Video
Creed
Easter
2 min read

Moments of empathy and expectation

As Easter approaches, many contemplate the critical events of Holy Week. These have inspired historic artists, from Da Vinci to anonymous sculptors, and modern creatives. Understand more about their work. Watch this set of short videos from the Visual Commentary on Scripture.

Nick is the senior editor of Seen & Unseen.

A medieval painting of angels holding the dead Christ.
Bellini's Dead Christ Supported by Two Angels.
Giovanni Bellini, Public domain, via Wikimedia Commons

To better understand the events of Maundy Thursday, Good Friday, Holly Saturday and Easter Sunday, and the art works inspired by them, view and listen to these visual commentaries. Curated by The Visual Commentary on Scripture team of theologians and art historians, they give insights into the historical and contemporary cultural responses in art

The Visual Commentary on Scripture is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. 

Maundy Thursday: a global feast

On Maundy Thursday, Christians remember the meal Jesus ate with his disciples known as The Last Supper. This film explores the textual and cultural traditions that inspired three works of art of the Last Supper. It discusses two fifteenth-century paintings, one by Ercole de' Roberti and the other by Leonardo da Vinci, and a 20th century print by Japanese artist Sadao Watanabe.

Find out how the cultural context of diverse communities around the world drives responses to The Last Supper - from high altar pieces with lock and key, to common dining experiences across the centuries.

Good Friday: hope in the darkness

Good Friday is a ‘culminating moment’ that ‘provides evidence of both human violence and cruelty, as well as of grace and human love and charity.’ This film focuses on the Crucifixion of Jesus which is remembered by Christians on Good Friday. It discussing the ‘feast of imagery that is the Altarpiece with Scenes from the Passion of Christ carved by an unknown artist from Antwerp in the early 16th century.

Holy Saturday: considering life and death

Holy Saturday considers the time spent in the tomb by Jesus. This film focuses on a type of religious image known by its German name, an ‘Andachtsbild’ (plural Andachtsbilder). These types of art works shows Christ in his suffering or death, extracted from a narrative context to form a highly focused, and often very emotionally powerful, focus of devotion.

Capturing moments before and after the crucifixion - of a scarred back, bruised knees,  a mouth open for first breath, they compress ‘the spirit of a bigger story’ into single images that encourage empathy. Works carved or painted by the hands of Hans Leinberger, Juan de Valmaseda and Giovanni Belllini.

Easter Sunday: the loving look

On Easter Sunday, the Resurrection of Jesus is celebrated. In this film, VCS Director Ben Quash interviews filmmaker, playwright, author, and photographer Wim Wenders about his photograph 'The Road to Emmaus' (2000), where the risen Jesus is said to have met his disciples.

Wenders shares how he found and photographed The Road to Emmaus, capturing not only his favourite story – a ‘real road movie’ – but also creating his favourite image. The academy nominated director also explains why he loves to photograph places, and compares the ‘critical eye’ and the ‘loving eye’ that a documentary maker can use.

Article
Creed
3 min read

John Smyth: how evil masks itself as goodness

Be alert to the cloaked and warped wherever it occurs.

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

William Blake's illustration of Satan, a winged angel, flying over a prone Eve.
Satan Exulting over Eve, William Blake.
Getty Museum, via Wikimedia Commons.

Much has been written over these past days about Justin Welby’s resignation and the turmoil in the Church of England. Attention has focused on who knew what, and who did or didn’t act on their knowledge. Less attention has been focused on the dark heart of this story – John Smyth himself and the way he conducted his sinister campaign of manipulation and harm. A campaign that was – the more I think of it – not just abusive, but demonic.  

How could Smyth have got away with it for so long? How could he have persuaded these young men to go along with his sadistic beatings? Why did people try to ignore it, hoping they could keep it quiet?  

If there is one note struck in the Bible about evil, it is its deceitfulness. Jesus called the devil ‘the father of lies’ – and lies always present themselves convincingly as the truth. St Paul once wrote of how “Satan himself masquerades as an angel of light. It is not surprising, then, if his servants also masquerade as servants of righteousness.” The meaning of the name ‘Lucifer’ is literally ‘light bringer’.  

This all reflects the ancient tradition taken up by John Milton’s Paradise Lost, of Satan as a fallen angel – one of the crowd of celestial creatures, usually invisible to humans, who appear at key moments in the Bible, like the visions of Isaiah or the birth of Jesus – one who unlike all the others, resented his subservient role as a messenger of God and set himself up as a rival instead. Yet the point is he still looks like an angel. And so, it seems, did John Smyth, with his fine words, clever sounding theology and earnest prayers. 

A few days ago, I listened to an account from one of the survivors of the way John Smyth went about grooming his victims. Smyth presented himself as a father-figure for young boys away from home in boarding school, looking for older parental figures who would help guide them through the confusions and complexities of adolescence. To justify this, he would say that of course God is our Father, as Jesus says in the Lord’s Prayer, but God is our Father in heaven, not on earth, and that he, John Smyth, was to act as their earthly father. And, as he claimed, fathers discipline their children, he had the responsibility to discipline them physically for their spiritual benefit, with the horrendous results with which we are all now too painfully aware. 

The arrogance of this is breathtaking. For any being – human or celestial - to put themselves in the place of God, to presume to usher God into the distance and to step into his shoes, is an echo of that primal sin of Satan in the garden of Eden, who tells Adam and Eve that they don’t need to listen to God, but instead to him.  

When you survey the carnage Smyth’s warped theology and evil practice has wreaked – most tragically to the lives of those he mistreated so deviously, it is hard not to see something more than merely sinful – but something demonic going on. John Smyth chose to obey the dark instincts of his heart, and to take the Faustian pact that grasps power over others at the loss of one’s own soul. He chose to give in to his evil desires entirely, cloaking them in phony but eloquent religious terminology.  

Acknowledging the deceitfulness of evil is not to excuse those who tried to cover it up. In fact, recognising this is to hear a call to greater vigilance, in that when faced with something of this order we are not facing something obvious, ordinary, easy to spot. “Our struggle is not against flesh and blood,” says the letter to the Ephesians, “but against the spiritual forces of evil in the heavenly places.” If we in the Church have not taken safeguarding seriously enough, it is because we have not taken the nature of evil seriously enough. Remaining alert for the evil that masks itself as goodness – whether in the church or anywhere else for that matter - is a spiritual and moral skill we need to learn more than ever.