Article
Church and state
Creed
Politics
6 min read

JD Vance and Rory Stewart have both missed the point when it comes to who to love

An unlikely Internet spat can help us understand ourselves better

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

Side by side pictures of JD Vance and Rory Stewart

Everyone seems to be leaving it these days, but be that as it may, the other day something quite extraordinary happened over on Elon Musk’s X. 

In case you didn’t see it, the Vice President of the United States of America and a Yale Professor, who is also a co-host of the biggest politics podcast in the UK, found themselves arguing about an abstruse aspect of Augustinian theology. Before we get on to the theology itself, just pause for a moment to think how remarkable that is. For decades we have been told that religion is on the way out. The secularisation thesis claimed that the more wealthy and sophisticated societies become, the less religious they will be. Religion, we were assured, is a part of humanity’s infancy, and now we're grown up, we don't need that kind of nonsense any longer. Religious language and ideas would fade from the popular mind as quickly as the church numbers decline, and we’ll all be better off for it.  

And yet here we have something straight out of the middle ages - politicians and public thinkers arguing the toss about the interpretation of one of the greatest of the early Fathers of the church. Yes, church numbers continue to fall. Yet we cannot rid ourselves of religion and theology as vital sources for thinking about our life together. God may have been shown the door. But he continues to haunt the building.  

Now JD Vance and Rory Stewart are both serious Christians, the former having converted to Roman Catholicism, the latter a baptised and recently confirmed Anglican. Sharing a common faith, of course, doesn't mean they will agree upon everything - and they don't. The argument emerged from an interview in which JD Vance claimed that there was a Christian ‘order of love’ by which your first calling was to love your family, then your neighbour, then your immediate community, then your fellow citizens and then the rest of the world. The ‘far left’, he claimed, had inverted that, by putting the love of the stranger above the love of our immediate neighbour. 

Rory Stewart responded by saying it was ‘a bizarre take on John 15:12-13 - less Christian and more pagan / tribal.’ And in the usual social (or unsocial) media fashion, others weighed in on both sides of the argument, some pointing out quite rightly that it related to Augustine's teaching on the ‘ordo amoris’ – the order of love. 

JD Vance may have done his theological research via Google, but it’s hard to criticise him for that. Vice Presidents have a day job after all, and at least he tried - it’s hard to imagine his boss quoting the ordo amoris anytime soon. And he has a point.  

Jesus does say that the second great commandment after loving God is to love our neighbour – literally the person ‘nigh’ - right next to you. Yet who is my neighbour? It’s complicated. The parable of the Good Samaritan seems to suggest that your neighbour may well be a person who you happen to find in great need, yet awkwardly, may belong to the entirely opposite tribe to you. For the Democrat, it might be a hated Trump-voting gun-toting Republican. For the arch-Conservative, it might be the blue-haired, nose-ringed woke activist in the local café. Jesus also suggests at times that love for spouses, parents, brothers or sisters might come second to the call to love his friends: “Who is my mother, and who are my brothers?’ Pointing to his disciples, he said, ‘Here are my mother and my brothers!” 

Loving my family teaches me to love my friends. Loving my friends teaches me to love my neighbours. Loving my neighbours teaches me how to love the stranger. 

St Augustine, in the City of God (Book 15, if you’re interested) does talk about the importance of the right ordering of our loves. Yet he doesn’t delve much into love of family, community, nation and so on. His point is about directing our loves and desires at the right things. He mainly wants to tell us (something both Vance and Stewart both seem to have missed) that the primary object of human love ought to be not your family, your neighbour, or the immigrant applying for asylum - but God. And as we learn to love God, we learn a different kind of love than the kind we are used to.  

The problem comes when we think of love as like a kind of cake. There are only so many slices of cake and you have to be careful who you give them out to because sooner or later they will run out. In this way of thinking, love is a limited commodity where you have to be sparing who you love, because there isn't enough to go round.

Yet divine love is a bit more like fire. When you take a light from a candle and light another candle with it, the first candle is not diminished, but continues to burn brightly. Fire can be passed on from one place to another and spread widely because it's not finite in the way that a cake is.  

Augustine's understanding of love is that if this kind of divine love has grasped your heart, then love becomes something that you are rather than something that you do. There can never be a conflict between loving God and your neighbour or even your neighbour and your enemy, because divine love extends to whoever it comes into contact with, like fire warming everything with which it comes in contact. This kind of love, unlike ours, is not drawn out by the attractiveness of the beloved, but it just loves anyway. Which is why it is capable of loving the enemy as much as the friend.  

They may have missed the key point, but I tend to think both JD Vance and Rory Stewart have much to learn from each other. Our love does begin with those closest to us. It is entirely natural to love our family, friends and those we encounter every day. Yet to suggest that somehow this is an alternative to the love of the stranger is a mistake. 

Of course, loving your family and friends may sound easy. But it doesn't take much to realise it's not always that straightforward. Families and marriages are not always a bed of roses. Loving a difficult spouse or an errant child teaches you to keep on loving that person, even when they (or you) are acting badly, precisely because you have a stronger bond than just the attraction you initially had for them. This kind of experience begins to teach you this different kind of love. Loving our family and friends is therefore a kind of tutorial in divine love, the kind that spreads like fire. Practising the art of love on those closest to us helps us learn the skills of loving others. Loving my family teaches me to love my friends. Loving my friends teaches me to love my neighbours. Loving my neighbours teaches me how to love the stranger. And loving the stranger might even help me learn to love my enemy.   

The Danish Christian philosopher Søren Kierkegaard once wrote:  

“The task is not to find something loveable, but to find whatever has been given to you or chosen by you, loveable, and to be able to continue finding them loveable, no matter how they change.”  

If this brief internet spat directs us towards this kind of love, then it will have been a good argument, not a bad one.  

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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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