Roman and Papal Iconophilia

Twenty years ago now, in his The Spirit of the Liturgy, then-Cardinal Ratzinger opined that Nicaea II's teachings against iconoclasm and in favour of a moderate icon veneration had never been received in either aspect in the Western Church to a satisfactory degree.

Then several years after that, Thomas Noble rather complicated this picture in his Images, Iconoclasm, and the Carolingians.

I wonder if we won't have to continue revising our views of what the West did and did not receive, and did and did not do, in the ante- and post-Nicaean eras after reading a new book by Francesca Dell'Acqua, Iconophilia: Politics, Religion, Preaching, and the Use of Images in Rome, c.680 - 880 (Routledge, 2020), 444pp.

About this book the publisher tells us this:

Between the late seventh and the mid-ninth centuries, a debate about sacred images – conventionally addressed as ‘Byzantine iconoclasm’ – engaged monks, emperors, and popes in the Mediterranean area and on the European continent. The importance of this debate cannot be overstated; it challenged the relation between image, text, and belief. A series of popes staunchly in favour of sacred images acted consistently during this period in displaying a remarkable iconophilia or ‘love for images’. Their multifaceted reaction involved not only council resolutions and diplomatic exchanges, but also public religious festivals, liturgy, preaching, and visual arts – the mass-media of the time. Embracing these tools, the popes especially promoted themes related to the Incarnation of God – which justified the production and veneration of sacred images – and extolled the role and the figure of the Virgin Mary.

Despite their profound influence over Byzantine and western cultures of later centuries, the political, theological, and artistic interactions between the East and the West during this period have not yet been investigated in studies combining textual and material evidence. By drawing evidence from texts and material culture – some of which have yet to be discussed against the background of the iconoclastic controversy – and by considering the role of oral exchange, Iconophilia assesses the impact of the debate on sacred images and of coeval theological controversies in Rome and central Italy.

By looking at intersecting textual, liturgical, and pictorial images which had at their core the Incarnate God and his human mother Mary, the book demonstrates that between c.680–880, by unremittingly maintaining the importance of the visual for nurturing beliefs and mediating personal and communal salvation, the popes ensured that the status of sacred images would remain unchallenged, at least until the Protestant Reformation in the sixteenth century.

On Black Icons of the Jewish Jesus and His Mother

This moving and powerful image, of the Mother of God cradling her dead Son, is making the rounds today for obvious reasons, and it has set off some foolish white people who claim to be Catholic while understanding little about theology and even less about iconography. So herewith a brief note about some relevant books on iconography, which I teach regularly, with special reference to a tradition I deeply love, the Ethiopian.

General Studies:

Of the three primary traditions of iconography one finds in the Christian East, the Ethiopian is perhaps the least known. The Byzantine tradition is of course far and away the most widely and popularly practiced, not least because of its associations with the empire of that name. When people typically think of Eastern or Orthodox iconography, it is the Byzantine style that they almost invariably imagine and turn to. There are hundreds of books about this tradition, including many that have been published just in the last two decades, and most of these by Western Christians suddenly "inventing" (in both senses of the word) the tradition and eager to explore its riches. Searching on here using the relevant labels (at bottom of this post) will bring up dozens and dozens of posts about recent publications, scholarly and popular. If you asked me to name just 3 for those with no background, I would recommend the following:

First, for your average Roman Catholic today, start with Sr Jeana Visel's book (which I reviewed here). Second, for those desiring more historical and theological depth, then Lossky's book has long been a standard text. Third, for still more depth and detail, Ouspensky's two-volume set has long had an obligatory place on every bibliography.

Finally, for those who clearly do not understand the doctrinal approval (albeit ambivalent) given to the use of images, and who do not realize that such approval said absolutely nothing at all about what we today would call "racial" or "ethnic" differences, then this new book--one of several in an invaluable series from Liverpool University Press--will bear careful reading about the acts of Nicaea II in 787. Precisely as the defined and received doctrinal teaching of the Catholic and Orthodox Church, and precisely because it was, after all, given at an ecumenical (="whole inhabited world") gathering, we should not expect to find the diverse divines there assembled forbidding or requiring that Christ, the Theotokos, and the angels and saints be portrayed as Africans or Greeks or Copts, Romans or Armenians "for all are one in Christ Jesus."

The Coptic Tradition:

But there are other traditions within the Christian East, including the Coptic, which differs sharply from the Byzantine for all sorts of complex historical (and other) reasons we will not get into here. But this tradition lacks the vast number of books in English that the Byzantine tradition has. For those who read French, this is not a bad, if now dated, overview. For those who want a scholarly overview of iconography in all the so-called Oriental Churches, including the Coptic and Ethiopian, then Christine Chaillot's book reads like a dissertation.

For those who want to begin to understand the historical complexities around what could even be said to constitute "a tradition," as though such a thing exists in isolation from other traditions, then Magdi Guirguis's recent book will take you into some fascinating cultural alleyways.

To see Coptic iconography situated in a wider cultural context, there are numerous books, including this one, this one, and this one. I would also recommend the respected work of the scholar Nelly Van Doorn-Harder in several places, including this book which has a chapter on Coptic art.

Ethiopian Christianity and Iconography:

And now to the Ethiopian tradition. For some general studies that will give you historical context, there are several recent volumes. See, e.g., this one. For those who read German, this book (which I have only skimmed) appears to offer a wide-ranging overview. Like the Guirguis book above, this scholarly study looks at the complex cultural connections between Ethiopian iconography in a period of turbulence and transition.

Narrowing in slightly on Ethiopian churches and monasteries, which of course feature icons, we are starting to see several books devoted to these appear in English in the last decade, including this one. Just this year we had an historical overview of the Ethiopian Orthodox Church. I have not read it yet, but the author, John Binns, is a respected scholar at Cambridge whose other works I have read and recommended.

This book treats just one form of images/symbols, viz., Ethiopian crosses. This book, from the invaluable Gorgias Press (which all those interested in Eastern Christianity should keep regular eye on), does something similar in a more scholarly way.

This book looks at royal connections between Ethiopian art and court.

This book looks at illustrated Ethiopian manuscripts at Oxford. Similarly, this book looks at Ethiopian illustrated gospel books.

Finally, turning to iconography proper, let me end by recommending two "coffee table" type books I sometimes look at again and again just for the sheer exuberance and joy of the colours and details: African Zion: The Sacred Art of Ethiopia by M. Heldman and S. Munro-Hay. Published by Yale University Press in 1993, there are still copies floating around for those who are interested.

And then this hefty collection, now twenty years old, but still worth tracking down: Ethiopian Icons : Catalogue of the Collection of the Institute of Ethiopian Studies Addis Ababa University by Stanislaw Chojnacki.

There is, let me note in conclusion, still ample work to be done here studying this tradition if there are aspiring graduate students out there. There are, as I noted at the outset, often dozens of new books in English alone in one year alone devoted to the Byzantine tradition alone. The Coptic and Ethiopian (to say nothing at all of other lesser known Eastern Christian traditions--e.g., the Georgian, Armenian, Syro-Malabar, etc.) traditions are still comparatively poorly understood by anglophone historians and theologians; but the Ethiopian is a profound, venerable, beautiful tradition deserving of all the once and future love we call scholarship that we can devote to it.

The Acts of Nicaea II

Hard to believe just a couple short weeks ago Byzantine Christians were celebrating the Sunday of Orthodoxy with its thunderous commemoration of the triumph of icons and defeat of iconoclasts. That seems another lifetime now, or perhaps several.

What exactly was this "triumph?" What was iconoclasm, and its response at the seventh ecumenical council of Nicaea in 787? A new paperback edition of a book first published in 2018 will remind us of what was decided and dogmatized: The Acts of the Second Council of Nicaea (787), trans. with commentary by Richard Price (Liverpool University Press, 2020), 752pp.

I've heard of some academic presses in England suspending publication pending the conclusion of this pandemic, but I don't know if Liverpool University Press is one of them. They list a release date of next week for this book, part of their ongoing and valuable series, Translated Texts for Historians.

About this book the publisher tells us this:

The Second Council of Nicaea (787) decreed that religious images were to set up in churches and venerated. It thereby established the cult of icons as a central element in the piety of the Orthodox churches, as it has remained ever since. In the West its decrees received a new emphasis in the Counter-Reformation, in the defence of the role of art in religion. It is a text of prime importance for the iconoclast controversy of eighth-century Byzantium, one of the most explored and contested topics in Byzantine history. But it has also a more general significance - in the history of culture and the history of art. This edition offers the first translation that is based on the new critical edition of this text in the Acta Conciliorum Oecumenicorum series, and the first full commentary of this work that has ever been written. It will be of interest to a wide range of readers from a variety of disciplines.

The Acts of Nicaea II

I have for years quoted Joseph Ratzinger's demonstrable claim, in The Spirit of the Liturgy, that part of the explanation for periodic outbreaks of iconoclasm in the West, including after Vatican II, stems from the fact that the West never adequately received the acts of Nicaea II, and has therefore never seriously integrated its insights into the life of the Western Church. This rather messy history of reception is told in Alain Besançon's invaluable The Forbidden Image: An Intellectual History of Iconoclasm; and more recently in T.F.X. Noble's book Images, Iconoclasm, and the Carolingians.

But whatever excuses about inadequate, incomplete, or inaccessible texts the West may have had in the past are gone in the face of a newly published book, translated by Richard Price, who also supplies a commentary to The Acts of the Second Council of Nicaea (787) (Liverpool University Press, 2018), 688pp.

Part of Liverpool's ongoing and very important series, Translated Texts for Historians LUP, this hefty book, the publisher tells us, treats

The Second Council of Nicaea (787), which decreed that religious images were to set up in churches and venerated. It thereby established the cult of icons as a central element in the piety of the Orthodox churches, as it has remained ever since. In the West its decrees received a new emphasis in the Counter-Reformation, in the defence of the role of art in religion. It is a text of prime importance for the iconoclast controversy of eighth-century Byzantium, one of the most explored and contested topics in Byzantine history. But it has also a more general significance - in the history of culture and the history of art. This edition offers the first translation that is based on the new critical edition of this text in the Acta Conciliorum Oecumenicorum series, and the first full commentary of this work that has ever been written. It will be of interest to a wide range of readers from a variety of disciplines.