In this fascinating account, the author describes an experience of a "friend" (actually, de Chardin himself) in gazing upon a painting of Christ that he happened upon in a church. He begins with a question that others have often asked: "Suppose Christ should ... appear here before me, what would he look like?" Enjoy.
‘At that time,’ he began, ‘my mind was preoccupied with a problem partly philosophical, partly aesthetic. I was thinking: Suppose Christ should deign to appear here before me, what would he look like? How would he be dressed? Above all, in what manner would he take his place visibly in the realm of matter, and how would he stand out against the objects surrounding him?. . . And confusedly I found myself saddened and shocked at the idea that the body of Christ could stand in the midst of a crowd of inferior bodies on the world’s stage without their sensing and recognizing, through some perceptible change, this Intensity so close beside them.
‘Meanwhile my gaze had come to rest without conscious intention on a picture representing Christ offering his heart to men.
The picture was hanging in front of me on the wall of a church into which I had gone to pray. So, pursuing my train of thought, I began to ask myself how an artist could contrive to represent the holy humanity of Jesus without imposing on his body a fixity, a too precise definition, which would seem to isolate him from all other men, and without giving to his face a too individual expression so that, while being beautiful, its beauty would be of a particular kind, excluding all other kinds.
‘It was, then, as I was keenly pondering over these things and looking at the picture, that my vision began.
To tell the truth, I cannot say at what precise moment it began, for it had already reached a certain degree of intensity when I became conscious of it. The fact remains that as I allowed my gaze to wander over the figure’s outlines I suddenly became aware that these were melting away: they were dissolving, but in a special manner, hard to describe in words. When I tried to hold in my gaze the outline of the figure of Christ it seemed to me to be clearly defined but then, if I let this effort relax, at once these contours, and the folds of Christ’s garment, the lustre of his hair and the bloom of his flesh, all seemed to merge as it were (though without vanishing away) into the rest of the picture. It was as though the planes which marked off the figure of Christ from the world surrounding it were melting into a single vibrant surface whereon all demarcations vanished.
‘It seems to me that this transformation began at one particular point on the outer edge of the figure; and that it flowed on thence until it had affected its entire outline. This at least is how the process appeared to me to be taking place. From this initial moment, moreover, the metamorphosis spread rapidly until it had affected everything.
‘First of all I perceived that the vibrant atmosphere which surrounded Christ like an aureole was no longer confined to a narrow space about him, but radiated outwards to infinity. Through this there passed from time to time what seemed like trails of phosphorescence, indicating a continuous gushing-forth to the outermost spheres of the realm of matter and delineating a sort of blood stream or nervous system running through the totality of life.
‘The entire universe was vibrant! And yet, when I directed my gaze to particular objects, one by one, I found them still as clearly defined as ever in their undiminished individuality.
‘All this movement seemed to emanate from Christ, and above all from his heart. And it was while I was attempting to trace the emanation to its source and to capture its rhythm that, as my attention returned to the portrait itself, I saw the vision mount rapidly to its climax.
‘I notice I have forgotten to tell you about Christ’s garments.
They had that luminosity we read of in the account of the Transfiguration; but what struck me most of all was the fact that no weaver’s hand had fashioned them — unless the hands of angels are those of Nature. No coarsely spun threads composed their weft; rather it was matter, a bloom of matter, which had spontaneously woven a marvellous stuff out of the inmost depths of its substance; and it seemed as though I could see the stitches running on and on indefinitely, and harmoniously blending together in to a natural design which profoundly affected them in their own nature.
‘But, as you will understand, I could spare only a passing glance for this garment so marvellously woven by the continuous co-operation of all the energies and the whole order of matter: it was the transfigured face of the Master that drew and held captive my entire attention.
‘You have often at night-time seen how certain stars change their colour from the gleam of blood-red pearls to the lustre of violet velvet. You have seen, too, the play of colours on a transparent bubble. So it was that on the unchanging face of Jesus there shone, in an indescribable shimmer or iridescence, all the radiant hues of all our modes of beauty. I cannot say whether this took place in answer to my desires or in obedience to the good pleasure of him who knew and directed my desires; what is certain is that these innumerable gradations of majesty, of sweetness, of irresistible appeal, following one another or becoming transformed and melting into one another, together made up a harmony which brought me complete satiety.
‘And always, beneath this moving surface, upholding it and at the same time gathering it into a higher unity, there hovered the incommunicable beauty of Christ himself. Yet that beauty was something I divined rather than perceived; for whenever I tried to pierce through the covering of inferior beauties which hid it from me, at once other individual and fragmentary beauties rose up before me and formed another veil over the true Beauty even while kindling my desire for it and giving me a foretaste of it.
‘It was the whole face that shone in this way. But the centre of the radiance and the iridescence was hidden in the transfigured portrait’s eyes.
‘Over the glorious depths of those eyes there passed in rainbow hues the reflection — unless indeed it were the creative prototype, the Idea — of everything that has power to charm us, everything that has life. . . And the luminous simplicity of the fire which flashed from them changed, as I struggled to master it, into an inexhaustible complexity wherein were gathered all the glances that have ever warmed and mirrored back a human heart. Thus, for example, these eyes which at first were so gentle and filled with pity that I thought my mother stood before me, became an instant later, like those of a woman, passionate and filled with the power to subdue, yet at the same time so imperiously pure that under their domination it would have been physically impossible for the emotions to go astray. And then they changed again, and became filled with a noble, virile majesty, similar to that which one sees in the eyes of men of great courage or refinement or strength, but incomparably more lofty to behold and more delightful to submit to.
‘This scintillation of diverse beauties was so complete, so captivating, and also so swift that I felt it touch and penetrate all my powers simultaneously, so that the very core of my being vibrated in response to it, sounding a unique note of expansion and happiness.
‘Now while I was ardently gazing deep into the pupils of Christ’s eyes, which had become abysses of fiery, fascinating life, suddenly I beheld rising up from the depths of those same eyes what seemed like a cloud, blurring and blending all that variety I have been describing to you. Little by little an extraordinary expression, of great intensity, spread over the diverse shades of meaning which the divine eyes revealed, first of all permeating them and then finally absorbing them all. . .
‘And I stood dumbfounded.
‘For this final expression, which had dominated and gathered up into itself all the others, was indecipherable. I simply could not tell whether it denoted an indescribable agony or a superabundance of triumphant joy. I only know that since that moment I thought I caught a glimpse of it once again — in the glance of a dying soldier.
‘In an instant my eyes were bedimmed with tears. And then, when I was once again able to look at it, the painting of Christ on the church wall had assumed once again its too precise definition and its fixity of feature.’
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The Rev. Charles P. Henderson is a Presbyterian minister and
Executive Director of CrossCurrents.
He is the author of God and Science (John Knox Press, 1986).
A revised and expanded version of the book is appearing here. God and Science (Hypertext Edition,
He is also editor of a new book, featuring articles by world class scientists and theologians, and illustrating the leading views on the relationship between science and religion: Faith, Science and the Future (CrossCurrents Press, 2007).
Charles also tracks the boundry between the virtual and the real at his blog: Next World Design, focusing on the mediation of art, science and spirituality in the metaverse.