
Tracing back the roots of today’s rampant atheism, many analysts believe that the rot set in with the Renaissance. I agree. By reviving the aesthetic standards of Hellenic antiquity, the artistic giants of that period also brought back the pagan sensibility animating Hellenic art.
Greek gods busily copulating with human women on the slopes of Mount Olympus began to demand equal pictorial time with Christian imagery. As a result, art soared to new heights of brilliance, whereas people’s perception of God plummeted to new depths of vulgarity.
Let’s illustrate this observation by juxtaposing three acknowledged masterpieces by that sublime Renaissance artist, Michelangelo. We’ll end up with the ceiling of the Sistine Chapel on one side and the two Pietàs, in Rome and Milan, on the other.
The one in the Vatican was finished, the one in Milan’s Sforza Castle wasn’t, but here’s an interesting thing about Michelangelo. His unfinished sculptures tend to be more moving.
The finished Slaves exhibited at the Louvre are perfect, so much so that they leave me appreciative, admiring even, but cold. By contrast, his unfinished slaves at Florence’s Accademia touch me deeply.
(I know this isn’t a valid criterion of art criticism, but after a lifetime of contemplating art I usurp the right to equate my emotional response with the object’s quality.)
The two Pietàs are different, in that both are heart-rending. But the one in Milan, on which Michelangelo worked until a few days before he died, conveys the tragic scene even more poignantly than the other sculpture does. Still, this isn’t the comparison relevant to my subject today.
Bracketing the two sculptures together, let’s then follow the ubiquitous herds of tourists and have a look at that celebrated ceiling. I’ll try to consider its substance, not form, although it’s worth mentioning that, though Michelangelo was one of history’s greatest sculptors, I don’t think he was one of history’s greatest painters.
Then again, while his sculptures are now exactly as he left them, that Sistine Chapel ceiling has been retouched, restored and generally altered so many times (the last time from 1984 to 1990) that it’s hard to know how far the present has deviated from the past.
Yet the subject-matter certainly hasn’t changed, and the Catholic Church endorsed it enthusiastically. The scenes depicted all over the Chapel, including The Creation of Adam, were accepted as appropriate, theologically sound illustrations of doctrine.
Personally, I could have done without the depiction of Adam’s flaccid penis, but Michelangelo never did manage to conceal his amorous predilections even when broaching sacred subjects. However, the real damage was done by his portrayal of God the Father.
Judaism bans graven images of any kind, and creating pictures of God was a stonable offence in Palestine. It was the Incarnation that made iconography possible.
After all, Jesus Christ lived as a man for thirty-odd years, and painting or sculpting men wasn’t seen as creating graven images. Jews, and to a large extent Protestants, never issued such licence, but the two Christian orthodoxies, Eastern and Western, encouraged religious images both in and out of church.
But not the images of God the Father. Christian artists avoided pictorial depictions of the Father throughout the first millennium. Gradually, some such portrayals began to crop up in late medieval art, but only in the Renaissance did artistic representations of God the Father gain wide currency. (The Russian Orthodox Church banned that practice in 1667, during the Great Schism.)
Had the Catholic Church been blessed with foresight, it would have nipped that tendency in the bud. But the Church didn’t anticipate the massive assault on Christianity throughout Europe in the centuries following the Renaissance. That’s why it inadvertently armed the attackers.
More and more the masses shifted towards times heathen by imagining God just as Michelangelo and his contemporaries depicted him, as a muscular old man with an unkempt beard. That was straight Hellenic paganism, except that God’s living quarters were moved from Mount Olympus to a fluffy cloud in the sky.
Fast-forward to 1961 and the hysterical festivities all over Russia on the occasion of Gagarin’s flight. I remember Khrushchev, habitually tipsy, screaming from the tribune of the Mausoleum in Red Square that Gagarin had gone 327 kilometres up into space and seen no God. No fluffy cloud, no shaggy beard – hence no God.
Unlike Newton, Khrushchev stood on the shoulders of dwarfs, not giants. One such dwarf was Lenin’s Commissar for the Enlightenment, Lunacharsky, who staged a debate with a pro-Soviet prelate who was a neurophysiologist by previous trade.
The debate was held at the Bolshoi and it was well attended. A crowd of Red Army soldiers with an average of two years of schooling cheered Lunacharsky on. So encouraged, he shrieked: “Where is your God? Who has ever seen him?!?” The audience roared its approval, but the bishop came up with a good retort.
“I’m not only a priest,” he said, “but also a neurophysiologist. In that capacity, I’ve often held a human brain in my hands. I touched it, I felt it, I saw it. But a mind I’ve never seen.”
Communist godlessness was an extreme manifestation of a widespread phenomenon: malignant anthropomorphism vulgarising God and leading directly to atheism, via neo-paganism. But both Lunacharsky and Khrushchev built on a tradition going back to the Renaissance.
Even such accomplished thinkers as Hume demanded proofs of God’s existence. Creating his notorious ‘fork’, Hume postulated that all justifiable beliefs fell into two categories: provable either by logic and mathematics or by empirical experience. Religion was neither. Ergo, God doesn’t exist.
Unlike Lunacharsky and Khrushchev, Hume wasn’t a vulgarian, but that thought was vulgar. A man can neither prove the existence of God nor comprehend him by definition. A higher system can understand a lower one, but not vice versa.
Had Hume known how to think about such matters, he’d have realised that God doesn’t exist. It’s because of God that everything else exists – God is an unfathomable, life-giving force that can only be worshipped but not understood. Even a mind as intricate as Hume’s was inadequate to that task.
Such is the orthodox Christian response to demands for the kind of proof one expects in a laboratory. However, an anthropomorphised God, that bearded old man on the cloud, acquires a physical shape, thereby adding validity to demands for physical proof, especially if such demands spring from atheistic zealotry.
Getting back to Michelangelo, could it be his metaphysical premise that explains why, to me, his two Pietàs are artistic triumphs and that anthropomorphised ceiling an artistic failure? The two sculptures depicted the depictable, whereas the fresco didn’t.
Michelangelo’s genius was better revealed in a different, three-dimensional medium. However, even a truly great painter, such as Leonardo, could only show what the eye could see. Had he been given the Vatican commission, Leonardo would have been as stymied.
No, it wasn’t all Michelangelo’s fault, I wrote that in jest. But some of it was – he and his colleagues pushed the button, and the countdown is rapidly approaching zero.








