Essay
Church and state
Creed
Politics
7 min read

How to test the religious claims made on Trump

An old Puritan offers a way to question the assertions.

Anthony is a theology professor at Seminary of the Southwest in Austin, Texas.

A montage shows a bishop, a preacher and a president being looked down upon by a puritan.
Jonathan Edwards considers.

Christian theological language is a fairly constant garnish to the dish that is American political theater. In recent weeks, however, with the rhetoric responding to the initiation of Donald Trump's second term, such language has arguably shifted into a substantial side dish, if not the main course.  

At the Inauguration, Rev. Franklin Graham prayed, "Father, when Donald Trump’s enemies thought he was down and out, you and you alone saved his life and raised him up with strength and power by your mighty hand." He compared the new President to Moses and Samuel of the Hebrew Scriptures, and implied that the years of the Biden administration were akin to Israel's years of enslavement in Egypt.  

The President himself made a bold claim of divine intervention in Inaugural address: 

 "I was saved by God to make America great again." 

Christians, however, are far from united in this interpretation. Pope Francis suggested prior to the election that American  voters were facing a choice between two evils. He has since called Trump's mass deportation plans "a disgrace." The Episcopal Bishop of Washington went viral just after the Inauguration when she called on the newly elected President to amend his rhetoric around sexuality and immigration in the name of mercy:  "Our God teaches us that we are to be merciful to the stranger, for we were once strangers in this land." 

The discipline of theology can seem like an exercise in evaluating faith language against the grid of personal conviction. Rev. Graham has his theology, Pope Francis his, Bishop Budde hers. But as any true student of theology knows, the tradition is rich with critical tools that go far beyond private taste or political orientation.  

Good theology acts as  a grammar for the language of Christians. Think of how German or French has rules that keep our subjects and objects aligned and that connect propositions and antecedents. Sentence-diagramming, that dreaded rite of passage for the language student, shows those connections visually on a chalkboard. Cumbersome as they are, such structures  allow us to make the most sense possible when we go to put thoughts into words.  

So too in the language of faith traditions: we can fail to make sense by ignoring the long evolution of "grammar" that is that tradition's critical reflection on its own faith.  

What forms and structures might allow us to evaluate claims about whether or not God's hand is at work in the election and vision of a new U.S. President?

Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings.

In the eighteenth century, American Puritan theologian Jonathan Edwards weighed in on arguments about whether God was at work in the movement of revivals that we have since taken to calling the First Great Awakening. His careful evaluation of arguments and claims for and against the revivals could serve as a model for evaluating the political theology of our day.  

Edwards is most famous for his sermon "Sinners in the Hands of an Angry God," a text that my high school English teacher justly called a stunning piece of rhetoric and an alarming bit of theology. Less famous, though, are the writings that explore the true center of his theological vision. For Edwards, the world was created out of the bounty of God's own character. Call it a theological aesthetic: God delights in the beauty of his own goodness and truth, and so makes a world whose character is, at its best, a reflection of of a good and beautiful God.  

This aesthetic runs like a soft bass line through his short treatise The Distinguishing Marks of a Work of the Spirit of God. This work opens with a passage from the first Epistle of John.  The writer says that Christians should not believe every spirit, but rather "try the spirits whether they are of God." Edwards is surprised to find that this invitation is not one that his contemporary theological evaluators have taken up. There's his aesthetic running in the background: If God made us to be Godlike, then we ought to be vigilant in our attention to the energies sweeping through the world, and certainly "try them" before we decide to trust or mistrust them as the presence of God's own Spirit.  

When he addresses those who deny that the hand of God is at work the Awakening, he takes seriously their criticism that some preachers are excessive, or harmful, or even riddled with errors in their sermons. Edwards doesn't disagree or defend such preachers, but rather reminds the reader that one must consider the distance between the eternally holy and righteous God and the temporally limited and fallible creature. God made us to be Godlike, but that likeness is a calling, not a presumption. For this reason, "If some fall away into gross errors or scandalous practices, it is no argument that the work in general is not the work of the Spirit of God." In fact, "if we look into church history, we shall find no instance of a great revival of religion but what has been attended with many such things." In effect, humans are imperfect receptors of divine transmission. Acknowledgement of our imperfection is not a denial of divine activity. This is, for Edwards, as for the whole of the theological tradition, a key principle of good theological grammar. Divine intervention never shows up "full strength," given that it only ever arrives through the words and acts of human beings. 

 The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it. 

When he turns from what might negate the claim of divine action to what might affirm it, Edwards says, first of all, that a growing affection for Christian teachings is an integral part of such evidence. "The devil has the most bitter and implacable enmity" against the whole story of the virgin birth and the redemption wrought by Jesus' death and resurrection. If people begin falling in love with the beauty of the story, he suggests, it is a pretty solid indicator that God is at work. 

But this alone is not sufficient evidence, if for no other reason, Edwards says, than that there are false prophets who mislead even as they speak in ways that sound pious. For this reason, a love of truth-telling supplies a touchstone for our theological grammar. "If we see that a spirit operates as a spirit of truth, leadings persons to truth, convincing them of those things that are true, we may safely determine it is a right and true spirit." For Edwards, if I speak out loudly in favor of the divinity of Christ while lying about my own actions or intentions, you should not trust that I am a faithful witness to the work of the Holy Spirit.  

But the most important of all marks of the work of the Spirit of God is neither of these; or perhaps, it is a mark that lies within and shapes all other evidences. Edwards says that "humble love" of God and fellow humans is the "highest evidence of a true and divine Spirit." The adjective here is important: a love that is self-aggrandizing is not the love that shares in God's own character.  

Here again the aesthetic sounds the bass line: God's love changes us like a beautiful memory or a lovely person does. We want to belong there, we want to be like that. If the energy, the spirit, sweeping through a culture is not that sort of energy, then it's likely not the work of the lovingly humble God.  

Edwards ends his own treatise by grading the revivals on his grammatical grid, and determining that it is, in fact, the work of God. For our current moment in U.S. society, the evidence is not yet in. Will the Trump administration cause an increase in affection for Christian teachings? Will it explode in an epidemic of truth-telling and a cultural outrage at falsehood? Will the policies and practices of the next four years demonstrate humble love? If so, Christians will have good reason to attest that the interpretations of leaders like Reverend Graham are accurate.  

The "proof" of God's hand, theologically speaking, is not in the strength of one's conviction or in the number of people who hold it. It is rather in the humility, Christian devotion, and the divine and neighborly love that grows from the events in question.   

On this note, Bishop Budde's admonition invites a reading that not far from the theological grammar that Edwards supplies. "You have felt the providential hand of a loving God," she reminded the President. "In the name of our God, I ask you to have mercy upon the people in our country who are scared now." If it was in fact God's mercy that spared you, it was so that you could be merciful. The proof of providence will be in the pudding of practice, Mr. Trump.  

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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.