Third Edition
Alister E. McGrath
This edition first published 2015
© 2015 John Wiley & Sons, Ltd.
Registered Office
John Wiley & Sons, Ltd., The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
Editorial Offices
350 Main Street, Malden, MA 02148-5020, USA
9600 Garsington Road, Oxford, OX4 2DQ, UK
The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell.
The right of Alister E. McGrath to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book.
Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. It is sold on the understanding that the publisher is not engaged in rendering professional services and neither the publisher nor the author shall be liable for damages arising herefrom. If professional advice or other expert assistance is required, the services of a competent professional should be sought.
Library of Congress Cataloging-in-Publication Data
McGrath, Alister E., 1953–
Christianity : an introduction / Alister E. McGrath. – Third Edition.
pages cm
Includes bibliographical references and index.
ISBN 978-1-118-46565-3 (pbk.) 1. Christianity. I. Title.
BR121.3.M33 2015
230–dc23
2014030311
A catalogue record for this book is available from the British Library.
Cover image: Interior of the church La Sagrada Familia, Barcelona. Photo © Jose Fuste Raga/Corbis
The study of Christianity is one of the most fascinating, stimulating, and intellectually and spiritually rewarding undertakings available to anyone. This book aims to lay the foundations for such a study, opening doors to discovering more about the world’s leading religion. It can only hope to whet its readers’ appetites and lead them to explore Christianity in much greater detail.
Anyone trying to sense the modern world or the process by which it came into existence needs to understand something about the Christian faith. Christianity is by far the largest religion in the world, with somewhere between 2,500 and 1,750 million followers, depending on the criteria employed. To understand the modern world, it is important to understand why Christianity continues to be such an important presence in, for example, the United States and is a growing presence in China.
This book sets out to provide an entry-level introduction to Christianity, understood both as a system of beliefs and as a social reality. It is an introduction in the proper sense of the term, in that it has been written on the basis of the assumption that its readers know little or nothing about the history of Christianity, its practices and beliefs. Every effort has been made to keep the language and style of this book as simple as possible.
Alister McGrath
Oxford University
1.1 | The angel Gabriel declaring to Mary that she is to bear the savior of the world, by Dante Gabriel Rossetti; this incident is related early in Luke’s gospel. Dante Gabriel Rossetti (1828–1882), Ecce Ancilla Domini (The Annunciation), 1850. Oil on canvas, mounted on wood, 72 × 42 cm. Source: Erich Lessing/AKG Images. |
1.2 | The birth of Christ, as depicted by Fra Angelico in a mural in the monastery of San Marco, Florence, between 1437 and 1445. Fra Giovanni da Fiesole (1387–1455) and workshop, Birth of Christ, with the Saints Catherine of Alexandria and Peter the Martyr (1437–1445). Fresco, 193 × 164 cm. Florence, S. Marco, upper storey, dormitory, cell No.5 (east corridor). Source: Rabatti-Domingie/AKG Images. |
1.3 | Jesus of Nazareth calling Peter and Andrew by the Sea of Galilee (1481), by Domenico Ghirlandaio. Domenico Ghirlandaio (Domenico Bigordi) (1449–1494), The Calling of SS. Peter and Andrew, 1481. Fresco. Source: Vatican Museums and Galleries/Bridgeman Art Library. |
1.4 | The Galilean ministry of Jesus (map). |
1.5 | Piero della Francesca’s depiction of the resurrection of Christ, c. 1460–1464. Piero della Francesca (c. 1410/20–1492), The Resurrection of Christ (c. 1460–1464). Fresco (removed), 225 × 200 cm. Sansepolcro, Pinacoteca Comunale. Source: Rabatti-Domingie/AKG Images. |
2.1 | The route of Israel’s exodus from Egypt and conquest of Canaan (map). |
2.2 | The Hanging Gardens of Babylon, one of the greatest wonders of the Ancient World; after Johann Bernhard Fischer von Erlach, c. 1700. Source: AKG Images. |
2.3 | The gospel of Mark: a manuscript illumination from the Lindisfarne Gospels, c. 698–700. Manuscript illumination, Irish–Northumbrian, c. 698/700. Mark the Evangelist. From the Lindisfarne Gospels, written and illuminated by Bishop Eadfrith in Lindisfarne monastery. Source: British Library/AKG Images. |
2.4 | The frontispiece to the King James Bible of 1611, widely regarded as the most influential English translation of the Bible. The Holy Bible, published by Robert Barker, 1611. Source: Alamy. |
3.1 | One of the most famous attempts to represent the Trinity: Andrei Rubljov’s icon of 1411, depicting the three angels with Abraham, widely interpreted as an analogue of the Trinity. Illustration: Rubljov, Andrei c. 1360/70–1427/30, The Holy Trinity (The Three Angels with Abraham) (1411). Icon painting. Moscow, Tretjakov Gallery. Source: AKG Images. |
3.2 | William Blake’s watercolor “The Ancient of Days” (c. 1821), depicting God in the act of creating the world. Blake, William (1757–1827), “The Ancient of Days,” frontispiece of Europe: A Prophecy (c. 1821). Relief etching, pen, and watercolor. Fitzwilliam Museum, University of Cambridge, UK. Source: Fitzwilliam Museum, University of Cambridge/Bridgeman Art Library. |
3.3 | Michelangelo’s fresco The Creation of Adam (1511–1512) from the Sistine Chapel, Rome. Michelangelo Buonarroti (1475–1564). Fresco, 280 × 570 cm. Rome, Vatican, Cappella Sistina (Sistine Chapel), 4th image. Source: Erich Lessing/AKG Images. |
3.4 | Karl Barth (1886–1968). Source: Ullstein Bild/AKG Images. |
3.5 | Mosaic depicting Jesus Christ, in the Byzantine church of Hagia Sophia, Istanbul, c. 1260. Istanbul/Constantinople (Turkey), Hagia Sophia, North Gallery. Deesis (Christ with Mary and John the Baptist). Mosaic, Byzantine, c. 1260. Source: Erich Lessing/AKG Images. |
3.6 | A triumphal procession in Rome celebrating Titus’ victory over the Jews in AD 70; carved on the Arch of Titus, triumphal arch in the Forum Romanum erected in AD 81. The New Testament portrays Jesus of Nazareth as a triumphant victor over sin and death. Rome (Italy), the Arch of Titus, section of the left internal relief: Triumphal procession with the seven-armed candlestick from the Temple of Solomon. Source: Erich Lessing/AKG Images. |
3.7 | The Harrowing of Hell, as depicted in Jean de Berry’s Petites Heures (14th century). Harrowing of Hell, folio 166 from Jean de Berry’s Petites Heures. Source: Bibliothèque nationale de France, Paris, BNF Lat 18104. |
4.1 | Constantine, the first Christian Roman emperor. Source: Nimatallah/AKG Images. |
4.2 | The Abbey of Montecassino. Source: Pirozzi/AKG Images. |
4.3 | A Celtic Cross from Ireland, widely regarded as a symbol of the distinctive forms of Christianity that emerged in this region. Source: Juergen Sorges/AKG Images. |
4.4 | Thomas Aquinas, from the series of portraits of famous men in the Palazzo Ducale in Urbino (c. 1476), by Justus van Gent (active between 1460 and 1480). Source: Erich Lessing/AKG Images. |
4.5 | Erasmus of Rotterdam, c. 1525/30, after the painting (1517) by Quentin Massys (1465/66–1530). Source: Pirozzi/AKG Images. |
4.6 | Portrait of Martin Luther (1528); from the studio of Lucas Cranach the Elder (1472–1553). Source: AKG Images. |
4.7 | Portrait of the Genevan reformer John Calvin. Source: AKG Images. |
4.8 | Henry VIII (1540), by Hans Holbein the Younger (1497–1543). Source: Nimatallah/AKG Images. |
4.9 | Ignatius Loyola, founder of the Society of Jesus (1556), by Jacopino del Conte (1510–1598). Source: AKG Images. |
4.10 | Vladimir Ilyich Lenin (1870–1924), leader of the Bolshevik Revolution in Russia. Source: AKG Images. |
4.11 | The opening of the second session of the Second Vatican Council, September 29, 1963, with Pope Paul VI (formerly Giovanni Battista Montini). Source: Keystone/Getty Images |
6.1 | A Russian Orthodox wedding at the Church of the Transfiguration, St. Petersburg. Source: © Robert Harding Picture Library Ltd/Alamy. |
6.2 | Christian baptism by total immersion in the Indian Ocean in the island of Zanzibar. Source: © World Religions Photo Library/Alamy. |
6.3 | The Last Supper celebrated and commemorated in the eucharist; according to Jacopo da Ponte Bassano (c. 1510–1592). Source: Cameraphoto/AKG Images. |
6.4 | Queen Elizabeth II hands out Maundy Money during the Royal Maundy Service held at Liverpool’s Anglican Cathedral in 2004. The purses containing the coins were handed to 78 men and 78 women, the number selected to mark the Queen’s 78th year. Source: Phil Noble/PA Archives/Press Association Images. |
6.5 | Santiago de Compostela, the center of a major pilgrimage route in northern Spain. Source: Andrea Jemolo/AKG Images. |
7.1 | Saint Augustine of Hippo in a monastic cell, as depicted by Sandro Botticelli, c. 1495. Source: Rabatti-Domingie/AKG Images. |
7.2 | Ground plan of York Minster, one of the greatest Gothic cathedrals of Europe. Note especially its cruciform structure. Source: © The Dean & Chapter of York. |
7.3 | The crucifixion, as depicted by Matthias Grünewald in the Isenheim Altarpiece, executed c. 1513–1515. Source: Erich Lessing/AKG Images. |
7.4 | Byzantine icon of the late thirteenth or early fourteenth century, showing Mary with the infant Jesus. Source: Cameraphoto/AKG Images. |
7.5 | The south transept of the cathedral of Notre Dame de Chartres, one of the best examples of Gothic church architecture. The façade was completed in the mid-thirteenth century. Chartres (Dep. Eure-et-Loir, France), Cathedrale Notre-Dame (1134–1514; choir 1194–1221, transept after 1194–c. 1250, nave c. 1200–1220, west façade 1134–1514). Exterior: façade of the south transept. Source: Archives CDA/St-Genès/AKG Images. |
7.6 | The pulpit in St. Peter’s Cathedral, Geneva. Source: J.-P. Scherrer/Geneva 2005. |
7.7 | The great rose window above the main portal of the cathedral of Notre Dame, Strasbourg, France, one of the finest examples of stained glass in Europe. Strasbourg (Alsace, France), Minster: Cathédrale Notre-Dame (12th–15th century). West façade (planned in 1276 by Erwin von Steinbach): Window rose above the main portal. Source: Hedda Eid/AKG Images. |
At some point around AD 60, the Roman authorities woke up to the fact that there seemed to be a new secret society in the heart of their city, which was rapidly gaining recruits. They had not the slightest idea what it was all about, but it seemed to involve some mysterious and dark figure called Chrestus or Christus (Latinized form of the ancient Greek word Christos, “anointed”) as the cause of all the trouble. His origins lay in one of the more obscure and backward parts of the Roman empire. But who was he? And what was this new religion all about? Was it something they should be worried about, or could they safely ignore it?
It soon became clear that this new religion might have the potential to cause real trouble. The great fire that swept through Rome at the time of the Emperor Nero in AD 64 was conveniently blamed on this new religious group. Nobody liked them much, and they were an obvious scapegoat for the failings of the Roman authorities to deal with the fire and its aftermath. The Roman historian Tacitus (c. 56–c. 117) gave a full account of this event some fifty years after the fire. He identified this new religious group as “the Christians,” a group that took its name from someone called “Christus,” who had been executed by Pontius Pilate back in the reign of Tiberius. This “pernicious superstition” had found its way to Rome, where it had gained a huge following. It is clear that Tacitus understands the word “Christian” to be a term of abuse.
Yet, muddled and confused though the official Roman accounts of this movement may be, they were clear that the movement centered in some way on that figure called Christus. It was not regarded as being of any permanent significance, being seen as something of a minor irritation. At worst, it was a threat to the cult of the emperor (or emperor worship). Yet, three hundred years later, this new religion had become the official religion of the Roman empire.
So what was this new religion? What did it teach? Where did it come from? Why was it so attractive? How did it come to be so influential in its first few centuries? What happened after it had achieved such success at Rome? And how has it shaped the lives of individuals and the history of the human race? It is these questions that the present book will begin to answer.
So where do we start? What is the most helpful entry point to a study of Christianity? Looking at Christian beliefs? Exploring the history of the church? Surveying Christian art? In the end, the best place to begin is the historical event that got all of these under way. It is impossible to think or talk about any aspect of the Christian faith without talking about Jesus of Nazareth. He is the center from which every aspect of the Christian faith radiates outward. We therefore turn immediately to Jesus and his significance for Christianity, to begin our exploration there.