Explainer
Creed
Weirdness
3 min read

When christenings happened in secret

Modern day christenings might appear fairly benign on the surface, says Julie Canlis, but they still bear vestiges of an older, more perilous, rite of baptism.

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

A father wearing a suit carries his child who is dressed for a christening in white.
A Mexican father carries his son to a christening.
Photo by Marco Antonio Casique Reyes on Unsplash.

Christians today are baptized – often christened as babies – as part of an ancient entry rite into the church. Some of you reading this were probably christened, or have attended christenings, as a conventional rite of passage. But eighteen centuries ago, joining a church was not for the faint of heart. Baptisms happened at Easter, often in secret, and only after a semi-Olympic training of three years in order to be allowed into its secret membership. Every aspect of preparation was vital – almost brutal – aimed at the spiritual survival (certainly not bodily survival) of the church and its members. This was no pinky handshake. Why would people want to join at all? This was an ordeal which, if one passed, meant public shame at best and lions if the wrong emperor reigned.  

First there was the obstacle of finding one. Churches were secret, often hidden in remote underground catacombs, and undetected by officials. Those who risked their lives to bring ‘candidates’ for membership into their secret fellowship had to vouch for character because betrayal could mean death for all gathered. (Enter the first 'godparents' into the rites of the church).  

Second, one’s profession could mean disqualification: if a gladiator, prostitute, or actor was seeking admission, they would be given three years to stop their vocation – and begin caring for the poor, the orphans, and the widows of the city. Within these years, they were only allowed to hover on the outer threshold of the church, increasing desire for the more classified rite of the eucharist. Stock items such as the Lord’s Prayer and the Creed were kept strictly confidential until the week prior to baptism (never written – only memorized), lest they be handed out too early to those who would later fall away. 

All this was leading up to the clandestine rite of initiation – baptism – which occurred in the middle of the night, Easter eve. After fasting until sunset for 40 days (enter the modern practice of Lent), these candidates would undergo final questions during Holy Week. They took part in daily exorcisms, rejecting all darkness in their life, and culminating in the final renunciation: “I renounce you Satan, and all your works and all your empty promises.” An ancient description of bling. 

They were also examined by the local bishop for whether their lives were characterized by social justice: were they caring for the sick? were they living according to an obsolescent class system or into their new reality as equals? were they treating their bodies as temples of God? As one fourth-century bishop exhorted in the middle of Easter night, “why do you stand there, different in race, age, sex, and rank, who will soon be one?” Baptism was the great leveler, like death.  

And die they did. Earliest baptisms were held in secret, but as Christianity was sporadically tolerated, people were baptized in mausoleums – Roman funerary buildings, to communicate very loudly: you are coming here to die. These primitive structures continue to be unearthed all over Europe, every time a new underground route is being laid, or a skyscraper is being dug. And the foundations tell all: large fonts to walk down into, shaped like crosses, octagons, or even wombs. Here you go down to die, and be reborn. Archaeology reveals hooks on walls for cast off clothing, for the candidates were to become like newborn infants again. Plunged into the waters three times, they emerged naked and were clothed in white – a symbol of overcoming suffering and of primal innocence. In this upside-down society, one went into the water having been classes as a Competent One (competentes) but was upgraded after baptism to the nickname of Infant (infantes) – even higher praise. And the reward? Finally, being admitted past the gate (origination of the church ‘narthex’) into the sanctuary itself, to take part in its contraband banquet: the bread and wine.  

Modern day christenings might appear fairly benign on the surface, but they still bear vestiges of this older, more perilous rite. We have godparents, white garments, and a triple splash of water. The Book of Common Prayer still requires parents and godparents to renounce Satan on behalf of the baby, that supposed figment of our imagination. And although we have lost much of the symbolism of death and rebirth, one thing hasn’t changed: this adorable baby will still die. For the ancients, one’s death was merely the completion of baptism, in which one had already begun the art and process of learning to die. Baptism didn’t keep one from death, but baptism “baptized” death and allowed one to get on with living. 

Review
Awe and wonder
Creed
Easter
Film & TV
5 min read

Heading Home: a pilgrimage that breaks out beauty along the way

We can learn a new language together as we travel.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A shaft of light from an opening in a dome lights a cross on a pedestal.
Church of the Holy Sepulchre.
Kieran Dodds.

This film, this pilgrimage, this story begins in Jerusalem in the rotunda of the Church of the Holy Sepulchre with its Aedicule, a small chapel, containing the tomb from which Jesus rose.  

Jesus' resurrection was revolutionary because it is the first fruits of a wider resurrection into a new heaven and a new earth, the new Jerusalem, where all that is harmful on earth is transformed into eternal glory and beauty. 

The Church of the Holy Sepulchre holds that vision within its walls, a vision that was then transported throughout the world through pilgrimage and creatively replicated in other locations so that all who entered their local church or cathedral would be transported through art and architecture to the New Jerusalem.  

US philanthropist and author Roberta Ahmanson thinks that American Protestants, in particular, have neglected this story because of the Reformation's preference for word over image. As a result, in 2022, she gathered an eclectic group of Christian college presidents, church pastors, and Christian creatives taking them on a pilgrimage from Jerusalem to London via Italy and Aachen while filming their responses to the visual history of the New Jerusalem as found in the churches they visit. In their two-week journey, the group cover almost 2,000 years of church art and architecture. 

Ahmanson explains that this search for the reality of the Kingdom of God as it is to be realised in the New Jerusalem at the end of time did not mean that pilgrims were to abandon the world. On the contrary, she says, "their job was to serve this world to make it more like the heavenly home where their ultimate citizenship lay." That remains the aim of this art and architecture as:  

“By studying the nature of that promised place, as artists and architects and writers of the past have sought to express it, we are schooled to live lives of wholeness and beauty right here on earth. The longing for beauty is ultimately a longing to be Home, to be in the place where we are whole.” 

The beauty of the churches visited on this pilgrimage provided a vision of the New Jerusalem to those who entered in order that they took that vision into their everyday lives when they left. Along the way, the pilgrims on this trip learnt how artists, architects and theologians worked in parallel for many centuries – from Saint Augustine’s vision of a New Jerusalem to Dante’s admonitions about the Last Judgment. 

The film combines scenes of beautiful interiors with explanations of their significance from Ahmanson and others, plus it shows the reactions of various of the pilgrims as they allow their sense of wonder and understanding of Church history to be expanded. David and Joy Bailey, founders of Arrabon which cultivates Christian communities to pursue healing and reconciliation in a racially divided world, are two of those to have spoken about the impact the trip had on the group of pilgrims.   

Joy said: “Everybody was very literate coming from these strong traditions of faith being either oral or written but to see it so visually impacting, it was breaking us all open and trying to find language for that took the entire trip.” David suggested that: “What the trip was helping you to see was this deeper rootedness, this long tradition that, I think, could actually be very helpful for us today because some of the things that were there were the understanding of humanity as plain on the outside and beauty on the inside, the glory that comes with the inward journey that reflects on Heaven as it is on Earth.”  

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience 

As we travel further from Jerusalem in the film, we are surprised to find that the template of the Holy Sepulchre continues to inspire and shape the experience of pilgrims. Ahmanson explains that: “In churches across the old Roman Empire, from Africa and Palestine to the furthest reaches of Britain, liturgy was created to tell the story and to bring the spaces alive in the telling. Pilgrimages to Jerusalem and later to Rome and then to the tomb of Saint James in Spain became a kind of geographic liturgy. When the trip became too long or … too dangerous, believers found alternative destinations. Across the continent, from Magdeburg in Germany and Constance in Switzerland, to Bologna and Pisa in Italy and London and Cambridge in England, round churches or smaller models replicating the Church of the Holy Sepulchre became pilgrim destinations.” 

Re-enacting, revisiting and reinhabiting Christ's journey to the cross and the meaning of his resurrection remains central to Christian experience, particularly during Lent and Holy Week. Walking labyrinths, Palm Sunday processions and Passion dramas, praying the Stations of the Cross, washing feet on Maundy Thursday, sharing a Passover meal, the Good Friday three-hour devotional, and the Dawn Eucharist on Easter Day are among the many ways Christians continue to follow in the footsteps of Jesus while remaining where they are during this most special season.  

Many of these practices provide the opportunity to go on pilgrimage while remaining at home. Just as with images of the New Jerusalem brought from Jerusalem to the churches of Europe, so with, for example, the practice of praying the Stations of the Cross which originated in medieval Europe when pilgrims were unable to visit the Holy Land, so instead “visited” the Holy places through prayer.  

The film, and other creative off-shoots including exhibitions of photographs from the pilgrimage taken by Kieran Dodds and performances by spoken word poet Street Hymns (one of the pilgrims), with his fellow poets Hanna Watson, Jasmine Sims, and Lo Alaman, in response to images of the New Jerusalem, provide viewers with a similar opportunity to experience, reflect and pray. The aim of all these initiatives is, as Ahmanson explains, what has always been the aim; “to serve this world to make it more like the heavenly home” where our ultimate citizenship lies, and to do so by “creating beauty in buildings and art and music and serving the suffering and those in all kinds of need”. 

 

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