Explainer
Creed
Humility
Leading
Pride
Weirdness
5 min read

Humility is just plain weird

Can leaders be humble?

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

The Pope, wearing white, kneels, crades a bare foot, and kisses it.
Pope Francis kisses the foot of a woman inmate of the Rebibbia prison.
Vatican Media.

Last week I met the Pope. You don’t often get to write a sentence like that but despite the shameless name-dropping, I mention it because it got me thinking about something that shed light on our political and social life.  

It wasn’t just me and him. I was with a group of Anglican bishops and Archbishops and we had an hour with Pope Francis in one of the grand reception rooms in the Vatican. When you enter the Vatican, you can’t but be impressed by the sheer grandeur and size of the place. Long corridors with statues and huge windows, large reception rooms with elaborate frescoes of biblical scenes, Swiss guards with their brightly coloured uniforms saluting as you walk past.  

The grandeur is perhaps not surprising, and perhaps even modest for an institution that that has 1.4 billion followers – that’s about the population of China – and one of the greatest patrons of the arts in western history.  

We filed into a long elaborately painted room with marble floor, and decorated ceiling, took our seats and waited. Finally, a frail, white-robed figure hobbled in, aided by attendants in suits and white bowties. Pope Francis was a bit unsteady on his legs, but sharp, mentally alert, and with a smile that broke out over his face from time to time. 

If the Vatican felt like the palace of an ancient city state, the headquarters of a global network, like the Kremlin or the headquarters of Google, something else felt very different. The difference was brought to mind by a picture I saw a few weeks ago. 

... but Rishi Sunak or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird. 

Just before Easter, the Pope went to prison. In case you are wondering how you missed this extraordinary story, it wasn't of course that he had been convicted of some terrible crime, but on this occasion, he went to visit the Rebibbia prison in Rome. While there, the 87-year-old, increasingly frail pontiff, stepped out of his wheelchair, and bent down to wash the bare feet of twelve women prisoners, many of whom were in tears as he did so. There is an extraordinary picture of him with his eyes closed, kissing the right foot of one of the women, clothed in her grey prison tracksuit trousers, as if it was him who had the privilege in the encounter and not her.  

When I saw this picture, it struck me how truly extraordinary this action was.  Here is the leader of the world’s 1.4 billion Catholics, performing an act of such staggering…. well, meekness, is the only word I can find for it - kissing the sweaty feet of criminal women, feet that had presumably led them into decidedly questionable places in the past, while doing so not reluctantly but gladly, thinking this was the most wonderful thing he could ever do.  

I tried to imagine the residents of other grand buildings - the American president, the UK's Prime Minister, the leader of the European Union, the President of China, or the CEO of Google doing something similar. And couldn't. I could imagine politicians visiting a homeless centre to dole out food for the social media coverage, but Rishi Sunak or Donald Trump kissing blistered, calloused, guilty feet? Hardly. This was a display of humility that stood out as plainly weird.  

If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God.

Yet was not entirely surprising, because humility is a distinctly Christian virtue. The Greeks were decidedly lukewarm about it. Aristotle wrote: “With regard to honour and dishonour the mean is proper pride, the excess is known as a sort of ‘empty vanity’, and the deficiency is undue humility…” Humility was appropriate for slaves but not for noble-born people, certainly not for political leaders, leaders of multinational giants – or popes for that matter.  

Yet Christians have always valued humility. One of the New Testament writers says: “Clothe yourselves with humility toward one another, because, God opposes the proud but shows favour to the humble.” So why does God show favour to the humble? 

The answer is, I think, surprising. It is not that God is majestic and demands humility from us measly creatures. It is that, in the Christian understanding, God is humble. Even though he appears to have not that much to be humble about. If the phrase that captures the understanding of Allah in Islam is ‘God is Great’, the main claim of Christianity is that ’God is Love’. And love cannot be proud or arrogant. It has to be humble. 

The God Christians believe in doesn’t draw attention to himself, and doesn’t shout about his own qualities. Instead, he leaves it to others to do that for him. That fits with the way the world is made. If I had been the Creator of all that exists, I would have made sure that the credit went where it deserved. Yet the world around us has precious few explicit reminders of God. There is no signature written in the sky, billboards or flashing neon lights saying ‘Made by God, just for YOU!’. In fact it is quite possible to go through life and completely miss God altogether.  

If there is a God, he seems oddly reticent, unwilling to advertise his existence, or as the prophet Isaiah put it, perhaps in a moment of frustration many centuries ago, “Truly, you are a God who hides himself.” This theme, of the ‘hidden God’ has fascinated theologians and philosophers from St Paul to Martin Luther, from Blaise Pascal to Søren Kierkegaard.  

Even when God does reveal himself, in the arrival on the human scene of Jesus Christ, even then he is oddly hidden. Jesus was perplexingly reluctant to identify himself as God. He didn’t by and large go around saying “Look at me, I am divine!” It was possible to meet Jesus of Nazareth face to face and go away thinking he was just another Jewish rabbi or teacher. In fact, he was more likely to be found acting out the role of a servant, washing the feet of his friends, providing them with food, living a wandering homeless existence, dying on a criminal’s cross, than doing important things like wearing robes, exerting political power or living in palaces.  Nowhere does God appear to us unmistakably. He is not an in-your-face kind of God. He seems, odd though it is to say it, quite shy. Or perhaps the best word is simply: humble.   

So what the Pope did in that Italian prison may have been unlike any other ruler. Yet on another level it was just like the ultimate ruler of all things.  

Article
Art
Creed
1 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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