Abraham van Linge
St Philip preaching to the Eunoch, c.1637, Stained glass, Balliol College Chapel, Oxford University, Oxford; n.6, Photo © Painton Cowen
Water on a Desert Road
Commentary by Michael Banner
The book of Acts does not have a central place in many lectionaries. And the story of the Ethiopian eunuch’s baptism—despite its dramatic quality—has not always had the same prominence in preaching and visual representation as it has in Acts’ chronicle of the spread of the gospel.
The scene did, however, gain some popularity in the Protestant Netherlands in the mid-sixteenth to early seventeenth centuries, as part of a turn away from saints and their legends in favour of biblical characters and incidents. In addition, the logic of the eunuch’s conversion suited Protestant expectations and polemic. His faith begins with his intense study of Scripture, is nurtured by Philip’s exposition and preaching of ‘the good news of Jesus’, and—with the addition of verse 37—is finally expressed in an explicit confession that Jesus Christ is the Son of God, leading directly to baptism.
These painted windows skilfully present the whole narrative. In the two right-hand lancets (not reproduced in this exhibition), Philip, in a rich blue robe, animatedly addresses the lavishly dressed Ethiopian, who is seated in a grandly appointed chariot and attended by a considerable retinue. In the two lancets shown here, we see (in the right background) Philip seated in the chariot as he expounds the text from Isaiah which the eunuch had been reading without understanding. Then, in the left foreground, at the end of a long and twisting path, Philip baptizes the eunuch in a pool formed by a lively stream which flows dramatically from high up on the left.
In seventeenth-century English (as also in its Greek and Latin equivalents), ‘desert’ referred not only to dry and barren regions, but to any wild or uninhabited place. Abraham van Linge’s landscape, though green and well-watered, is, with its rocky outcrops and steep and winding road, such a place.
In such a place, even a meeting between apostle and eunuch seems something of a miracle, let alone that it would result in one of the first signs of the fulfilment of the promise of the risen Lord given at his ascension—‘you will be my witnesses in Jerusalem, and in Judea and Samaria, and to the ends of the earth’ (Acts 1:8).
So—though it is not demanded by the text—the eunuch’s confession and baptism are worthy of the crowd the artist has assembled, with us, to witness the scene.