of Christmas.  

Santa Claus is a linguistic development of St Nicholas, who was a real, fiery, determined Christian bishop of the early 4th century. Many of the stories about him date from later centuries, and some, no doubt, are legends developed to enhance his reputation. Yet he clearly made a deep impact on those who encountered him. On the principle that there's no smoke without fire, while some of it may be fiction, these stories may also contain a grain of truth.  

A group of enterprising Italian sailors from Bari in southern Italy made a daring raid on the city, scooped up most of St Nicholas’ skeleton and carried it off home. 

Nicholas was born around 260 AD. His parents, or so the story goes, died of the plague while he was young, leaving him a reasonable fortune. The other thing we know about his youth was his profound and strong Christian faith. This shaped his mind from early years, and led him, like many young Christians at the time, to enter the demanding spiritual boot camp of the monastic life, and then in time to becoming the Bishop of Myra, a city in southern Turkey known today as Demre.  

Christianity at the time was deemed a dangerous religion, subversive of the unity of the Roman Empire and in 303 AD he was one of many Christian leaders imprisoned under the wave of persecution initiated by the emperor Diocletian. Not only did he survive the rigours of a brutal Roman jail, but he encouraged other Christian prisoners to stand firm, who, like him, emerged more determined than ever. He died around 335 AD and within a few hundred years had become one of the most celebrated saints of the mediaeval era, with numerous accounts of his life spreading around Europe.   

In the 10th century the Russian emperor Vladimir visited Turkey and was so impressed with the stories of St. Nicholas that he pronounced him the patron saint of Russia and he remains a hugely venerated figure in Russian Orthodoxy to this day. In 1087, when Myra had come under Islamic rule, a group of enterprising Italian sailors from Bari in southern Italy made a daring raid on the city, scooped up most of St Nicholas’ skeleton and carried it off home, where with great fanfare, a large basilica was erected around the resting place of the bones of St Nicholas – an attraction which enhanced the status of the city no end. It became a pilgrimage destination for numerous medieval Christians (which was what the sailors had in mind) and the edifice still stands on the very spot to this day.

He was promptly sent home for stepping out of line, but it did his reputation as a hero of orthodoxy no harm at all. 

There are two stories of St Nicholas that get us closer to understanding why he became such a key figure in our Christmas celebrations.  

While he was still a young man, so we are told, he heard of a local family who were falling into poverty. A father who was badly in debt desperately needed money to pay off loan sharks, otherwise his only option (as happened in many families at the time) was sell his three daughters into slavery, or in some versions of the story, into prostitution. St Nicholas, aware of the teaching of Jesus that good deeds should be done in secret, resolved to do what he could to help. He wrapped up a bag of gold coins and secretly dropped them into the window of the house to the relief and delight of the poverty-stricken family. Nicholas performed this act of generosity three times for each of the three daughters, and on the third occasion threw the bag of gold coins so far into the room that it fell into a sock hanging over the fire to dry - hence stockings on Christmas Eve. On that occasion the father caught Nicholas as he tried to slip away, and thanked him profusely. Nicholas insisted he tell no one, which the man assured him he would not. Obviously, he didn't keep his promise. 

It is this kind of story that gives rise to the idea that Nicholas was a picture of radical generosity. Ever since then, depictions of St Nicholas are recognisable by his carrying three gold balls, representing the three bags of gold coins – and the same symbol found its way to hang outside many a pawnbrokers’ shop, after St Nicholas was adopted as their patron saint.  

The other story relates to the famous Council of Nicaea in 325 AD. Although historians debate the question, there is some evidence Nicholas might have been present at this Council at which the Nicene Creed was written, the Creed that describes the heart of Christian faith for most Christian churches to this day. The Council centred around the controversial teaching of Arius, a priest from Alexandria who had taught that Jesus, although the best person who ever lived, the pinnacle of creation, was not in any significant sense divine, as the Council eventually discerned he was. The story goes that Nicholas was so incensed by the teaching of Arius that at one point he strode across the room in which the Council was taking place and struck him on the face. He was promptly sent home for stepping out of line, but it did his reputation as a hero of orthodoxy no harm at all. A heretic being punched by Santa Claus is an image to conjure with.  

The stories of St Nicholas give us the impression of someone who does not just do generous acts, but who has become generous. 

So why did St Nicholas become a person of such radical generosity? Were these two stories, however apocryphal some of the details may be, strangely linked? 

At stake in the debates at Nicaea was the question of whether Jesus Christ was just an illustration, a good example of what human life can achieve, or whether his radical love and self-sacrifice was in fact an expression of the heart of God, the very heart of reality itself. That is the core insight at the heart of the Nicene Creed – that when we see Jesus, we see God. The compassion, courage, grace, generosity, the anger at evil of the world, the deep compassion for those who struggle with life that flows out of him at every moment – all this is not a brief moment of light in an essentially dark world, but is the very nature of reality itself. In other words, Jesus Christ represents God giving to the world, not just a gift, but giving Himself.  

That kind of belief seems to have animated the soul and the mind of Nicholas, and if you believe that generosity is what lies at the very heart of things, its not surprising if it starts to seep out into a life full of generosity. Alongside the gifts to the struggling family, Nicholas is said to have argued the emperor into a tax cut for the people of Myra, and secured extra shipping of grain for his people during famine. The stories of St Nicholas give us the impression of someone who does not just do generous acts, but who has become generous – it’s the difference between the lucky tennis player who plays a good shot every now and again, and the pro who plays that shot nine times out of ten. That is virtue – where a person is generous almost without thinking about it, because it has become second nature.  

There are, of course, differences between the Santa of popular memory and St Nicholas. It’s hard to imagine Santa punching anyone, whereas St Nicholas had the fierce, determined faith of the early church, a faith so compelling that it took over the entire Roman empire. Then again, Santa gives gifts to children who are good but not to those who have been bad. He is a moral arbiter who rewards those whose good deeds outweigh their bad ones. That is about as far removed from a Christian understanding of grace, as depicted in the stories of St Nicholas as possible. In Christianity, divine generosity is not a reward for goodness, but is the wellspring of it. The God that Nicholas learnt about from his earliest days gives first and asks questions later. Generosity inspires gratitude and generosity as a response. 

St Nicholas became associated with Christmas partly because his feast day, December 6th, was near to the annual feast, but also because of this theme of radical generosity. Christmas is the time when Christians recall God’s greatest gift – the gift of Christ given to people of dubious moral standing like us. Not because we deserved it but despite the fact that we didn’t. It’s why we give gifts at Christmas, not to win favours from others, but for the sheer joy of it. We give as an act of gratitude for we have been given, before we even asked for it – just like three helpless young women, and their desperate father, in need of help.  

Review
Ambition
Culture
Film & TV
Politics
6 min read

Why we’re fascinated with power behind closed doors

Conclave captures the powerful chemistry between heaven and earth.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A cardinal glances to the side as he stands amid a gather of clergy,
Cardinal Thomas Lawrence played by Ralph Fiennes.
Film Nation.

An ecclesiastical election, conducted behind closed doors, by a group of old men hardly seems a subject for a riveting thriller. Yet, back in 2016, Berkshire-based novelist Robert Harris thought otherwise. Conclave became an international best-seller. 

Now it’s been turned into a movie. And, according to the cognoscenti, a rather good one at that. British Vogue lauded it with great enthusiasm: 

“It’s a treat in every sense – visually, sonically, dramaturgically – and, as we hurtle into this bleakest of winters, exactly the kind of galvanising, pulse-racing shot in the arm we all need.” 

Really? 

Well, following its UK premiere at the London Film Festival in October, the BBC were quick to report a potential flurry of Oscar nominations and even that it was ‘thought to be a strong contender for the best picture award’. 

So, what’s going on? How has this dangerously dull and turgid subject turned into a narrative that tames the critics and converts the sceptics?  

A late night showing on the day of its release at the end of November beckoned me to find out. So off I went with my wife, after she had finished Gospel Choir practice. 

Directed by award winning film-maker Edward Berger (All Quiet on the Western Front), it stars Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini.  

The premise is simple. The Pope is dead, and the Cardinals of the Catholic Church convene from around the world to choose his successor. But this, of course, is only the beginning. 

Sequestered in the Vatican the prelates are cut off from outside influence as the secret process of electing a new pontiff is enacted. But this does not stop events, past and present, from impacting and shaping their deliberations.  

Overseen by Cardinal Thomas Lawrence (Fiennes), the British Dean of the College of Cardinals, the story unfolds as he negotiates these successive revelations and happenings. Along the way he is also wrestling in his own faith for spiritual reality and personal integrity. 

As they gather, the not-so-friendly fraternal rivalry of the cardinals and the manoeuvring of the leading contenders sets up a presenting series of tensions for the Conclave: 

  • Cardinal Bellini (Tucci) is the Vatican’s theologically progressive, yet diffident, Secretary of State 
  • Cardinal Tremblay (Lithgow) is a slippery and ambitious, self-promoting Canadian conservative 
  • Cardinal Tedesco (Sergio Castellitto) is the forthright and reactionary traditionalist Patriarch of Venice  
  • Cardinal Adeyemi (Lucian Msamati) is a theologically conservative and populist Nigerian who offers the possibility of making history as the first Black pope.  

Then, at the last minute, into the mix enters a cardinal that no one knew of. Cardinal Benitez (Carlos Diehz) is a Mexican who arrives claiming the late pope appointed him Archbishop of Kabul in pectore (in secret) prior to his death.  

Shuttling between their living quarters in the Domus Sanctae Marthae and the Sistine Chapel, the venue for their voting process, the story unfolds. A complex interplay of ecclesiastical politics, theology and spirituality intermingle with issues of identity, character and choice to make for a heady mix. At stake, or is that on offer, is the power of the Papacy. 

Reflecting the church at large the Conclave is a community of conservatives and liberals, traditionalists and progressives, populists and academics, activists and administrators.  

Like the world at large, all human life is here. Men with hidden secrets, driven by ignoble motives that often dress themselves in more noble apparel. Ambition, greed, ego and privilege rub shoulders with graciousness, sincerity and self-sacrificial service. Sometimes even in the same person. The human condition is a complicated one. It seems that power retains its age-old allure and ability to corrupt. 

And maybe that’s it. For all the secrecy and mystery that surrounds a papal election, right down to the colour of the smoke, it is a human concoction. Human fingerprints are all over it, just like they are all over the church.  

The church aspires to be better. To be shaped by a higher ideal. To properly be ‘the body of Christ’ and represent the imago dei in the world. To so inhabit the love and grace of God that through its life and witness God might touch and transform the world for the better. Yet, as one of the Italian cardinals correctly, if too easily, argues, “We are mortal men; we serve an ideal. We cannot always be ideal.” 

Indeed, the great apostle St. Paul had to confess, “Not that I have already obtained all this, or have already been made perfect …”, but he is committed to go further, “… [yet] I press on to take hold of that for which Christ Jesus took hold of me.” There is an ideal to pursue. 

As the cardinals progress through successive rounds of voting the field of candidates narrows and the required two-thirds majority comes within reach. Yet the prospects of the main characters rise and fall through the twists and turns of the plot as it heads to its inevitable climax.  

Then one final, unexpected and flabbergasting reveal hits the audience from out of left field. It is a masterful denouement to the tale. 

Speaking about how it all came together Harris revealed: 

“I approached this not as a Catholic and not as an expert in the Church. So my preparation began by reading the gospels, which are revolutionary. And the contrast between that and this great edifice of ritual and pomp and power and wealth of the Church is striking … There's also this question of can you freeze anything at a point nearly 2000 years ago? Haven't the world and humanity evolved?” 

As we drove home at gone midnight I found it hard to disagree with Vogue.  

The visual spectacle created by cinematographer Stéphane Fontaine plays wonderfully with the renaissance setting of the Vatican. It is a beautiful and luscious feast for the eyes.  

Volker Bertelmann’s teasing creativity with the score made the drama come alive and heightened what has been an unforgettable experience. 

But for me, most of all, it was the drama. The story that was told. The unfolding of events and the interplay with people and their motives, their relationships and their vested interests. It is layered and nuanced and complex, just like real life.  

It has left me pondering once again the chemistry between heaven and earth. Between our freewill and agency as individuals and the mystery of the divine presence and the fruit of prayer.  

As the cardinals prepare for the final vote a waft of air blows gently through a broken window in the Sistine Chapel and rustles their voting papers. Is Berger tipping his hat to the presence of the Spirit of God, present and active in human affairs? 

Perhaps the last word should go to Robert Harris. 

“With temporal power, or indeed spiritual power, it is very difficult to avoid factions, scheming, the lesser of two evils—all the compromises that go into running any huge organization and trying to keep, not just hundreds, but thousands of people onside … I have a lot of time for politicians, just as I have a lot of time for these cardinals, because they are grappling with almost insoluble problems. But someone has to do it. Someone has to run a society. And I've tried to write about them with a degree of sympathy.” 

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