If you have not yet come across Christian Women in the Patristic World: Their Influence, Authority, and Legacy in the Second through Fifth Centuries (Baker Academic, 2017; source: publisher), I strongly recommend that you take a look. Lynn H. Cohick and Amy Brown Hughes have done a wonderful job of addressing a lacuna in patristic studies. Through a series of separate chapters, the authors examine the lives of Christian women in the period immediately after the apostolic age through the Post-Nicene period.
As one would expect, discussions of motherhood features throughout the Christian Women in the Patristic World. Motherhood is examined through the lives of Helena and Monica. As mothers to Constantine and Augustine, their critical role in the lives of their respectively sons are important case studies. However, just as significant is Pulcheria’s decision to pursue life as a virgin, rather than produce a possible heir to the Byzantine Empire. An ascetic life of prayer and holiness superseded not only motherhood, but also the giving birth to one within the imperial household.
Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them. – Leo Tolstoy
In thinking about my Fall courses, I am working through some issues on the broad subject of art. One of my classes will be the seemingly impossible task of covering the entirety of art history. Of course, a semester will only allow broad sweeps with select moments of concentration if we are to get through pre-historic to the present.
In addition to a survey of art history, I periodically pause to define art and its role in society. I start with something like this video to get the conservation started.
ECH: When and why did you begin writing?
Terry Glaspey: I’ve been interested in writing almost as long as I remember. In grade school I created little 12-page illustrated stories that I sold to classmates for a quarter. And writing papers was the part of high school and college that I enjoyed most. I got started writing books when someone asked me to turn a talk I had given into an article for their magazine. They liked the results, and I wrote several more for them, which eventually became my first book, Children of a Greater God. That was over twenty years ago.
ECH: How did you become involved in the subject matter of 75 Masterpieces?
Terry Glaspey: I’m someone who found his life enriched by the arts—by literature, music, the visual arts, and film. And I have always been interested in the intersection between faith and creativity; by the way that religious commitment can be reflected in various art forms. I appreciate the way that art has a way of giving fresh perspectives to the message of faith.
Once again, I want to commend Terry Glaspey’s balanced and well-thought-out list of 75 Masterpieces Every Christian Should Know (see my review here). The list covers practically all of history and various mediums of art and literature. It is in the latter centuries where I have some concerns and I want to suggest a couple of masterpieces I would have included instead.
Before I get started, there are some works that Glaspey addresses and that I would like to highlight. Jan Van Eck’s Adoration of the Lamb (1432) (75 Masterpieces, chapter 10) is truly a masterpiece. Installed in the Cathedral of Saint Bavo in Ghent, the twenty paneled altarpiece expands to eighteen feet and has a height of twelve feet.
The task of narrowing down centuries’ worth of “masterpieces” in a “best of” list is not one I would like to undertake. Deciding what is a masterpiece is a struggle in and of it itself, let alone having to provide a definitive list. Terry Glaspey’s 75 Masterpieces Every Christian Should Know (Baker, 2015; source: publisher) is a balanced choice of art, literature, music, and film.
Following a chronological ordering, Glaspey begins with the Christian catacombs of Rome (75 Masterpieces, chapter 1). From the second century to the fifth, the underground maze served as a communal burial ground for Christians in times of peace and persecution. Images such as the good shepherd decorated these grounds as a sign of life after death.