John’s enduring influence is evident today in the rich sights and sounds of Christian liturgy.
St John Damascene (676-749) was Syrian monk and a contemporary of our own St Bede, both of them highly respected scholars with a deep love for Church music. John left us an exposition of Christian theology of enduring importance throughout east and west; he compiled a wealth of hymns, collects and prayers; and he saved Christian iconography everywhere from the hands of extremists.
When the capital of the Roman Empire was in the grip of a violent earthquake, it fell to one small child to save all the people.
According to tradition, the Trisagion or Thrice-Holy Hymn was revealed by angels one September 24th during the tenure of Patriarch Proclus of Constantinople (434-446). Some thirty years later Peter, the abrasive Patriarch of Antioch and a former fuller by trade, took it upon himself to add an extra line. Three centuries after that John Damascene was still upset about it.
John Mansur, working in Islamic Syria, thought he could safely criticise the Roman Emperor for meddling in Christian worship. But he was wrong.
In 726, the Roman Emperor Leo III, seated in Constantinople (modern Istanbul), declared that images of Christ and his saints were ‘idolatrous’ and must be scrubbed from all church walls. The ban was sternly enforced, but there were rebels; and the outspoken John Mansur encouraged them with stirring pamphlets written from the safety of the Islamic court of Hisham ibn Abd al-Malik, Caliph of Damascus.
By the early eighth century, sacred art was thriving in newly-Christian England, but in the East seeds of doubt and confusion had been sown.
Although we associate icons with Eastern Christianity, many churches in Britain prior to the Reformation, and especially in the Anglo-Saxon era before the Conquest of 1066, were wall-to-wall, floor-to-roof, a patchwork of frescoes of saints, Biblical scenes, flowers and animals. Indeed, it was in the East that doubts about sacred art first arose.