Guardini's Mob

For all the anecdotes recorded in the Passion chronicle, there seems a lacuna at the heart of it. Something goes missing. Something in the text lacks explication. The politics of it are plain enough. But is there not a rupture in the psychology of the crowd, an unaccountable fickleness? Why the discontinuity between Jesus’ reception into Jerusalem and the calls to crucify him days later? Were the Jews that mercurial and unstable?


Anonymous. Fresco (14th C). Basilica of San Abbondio, Como.



Romano Guardini anticipated the question and answered it in The Lord. A magisterial reflection on the Gospel story, the book revivifies our grasp of Jesus within the contours of his time. One chapter, “The Trial,” abolishes all thought of a breach in the behavior of the multitude. In Guardini’s retelling, those who spread their clothes under his feet and, in Luke’s words, “came early in the morning to him in the temple, for to hear him” were not the same ones who cried “Crucify him:”

Pilate is skeptical but sensitive—possibly also superstitious. He feels the mystery, fears supernatural power, and would like to free the accused. He counts upon the masses to demand Jesus’ release. There is a man in prison who has been really seditious—and in addition committed murder. His name is also Jesus, Jesus Bar-abbas.

Pilate: Whom shall I give free, Jesus the Bar-abbas, or the Jesus called Messiah? But the Procurator has reckoned falsely. The crowd outside is no real cross-section of the masses composed in the main of serious, hard-working, long-suffering, honest men and women, but mob, plebs. The High Council has seen to that, and its agitators are busily and successfully spreading ‘public opinion’ among them. So they yell: Bar-abbas!

Pilate tries to placate them: “What then am I to do with Jesus who is called Christ?”

All: “Let him be crucified.”

It is a stunning passage. So convincing. Why did we not see it before? Through Guardini's words we understand the complexity of pressures on Pilate. And we recognize that mob. It is the poison fruit of a political machine, one as old as politics itself. It lives among us. We meet it in the news, in our own streets.



Flash points change; sources of ignition differ with time and place. But from Sennacherib’s day to our own, the mob is the same: angry and relentless. From the banks of the Tigris to Crown Heights in 1991 or Ferguson last summer, resentments smolder, poised to catch fire. The Pharisees and scribes of Jesus’ day operated no differently than today’s party apparatchiks. Agitators, zealots, militants, monomaniacs, young Turks, influence peddlers, race-baiters, community organizers—plus ça change .  .  .

Guardini presents Pilate as a man who understood mob psychology as we do: The mob will not be satisfied until it inflicts pain. Blood must flow. Send an innocent to the flogging post, if only to quiet things down. 

One might suppose that Pilate was simply without conscience. But this would not explain his behavior during Jesus' trial. Had he really lacked integrity, he could have directed the trial or have let it direct itself so that the sentence against Jesus would have been inflicted as against a dangerous agitator. Actually, he does nothing of the sort. He insists upon the defender's innocence—repeatedly, to the end—and then, fully conscious of the illegality of the decision, pronounces the sentence of death, and what a death! We are likely to overlook the contradiction, or to explain it away with Pilate's ‘weakness.' This is insufficient. The procurator is sucked into the depths of “the powers of darkness,” into a confusion so dark and deep that he is no longer sensible of the gruesome and ignominious folly he is committing.

Guardini passes on to Calvary by reminding his readers that they should not retreat “before the horrors recounted here, but should read them through, will all the concentration of his heart, remembering that they were suffered for him.”

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A Brief Thought

Writing in 1956, Romano Guardini reflected on man’s place in a world hurtling toward what we call today postmodernism. The End of the Modern World is a bleak reflection but a necessary one. Guardini, professor of philosophy and theology that he was, leaped beyond abstractions here to enter the battle for souls that theoretical formulas deflect.


Nicolas Bataille. Dragons Vomiting Frogs (14th C). Apocalypse of Angers, Tapestry Museum, Angers, F.



One stark passage alone is worth volumes of academic theology written by court theologians for fellow courtiers. He is speaking of the eschatological conditions under which modern man lives and the religious temper of his self-created future:

With these words I proclaim no facile apocalyptic. No man has the right to say that the End is here, for Christ Himself has declared that only the Father knows the day and the hour. (Matthew xxiv, 36). If we speak here of the nearness of the End, we do not mean nearness in the sense of time, but nearness as it pertains to the essence of the End, for in essence man’s existence is now nearing an absolute decision. Each and every consequence of that decision bears within it the greatest potentiality and the most extreme danger. 

Nearness as it pertains to the essence of the End. 



The Triumph of Death (15th C). Catalan fresco. National Gallery of Sicily, Palermo.


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In the End, Perhaps, Lightness of Heart

I came to Hans Sedlmayr’s Art in Crisis, first published in 1948 , through Roger Kimball’s essay in which he termed the text a “blistering polemic.” I confess a weakness for blistering polemics. Nothing warms the heart faster in these imperiously nonjudgmental days. Morevover, Sedlmayr’s cultural pessimism conforms more convincingly to fallen man and his ever-falling times than our current dalliance with the saving powers of beauty.

 

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Anonymous. Jonah Thrown Into the Sea (c.1606). Musée Saint Denis, Reims.

 

For a concise bio of Sedlmayr go directly to the Dictionary of Art Historians
. No need to stop at Wikipedia , that erratic first stop of dot-comers. Wiki lifted its data from the Dictionary, abbreviating even further an already scanty outline. As a careful respondent to the previous post wrote to stress, Sedlmayr was a member of the Nazi party. On the face of it, that fact alone tells us less than our recoil would have us think. Party membership had been frequently a pro forma expediency for academics and civil servants who wanted to keep their jobs. In this instance, though, security seems not to have been Sedlmayr’s motive. He joined the Nazi party in Austria in 1932 when membership was still illegal and academics were not yet under pressure to join. Why? However uneasy that makes us, we cannot speculate in the dark.

The man was also a devout Catholic. It is his religious sensibility, not his political affiliation, which marks Art in Crisis and which elicits attention . The crux of his sense of crisis—in its thrust, if not in every particular—bears resemblance to Romano Guardini’s observations in The End of the Modern World . This is Guardini, writing in 1956:

The medieval picture of the world, along with the cultural order which it supported, began to dissolve during the fourteenth century. The process of dissolution continued throughout the fifteenth and sixteenth centuries. By the seventeenth century it was complete, and a new picture of reality dawned clearly and distinctly over Europe.

Guardini sought to explain the origins of what he understood to be cultural dissolution. Sedlmayr concerned himself with dissolution’s gradual manifestation in successive styles of art and architecture:
There can be no doubt that many people really feel our age is sick. From 1700 onward we encounter phenomena in the field of art that have no parallel in the whole history of man. These are so intensely eloquent of the disturbance within the world of the spirit that we shall one day marvel at our own failure to learn the full truth simply from what art has made so plain . . . for it needs courage to look at the position we are in and still to resist despair.

Sedlmayr’s rejects modernist art on ground similar to Othodoxy’s rejection of naturalism in sacred art. The icon-maker refuses stylistic change—an earthly value—to insure attention to forms that aspire to transcend the tangible and material. Byzantine tradition seeks forms that prevail over time. It suggests the timeless by turning its back to the timely. It has no interest in the moment; eternal truth does not reside in what we call the nature of the times.

In his way, and broadening his concern to all of art, Sedlmayr concurs:

There is little substance in the argument that seeks to justify modern art on the grounds that, in giving expression to the chaos of our times, it is truthful . . . . A spiritual and moral portrait of man, it has been correctly said, really would look like a piece of sculpture by Epstein or Archipenko, or like a figure by Picasso or Dali. Man has, indeed, lost his true measure and there is no longer any right relationship between the parts.

 

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Alexander Archipenko. Madonna of the Rocks (1912); bronze. National Museum of Wales

 

He continues:

But one could only accept this argument if one accepted the false thesis [my emphasis] that art is or should be an expression of the time, and that this and nothing else is its true essence—a thesis that is itself simply a symptom of the kind of thought that is incapable of transcending time. Art is, of course, only incidentally the expression of the time, in its essence it is extra-temoral, it is the manifestation of the timeless, of the eternal.

He closes his evaluation of modern art by quoting Goethe’s belief that “only the mediocre talent is always the captive of its time and must get its nourishment from the elements that time contains.” It is a hard statement, one that gives every artist pause—if it does not, indeed, put us all in our places.

Sedlmayr’s prognosis for the future of art relies on an unpredictable swell of trust in man’s capacity for gladness of heart (” a kind of cosmic and liberating humour”), a joy rooted in the only soil capable of retaining life: “the knowledge that we are creatures of God.”

I can think of no other work of art history that ends with what is, in reality, a prayer.

 

 

 

 

 

Venice, Redux

My term “engine of evangelization” might have created some confusion. Let me clarify.

God knows, the art world is mission territory. To be sure. But that is not the purpose of Vatican City’s pavilion at the Venice Biennale. No one proposes to proselytize the money changers with a lagoon view at the Hotel Danieli. The Vatican seeks to become a player on the contemporary art scene ostensibly to counter the wider, prevailing drift toward secularization. As Newsweek phrased it, the Vatican “hopes to revive its cultural side” with new interpretations of “tired spiritual art.” Put more candidly, the Vatican is making itself a supplicant, soliciting secular affirmation of the Christian vision from the proxy gods of our time.
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Sky Piece to Jesus Christ (1965), Yoko Ono. Performed at Carnegie Hall, the piece
consisted of members of the orchestra being wrapped in gauze as they played. As the wrapping thickened, the musicians could no longer play. Bound together, they rose and left the stage.

//
Going by Cardinal Ravasi’s words to journalist Kamila Kocialkowska in the New Statesman this past October, you too are the object of this aesthetic evangelization. The cardinal is quite clear about it :

Today our problem is to get ordinary people to welcome this type of art. We need to help them to understand that art is part of the spirit.

It would be nice to think that this is a misquote, a cobbling together of the cardinal’s comments in a shallow approximation of his meaning. Unhappily, we are left with what appeared in print. As is, it bespeaks wondrous condescension toward his intended audience, those still in the pew no less than those long gone. In the light of the gospels, and under the sign of original sin, cardinals are ordinary people,too. Just like the rest of us. More to the point, there are more pressing problems in our post-Christian era (e.g. the implacable slouch toward barbarisms large and small) than conversion in taste to contemporary art.

Yes, we can say art is part of the spirit. But which one? The spirit of the age? Of Screwtape, Pangloss, Moloch? An ear for cant remains a more critical—and creative—aid to the kingdom than an eye for products of the international art trade. Art is thoroughly of this world. It is not revelation, as litanies of appreciation pretend. It can oblige any purpose, soothe any heart, demonic or blessed. And the spectrum of man’s creativity is hardly exhausted in the arts.

Romano Guardini’s prescience in The End of the Modern World, written a full six decades ago , has application here:

The cultural deposit preserved by the Church thus far will not be able to endure against the general decay of tradition.

It is worth considering to what extent the Vatican’s Venice caper, simultaneously pious and market driven, reveals the smiling face of materialism in our time. There is high risk that it will spread belief in nothing more compelling than contemporary art.