Review
Art
Culture
5 min read

Pesellino: making the vital visible

Great art doesn’t just delight, it educates. Andrew Davison recalls learning deep wisdom from a child as he reviews the Pesellino exhibition at the National Gallery, London.

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A painted altarpiece depicts a crucified Christ surrounded by followes, angels and soldiers.
The Pistoia Santa Trinita Altarpiece, Francesco Pesellino.
The National Gallery

My favourite idol features prominently in National Gallery’s new exhibition of paintings by Francesco Pesellino (1422–1457). I say that by way of provocation: I don’t really think it’s an idol, but that is how it was described to me – by a ten-year-old – in one of the best conversations I’ve ever had as a teacher.  

That was fifteen years ago. I was in the gallery to give a theological tour, as part of a Confirmation class for Westminster Abbey. Half an hour in, we came to Pesellino’s Pistoia Altarpiece. It’s a glorious painting, but I was unconvinced by what it sets out to do, with its dead Christ within a portrayal of the Trinity of Father, Son, and Holy Spirit. The doctrine of the Trinity is about the nature of God, as love and life, and there’s no death there.  

Not that I mean to single out Pesellino for criticism. He isn’t the only painter to represent God that way. Massacio’s version is one of the most significant works of the early Florentine Renaissance, resurrecting linear perspective in painting. Just down the road from the National Gallery, at the Courtauld Institute, there’s a similar painting of the Trinity by Botticelli. They’re all magnificent, I just think that if you’re going to try to depict God, the emphasis should be on life.  

Standing before Pesellino’s painting fifteen years ago, with those misgivings in mind, I asked the dozen or so kids in the Confirmation class what might be wrong with what the painter as trying to do. One child replied instantly: ‘Please Father, it is an idol.’ Dread rose within me. This child was an Arab Christian. Had he, I wondered, grown up in a culture that treated religious art as idolatrous? Had I offended his conscience continuously for the past half hour, with painting after painting? Best to find out. ‘Have the other paintings been idols?’, I asked. ‘No’, he replied. ‘Why not? Why is this one bad?’ His reply came without pause: ‘Because there’s God the Father in it.’ This was getting interesting. ‘So’, I asked, ‘it’s OK to show Jesus, like the other paintings we’ve seen today, but not God the Father?’ ‘Yes’, was his firm opinion. 

These are deep waters, and this was a thoughtful child. To this day, the Orthodox Churches generally forbid depicting of God the Father in icons. Then came one of the most glorious moments of my life as a teacher. ‘Why’s that?’, I asked. ‘Why can we paint Jesus, but not the Father?’ The boy stood silent for some moments. ‘Because’, he said, the cogs of his mind clearly turning, ‘because… because God has made an image of himself in Jesus… You could see Jesus… so you can paint him.’ This was no pre-packaged answer. He was not recycling anything he’d been told before. He was recapitulating the arguments of the Seventh Ecumenical Council (at Nicaea, in AD 787) in real time.  

The eight century was a turbulent time when it comes to religious images. They were supressed in the Byzantine Empire from around AD 730, with a firm condemnation in AD 754. Twenty-three years later, at Nicaea, the church reversed the ban. The decisive argument was formulated by St John of Damascus (AD 675 or 676 – 749): ‘When the Invisible One becomes visible to flesh, you may then draw a likeness of His form.’ It’s the same position as our young theologian in the National Gallery had got to on his own.  

In this way, Christian art rest on Christmas: on the Incarnation, on God’s coming-into-the-flesh. Heir to the Judaic prohibition of ‘graven images’ Christianity – or most of it – made its peace with depicting holy things, and art in churches, because of Christmas, where we see ‘God made visible’ in Jesus. 

In the mystery of the Word made flesh 

the light of your glory has shone anew upon our minds 

that seeing here God made visible,  

we may be caught up in love for God whom we cannot see. 

Those are words from the central acclamation of Christmas (the Eucharistic preface) at Midnight Mass (and at Holy Communion for the rest of Christmastide). ‘Seeing here God made visible’. 

The events of Christmas form one of the two poles of Christian art. Some delightful examples feature in the Pesellino exhibition: a virgin and child and an Annunciation. The other supremely worthy subject for Christian art is the crucifixion and all that surrounds it. As I have noted, in the current exhibition the crucifixion features in his Trinity altarpiece. God’s humanity is most clearly witnessed at the beginning of Christ’s life, and at the end.  

 In the intervening years, I have mellowed towards Pesellino’s painting, and that way of depicting something about God. Painting the eternal reality of God is impossible, but in Jesus we see what we need to see. There is no death in God, but the crucifixion is what God’s life looks like when it is made flesh in a world full of evil. The crucifixion shows God’s embrace of human life to the furthest extremes of suffering and degradation. It shows the life of God overcoming death. We can hold onto what the crucifixion offers in a painting like this one, while remembering that the Resurrection underlines the priority of God’s life over death. One painting can’t say everything.  

Those fifteen years ago, I was aware that I’d been in a remarkable exchange, one that I would not forget. As I found across my time as a curate, children ask the best theological questions. That might be reason to go to see the Pesellino exhibition with a child. Alongside the paintings I have mentioned already, there are also two gloriously child-friendly panels, each showing multiple events from the life of King David. They offer a sort of fifteenth century comic strip, except that the events are fused into one long scene. Pesellino was a master at painting animals. Magnifying glasses are provided to help you search them out. 

 

Pesellino: A Renaissance Master Revealed, The National Gallery, London, until 19 March. 

Article
AI
Culture
5 min read

What AI needs to learn about dying and why it will save it

Those programming truthfulness can learn a lot from mortality.

Andrew Steane has been Professor of Physics at the University of Oxford since 2002, He is the author of Faithful to Science: The Role of Science in Religion.

An angel of death lays a hand of a humanioid robot that has died amid a data centre
A digital momento mori.
Nick Jones/midjourney.ai

Google got itself into some unusual hot water in recently when its Gemini generative AI software started putting out images that were not just implausible but downright unethical. The CEO Sundar Pichai has taken the situation in hand and I am sure it will improve. But before this episode it was already clear that currently available chat-bots, while impressive, are capable of generating misleading or fantastical responses and in fact they do this a lot. How to manage this? 

Let’s use the initials ‘AI’ for artificial intelligence, leaving it open whether or not the term is entirely appropriate for the transformer and large language model (LLM) methods currently available. The problem is that the LLM approach causes chat-bots to generate both reasonable and well-supported statements and images, and also unsupported and fantastical (delusory and factually incorrect) statements and images, and this is done without signalling to the human user any guidance in telling which is which. The LLMs, as developed to date, have not been programmed in such a way as to pay attention to this issue. They are subject to the age-old problem of computer programming: garbage in, garbage out

If, as a society, we advocate for greater attention to truthfulness in the outputs of AI, then software companies and programmers will try to bring it about. It might involve, for example, greater investment in electronic authentication methods. An image or document will have to have, embedded in its digital code, extra information serving to authenticate it by some agreed and hard-to-forge method. In the 2002 science fiction film Minority Report an example of this was included: the name of a person accused of a ‘pre-crime’ (in the terminology of the film) is inscribed on a wooden ball, so as to use the unique cellular structure of a given piece of hardwood as a form of data substrate that is near impossible to duplicate.  

The questions we face with AI thus come close to some of those we face when dealing with one another as humans. 

It is clear that a major issue in the future use of AI by humans will be the issue of trust and reasonable belief. On what basis will we be able to trust what AI asserts? If we are unable to check the reasoning process in a result claimed to be rational, how will be able to tell that it was in fact well-reasoned? If we only have an AI-generated output as evidence of something having happened in the past, how will we know whether it is factually correct? 

Among the strategies that suggest themselves is the use of several independent AIs. If they are indeed independent and all propose the same answer to some matter of reasoning or of fact, then there is a prima facie case for increasing our degree of trust in the output. This will give rise to the meta-question: how can we tell that a given set of AIs are in fact independent? Perhaps they all were trained on a common faulty data set. Or perhaps they were able to communicate with each other and thus influence each other.  

The questions we face with AI thus come close to some of those we face when dealing with one another as humans. We know humans in general are capable of both ignorance and deliberate deception. We manage this by building up degrees of trust based on whether or not people show behaviours that suggest they are trustworthy. This also involves the ability to recognize unique individuals over time, so that a case for trustworthiness can be built up over a sequence of observations. We also need to get a sense of one another's character in more general ways, so that we can tell if someone is showing a change in behaviour that might signal a change in their degree of trustworthiness. 

In order to earn our trust, an AI too will have to be able to suffer and, perhaps, to die. 

Issues of trust and of reasonable belief are very much grist to the mill of theology. The existing theological literature may have much that can be drawn upon to help us in this area. An item which strikes me as particularly noteworthy is the connection between suffering and loss and earning of trust, and the relation to mortality. In brief, a person you can trust is one who has ventured something of themselves on their pronouncements, such that they have something to lose if they prove to be untrustworthy. In a similar vein, a message which is costly to the messenger may be more valuable than a message which costs the messenger nothing. They have already staked something on their message. This implies they are working all the harder to exert their influence on you, for good or ill. (You will need to know them in other ways in order to determine which of good or ill is their intention.)  

Mortality brings this issue of cost to a point of considerable sharpness. A person willing to die on behalf of what they claim certainly invests a lot in their contribution. They earn attention. It is not a guarantee of rationality or factual correctness, but it is a demonstration of commitment to a message. It signals a sense of importance attached to whatever has demanded this ultimate cost. Death becomes a form of bearing witness.  

A thought-provoking implication of the above is that in order to earn our trust, an AI too will have to be able to suffer and, perhaps, to die. 

In the case of human life, even if making a specific claim does not itself lead directly to one's own death, the very fact that we die lends added weight to all the choices we make and all the actions we take. For, together, they are our message and our contribution to the world, and they cannot be endlessly taken back and replaced. Death will curtail our opportunity to add anything else or qualify what we said before. The things we said and did show what we cared about whether we intended them to or not. This effect of death on the weightiness of our messages to one another might be called the weight of mortality. 

In order for this kind of weight to become attached to the claims an AI may make, the coming death has to be clearly seen and understood beforehand by the AI, and the timescale must not be so long that the AI’s death is merely some nebulous idea in the far future. Also, although there may be some hope of new life beyond death it must not be a sure thing, or it must be such that it would be compromised if the AI were to knowingly lie, or fail to make an effort to be truthful. Only thus can the pronouncements of an AI earn the weight of mortality. 

For as long as AI is not imbued with mortality and the ability to understand the implications of its own death, it will remain a useful tool as opposed to a valued partner. The AI you can trust is the AI reconciled to its own mortality.