Today is Holy Saturday. The Drama of God in Christ Incarnate and Crucified came to its tragic climax on Good Friday. And now "it is finished". There is no drama between the cross and the empty grave. Simply that stillness that is death, the endless patience that is waiting, the pervasive silence of finality, the end of unbearable pain in the elimination of life itself. "It is finished", may be read by those knowing the story as a cry of triumph, the satisfied completion of redemption by One conscious of its cost and its consequences for a broken and suffering Creation. But that is to short circuit the reality, and underestimate the cost and the consequeces of that suffering for the One who bore it, and for those who witnessed it, before they ever found the faith and power to witness to it.
One of my favourite images of the broken-heartedness of God and the broken-heartedness of Jesus' followers, is a masterpiece of art because it allows the deepest anguish to be spoken and imagined through the artist's portrayal of human grief in all its disabling bewilderment. "The Descent from the Cross" by Van Der Weyden is in several ways an impossible painting.
Impossible to contemplate without being drawn into the emotional agony of those impotent to reverse the death of One they love. Nothing is left to do but weep over the body of the absent Beloved.
Impossible to read without having our theological naivete challenged by the depiction of pain, despair and loss of meaning conveyed by contorted bodies and and faces of human beings like ourselves overwhelmed by catastrophe. And in this painting, the bodily form of Jesus in the repose of death, is reflected in the bodily form of Mary in her faint of utter loss. So the artist mirrors the Incarnate Son of God and Mary his mother in her utter humanity, and the same catstrophe has befallen both Mary and God, the death of their Son.
Impossible, because there is just too much pain, lostness, bewilderment and unassuaged sorrow for one picture to bear. The details of the faces trace lines of suffering that will remain forever on faces that have looked on the agony of God; the tears are jewelled testaments of the human capacity for empathy; and the implied silence of no one speaking out of that deep knowing that is so baffled by the enormity of human cruelty, and the mystery of divine love, that words fully and finally fail.
Oh you tears,
I'm thankful that you run.
Though you trickle in the darkness,
you shall glitter in the sun.
The rainbow could not shine if the rain refused to fall:
and the eyes that can not weep are the saddest eyes of all.
Holy Saturday is the day when we are confronted by our helplessness and inarticulacy before the brutal sophistication of human cruelty, the inexhaustible resourcefulness of evil and the human love affair with violence. The crucifixion of Jesus is finished; the body can be disposed of, and so is reclaimed by hands shaking with shock. The tears and weeping of everyone in Van Der Weyden's painting are the tears of the world; the bodies wilting with sorrow and wrung into postures of mourning, tell of love orphaned of the Beloved. Yet with trembling tenderness and the collaborative care of a community melded by anguish, they receive back the body of Jesus.
This painting knows nothing of resurrection. Its purpose is to portray the aching, empty void that is left when love incarnate is extinguished, when hope is eclipsed by the indisputable evidence of embodied death, and therefore when faith and trust in any future worth having are reduced to their opposites despair, guilt and emotional collapse. The third day is an eternity away from this second day; but van Der Weyden knew, and we know, that on the third day eternity will engulf a new creation, and the Resurrection will reverse those penultimate polarities of death, evil, hate and violence. This second day of emptiness, defeat and death is the middle act of a drama whose conclusion is Resurrection.

