Skip to content

Add your phone number?

Optional. Nothing is sent unless you choose it.

The Historic Faith
Sign in

Jumpstarter 8 of 10

Ideas to help restart your discussion
Question 8
He distinguishes between early Christian acceptance of biblical art (catacomb scenes; a 3rd-century house church baptismal room) and rejection of images in the worship space meant for veneration; what criteria do you think the early Christians were using to draw that line, and how would that criteria critique typical evangelical use of media, staging, and sensory atmosphere in worship?
Another way to ask: Early Christians seemed okay with Bible art but not with images meant to be honored in worship. What do you think their rule was, and how might it challenge how evangelicals use screens, lighting, and atmosphere in worship?

Direct Answer The transcript suggests the early Christians drew a line between instructional or commemorative biblical scenes and anything placed in worship that invited “homage,” prayer, or a visual focus that could become idolatrous; that criterion would challenge evangelicals to ask whether media and atmosphere function as aids—or as substitutes for faith and inward holiness.

Support from Transcript:

  • Bercot says early Christians didn’t think it was sin to have “religious art, such as scenes from the Bible,” and mentions catacomb paintings.
  • He describes a 3rd-century house church with biblical scenes in the baptismal room, but “no pictures, no statues…in the nave…where they assembled for worship.”
  • He adds those baptismal paintings were “not icons that would be suitable for venerating,” highlighting intent and function.
  • He repeatedly stresses early Christians avoided practices that led to “pay religious honor” to images, and Origen says prayers to images are incompatible with knowing God.
  • He frames their worship as turning away from “visible images” toward God, and cites “walk by faith, not by sight.”
Discussion Follow-ups When do screens, lighting, or staging become a kind of “visible mediation” that shapes reliance on sight? How could churches evaluate whether their sensory choices train faith or distract from it?