Explainer
Creed
Leading
6 min read

Why’s there a pope in Rome?

A modern gathering sheds light on an ancient question: who brings the church together?
A pope wearing a white skull cap and white robe, viewed from behind
Coronel Gonorrea on Unsplash.

On 1st March, an event called Gather25 tried something which it described as “unprecedented”. It sought to unite, in a 25-hour worship broadcast, global Christianity. Each session was led by a different nation, and its top pastors sent out to bat. It was slickly organised, as well as technologically sophisticated; I wished the event well, and prayed for it. While in the more institutionalised church settings, people are waiting on new Archbishops of Canterbury, or praying for the Pope to recover, here was action. 

It got me thinking, though: when can it be said that the Church has properly met? Who decides to meet? Who sends the invites? Who confirms the decisions? Anyone reading the Gather25 website will have noticed overtures about the ‘Council of Nicaea’. Nicaea was the first important gathering of the ancient Church, in 325 AD. By citing this, Gather25 positioned itself downstream of a very prestigious meetup. It perhaps hoped for itself that it would be similarly ecumenical (a Greek word to do with the whole household). Did Gather25 have the same Nicene status? 

Sadly, no. Gather25 was openhearted and dynamic, but it was a very particular slice of Christianity meeting for a very historically specific form of worship. The difficulty is that it takes more than even the buzziest PR, or all our modern advances in communication and streaming, to truly summon something as untameable as the Church to order. What do we need to ensure we have a gathering at which the Church is truly represented, and able to officially act with the “mind of Christ” (as St Paul puts it)? Wouldn’t you need something, or someone, able to steer the entire thing?  

At the Council of Nicaea in 325AD, nothing less than the most powerful man on the planet would do. The Emperor Constantine alone had the clout to draw in Christian leaders from around the world, make them sit together, and demand an official settlement of a difficult question: how exactly was God the Son, Jesus, linked to God the Father? Even with such heavyweight patronage, church leaders did not produce an absolutely finished answer at that time - it actually took a whole extra council, in Constantinople in 381 AD, to confirm the confession that is still known today as the Nicene Creed, and which begins “I believe in God, the Father Almighty”.  

Yet a problem had been touched on. Should a Caesar really have this kind of upper hand over a sacred institution? Some lines of thought tried to think of the emperor as a kind of ‘living law’ who represents God to the Christian people he rules over. But this couldn’t jive with key parts of a tradition wherein Jesus had radically authorised servant leaders from among simple Galilean fishermen, known as the Twelve Apostles, or ‘sent ones’. Who should rule? 

Was this a bit of overreading, designed to give a senior cleric a Scriptural trump card to play against a secular leader in a petty power showdown? 

The problem has not really gone away. If we ignore this question of legitimacy, we are at the mercy of raw power. Either we seek an authoritative means of unifying Christians, or it becomes a case of who happens to have the most cash, or the most Instagram followers. It has never been the case that the Church has just organically ‘met up’ without a protos, a first name on the team sheet. Indeed, when has this ever happened, in any sphere of life? It would be like a parliament forming without the invitation of the sovereign.  

It is against this bigger problem that the rise of the Christian leader in Rome must be viewed. Rome was, of course, the centre of an Empire during the first few Christian centuries, but it quickly gained distinctly Christian prestige. St Paul’s letter to the congregations there continues to be one of the most sizzling documents in the New Testament; he was also martyred there, along with his fellow leader St Peter, one of the original Twelve. Rome was a big deal, and sources from as early as the first century show the leading clergyman (or ‘bishop’) of Rome, a man called Clement, being asked to weigh in on a dispute over 600 miles away from his locale. 

For Catholics like me, it is clear the Church was onto something. It would go on to discover that there was more to the Bishop of Rome than merely his occupation of a well-to-do area. There would be a development. Many church doctrines, after all, are the result of reflection, Scriptural deep dives, and the need for clearer unified doctrine and practice - the Trinity, for example.  

And the Bishop of Rome’s role developed in a particular setting: while the figure of the emperor loomed ever larger in the East, a parallel momentum would gather around the leading cleric of a city where St Peter had passed on his mantle. For St Peter had, after all, been singled out by Jesus in his earthly ministry. In the Bible, the Gospel according to St Matthew depicts Jesus giving “the keys to the kingdom” to his follower Simon, who he then renames ‘Peter’, meaning rock, upon which he vows to build his church. Not only this - Peter is to strengthen his brothers (St Luke 22:32); to feed the Lord’s sheep (John 21). The Bishop of Rome was increasingly thought to have this Peter-like quality.  

Was this a bit of overreading, designed to give a senior cleric a Scriptural trump card to play against a secular leader in a petty power showdown? It is an accusation hard to shake off completely, sinful humanity being what it is. In the Middle Ages, a decree was conveniently ‘discovered’ by the Roman Emperor that handed over all his power to the Bishop of Rome, the new pontifex maximus - it was, of course, a complete phoney designed to assert church power over secular rulers. But for Catholics, despite patchy moments, there has always been more to be said for the Pope (from Papa, ‘father’) as a legitimate consolidation of Jesus’ vision for the leadership of the Church he founded: a brotherhood, headed by a type of St Peter, the rock on which the Church is built.  

Not headed by St Peter’s successor as a flawless demigod, it should be said. For it is also part of Christian tradition about St Peter that he was capable of tremendous human weakness - he betrayed Jesus on the night of his arrest and trial, and denied he ever knew him. Some Popes have sadly been downright wicked or self-serving. Nor is it headed by the Pope as a tyrant. St Peter confirms early doctrinal pronouncements for the Church - he declares that food laws should not prevent Israelites from enjoying table fellowship with other ethnic groups, for example. But he is also frankly challenged by other leaders during early meetings in Jerusalem. The Pope teaches not as a lone ranger, but always within a bigger fraternity of fellow bishops.  

In 2024, a Vatican department released a new document pondering what role the Pope could play in bringing together the separated brethren of world Christianity. I hope this offer is taken seriously. Because what remains compelling for Catholics is a figure who makes it possible, at the most foundational level, to say that the Church is One, as per Jesus’ prayer in John 17:21, and all without needing to rely on good digital marketing. It is not just pious sentiment for a Catholic to say that they are genuinely connected to a global family of as many as 1.4 billion people, because they share a pastor who claims to serve the whole thing, the ‘servant of the servants of God’. Any critique of the Papacy - and there are many intelligible ones, raking over the sordid moments or disputing the Scriptural evidence - must, though, rankle with that: what really keeps us together, then? The Catholic insistence has always been that saying ‘Jesus’ or ‘the Holy Spirit’ really amounts to saying: “what I think Jesus wants; what I think the Holy Spirit is saying” - and that is, in effect, actually many popes instead of just 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

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief