The Kiss of Justice and Peace (Artful Devotion)

La Hyre, Laurent de_The Kiss of Peace and Justice
Laurent de La Hyre (French, 1606–1656), The Kiss of Peace and Justice, 1654. Oil on canvas, 21 5/8 × 30 in. (54.9 × 76.2 cm). Cleveland Museum of Art, Ohio, USA.

Lord, thou hast been favourable unto thy land: thou hast brought back the captivity of Jacob.

Thou hast forgiven the iniquity of thy people, thou hast covered all their sin. Selah.

Thou hast taken away all thy wrath: thou hast turned thyself from the fierceness of thine anger.

Turn us, O God of our salvation, and cause thine anger toward us to cease.

Wilt thou be angry with us for ever? wilt thou draw out thine anger to all generations?

Wilt thou not revive us again: that thy people may rejoice in thee?

Shew us thy mercy, O LORD, and grant us thy salvation.

I will hear what God the LORD will speak: for he will speak peace unto his people, and to his saints: but let them not turn again to folly.

Surely his salvation is nigh them that fear him; that glory may dwell in our land.

Mercy and truth are met together; righteousness and peace have kissed each other.

Truth shall spring out of the earth; and righteousness shall look down from heaven.

Yea, the LORD shall give that which is good; and our land shall yield her increase.

Righteousness shall go before him; and shall set us in the way of his steps.

—Psalm 85 KJV

This psalm is a community lament, probably written during the period of Israel’s return from the Babylonian exile—to a ruined city, a fallen temple, and a mourning land. The people seek forgiveness for their covenant unfaithfulness and restoration, appealing to the benevolence God has shown them in the past. The closing section expresses confidence that salvation will come.

Verse 10 personifies four of God’s virtues: mercy (lovingkindness; Heb. hesed, Lat. misericordia), truth (Heb. emeth, Lat. veritas), justice (righteousness; Heb. tsedeq; Lat. iustitia), and peace (Heb. shalom, Lat. pax). Mercy and Truth meet together, and Justice and Peace embrace with a kiss. In medieval Christian writings these virtues came to be allegorized as the “four daughters of God,” a motif developed most famously by Hugh of St. Victor and Bernard of Clairvaux.

Many churches sing Psalm 85 at Advent or Christmastime, the birth of Jesus being a time when God’s salvation came near and “glory . . . dwell[ed] in our land.” All the virtues of God kissed each other in Christ, bringing heaven to earth. Others read the psalm as prophesying Jesus’s atoning death.

I love how Eugene Peterson translates this psalm in The Message, which suggests that these virtues of God are ones that humanity should emulate, and indeed what the gospel calls us to:

Our country is home base for Glory!
Love and Truth meet in the street,
Right Living and Whole Living embrace and kiss!
Truth sprouts green from the ground,
Right Living pours down from the skies!
Oh yes! GOD gives Goodness and Beauty;
our land response with Bounty and Blessing.
Right Living strides out before him,
and clears a path for his passage. (vv. 9b–13)

Jesus lived rightly and bound up the brokenness he encountered, bringing wholeness. His ministry announced, verbally and in tangible ways, a kingdom to come, and we are to pave the way for that kingdom by embodying its values.

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SONG: “O God, Will You Restore Us” by Isaac Wardell | Performed by Bifrost Arts, feat. Yolonda Coles Jones, on Lamentations, 2016

O God, will you restore us,
And grant us your salvation? (×2)

I will hear what God proclaims.
The Lord our God proclaims peace.
Kindness and truth shall meet,
Justice and peace shall kiss.

O God, will you restore us,
And grant us your salvation?

“Here is the fast that I choose:
To loosen the bonds of the oppressed and break their chains.
Let righteousness and justice go out before you,
Then you will call out and I will hear.”

O God, will you restore us,
And grant us your salvation?

Near indeed is his salvation to those who call on him.
He will incline his ear and hear their prayers.
Truth shall spring out of the earth,
and justice will rain down from heaven.

O God, will you restore us,
And grant us your salvation?

The Lord will guide you on a righteous path,
His vindication will shine down forth as the dawn.
Your people will be called repairers of broken walls,
Making straight the path to proclaim his reign!

O God, will you restore us,
And grant us your salvation?

O God, will you restore us?
Please grant us your salvation.

Isaac Wardell’s “O God, Will You Restore Us” cleverly integrates Psalm 85 with Isaiah 58, which both center on themes of restoration, blessing, and social responsibility, even using similar word pictures. The refrain is based on the plea of Psalm 85:6–7, the heart of the psalm.

Opening with that plea, Wardell’s first verse then moves into Psalm 85:8, 10: God proclaims shalom. Verse two articulates what that looks like: the bonds of wickedness loosed, the oppressed set free. This verse is derived from God’s words in Isaiah 58:6, 8–9, in which he expresses the work he wants his people do be about—namely, justice. Only when his people practice true piety—emancipating captives, feeding the hungry, sheltering the homeless—will he answer their prayers.

The third verse is drawn from Psalm 85:9, 11, an image of abundance and refreshment. And finally, verse four sandwiches Isaiah 58:8, 12 between Psalm 85:13, which itself has resonance with Isaiah 40:3 (“In the wilderness prepare the way of the LORD; make straight in the desert a highway for our God”).

Unmetered and in a minor key, the song has the feel of a Gregorian chant.

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“The Allegory of Justice and Peace,” or “Justice and Peace Kissing,” was a popular subject in the seventeenth and eighteenth centuries in the art of the Italian and Flemish Baroque and the French Neoclassical, including works by Giovanni Battista Tiepolo, Corrado Giaquinto, Pompeo Batoni, Artemesia Gentileschi, Theodoor van Thulden, Maerten de Vos, Jacob de Backer—and the artist featured above, Laurent de La Hyre. Although the image comes from the Hebrew Bible, where it is rooted in God’s dealings with his people, artists often used it for secular purposes, to express political peace. Some such paintings were gifted to rulers as a form of flattery.

The iconography that developed draws on classical symbolism and mythology, with both virtues being personified as women. Justice’s attributes include a crown, a sword, scales, and a fasces; Peace’s, an olive branch, an inverted torch (which burns weapons and armor), ears of wheat and/or a cornucopia (because peace leads to plenty), and a caduceus (one myth suggests that Mercury saw two serpents entwined in mortal combat and separated them with his wand, bringing about peace between them).

The Hebrew word for “kiss” in Psalm 85 refers seldom to an erotic kiss, says Sigrid Eder, but rather to a form of greeting or goodbye exchanged by near relatives or to the final phase of a peacemaking ritual. In medieval Europe, where the visual motif of Justice and Peace Kissing was first introduced, kissing was even more widespread than in ancient Judaism; it was common for people of equal rank, both male and female, to exchange lip-to-lip kisses. (See a compilation of medieval “kiss paintings,” showing a variety of contexts, here.) But the Baroque taste for undraped figures means that quite a few artistic renditions of Justice and Peace can be read as sexualized, as when one of the women has a bared breast, for example.

In Laurent de La Hyre’s The Kiss of Peace and Justice, the action is set within a larger landscape. An olive-wreathed Peace embraces a blue-beribboned Justice beside a fountain inscribed with Iusticia et Pax // osculatae sunt, from the Latin Vulgate. The women are surrounded by ruins—upturned roadstones, crumbled walls and detached columns, a cracked garden urn. But this an image of hope. A lion-faced spigot emits fresh, flowing water, which sheep flock to for refreshment, and trees part to reveal a vista. After the upheaval, healing and repair are underway. Justice and Peace have harmonized.

The Cleveland Museum of Art, which owns the painting, notes that its date coincides with the end of the Fronde, a period of civil war in France during which the parlement (law courts) and the nobility sought—unsuccessfully—to limit the power of the monarchy. So it’s likely the painting is an allusion to the climate of general reconciliation between parties.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 14, cycle A, click here.

No Hard Feelings (Artful Devotion)

Reconciliation between knights
Detail from a 14th-century Sienese panel painting, showing two enemies being reconciled by an archangel, embracing each other after having cast aside their weapons. Collection of the Museum of Fine Arts, Boston.

“You have heard that it was said to those of ancient times, ‘You shall not murder’; and ‘whoever murders shall be liable to judgment.’ But I say to you that if you are angry with a brother or sister, you will be liable to judgment; and if you insult a brother or sister, you will be liable to the council; and if you say, ‘You fool,’ you will be liable to the hell of fire. So when you are offering your gift at the altar, if you remember that your brother or sister has something against you, leave your gift there before the altar and go; first be reconciled to your brother or sister, and then come and offer your gift.”

—Matthew 5:21–24

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SONG: “No Hard Feelings” by the Avett Brothers, on True Sadness (2016)

I could listen to Seth Avett [previously] sing all day—and sometimes I do. (Lately I’ve been gorging on his cover of the Tom Waits song “Fish and Bird”!) His light, plaintive, silvery voice moves my soul in a way that producer Rick Rubin embodies in the 2018 HBO documentary May It Last: A Portrait of the Avett Brothers, as in the clip below. (He’s the long-bearded guy swaying around with his eyes closed.) “No Hard Feelings” is the crux of the film, and it made me cry when I first watched it. It’s an aspiration to live without bitterness, without malice, without enemies—an aspiration arrived at by contemplating one’s eventual death.

When my body won’t hold me anymore
And it finally lets me free
Will I be ready?
When my feet won’t walk another mile
And my lips give their last kiss goodbye
Will my hands be steady?

When I lay down my fears
My hopes and my doubts
The rings on my fingers
And the keys to my house
With no hard feelings

When the sun hangs low in the west
And the light in my chest
Won’t be kept held at bay any longer
When the jealousy fades away
And it’s ash and dust for cash and lust
And it’s just hallelujah
And love in thoughts and love in the words
Love in the songs they sing in the church
And no hard feelings

Lord knows they haven’t done
Much good for anyone
Kept me afraid and cold
With so much to have and hold

When my body won’t hold me anymore
And it finally lets me free
Where will I go?
Will the trade winds take me south
Through Georgia grain or tropical rain
Or snow from the heavens?

Will I join with the ocean blue
Or run into the Savior true
And shake hands laughing
And walk through the night
Straight to the light
Holding the love I’ve known in my life
And no hard feelings

Lord knows they haven’t done
Much good for anyone
Kept me afraid and cold
With so much to have and hold

Under the curving sky
I’m finally learning why
It matters for me and you
To say it and mean it too
For life and its loveliness
And all of its ugliness
Good as it’s been to me
I have no enemies
I have no enemies
I have no enemies
I have no enemies

[Related post: “The Way of Love (Artful Devotion)”]

Directed by Judd Apatow and Michael Bonfiglio and filmed over the course of two years, May It Last charts the rise of the North Carolina folk rock band the Avett Brothers (Scott Avett [previously], Seth Avett, Bob Crawford, Joe Kwon) and follows them in the present during the creation of their multi-Grammy-nominated album True Sadness. The nucleus of the film is the brotherhood of Scott and Seth—their growing up in the South, their creative collaborations, and their constant love, respect, and support for one another. Marriage, divorce, parenthood, and illness are also highlighted, as these inform the songs on True Sadness, of which Seth says, “There are moments of undeniable celebration and camaraderie, others of quiet and lonely exhalation.” (This could really describe the Avett Brothers’ whole catalog.)

The documentary is wonderful; you should see it. It’s streaming for free on HBO or can be rented from YouTube, Amazon Prime, or Vudu.

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SALT Project paraphrases and expands on Jesus’s words from Sunday’s lectionary:

When God gave us this commandment, do you think the idea was that we would form a community in which we constantly antagonize each other, hate each other, abuse each other, wound each other—and then, at the last moment, refrain from murdering each other? Of course not. The spirit of “You shall not murder” is that your bearing toward your neighbors—both in your actions and in your dispositions, your hand and your heart—should never be enmity. Think of it this way: when you’re angry at your brother or sister, when you lash out with hateful words, isn’t that, too, in its own way a kind of violence, a lesser form of “murder”? Isn’t that, too, in its own way a violation of the commandment, an act of ruin against the healthy community the commandment is meant to help you create?


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Sixth Sunday after Epiphany, cycle A, click here.