Explainer
Creed
Leading
6 min read

Why’s there a pope in Rome?

A modern gathering sheds light on an ancient question: who brings the church together?
A pope wearing a white skull cap and white robe, viewed from behind
Coronel Gonorrea on Unsplash.

On 1st March, an event called Gather25 tried something which it described as “unprecedented”. It sought to unite, in a 25-hour worship broadcast, global Christianity. Each session was led by a different nation, and its top pastors sent out to bat. It was slickly organised, as well as technologically sophisticated; I wished the event well, and prayed for it. While in the more institutionalised church settings, people are waiting on new Archbishops of Canterbury, or praying for the Pope to recover, here was action. 

It got me thinking, though: when can it be said that the Church has properly met? Who decides to meet? Who sends the invites? Who confirms the decisions? Anyone reading the Gather25 website will have noticed overtures about the ‘Council of Nicaea’. Nicaea was the first important gathering of the ancient Church, in 325 AD. By citing this, Gather25 positioned itself downstream of a very prestigious meetup. It perhaps hoped for itself that it would be similarly ecumenical (a Greek word to do with the whole household). Did Gather25 have the same Nicene status? 

Sadly, no. Gather25 was openhearted and dynamic, but it was a very particular slice of Christianity meeting for a very historically specific form of worship. The difficulty is that it takes more than even the buzziest PR, or all our modern advances in communication and streaming, to truly summon something as untameable as the Church to order. What do we need to ensure we have a gathering at which the Church is truly represented, and able to officially act with the “mind of Christ” (as St Paul puts it)? Wouldn’t you need something, or someone, able to steer the entire thing?  

At the Council of Nicaea in 325AD, nothing less than the most powerful man on the planet would do. The Emperor Constantine alone had the clout to draw in Christian leaders from around the world, make them sit together, and demand an official settlement of a difficult question: how exactly was God the Son, Jesus, linked to God the Father? Even with such heavyweight patronage, church leaders did not produce an absolutely finished answer at that time - it actually took a whole extra council, in Constantinople in 381 AD, to confirm the confession that is still known today as the Nicene Creed, and which begins “I believe in God, the Father Almighty”.  

Yet a problem had been touched on. Should a Caesar really have this kind of upper hand over a sacred institution? Some lines of thought tried to think of the emperor as a kind of ‘living law’ who represents God to the Christian people he rules over. But this couldn’t jive with key parts of a tradition wherein Jesus had radically authorised servant leaders from among simple Galilean fishermen, known as the Twelve Apostles, or ‘sent ones’. Who should rule? 

Was this a bit of overreading, designed to give a senior cleric a Scriptural trump card to play against a secular leader in a petty power showdown? 

The problem has not really gone away. If we ignore this question of legitimacy, we are at the mercy of raw power. Either we seek an authoritative means of unifying Christians, or it becomes a case of who happens to have the most cash, or the most Instagram followers. It has never been the case that the Church has just organically ‘met up’ without a protos, a first name on the team sheet. Indeed, when has this ever happened, in any sphere of life? It would be like a parliament forming without the invitation of the sovereign.  

It is against this bigger problem that the rise of the Christian leader in Rome must be viewed. Rome was, of course, the centre of an Empire during the first few Christian centuries, but it quickly gained distinctly Christian prestige. St Paul’s letter to the congregations there continues to be one of the most sizzling documents in the New Testament; he was also martyred there, along with his fellow leader St Peter, one of the original Twelve. Rome was a big deal, and sources from as early as the first century show the leading clergyman (or ‘bishop’) of Rome, a man called Clement, being asked to weigh in on a dispute over 600 miles away from his locale. 

For Catholics like me, it is clear the Church was onto something. It would go on to discover that there was more to the Bishop of Rome than merely his occupation of a well-to-do area. There would be a development. Many church doctrines, after all, are the result of reflection, Scriptural deep dives, and the need for clearer unified doctrine and practice - the Trinity, for example.  

And the Bishop of Rome’s role developed in a particular setting: while the figure of the emperor loomed ever larger in the East, a parallel momentum would gather around the leading cleric of a city where St Peter had passed on his mantle. For St Peter had, after all, been singled out by Jesus in his earthly ministry. In the Bible, the Gospel according to St Matthew depicts Jesus giving “the keys to the kingdom” to his follower Simon, who he then renames ‘Peter’, meaning rock, upon which he vows to build his church. Not only this - Peter is to strengthen his brothers (St Luke 22:32); to feed the Lord’s sheep (John 21). The Bishop of Rome was increasingly thought to have this Peter-like quality.  

Was this a bit of overreading, designed to give a senior cleric a Scriptural trump card to play against a secular leader in a petty power showdown? It is an accusation hard to shake off completely, sinful humanity being what it is. In the Middle Ages, a decree was conveniently ‘discovered’ by the Roman Emperor that handed over all his power to the Bishop of Rome, the new pontifex maximus - it was, of course, a complete phoney designed to assert church power over secular rulers. But for Catholics, despite patchy moments, there has always been more to be said for the Pope (from Papa, ‘father’) as a legitimate consolidation of Jesus’ vision for the leadership of the Church he founded: a brotherhood, headed by a type of St Peter, the rock on which the Church is built.  

Not headed by St Peter’s successor as a flawless demigod, it should be said. For it is also part of Christian tradition about St Peter that he was capable of tremendous human weakness - he betrayed Jesus on the night of his arrest and trial, and denied he ever knew him. Some Popes have sadly been downright wicked or self-serving. Nor is it headed by the Pope as a tyrant. St Peter confirms early doctrinal pronouncements for the Church - he declares that food laws should not prevent Israelites from enjoying table fellowship with other ethnic groups, for example. But he is also frankly challenged by other leaders during early meetings in Jerusalem. The Pope teaches not as a lone ranger, but always within a bigger fraternity of fellow bishops.  

In 2024, a Vatican department released a new document pondering what role the Pope could play in bringing together the separated brethren of world Christianity. I hope this offer is taken seriously. Because what remains compelling for Catholics is a figure who makes it possible, at the most foundational level, to say that the Church is One, as per Jesus’ prayer in John 17:21, and all without needing to rely on good digital marketing. It is not just pious sentiment for a Catholic to say that they are genuinely connected to a global family of as many as 1.4 billion people, because they share a pastor who claims to serve the whole thing, the ‘servant of the servants of God’. Any critique of the Papacy - and there are many intelligible ones, raking over the sordid moments or disputing the Scriptural evidence - must, though, rankle with that: what really keeps us together, then? The Catholic insistence has always been that saying ‘Jesus’ or ‘the Holy Spirit’ really amounts to saying: “what I think Jesus wants; what I think the Holy Spirit is saying” - and that is, in effect, actually many popes instead of just one. 

Celebrate our Second Birthday!

Since March 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’re enjoying 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

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.