Beauty Goodness and Truth

Reminders of Divine Beauty in The Book of Common Prayer

Anglican artists, writers, and musicians, have found deep spiritual significance in our encouter with beauty in the natural world, and they have left us with abundant examples of beauty in the places and things of worship. Our liturgies have been shaped by faithful people who, echoing the Psalmist, have sought to glorify “the fair beauty of the Lord.” It is therefore somewhat surprising to notice the relative paucity of references to beauty in The Book of Common Prayer, though the concept is interwoven in its many texts. In subtle and in sometimes hidden ways, beauty nevertheless functions as a significant concept in our prayers.

For Anglicans, The Book of Common Prayer [hereafter as BCP] functions as a resource for our prayers. And, in time and through practice, it becomes the source of our prayers, especially in the way that it is founded upon, and leads back into the Holy Scriptures. We are open to individually-crafted voluntary prayers offered for specific occasions. Yet, in our experience, these ‘unscripted’ prayers characteristically also become formulaic and repetitive in content as well as in phrasing, just our BCP prayers are sometimes said to be. As Anglicans, we find that – like practices handed down over generations – prayers shaped by communities also become ‘hallowed by time.’

Further, we hold in common a premise upon which Anglican Christians have typically relied. We often find our basic doctrine expressed in our prayers, though we do not usually look to our prayers to find nor to establish our doctrine. For it would be contrary to the spirit of this approach if we were to conclude that, by simply changing our prayers, we would then change our doctrine. Therefore, in the same spirit, the phrases that I cite here from the BCP are authoritative because they are true, rather than true as a result of coming from what we consider to be an authoritative source.

From the BCP, we are reminded about many things concerning Beauty, among them that:

⁃ Beauty is an attribute of God
⁃ God’s beauty is manifest in God’s handiwork in Creation, and therefore {by implication} manifest also in us, and between us
⁃ Creation is permeated with God’s beauty and grace, which is a reflection of God’s goodness as well as of divine truth, God’s own nature and a characteristic attribute of God’s creative activity
⁃ When we behold the beauty with which God has imbued Creation, we rejoice and experience joy as we encounter the presence of God’s love for the world and for us
⁃ Having this encounter, we perceive how God has given us work to do in truth and beauty and for the common good

Goodness, Beauty, and Truth, are attributes of God’s being and nature. How do we know this? We see the reflection, even the manifestation, of these transcendentals in the things that are created and here for us to behold and encounter. When we encounter these transcendentals in the things that are made, we encounter these attributes of God, not merely the residue of God’s action. And in so doing, we experience peaceful joy. This joy in us is our experience of God’s love for God’s work, the fruit of God’s creativity.

We often experience a disconnect between ourselves and our work, between who we are and how we act. With God, there is no such disconnect. God’s being and activity are indivisible, even if we distinguish them in our reflection. For at least in traditional Christian doctrine, God is all good, all knowing, and all powerful, dwelling outside of time, but acts and is fully present within it.

In our reflection therefore, God’s work of Creation and God’s work of Redemption may and should be distinguished but not confused nor separated. The principal reason for this is our recognition of the fallen state of Creation and of our human nature within it, to which God’s loving work of Redemption has been addressed.

As I previously reflected, in both Creation and in Redemption, God has formed and shaped the world and its inhabitants so that the world through God’s Creation is good and beautiful, and also a repository for what is true. Through Redemption, God embraces and transforms fallen Creation in such a way so that all that is amenable to fulfillment and completion in Christ may come to be so, and those things that are not amenable to the same have no future in Christ. Along with Truth and Goodness, Beauty plays a principal role in this ongoing process.

A Collect from The Book of Common Prayer

As a portion of Psalm 90 can be translated, “Let the beauty of the Lord our God be upon us, and prosper us for the work of our hands!” And in Psalm 96, we find: “Sing to the Lord a new song; sing to the Lord, all the earth… Honor and majesty are before him; strength and beauty are in his sanctuary.” And so, by divine grace, may these attributes of God and of the Risen Lord be present in our midst, and within us.

For reference, and as background material for the above, I include here some specific sources in the BCP for what I have shared:

In the BCP section, Prayers and Thanksgivings [BCP:814], Prayers for the World, from the Collect, For Joy in God’s Creation [BCP:814], we are reminded that:
⁃ Our Heavenly Father has filled the world with beauty
⁃ We ask God to open our eyes so that we can then behold God’s gracious in all of God’s works
⁃ So that, by rejoicing in God’s whole creation, we may learn to serve God with gladness, for Jesus’ sake, through whom all things were made
⁃ In other words, we find this implied sequence of ideas: —> God has filled the world with beauty -> God opens our eyes -> we behold God’s gracious hand in God’s works -> thereby we rejoice in God’s whole creation -> in the process, we learn to serve God with gladness

From the Collect for “The Transfiguration” [BCP:243], we are reminded that
⁃ We ask God to grant that we might be delivered from the disquietude of this world, so that we may by faith hold the King in his beauty, who with the Father and the Holy Spirit lives and reigns, one God, world without end

From the Collects for “Various Occasions,” the Collect for Vocation in Daily Work” [BCP:251], we are reminded that
⁃ Almighty God, our Heavenly Father, declares his glory and shows forth his handiwork in the heavens and in earth
⁃ We ask God to deliver us in our various occupations from serving ourselves alone, so that we may do the work God has given us to do in truth and beauty and for the common good

From the liturgy for “The Dedication and Consecration of a Church” [BCP:567ff], we are reminded that
⁃ We give God thanks for the gifts of God’s people, and for the work of many hands, which have beautified places and furnished them for the celebration of God’s holy mysteries
⁃ We ask God to accept and bless all that we have done, and to grant that in these earthly things we may behold the order and beauty of things heavenly
⁃ Through Jesus Christ our Lord

From the “A Litany of Thanksgiving for a Church” [BCP:578, from within the above liturgy], we are reminded that
⁃ we thank God whom we worship [here] in the beauty of holiness

In the BCP section, Prayers and Thanksgivings [BCP:814], Prayers for the Church, from the Collect, “For Church Musicians and Artists,” we are reminded that
⁃ Saints and angels delight to worship God in heaven
⁃ We ask God to be ever present with his servants who seek through art and music to perfect the praises offered by God’s people on earth
⁃ And, to grant to them even now glimpses of God’s beauty and make them worthy at length to behold it unveiled for evermore
⁃ Through Jesus Christ our Lord
⁃ {and thus that God’s beauty is unveiled to those faithful who have gone before us to the other side}

In the BCP section, Thanksgivings [BCP:836ff], by “A General Thanksgiving” [BCP:836], we are reminded that
⁃ we thank God for the splendor of the whole creation, and for the beauty of this world
⁃ {and} for the wonder of life, and
⁃ for the mystery of love

In the same section, by “A Litany of Thanksgiving,” we are reminded that
⁃ we “give thanks to God our Father for all his gifts so freely bestowed upon us”
⁃ {and} for the beauty and wonder of God’s creation, in earth and sky and sea

Among the “Thanksgivings for National Life” [BCP:838ff, by the Thanksgiving “For the Nation,” we are reminded that
⁃ we thank almighty God for the natural majesty and beauty of this land, which restore us though we often destroy them

From among the “Thanksgivings for the Natural Order” [BCP:840ff], by the Thanksgiving “For the Beauty of the Earth,” we are reminded that
⁃ We give our most gracious God thanks for the beauty of earth and sky and sea; for the richness of mountains, plains, and rivers; for the songs of birds and the loveliness of flowers
⁃ That we praise God for these good gifts, and pray that we may safeguard them for our posterity
⁃ we ask God to grate that we may continue to grow in our grateful enjoyment of God’s abundant creation, to the honor and glory of God’s name

Note: I have retained and employed the pronouns and grammatical style employed by the 1979 Book of Common Prayer, which continues to be our primary and most widely shared reference point for theological expression and beliefs. Our beliefs are founded upon Scripture, which always provides the standard for a community that believes that prayer both reflects and shapes belief. And the Scripture that we “read, mark, learn, and inwardly digest” is the Scripture that has been received and confirmed by the believing community of the wider Church through the centuries. Different Christian communities of course prefer differing translations of the Bible. Here, for Anglicans, Scripture is authoritative as we are guided by an ancient maxim attributed to St. Vincent of Lérin: What has always been believed by everyone, everywhere. Very little, it may seem, wholly fulfills the requirements of this maxim. Yet, what comes closest to fulfilling it is therefore most authoritative for us.

Being True, Being Good, and Being Beautiful

James Tissot, *Christ Appears on the Shore of Lake Tiberius*

“To thine own self be true.” This familiar adage is now known to many people through their experience with 12-Step Recovery programs. Yet the phrase is traced back to its appearance in a play by Shakespeare, and hearkens back to a simple statement attributed to Plato from the pre-Christian Classical period, “Know thyself.” One way to understand being true to ourselves involves living toward spiritual wellness and in an ethical manner. If these pursuits are of value to us, we may be open to receiving counsel about how we can be truthful, and good in our conduct, even if we are not comfortable with the degree of our adherence to these ideals. But to be beautiful?

Here, modern translations of the New Testament may provide a benefit to our thinking about questions like these. In our contemporary sensitivity to employing gender-neutral and inclusive language, sayings from the lips of Jesus or in the Letters of Paul are often cast in plural language. The potential benefit to us may lie in the encouragement we can receive to think in corporate or in community-minded terms.

We often need to remind ourselves to think about our lives with a wider frame of reference, for we are so much more than individuals with only chosen or willed connections and relationships with others. We will be truer to the message of Jesus and the teaching of the New Testament when we are equally attentive to our membership in the Body of Christ, the Church, within the Communion of Saints. Our baptismal identity is shaped fundamentally not by what we do, but by our grace-enabled incorporation within the community of the Risen Lord.

In other words, we can learn to receive and follow gladly the advice that we be true to ourselves when we do so as members of the Body of Christ. We can then see ourselves in more expansive terms than those based merely upon our physical birth identity as unique individuals, our social status, or upon our achievements.

One way to understand Jesus’ use of the mysterious phrase, the Son of Man, is to see this title in terms of the transformed personhood we apprehend in the Risen Lord. As such, he embodies for us the ‘true’ and fully redeemed human person and therefore the full goodness of human being. If so, the Risen Christ also embodies for us the fully realized beauty of both created and also redeemed human personhood. In him we find our new baptismal identity in communion fellowship with one another, which is the distinctive characteristic of participation in the Risen Body of Christ. We are, in Christ, people living together into the beauty of his Resurrection.

James Tissot, *Meal of Our Lord and the Apostles*

Here is the challenge that arises with disciplining ourselves to think in these corporate and communal terms. In the culture in which we live and raise our children and grandchildren, beauty for us is most commonly thought of in visible, physiological terms. Perhaps encouraged by the advertising and media to which we are contstantly subjected, we pursue pharmaceutical products, health and exercise regimens, and even plastic surgery. We do so in search of achieving outward beauty of a kind communicated to us by others as a goal we need to seek.

We then lose sight of inward beauty, the beauty we can attain as persons who mature, become wiser, and more generous in our viewpoints. I have previously written about Sister Wendy Beckett, who I have described as one of the most beautiful persons I have come to know through my reading and media viewing. Outwardly, it must be admitted, Sister Wendy was not the kind of person whose countenance would be featured on magazine covers as an exemplar of physical beauty. Our view of what it means to be fully human is diminished if we do not also see how she, over her long years of life as a solitary devoted to prayer, became one whose face and physical presence radiated the beauty of the Risen Lord.

In this Eastertide, we hear stories from the Gospels that are echoed in passages from Acts of the appearances of the Risen Jesus, returning to his first followers. He came into their presence, encouraging and strengthening them for mission as witnesses to his realization of God’s hopes and plans for all people, for we all are God’s beloved. By grace, we are among those who have been embraced by this mission, as are those who have yet to hear and receive the hope of the Gospel. Too quickly, we assume that in the lives of hearers and readers of these stories the appropriate fruit of these appearances will be manifest primarily in truthful speaking and admirable conduct. As a result, we neglect to imagine how these stories also encourage us to embody the Beauty of the Risen Lord.

“He is Risen! The Lord is Risen, indeed!” These are wonderful phrases for us to repeat, and take to heart in this season of the Great Fifty Days. We can find in these words their intended corollary: For us who are baptised, ‘we are risen’! We are risen, indeed, and called to live into the Way, the Truth, and the beautiful Life into which the Risen Lord has invited all people. And he has made this possible for all who might be open to receiving this wonder-filled message.

Good Friday 2026

Stanley Spencer, *The Cruicifixion* (1958)

(This week, I am offering a Good Friday homily that I have shared before.)

In the Passion Reading for this day, we are reminded of the dark spectacle of what human cruelty can accomplish. With Jesus, it was a vain attempt to obliterate the most beautiful human being who ever lived. Thank God, we have no photographs of the horrifying things that were done to him, but only paintings. But consider this paradox: the beauty of art has provided a way for us to a reflect on one of the darkest examples of human violence.

Paintings of our Lord’s Passion seem divided into two broad groups. There are those concerned to portray the grim reality of Roman execution. And, there are those inclined to explore and express the inner redemptive significance of what happened.

At the center of any portrayal of the Crucifixion of Jesus is an inescapable fact ~ that it was an act of political and judicial violence, where the forces of earthly injustice pretended to act in the name of human truth. The corollary to this is how Jesus’ subsequent Resurrection restored heavenly justice in the name of divine truth. Paintings of Jesus’ Crucifixion, and those of his Resurrection, usually give attention to his wounded body, even though his wounds then appear transformed on the Third Day. After all, this is one way the disciples recognize him after his death. How the death-marked body of Jesus looked after his resurrection, also provides a preview of his appearance at the end of time.

Charles Wesley’s Advent hymn, “Lo! he comes, with clouds descending” offers words that also apply to Good Friday.

“Every eye shall now behold him,
robed in dreadful majesty;
those who set at nought and sold him,
pierced and nailed him to the tree,
deeply wailing, deeply wailing…
shall the true Messiah see.

Those dear tokens of his passion
still his dazzling body bears,
cause of endless exultation
to his ransomed worshippers;
with what rapture, with what rapture
gaze we on those glorious scars!”

It is natural to imagine how the people directly responsible for Jesus’ death, from Judas and the high priests, to Herod and Pilate, might be overcome with grief at the triumphal Second Coming of the Lord. Those who pierced him might feel themselves pierced by awakened guilt and remorse. Indeed, for every one of us, seeing the fruit of our mischief and misdeeds can provoke us to tears.

But I think Wesley was getting at more than repentance and contrition. Surely, seeing the full beauty of the glory of our Lord, with his wounds transfigured, will also summon our tears — but with tears of joy. Wesley, prayerfully and with sensitivity, has given voice to the profound power of beauty. Especially when it is discerned in the most unexpected of places – in the face and body of the Crucified One. Love… the most profound love beyond human imagining, is manifest in the face and gestures of the crucified messiah. For he reaches out his hands even to forgive those who have tortured and sought to kill him. This is the most beautiful thing we could ever see.

As we pray in a Morning Prayer collect, “Lord Jesus Christ, you stretched out your arms of love on the hard wood of the cross that everyone might come within the reach of your saving embrace…”

Perceiving all this helps us make sense of the paradox at the heart of Jesus’ Crucifixion. For, in it, we perceive the dramatic juxtaposition of serenity with antagonism, of beauty with its dark opposite, and of moral good with apparent evil. We can see this in two paintings I have included with your worship bulletin: Hieronymus Bosch’ painting of Christ Carrying the Cross, and Stanley Spencer’s 1958 painting, The Crucifixion. Looking at them, I encourage you to join me in asking an awkward question: with which person or persons in these paintings do we identify?

Hieronymus Bosch, *Christ Carrying the Cross*

Though some 500 years apart, both painters portray the tranquil appearance of the peaceful heart of Jesus, even in the face of vicious hostility. And like Bosch, Spencer helps us see what the beautiful One in our midst sometimes provokes. Especially when the shining light of his presence exposes the dark shadows within and around us. For his light sometimes prompts fierce anger and envy, as well as a callous indifference to cruelty and suffering. Things of which we are all capable. And we are likely to have much invested in denying this ugly truth. Strangely, when confronted face to face with the divine opposite of our perversity, we will either fight the light that we encounter, or surrender to it. The Passion Narratives give us examples of those who resisted and even fought against the Light of the World. For we sometimes fight against the disturbing possibility that Jesus will conquer our pervasive ungodliness. And so, consciously or not, we try to do away with his godliness.

An encounter with true beauty can be unsettling and troubling, especially if we have already settled for so much less. We may often hope for the triumph of good over evil, that beauty will overcome darkness, and serenity will displace antagonism. But we cannot find it within ourselves to do more than hope. We cannot achieve the redemptive resolution for which we haltingly reach out with our feeble hands and hearts.

It is not an accident that the figure of Jesus in Stanley Spencer’s painting visually recedes in the foreground, while those who oppose and crucify him grab our interest and attention. Spencer, after mastering traditional realism, adopted what he called a neo-primitive style. He was a gifted colorist, and highly proficient with composition. And so, as Spencer has rendered him, Jesus’ skin tone and color roughly match that of the wood of the cross, as well as the clothing of the man with the hammer swung over his head. Spencer’s rendering of the Lord’s skin tone and color also match much of the sky and the ground below… including the tunic of Mary Magdalene, prostrate at the foot of the cross. This forms a compelling visual symbol. For Jesus totally identified with us, in his Incarnation, and in his Crucifixion. His crucifixion symbolizes his complete joining with us, and with our world of wrenching hurts and suffering.

In fact —as we see in Spencer’s composition and coloring— it is precisely because Jesus blended in so well with everyday life, that those who opposed him could literally gain the upper hand, ultimately with hammers and nails. (For he did not call down an army of angels to help him, as he could have.) But this is the marvel of the incarnation of our God in Jesus. The fullness of divinity thoroughly became joined with our fallen humanity. As the Gospels attest, this joining was so complete that many did not notice or have regard for his divinity. When we do notice his total identification with us, when we come face to face with the truth it represents, we have either one or the other of two reactions. We throw ourselves down in humility before him. Or, we seek to throw him down, to humble him before us.

These paradoxes are brought to their greatest prominence when, as he predicted, he is lifted up. His lifting up is his glorification, and the glorification of God within him. Yet his lifting up is on a cross, and in the agony of a humiliating public execution. Here we see the ‘strange beauty’ of our Lord — a beauty for which churches and museums better prepare us than do our malls and most TV shows.

So, let us “behold the fair beauty of the Lord, and … seek him in his temple.” We will find him! We will find him in the “temple” that he promised to raise in three days.

Attached here is a link to a handout that I have used in connection with this homily.

Good Friday Handout_Bosch and Spencer_Legal Horizontal_PDF Download

Additional note: Those interested in further reflection on some of the Holy Week themes raised here might wish to read my prior post, “The Beauty of What God Can Do, and Is Doing.”

Finding Beauty in Easter Living

A book for the New Church’s Teaching Series

Visitors to this space are familiar with my fondness for the words of St. Richard of Chichester: “Day by day, dear Lord, of thee three things I pray: to see thee more clearly, love thee more dearly, follow thee more nearly, day by day.” The theme can be expressed more compactly: We seek to live more nearly as we pray. These words voice our desire to walk a path of beauty in life, such as we find in ‘Easter Living.’

While serving as an Assistant Professor at one of our seminaries in The Episcopal Church, I was invited by the editor of the New Churches Teaching Series to write the volume on Ethics and Moral Theology. This was the third such series of books going back to the 1950’s that seek to provide learning for persons interested in our tradition. Books in these series have addressed a wide range of areas in faith and community life pertinent to our common desire to become informed members. I wrote my book while teaching its content in the seminary, and in about 10 different parish weekend teaching events in Episcopal churches across the country, ‘field testing’ the material. My book was published in 2000, and is still in print. I wish to note that proceeds from all the books in this series were and are donated to the Anglican Theological Review, an independent journal offering the fruits of scholarship for the benefit and educational formation of those within as well as beyond the academy.

At the time of being granted tenure, a seminary trustee asked me what the title of the book implied about its content. It became evident that her concern was focused on my use of the word “after.” I was able to explain that I used the word to mean “in light of.” The book’s title is an indirect tribute to the theological vision of my doctoral supervisor, Oliver O’Donovan, then Regius Professor of Moral and Pastoral Theology at the University of Oxford, whose book, Resurrection and Moral Order, has had a profound impact upon my thinking.

It may be helpful to clarify that I use the terms “Christian ethics” and “moral theology” interchangeably. However, it is worth observing that many within the wider Protestant tradition tend to prefer the term “Christian ethics,” while those within the wider Catholic tradition tend to use that of “moral theology.” Note that “ethics,” as a named field of inquiry without the religious qualifier, is generally understood as a branch of philosophy, which may or may not observably underpin theological writings relevant to this field.

I would like to highlight a number of themes evident within and or suggested by the structure my book, which I think are particularly relevant to Christians at this point of time:

Foremost, the interdependence between ethics and spirituality, which I refer to as ‘two sides of the same coin’ despite their separate spheres of concern.
The centrality of Baptism in the lives of every Christian believer, and its implications regarding the vital relationship between what we believe and how we live
Our historic Anglican dependence upon the natural world as a source of insight about the Creator’s intentions for us and for our lives. This reflects our traditional emphasis upon the Incarnation of our Lord in human embodiment. We look for the complementarity between – but do not equate nor confuse – what the Medievals called the Book of Nature and the Book of Scripture, ‘written’ by the same Author, while having different even if overlapping purposes.
The distinctions that I offer between what I call “laws,” “manners,” and “moral principles.” Neglecting to distinguish among what these terms represent frequently causes confusion.

The final chapter of the book moves from elaboration of basic principles in Christian ethics/moral theology to an application of these principles by offering a methodological approach to how they might be applied with reference to a particular set of ethical questions, centering on how we approach a broad concern for all of us: “Should a Christian ever been involved in or associated with an act of violence?”

I wish to stress that this is not a book about “issues.” My goal was -and remains – an effort to recover and present the foundations of a solid Christian world view for how we might best approach any issue that may be of concern. So, this is not a book where you can turn to the index and look up such matters as capital punishment or a discussion of what might be a fair interest rate on loans. I try to remain careful about observing the important distinction between moral or ethical principles that we might share, and particular policy implementations that we then undertake to reflect or enact those principles in our common life.

For those who may be interested, I include here a précis of the structure of my book, articulated in the series of Axioms that are appended within it, as well as bullet point chapter summaries:

EAE_Axioms & Chapter Contents Amplified_for 2026 Download

Walter Inglis Anderson and the Beauty of Humanity

Walter Inglis Anderson, Self-Portrait from above

Perhaps like Henry David Thoreau or John Muir, a gifted painter named Walter Inglis Anderson came to discern some things of great significance within the visible beauty latent in nature. Like his venturesome forbears, he did this by seeking out an area of wilderness. It became his habit to row out the ten or so miles to Horn Island in the Mississippi Sound, where he slept on the sand using his upturned dinghy as his hermitage. Out there amidst the shifting dunes, with only the shell of his boat for cover against storms, Walter Anderson perceived more of who he was as he experienced harmony with what was around him. In time, compelling objects of his attention became for him fellow-subjects apprehending the splendor of Creation.

A shoreline inhabitant whose common name (‘hermit’ crab) was often derisively applied to Walter Anderson

Paradoxically, by his solitary coastal journeys, a man who had suffered bouts of mental illness became aware of an elusive but precious quality that he shared with those from whom he was isolated. His transient island resting places, where he spent weeks at a time over the course of twenty years, provided him with fleeting glimpses of what it might mean to be more fully human. There, away from others, he experienced moments when he felt he had become who he was meant to be.

As one writer has put it, “Anderson’s isolation from humanity convinced him, in the end, of humanity’s beauty… [He] believed that if we re-established our primal relationship with nature, we would regain our beauty.” Walter’s youngest son, John, summed it up succinctly: “Solitude was a tool that helped him to find unity with all people and all creatures.”

Anderson’s portrayal of himself rowing out to the island

Walter Anderson expressed the point compactly in one of his Horn Island logbooks: “In order to realize the beauty of man, we must realize our relation to nature.” His son, John, later explained what his father had meant by this. “I think that in those twenty years that he was living in solitude on the wilderness island, he was attempting to realize his relation to nature so that he could realize the beauty of humanity.”

Underlying these words, and the perception they express, may be a nature-mysticism of the kind often associated with Thoreau and Muir. I also find an affinity here with the spirituality we can discern in traditions as widely different as Zen Buddhism and the writings of Christian monastic solitaries.

Eugene Peterson’s rendering of Jesus’ words in John 12:25 (in context), captures a similar perception: “Listen carefully: Unless a grain of wheat is buried in the ground, dead to the world, it is never any more than a grain of wheat. But if it is buried, it sprouts and reproduces itself many times over. In the same way, anyone who holds on to life just as it is destroys that life. But if you let it go, reckless in your love, you’ll have it forever, real and eternal.”

To this mystical vision of the world I think we can also connect an insight attributable to St. Augustine of Hippo, regarding what we love, and how we love. If we love ourselves and our lives, or the world around us, for our own sake, we belong to the ‘city of the world,’ and we live turned away from God. Yet, if we love these same things for God’s sake, we belong to the City of God, and live in a God-ward way. Here it is important to remember that to love in the latter way that Augustine commended may not necessarily be an activity that we undertake with conscious awareness.

It is actually possible to love God without ever consciously intending to do so. I believe this was the case in the adult life of Walter Anderson. It happens when we love what God dearly loves. And such true love can be expressed unconsciously, in ways that may be apparent to others while not to ourselves.

This truth connects the experience of the non-religious nature mystic with that of the religious contemplative, as both in various ways are focussed upon the Beauty inherent in Creation and within our human experience of Nature. This brings joy to the Author of Creation, who so loves the world that he has brought us into the new life that – through the Word made flesh – he now shares with us.

Emphasis has been added to the Eugene Peterson quote above. In a later post I will offer further reflection on Walter Anderson’s life and work, including his wondrous artistic creations, among which are paintings and drawings, as well as ceramics, linoleum prints and patterns for fabrics.

The Act of Joy

An icon of Thomas Aquinas, by Nicholas Markell

A joy that many of us have occasion to experience – either directly or through friends and extended family – accompanies time with young children. Preschool and kindergarten teachers are by the nature of their work in the most favorable position to have this opportunity. The experience of joy we associate with time given in this way stands out for me because it is a shared joy – one shared with and inspired by those young ones who exemplify this virtue. For me, this experience has been awakened especially by my interaction with my granddaughters.

I have written previously about activities that I have enjoyed with our grandson. He shares being a grandchild of ours with six young ‘ladies’ in various stages of growing maturity. Here, I find myself musing about the wonder I have experienced with our granddaughters, who have been the source of some unique experiences for me. Having grown up with three brothers and no sisters, and having three sons and no daughters, I am encountering and learning things with my granddaughters for which I have not previously had the opportunity to experience first hand.

Among our granddaughters is one whom I like to describe as being ebullient. For she just naturally models energetic cheerfulness. She has her challenges, as we all do. But she approaches each new day’s activities with a joyfulness and positive spirit that are infectious. Though being a patient and engaging grandfather is still a growth point for me, I delight in her youthful exuberance.

An image that reminds me of my granddaughters among autumn leaves

I have mentioned before an icon of St. Thomas Aquinas that I particularly value (shown above). I have seen this image attributed to Brother Robert Lentz, but now believe it is by Nicholas Markell. This icon shows Blessed Thomas holding a small plaque with the following words: “Joy is the noblest human act.”

For many of us, joy is a welcome feeling and as such we think of it as something ‘that happens to us.’ Like love and forgiveness, joy therefore is generally an experience we anticipate receiving passively, and an experience for whose value we often rely upon feelings as our guide.

The beauty of Markell’s icon, and the quotation it features, is the reminder it provides that joy is also something we choose, something we do, and not simply something that we happen to feel. We rejoice; we can choose to enjoy; and we are able to express our joy about things we encounter or experiences that we have with others.

We experience joy when we read good books with our grandchildren

We live in a culture that tends to distrust expressions of joy, even though most people we know – and us with them – are sadly in want of it. Perhaps it’s because we encounter so few examples of spontaneous, genuine, and selfless joy, inspired by what we see around us. Is this because there is less beauty in the world these days, or are we less prepared to perceive it? My reflection and training incline me toward the latter belief.

Joy is not one of the seven formally identified virtues taught to us by the greater Christian Tradition (among then, faith, hope, charity {or love}, prudence, justice, temperance and fortitude {or courage}). Yet, the traditional listing of virtues is not meant to exclude naming others, but rather to help us perceive their common source as well as their unity, being gifts given to us through Creation and through Redemption. Like other virtues, joy is a human capacity and a strength that we can develop through practice.

The rite for Holy Baptism in The Book of Common Prayer includes words that are prayed over candidates after they are baptized. Some of these words are particularly appropriate when thinking about the joy we often see expressed by children, but are also about something that we pray will be given to adult candidates for Baptism. In the rite, the officiant asks God to give the newly baptized persons “an inquiring and discerning heart, the courage to will and to persevere, a spirit to know and to love you, and the gift of joy and wonder in all your works.”

Here we discern a principal attribute of Beauty. In Beauty, among God’s works, we find a repository of joy and a source of wonder. For the beauty that we find in the world embodies and expresses our Father’s love for his Creation. Encountering this love brings us joy as we perceive its source and embrace him.

Today, I am thinking about the joy that each of my grandchildren encourages me to experience with them. I notice the natural joy that many children seem more able to find than do adults of my age. More readily, children delight in the world around them and in the experiences they are blessed to have. At the same time, and especially in this next phase of my life, I am reminded that joy – like Beauty, Goodness, and Truth – is not simply passively experienced. More importantly, joy is something that I want to – and can – practice.

So, with my grandchildren, I choose joy!

I close with a prayer attributed to St Francis, which speaks of joy as something we can contribute to a needy world:

Lord, make us instruments of your peace. Where there is
hatred, let us sow love; where there is injury, pardon; where
there is discord, union; where there is doubt, faith; where
there is despair, hope; where there is darkness, light; where
there is sadness, joy. Grant that we may not so much seek to
be consoled as to console; to be understood as to understand;
to be loved as to love. For it is in giving that we receive; it is
in pardoning that we are pardoned; and it is in dying that we
are born to eternal life. Amen.

Reinhold Marxhausen and Finding Beauty

I am currently leading an adult learning group on the theme of Art, Beauty, and Transcendence. Some wonderful observations were offered by my fellow learners at our first session. After inviting our participants to introduce themselves and share a recollection of a memorable encounter with Beauty, I provided a discussion prompt: Is Beauty essential, or is it a luxury? We seemed to share a consensus that it is an essential part of our lives. And then a participant said, “I find Beauty everywhere!”

Hearing this, I thought of Reinhold Marxhausen, a remarkable artist and teacher who had a vision for how we all might approach our daily encounter with our ordinary, everyday circumstances. His captivating approach to life impacted many people beyond the classroom and studio – me among them. Here is one way to sum up the vision he shared with others: “Beauty can be found everywhere – you just need to look for it!” So simple is this message that I am sure it has more often been dismissed than pursued as a practice.

Reinhold Marxhausen did not just send folks away to try this on their own; it became his mission to show people how to do it. This is made clear in a video of his appearance on the David Letterman show, with the interviewer doing a great job of giving rein to the artist’s creative spark and communicative abilities. Marxhausen‘s Letterman show appearance can be found on YouTube.

Reinhold Marxhausen on the David Letterman show, March 25, 1986

I continue to be intrigued by what Marxhausen’s abiding belief implies- that Beauty is found, in addition to how we are led to it by others, or more simply that it is something we just designate for ourselves. These are three different ways that we might encounter Beauty as a feature in our lives, if not as something even more profound for how we view our lives and the world.

Readers of my posts in this space will be familiar with the parallel I have discerned between the three principal forms of jurisprudence (or theories about the source of Law, and three main sources for our concept of the Good in our understanding of ethics. Found, received, and or made, are the three terms I use to summarize these three approaches to where Law comes from, as well as for sources of our notion(s) of the Good. In offering this summary, I do not exclude the possibility of other sources for Law and or the Good.

More expansively, according to the first view (1), Law and the Good are entities written into the structure of ‘reality.’ As such, these things are ‘there’ for us to find. Another possibility (2), sees Law and the Good as worthy principles we receive from those who have come before us, as things commended to us by longstanding traditions. We sometimes describe them as things that have stood the test of time. A third possibility (3) is that Law as well as the Good are sets of principles about which we come to agreement, or decide upon and enact for ourselves and others. Hence they are things of our crafting, things that we ‘make,’ as we project our preferences outward upon the world. Formal labels for these three approaches include natural law or Creation order (1), historicism or common law (2), and positivism or civil law (3).

Here is something I want to stress: we are rarely consistent in how we think, perceive, and understand important aspects of our lives. We should therefore anticipate an overlap between these several conceptual categories for how we think about Law and about ethics. In other words, a ‘both-and’ approach regarding them may be much more appropriate than seeing them in an ‘either/or’ way.

So, is Beauty amenable to a similar analysis? I think it is. For Beauty is found (1); we also discern Beauty in the company of others and through their guidance (2); and we surely fashion notions about what is beautiful through personal preference and decision-making (3).

If you believe you have ‘found’ Beauty at some or at many points in your life experience, would you be content to accept the proposition that your encounter with Beauty is actually reducible to the social impact of others upon your perception, and or that it was and is merely the result of personal preference and choice?

Beauty: Found, Received, and Made

A photo from Èze, France (by my brother)

While undertaking my studies in ethics and moral theology, I discerned a significant parallel that has continued to shape my world-view. The parallel I have in mind connects how we understand law with how we understand ethics. In turn, I have come to see how this discernment applies also to how we appreciate beauty.

First, about where law comes from. As I understand it, there are three principal theories about our source or sources for law, formally termed theories of jurisprudence. They are not mutually exclusive, and may function for us in overlapping ways.

A common understanding regarding the source of law views the concept of law as fundamental to and discernible within the structure of reality. Law in this first sense is something we find, written into the patterns of the world, and of its many aspects. This idea gives rise to, but is not the same thing as, the so-called ‘laws of nature,’ or the principles that order the function of many things from the most basic particles within matter, and the function of waves like light and energy, the functions we discern within complex biological organisms however malleable they may seem to be over time, as well as within the structure of rationality.

A well-known expression of this first concept of law is latent within the familiar phrasing regarding what it means to be a human being: “we hold these truths to be self-evident…” That is, certain truths or principles are there to be found, by those who exercise our capacity for reason and discernment. A simple but sometimes misleading label for this first concept of law is ‘natural law,’ which some skeptics might argue is neither!

The second most commonly recognized theory of the source of law can be articulated by observing those principles and ‘rules’ long-rooted in the history of our communities, which we receive from those who have come before us. British Common Law, which undergirds much of our tradition of law in the United States, is a prime example. ‘Received from history,’ and long relied upon by communities, are two basic ways to label and identify this concept of law. The familiar refrain, ‘we have always done it in this way,’ provides a ready example.

The third way of understanding the source and character of law perceives law to be comprised of those principles and or rules that have been decided by individuals and communities. It is commonly called ‘positive law,’ a label that refers to the law that we posit, or put into place. The existence of law in this third category represents the assertion of will and of choice, for law in this sense arises from us as something we make, and is dependent upon our projection of what we wish or believe to be true. Many examples, from neighborhood clubhouse rules to Louisiana’s state constitution (resting upon the French Napoleonic legal tradition), are expressions of this approach.

These three theoretical understandings of the source of law are relevant for my own field of ethics. For in ethics, there are three principal bases for our concept of the Good, and upon which our notion of the Good rests, which correspond to three principal forms of jurisprudence or theories of the source of law.

Moonrise off the harbor breakwater in Antibes (photo also by Gregory Holmgren)

If this is correct, and I believe it is, then surely we can reason appropriately toward the same conclusion regarding Beauty as well as for Truth. For Beauty and Truth as Transcendentals play the same foundational role in our thinking as the Good, which functions as a principal reference point for ethics in human reasoning and experience.

This leads me to recognize how there are three principal ways of accounting for the source or sources of beauty. With regard to Beauty, positivists will contend that ideas regarding beauty are projections of those who hold them, whether by individuals or by communities. Historicists, in parallel with the common law tradition of jurisprudence, will say that notions of beauty are rooted in the histories of communities and the traditions, and are to this extent reliable guides for thinking about things. And – as follows from the preceding, those who accept the natural law tradition in jurisprudence are those most likely to view beauty as a given feature of reality, here and there for us to encounter, regardless of our shared traditions and personal aspirations.

In closing, I want to restate a point I made above. Whether we are accounting for the source or sources of Beauty, Goodness, and or Truth, we may prefer one or more of three ways I have articulated based on the three principal approaches to the sources of law. Yet, all three approaches are likely to figure into and be a part of our thinking. For example, we may think that notions of beauty are rooted in nature, while valuing how our Western tradition of art has shaped our thoughts and those of our community, while still also recognizing how we may be somewhat arbitrary regarding the forms or standards of beauty that we prefer to value and pursue! Especially because the first or second of these three approaches may serve as a corrective to and perhaps as also a check against the potential liabilities associated with the third.

What Distinguishing Religion, Science, Magic, and Technology, Might Teach Us About Beauty

Peter Kreeft has written an illuminating essay on the use of indirect communication by CS Lewis and Walker Percy. In it, and in a humorous recording of its content, he explores how both Lewis and Percy present the predicament of the modern person. We live as upside-down persons. And we are not among the first people in history to suspect this. (See St. Augustine, d. 430 AD)

As a way into the heart of his theme, Kreeft invites us to consider a hypothetical challenge posed to a child: take four common objects and sort them into two boxes. The four items are a baseball, a basketball, a baseball bat, and a basketball net. The two most obvious solutions to this challenge, based on the categories of being and doing, nicely set up a thought experiment that Kreeft intends for his audience to engage. He invites us to sort the following four things into two (undefined) categories: Religion, Science, Magic, and Technology. Try it.

In taking up this simple quiz question, we discover one way that our contemporary thinking habits depart from those of our ancient forebears. Our common assumption that science and technology are sister fields, reliably distinguished by their empirical methodology from both religion and magic, reflects a misunderstanding. For what we may overlook in this supposition of an affinity between science and technology, as well as between the second pair of terms, is how our categorization of these four terms demonstates our understanding of what we consider to be real. And the key variable governing our typical way of sorting these four conceptual categories centers less on what is ‘real,’ and more on the significance of how we conceptualize our encounter with ‘reality.’

A theme that has surfaced from time time in this space, and which plays a large role in structuring my understanding of Beauty, rests upon my appreciation for the distinction between the meaning of the words ‘objective’ and ‘subjective.’ I credit my graduate research in ethics and moral theology for raising my awareness of what these terms can and do mean. With regard to Beauty, and more broadly about what is real versus what is presently actual in our awareness of things, ‘objective’ best refers to the objects of perception, and ‘subjective’ in a corollary way best refers to the subject of perception (I.e., to me, the observer, the knower).

Kreeft makes the case that both CS Lewis and Walker Percy shared a conceptual understanding with many philosophers and writers from the pre-modern era. In making the point, Kreeft quotes what he says are the three most illuminating sentences he has ever read about our civilization:

“There is something which unites magic and applied science [i.e., technology] while separating both from the “wisdom” of earlier ages. For the wise men of old, the cardinal problem had been how to conform the soul to reality, and the solution had been knowledge, self-discipline, and virtue. For magic and applied science alike, the problem is how to subdue reality to the wishes of men: the solution is a technique.”

And if we have not guessed where Kreeft is headed with all this, he puts the matter succinctly: “Technology is more like magic than like science.” It follows that he commends thinking of religion as being like science by also involving a search for what is real and true, even if differing in its methodology and content.

A challenge related to Kreeft’s theme, regarding how we approach beauty, faces us as modern people. It stems from how – through the influence of our culture – we are inclined to think of art and architecture as being more akin to magic and technology, than to science and religion. For we tend to assume that artists and architects manipulate materials and space to stimulate certain responses from those who interact with their work. And, of course, they do. But is this all that these crafters of beautiful things accomplish? Are they not also among those who seek and make available to others instantiations of what is real, and more particularly of the beauty that is there for us also to perceive and come to know? I believe that they are.

Artists and architects approach the world in a way that has an affinity with those who work in religion and science, while what they do may seem to be like the work of those who ‘practice’ technology or magic. For like all genuine seekers of Truth, Goodness, and Beauty, scientists (especially theoretical physicists) as well as religionists include dedicated persons who want to know these real aspects of the world that may be apprehended by those who look for them.

I continue to learn by reflecting on these themes.

Note: Kreeft develops at greater length than I have scope here to address the significance of these and related distinctions. He does this in his essay, “Walker Percy’s Lost in the Cosmos: The Abolition of Man in Late Night Comedy Format.” I commend an entertaining recording of Kreeft’s presentation of the essay’s content, which can be found on his website (by clicking this link).

Beauty & “The God of Wes Anderson”

This is a reprint of a review article by Germẚn Saucedo, titled “The God of Wes Anderson.” It is reprinted here with permission from the author, and from the publisher of the journal, First Things, where it first appeared.

A scene from Wes Anderson’s new film, *The Phoenician Scheme*

The God of Francis Thompson is a stubborn God. In his seminal poem “The Hound of Heaven,” a soul is on the run from God: “I fled Him, down the nights and down the days; / I fled Him, down the arches of the years.” The “hound” is persistent, however, and is always pursuing with “unhurrying chase, / And unperturbèd pace, / Deliberate speed, majestic instancy.” Who is this God whose love for us is so passionate and resolute, who will forgive even the gravest of sins and chase us to the ends of the world?

The God of Francis Thompson is the God that operates in Wes Anderson’s latest feature, The Phoenician Scheme. The film follows Anatole “Zsa-Zsa” Korda (Benicio del Toro), an industrialist and morally bankrupt magnate in the style of J. Paul Getty or Aristotle Onassis who, after surviving yet another mysterious assassination attempt, decides to call upon his estranged daughter Liesl (Mia Threapleton), a novice “sister of the cloth.” He intends not only to bequeath his vast fortune to her, but also to enlist her in completing the “most important project of [his] lifetime,” the “Korda Land and Sea Phoenician Infrastructure Scheme.”

Many films have been accused of being “God-haunted,” hinting at the presence of God through the subtleties of the plot or the visuals. The Phoenician Scheme is more than “God-haunted”; he is very much present in the film. He is, in fact, played by Bill Murray. After a plane crash at the beginning of the movie, Korda briefly finds himself in heaven. There, he runs into his grandmother, who fails to recognize the man he has become. Time and time again, as assassins seek to end his life, Korda finds himself at the pearly gates. Each time, he is found lacking.

In the Confessions, St. Augustine famously recounts his youthful desire for the Lord to “Give me chastity and continence, but not yet.” While amusing, this sentiment is spiritually disordered. Many of us live lives apart from God, hoping we can outmaneuver him at the last second, “lest he come suddenly and find you asleep.” Similarly, Korda realizes that he has delayed repentance and conversion until the last minute.

The “hound” is never far away, however. He manifests himself through Liesl who, despite practically being abandoned by Korda, has managed to become a pious nun. While reluctant to enter her father’s world of opulence and luxury, she nevertheless decides to play the role Korda has set for her, seeing potential spiritual fruits from the venture, and quickly begins the work of saving Korda’s soul. She easily forgives his past injustices toward her, brings love to the lives of Korda’s nine neglected sons, and attempts to humanize his enterprise. Liesl also attempts to evangelize the children’s tutor and her father’s new administrative assistant, Bjørn.

Korda’s journey to save his infrastructure project brings him ever closer to God. Liesl’s influence and example, as well as a confrontation with his past (and some amount of self-interest), leads him—along with his nine sons—to be baptized into the Catholic Church. In a defining act of selflessness, Korda gives up his fortune to cover the funding deficit of his major project and save it.

Wes Anderson’s films are often dismissed as mere aesthetic exercises, lacking narrative substance. His protagonists are usually “bourgeois with bourgeois problems,” while his visuals are frequently labeled as “twee” and “quirky.” Unlike the realism of directors like Ermanno Olmi, whose slow and contemplative style focused on the material reality of the lower classes, Anderson’s work is often seen as overly stylized and detached from reality.

But this surface-level reading could not be further from the truth. For Anderson, it seems, beauty is reality. To borrow Keats’s famous verse, “Beauty is truth, truth beauty”; and it is through beauty that God makes himself known to us. When Liesl attempts to exit her father’s opulent world and take her vows as a nun, her mother superior declines, pointing to her love of lavishness—including a bejeweled pipe and diamond-encrusted rosary gifted by Korda, which Anderson commissioned from Dunhill and Cartier—as evidence of her lack of religious vocation. But she does not scold her for loving beautiful things. In fact, she comforts Liesl by saying that God glorifies himself with the lavish and palatial, as not everyone was meant to live in poverty.

In a Q&A at a New York screening of the film, Wes Anderson reflected briefly on the ability of rich magnates to do good, especially in today’s world. The artist has a similar potential. In Thompson’s poem, the “hound” claims that “[N]one but I makes much of naught.” While our riches and our art may amount to nothing, once offered up to God, they can become instruments of his love and mercy. God will never stop his pursuit of us in part because he, unlike the world, knows our full potential. Korda—like us—is thrown lifeline after lifeline, which can only be taken on God’s terms, not ours.

Unlike Korda, we should not wait for brushes with death and brief visits to the pearly gates to turn around and deliver the “hound” from his incessant chase. Every moment is an opportunity to do so. The curious and wonderful thing about the God of Francis Thompson, the God of Wes Anderson, is that he’s real, and he is always seeking us.

A promotional poster for Anderson’s new film

Note: Germẚn Saucedo serves as a Junior Fellow at First Things. I requested permission to reprint his review article because it seems so fitting to the material I explore on this website. I am grateful for this fine piece. I particularly appreciate Saucedo’s statement, based on a quote from Keats: “For Anderson, it seems, beauty is reality… and it is through beauty that God makes himself known to us.”

Toward Beauty

In Art, Faith and Life ~ STEPHEN HOLMGREN