I stood in front of the painting long enough that my neck hurt from craning upward, long enough to make the connection that onlookers that day likely held a similar stance as they watched Jesus of Nazareth on the cross. Francisco de Zurbarán’s massive 1627 painting The Crucifixion hangs in gallery 211 of the Chicago Art Institute. Viewers must stand back from the piece and gaze upward in order to take it all in. Zurbarán depicts the point just before Christ takes his last breath. His body leans forward from exhaustion; his head hangs downward. All details of any background activity are absent, the black backdrop a jarring juxtaposition beside his pale, bruised skin. The artist’s use of light intensifies the stark pull of sympathy towards a body that is both clearly suffering and yet somehow beautiful. At the time, I wasn’t sure what I believed about Christianity. But there was something about the painting I couldn’t stop trying to grasp.
There is indeed something about beauty that for many of us is intensely spiritual. Whether peering into the natural beauty of a majestic waterfall or the exquisite lights of the Eiffel Tower, many describe a connection between beauty and the transcendent in religious terms—at times, even contradictingly so, our own theories of the world either undercutting or cutting off the very possibilities we want to espouse. For many of the minds I admire today, beauty is both a compelling part of their faith and compelling evidence for God’s existence. A blind and mechanistic universe cannot answer for the longings stirred by earthly beauty. Stated more personally, I could not account for the longings stirred by the beauty of a suffering God in person. Staring at Jesus in The Crucifixion, I could not explain the quality of beauty that seemed distinctive of his very soul—choosing even in pain and death to forgive tirelessly, though surrounded by people who do not. As a hen uses her wings to gather her chicks, there are indeed times I suspect the Spirit uses beauty to bring us quietly before the Son.
There are also times when the opposite is true and it is the absence of beauty that leaves us scattered and scurrying, aware and afraid, and longing for the shelter of divine wings. Good Friday offers such an occasion. In Christian churches all over the world yesterday, the last moments of Jesus were remembered and reenacted in various ways. In his final moments before he would be tortured and killed, he shared the Passover meal with his closest friends. He washed his disciples’ feet and he tried to comfort them, though death no doubt loomed with suffocating force. In some services, following a foot washing ceremony or a last celebration of the Lord’s Supper before Good Friday, a ceremony called the Stripping of the Altar concludes the worship service.
I was privileged to participate in such a service one year at King’s College Chapel, the stunning cathedral built by Henry VI in 1446. With a deafening silence that amplified the sense of heaviness at the approach of the crucifixion, objects were removed piece by piece from the altar: communion chalice and plate, the altar cross, the holy Bible, the altar candles, the liturgical coverings. As the altar was slowly stripped to a stark table, the dramatic Tudor glass windows were simultaneously growing dark as the sun set. I was struck with the impending sense of death. What happened next unexpectedly heightened that sense. Behind the altar, a massive painting by the artist Peter Paul Rubens portrays Jesus as an infant in Mary’s arms; the magi are gathered around in adoration, leaning toward the child expectantly. The sound of the painting being shut was jarring; the echo sounded like the closing of a tomb.
But it was the image of the baby suddenly and jarringly absent, beauty extinguished, that finally compelled tears. As the congregation exited in silence, I left thinking about the crucifixion in way I hadn’t before. I left with the disquieting thought of God’s absence—a Son crucified, a mother mourning, a world without Christ.
In his famed Nobel Prize acceptance speech Alexandr Solzhenitsyn eloquently hoped aloud that when the day comes that truth and goodness are crushed, cut down, not allowed through cultures and minds, then perhaps the fantastic, unpredictable, unexpected stems of beauty will push through and soar to that very same place.(1) Today, on this Good Friday, it is the absence of Christ, the death of truth and goodness and beauty himself, that pushes through, pleading with a noisy world to stop and listen to the deafening silence, which just moments earlier heard him plead: Father, forgive them, for they know not what they do.
Jill Carattini is managing editor of A Slice of Infinity at Ravi Zacharias International Ministries in Atlanta, Georgia.
(1) Alexandr Solzhenitsyn, Nobel Lecture in Literature 1970, from Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, (Singapore: World Scientific Publishing Co.: 1993).