The Cross of Christ

With Study Guide

John Stott

• Éditeur: IVP
• Année: 2021
• ISBN:
  9781844746811
• Sujet: Teología y religión
• Sous-sujet: Teología cristiana

The Cross is the universal symbol of the Christian faith. But what does the Cross mean? Why did Jesus have to die?In this magisterial and best-selling book, John Stott unpacks the significance of Christ's cross and answers objections commonly brought against biblical teaching on the atonement.Stott will help you discover how Jesus himself understood the cross, and how 'Christ in our place' is at the heart of its meaning. Understand what the cross achieved, and learn what it means to live under the cross.This modern classic combines excellent biblical exposition, and a characteristically thoughtful study of Christian belief, with a searching call to the church to live under the cross.

Part One

Approaching the cross

1 The centrality of the cross

Do you know the painting by Holman Hunt, the leader of the Pre-Raphaelite Brotherhood, entitled ‘The Shadow of Death’? It depicts the inside of the carpenter’s shop in Nazareth. Stripped to the waist, Jesus stands by a wooden trestle on which he has put down his saw. He lifts his eyes towards heaven, and the look on his face is one of either pain or ecstasy or both. He also stretches, raising both arms above his head. As he does so, the evening sunlight streaming through the open door casts a dark shadow in the form of a cross on the wall behind him, where his tool-rack looks like a horizontal bar on which his hands have been crucified. The tools themselves remind us of the fateful hammer and nails.

In the left foreground a woman kneels among the wood chippings, her hands resting on the chest in which the rich gifts of the Magi are kept. We cannot see her face because she has averted it. But we know that she is Mary. She looks startled (or so it seems) at her son’s cross-like shadow on the wall.

The Pre-Raphaelites have a reputation for sentimentality. Yet they were serious and sincere artists, and Holman Hunt himself was determined, as he put it, to ‘do battle with the frivolous art of the day’, its superficial treatment of trite themes. So he spent 1870–73 in the Holy Land, and painted ‘The Shadow of Death’ in Jerusalem, as he sat on the roof of his house.1 Though the idea is historically fictitious, it is also theologically true. From Jesus’ youth, indeed even from his birth, the cross cast its shadow ahead of him. His death was central to his mission. Moreover, the church has always recognized this.

Imagine a stranger visiting St Paul’s Cathedral in London. Having been brought up in a non-Christian culture, he knows next to nothing about Christianity. Yet he is more than a tourist; he is personally interested and keen to learn.

Walking along Fleet Street, he is impressed by the grandeur of the building’s proportions, and marvels that Sir Christopher Wren could have conceived such an edifice after the Great Fire of London in 1666. As his eyes attempt to take it in, he cannot help noticing the huge golden cross which dominates the dome.

He enters the cathedral and stands at its central point, under the dome. Trying to grasp the size and shape of the building, he becomes aware that its ground plan, consisting of nave and transepts, is cruciform. He walks round and observes that each side chapel contains what looks to him like a table, on which, prominently displayed, there stands a cross. He goes downstairs into the crypt to see the tombs of famous men such as Sir Christopher Wren himself, Lord Nelson and the Duke of Wellington: a cross is engraved or embossed on each.

Returning upstairs, he decides to remain for the service which is about to begin. The man beside him is wearing a little cross on his lapel, while the lady on his other side has one on her necklace. His eye now rests on the colourful, stained-glass east window. Though he cannot make out the details from where he is sitting, he cannot fail to notice that it contains a cross.

Suddenly, the congregation stands up. The choir and clergy enter, preceded by somebody carrying a processional cross. They are singing a hymn. The visitor looks down at the service paper to read its opening words:

We sing the praise of him who died,

Of him who died upon the cross;

The sinner’s hope let men deride,

For this we count the world but loss.

From what follows he comes to realize that he is witnessing a Holy Communion service, and that this focuses upon the death of Jesus. For when the people around him go forward to the communion rail to receive bread and wine, the minister speaks to them of the body and blood of Christ. The service ends with another hymn:

When I survey the wondrous cross

On which the Prince of glory died,

My richest gain I count but loss,

And pour contempt on all my pride.

Forbid it, Lord, that I should boast

Save in the cross of Christ my God;

All the vain things that charm me most,

I sacrifice them to his blood.

Although the congregation now disperses, a family stays behind. They have brought their child to be baptized. Joining them at the font, the visitor sees the minister first pour water over the child and then trace a cross on its forehead, saying ‘I sign you with the cross, to show that you must not be ashamed to confess the faith of Christ crucified . . .’.

The stranger leaves the cathedral impressed, but puzzled. The repeated insistence by word and symbol on the centrality of the cross has been striking. Yet questions have arisen in his mind. Some of the language used has seemed exaggerated. Do Christians really for the sake of the cross ‘count the world but loss’, and ‘boast’ in it alone, and ‘sacrifice’ everything for it? Can the Christian faith be accurately summed up as ‘the faith of Christ crucified’? What are the grounds, he asks himself, for this concentration on the cross of Christ?

The sign and symbol of the cross

Every religion and ideology has its visual symbol, which illustrates a significant feature of its history or beliefs. The lotus flower, for example, although it was used by the ancient Chinese, Egyptians and Indians, is now particularly associated with Buddhism. Because of its wheel shape it is thought to depict either the cycle of birth and death or the emergence of beauty and harmony out of the muddy waters of chaos. Sometimes the Buddha is portrayed as enthroned in a fully open lotus flower.

Ancient Judaism avoided visual signs and symbols, for fear of infringing the second commandment which prohibits the manufacture of images. But modern Judaism now employs the so-called Shield or Star of David, a hexagram formed by combining two equilateral triangles. It speaks of God’s covenant with David that his throne would be established for ever and that the Messiah would be descended from him. Islam, the other monotheistic faith which arose in the Middle East, is symbolized by a crescent, at least in West Asia. Originally depicting a phase of the moon, it was already the symbol of sovereignty in Byzantium before the Muslim conquest.

The secular ideologies of the twentieth century also have their universally recognizable signs. The Marxist hammer and sickle, adopted in 1917 by the Soviet government from a nineteenth-century Belgian painting, represent industry and agriculture; and they are crossed to signify the union of workers and peasants, of factory and field. The swastika, on the other hand, has been traced back some 6,000 years. The arms of its cross are bent clockwise to symbolize either the movement of the sun across the sky, or the cycle of the four seasons, or the process of creativity and prosperity (‘svasti’ being a Sanskrit word for ‘well-being’). At the beginning of the twentieth century, however, it was taken up by some German groups as a symbol of the Aryan race. Then Hitler took it over, and it became the sinister sign of Nazi racial bigotry.

Christianity, then, is no exception in having a visual symbol. The cross was not its earliest, however. Because of the wild accusations which were levelled against Christians, and the persecution to which they were exposed, they ‘had to be very circumspect and to avoid flaunting their religion. Thus the cross, now the universal symbol of Christianity, was at first avoided, not only for its direct association with Christ, but for its shameful association with the execution of a common criminal also.’2 So on the walls and ceilings of the catacombs (underground burial-places outside Rome, where the persecuted Christians probably hid), the earliest Christian motifs seem to have been either non-committal paintings of a peacock (supposed to symbolize immortality), a dove, the athlete’s victory palm or, in particular, a fish. Only the initiated would know, and nobody else could guess, that ichthys (‘fish’) was an acronym for Iēsous Christos Theou Huios Sōtēr (‘Jesus Christ, Son of God, Saviour’). But it did not remain the Christian sign, doubtless because the association between Jesus and a fish was purely acronymic (a fortuitous arrangement of letters) and had no visual significance.

Somewhat later, probably during the second century, the persecuted Christians seem to have preferred to paint biblical themes like Noah’s ark, Abraham killing the ram instead of Isaac, Daniel in the lions’ den, his three friends in the fiery furnace, Jonah being disgorged by the fish, some baptisms, a shepherd carrying a lamb, the healing of the paralytic and the raising of Lazarus. All these were symbolic of Christ’s redemption, while not being in themselves incriminating, since only the instructed would have been able to interpret their meaning. In addition, the Chi-Rho monogram (the first two letters of the Greek word Christos) was a popular cryptogram, often in the form of a cross, and sometimes with a lamb standing before it, or with a dove.

A universally acceptable Christian emblem would obviously need to speak of Jesus Christ, but there was a wide range of possibilities. Christians might have chosen the crib or manger in which the baby Jesus was laid, or the carpenter’s bench at which he worked as a young man in Nazareth, dignifying manual labour, or the boat from which he taught the crowds in Galilee, or the apron he wore when washing the apostles’ feet, which would have spoken of his spirit of humble service. Then there was the stone which, having been rolled from the mouth of Joseph’s tomb, would have proclaimed his resurrection. Other possibilities were the throne, symbol of divine sovereignty, which John in his vision of heaven saw that Jesus was sharing, or the dove, symbol of the Holy Spirit sent from heaven on the Day of Pentecost. Any of these seven symbols would have been suitable as a pointer to some aspect of the ministry of the Lord. But instead the chosen symbol came to be a simple cross. Its two bars were already a cosmic symbol from remote antiquity of the axis between heaven and earth. But its choice by Christians had a more specific explanation. They wished to commemorate as central to their understanding of Jesus neither his birth nor his youth, neither his teaching nor his service, neither his resurrection nor his reign, nor his gift of the Spirit, but his death, his crucifixion. The crucifix (that is, a cross to which a figure of Christ is attached) does not appear to have been used before the sixth century.

It seems certain that, at least from the second century onwards, Christians not only drew, painted and engraved the cross as a pictorial symbol of their faith, but also made the sign of the cross on themselves or others. One of the first witnesses to this practice was Tertullian, the North African lawyer-theologian who flourished about ad 200. He wrote:

At every forward step and movement, at every going in and out, when we put on our clothes and shoes, when we bathe, when we sit at table, when we light the lamps, on couch, on seat, in all the ordinary actions of daily life, we trace upon the forehead the sign [the cross].3

Hippolytus, the scholar-presbyter of Rome, is a particularly interesting witness, because he is known to have been ‘an avowed reactionary who in his own generation stood for the past rather than the future’. His famous treatise The Apostolic Tradition (c. ad 215) ‘claims explicitly to be recording only the forms and models of rites already traditional and customs already long-established, and to be written in deliberate protest against innovations’.4 When he describes certain ‘church observances’, therefore, we may be sure that they were alr...