Explainer
Christmas culture
Creed
4 min read

Why Christmas Day is Christmas Day 

The seasons, festivals, historians and emperors have all influenced the date of Christmas.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

a had holds out a small wrapped Christmas present.

I came of age in the 2000s, a decade quite alien to us now. We saw ourselves as pioneers of technology, as the internet emerged in its prehistoric form. There was great optimism about the economy until it all went wrong in 2008. The New Atheism movement was roaring into public view, only to wane just as quickly the decade after. Growing up as a Christian, I remember spirited debates with my peers about whether science disproved Christianity and if God can be disproven. These questions have fallen out of view, just as many of its main proponents have too. Richard Dawkins rarely darkens the door of our TV screens anymore.  

However, one such moment of conflict sticks out in my mind. A friend announced to me that he had disproved the origins of Christianity. The night before he had discovered that in the third century Roman Empire, before Christianity became legal and the official religion, there was already a festival celebrating a god on the 25th of December. Instead of the birth of the Son of God, the Romans celebrated the rebirth of the Unconquered Sun — Sol Invictus. Then, in 336 under the first Christian Emperor, Constantine, that date was first celebrated as the day of the birth of Christ. My friend considered the case to be closed; surely the birth of Christ was merely a repurposing of an existing festival?  

Thankfully this shocking revelation did not pick away at the foundations of my faith. I continued, and still continue, to believe in and love the Christian God, as revealed in the Bible. Indeed, since that moment I have trained as a scholar in the history of the early Church, and have begun to see this question for what it is, a quirk of history.  

We, therefore, celebrate Christ’s birth on the 25th December on account of a quirk of history, a result of the way that Romans mapped significant events on to the waxing and waning of the light. 

The first claim that Christ was born on the 25th December appears in the third century. Sextus Julius Africanus, a Roman Christian historian, wrote an entire chronology of the world from creation to AD 221. He considered March 25th to be the date of creation, because it was the spring equinox in the Roman Calendar, a day which represents new life and new birth. For this reason, he likewise considered it to be the date of Christ’s conception in the womb. Crucially, nine months after that falls December 25th. Although I admire his logic, it is hardly a sound basis for establishing the date of our Lord’s birth. Indeed, other Christians didn’t accept this claim at the time either. 

As already mentioned, December 25th was a significant date in the Roman calendar already. It was the winter solstice, the shortest day of the year, after which the days begin to lengthen. It also shortly followed the popular Roman festival of the Saturnalia. Already endowed with significance, it is unsurprising that the Romans began to celebrate the rebirth of Sol Invictus, and the birth of another god, Mithras, on that date.  

At this time Christianity was an illegal religion, persecuted in some parts of the Roman Empire. However, in 312, the emperor Constantine converts to Christianity and in 313 makes it a legally tolerated religion. At this point he begins to invest the church and Christians with powers, wealth and privileges. Evidence from the Chronography of AD 354 suggests that Christmas was first celebrated on the 25th December in 336, during the reign of Constantine. Perhaps this was an attempt to dislodge existing pagan holidays, and replace it with a Christian one. Or, maybe the significance of the Winter solstice made that date most plausible. Indeed, it is easy to see how the commemoration of Christ coming into the world is particularly salient as the darkness begins to recede. The true answer is, of course, lost to history.  

We, therefore, celebrate Christ’s birth on the 25th December on account of a quirk of history, a result of the way that Romans mapped significant events on to the waxing and waning of the light. The true lesson here though, is that it simply doesn’t matter what the actual date of Christ’s birth was. Our records, and those available in the early church were simply not good enough for us to ever know. What matters is that God loves us so much, that he became human to bring us back to his side in everlasting joy and peace. We have no idea on what date Christ was born. But, each year the 25th December presents a time for us to remember that God became man, so that we might have everlasting life.  

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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