Todd Weir

“In 2000, the National Gallery in London put on a millennial exhibition entitled “Seeing Salvation.” That was a case in point—especially remembering that European countries tend to be far more “secularized” than the United States. It consisted mostly of artists’ depictions of Jesus’s crucifixion. Many critics sneered. All those old paintings about someone being tortured to death! Why did we need to look at rooms full of such stuff? Fortunately, the general public ignored the critics and turned up in droves to see works of art, which, like the crucifixion itself, seem to carry a power beyond theory and beyond suspicion. The Gallery’s director, Neil McGregor, moved from that role to become director of the British Museum, a job he did with great distinction and effect for the next decade. The final piece he acquired in the latter capacity, before moving to a similar position in Berlin, was a simple but haunting cross made from fragments of a small boat. The boat, which been carrying refugees from Eritrea and Somalia, was wrecked off the coast of the Italian island of Lampedusa, south of Sicily, on October 3, 2013. Of the 500 people on board, 349 drowned. A local craftsman, Francesco Tuccio, was deeply distressed that nothing more could have been done to save people, and he made several crosses out of fragments of the wrecked vessel. One was carried by Pope Francis at the memorial service for the survivors. The British Museum contacted Mr. Tuccio, and he made a cross especially for the museum, thanking the authorities there for drawing attention to the suffering that this small wooden object would symbolize. Why the cross rather than anything else?”
― N.T. Wright, The Day the Revolution Began: Reconsidering the Meaning of Jesus's Crucifixion