Essay
Church and state
Creed
Royalty
6 min read

After the coronation: what next for church and state?

As the coronation recedes, what's the future for an established church or a religiously impartial state, asks Jonathan Chaplin.

Jonathan Chaplin is a lifelong Anglican, a Fellow of Wesley House, Cambridge and author of Beyond Establishment: Resetting Church-State Relations in England (SCM 2022) 

A team of street sweepers clear up the road after the coronation procession, outside the Houses of Parliament.
Sweeping the street after the coronation.
Westminster City Council.

The magnificent and mysterious pageantry of the coronation, climaxing in the thrill of ‘Zadok the Priest’ bursting out over the royal anointing and the tremulous descent of St Edward’s crown onto the head of the king, are now receding into memory. The performative power of the event may linger for a while, but the time for critical reflection on what just happened has already begun.  

The event will have evoked a wide variety of responses in different sections of the nation. Polls suggest that the majority remained largely indifferent, probably including many who had the TV on in the background while enjoying a long weekend spent on other things. A minority, not only vocal supporters of ‘Republic’, will have found the whole thing objectionable in principle. That will likely include many among the majority of young people who now report sharply declining support for the monarchy itself. 

To have tampered overmuch with its religious character would have been to undermine their sense of cultural identity, whatever they made of it theologically (if anything). 

Some, also a minority, will have looked to it to reconnect with longstanding British traditions that allow us to rise, even momentarily, above the grasping character of party politics and to offer to a fractured and anxious people a renewed prospect of national harmony.  

For some among that minority, the religious character of the event will have been important. To many from non-Christian faiths, the coronation consolidates an Anglican Establishment which, they think, serves to protect the public standing of all faiths. The (welcome) participation of representatives of Britain’s minority faiths in the event will have confirmed that perception. 

To others in the same minority, Christianity – represented here by the Church of England – is an essential thread in the weave of a national culture in need of shoring up. To have tampered overmuch with its religious character would have been to undermine their sense of cultural identity, whatever they made of it theologically (if anything). 

To still others – we are now talking about a small minority-within-a-minority – the Christian character of the event is decisive to its intrinsic meaning and public significance. Mostly but not exclusively English Anglicans (the category includes many Catholics, for example), such voices claim that the coronation expresses a distinctively Christian theology of accountability and service that has been vital in the formation of Britain and should be retained if such goals are to be kept alive.  

Political authority, they argue, is a trust from God, laying on its holders a solemn, ‘covenantal’, duty to govern according to God’s justice and to serve the common good. This theology was lucidly expressed in the Church of England’s commentary on the Coronation liturgy and appeared in many other Christian statements ahead of the event (for example, here, here and here). Bishop Graham Tomlin expressed doubt that there could be a better way to uphold a vision of accountable government. 

This Christian theology of accountability, while truly at the core of the coronation liturgy, was almost entirely ignored by the media before and during the day. 

The few in the secular media that did recognise its specifically Christian character mostly reacted indifferently or adversely to it (the Daily Telegraph’s Tim Stanley, a Catholic, was one exception). Some drew attention to the incongruity of one small and declining English Christian denomination continuing to preside over the investiture of the head of state of a pervasively secularised, religiously plural, and multinational, United Kingdom. The Guardian’s Martin Kettle even claimed that the event amounts to ‘a lie at the heart of the British state’. ‘The lie is that Britain is a practising Christian nation, and that it is defined and held together by the established Protestant religion, of which the monarch is the embodiment’. 

Whether or not we accept that harsh verdict, it is surely necessary for the Church of England to confront the bleak sociological facts behind it. With fewer than three per cent of the population actively committed to the Church of England, what remains of its entitlement to enjoy the privileges and bear the responsibilities of being the ‘national Church’? Is there not a glaring presumption in wishing to remain the custodian of ‘the faith of the nation’ when the nation has overwhelmingly abandoned that faith – however much some still feel an affection for it as an embellishment of English culture? 

But the Church of England should not be driven primarily by sociological considerations, telling though they are. It should be guided by theological imperatives. And that requires it to revisit the theology of accountability outlined above. The problem is not with the claim that rulers are accountable to God and people. That has long been the central assertion of Christian political theology; I affirm it. The problem is with granting that claim a constitutional status – which is exactly what investing a head of state in the context of a Christian service amounts to.  

Defenders of the coronation typically refer back to the polity of biblical Israel to justify its sacral character. But they tend not to acknowledge that, in the Hebrew scriptures, biblical Israel was, uniquely, established by God as a covenanted confessional polity in which only the religion of Yahweh was permitted (and in which the priestly anointing of kings was prescribed).  

But this arrangement has now been rendered obsolete by the ‘New Covenant’ inaugurated in Jesus Christ. The people of God have been transformed into a transnational voluntary fellowship of Christ-followers, no longer bound to any one territorial national political community, still less to one legitimated by one religion and protecting only that religion. In the era of the New Covenant, states no longer possess the right to express an official view of the truth of religious claims. By implication, that also means they may not decide that any religion should be endorsed or preferred. This suggests they should maintain a posture of impartiality towards religions, and indeed towards other ultimate truth-claims (such as secular humanism). That is one way of treating their citizens equally, which is another basic political principle originating in Christian theology. 

A religiously impartial state is not a morally empty state, but a limited state – a humble state.

Some will reply by claiming that this is a ‘secular liberal’ stance that abandons the political community to agnosticism, leaving a moral and spiritual vacuum at its heart. Rather, this view of the religious incompetence of the state is itself an outcome of Christian claims. These claims originated with the theologically orthodox seventeenth-century Dissenters but were eventually taken up by thinkers such as Locke and others in the broader liberal movement.  

A religiously impartial state is not a morally empty state, but a limited state – a humble state. It certainly needs the resources and challenges of faith communities, among many others, to fulfil its vocation to serve the common good. But it need not, and theologically may not, confer constitutional privilege on any religion or religious organisation. 

If the UK were to become such a state, its head of state could still be installed in a rich, morally freighted civil ceremony, perhaps in Westminster Hall, in which the monarch, and the governments acting in their name, could be solemnly charged to uphold ‘law, and justice, with mercy’ (as the Coronation oath puts it). Other European constitutional monarchies without coronations perform as well as ours on that score, mostly without any elements of an established church at all.  

The task of the Church of England and other churches, alongside other citizens, would be to project into political debate their particular visions of what these commitments mean, and employ all democratic means to hold governments to account for fulfilling them. They are already doing this; they could do so more effectively.

The Church of England could then do so unburdened by the jarringly mixed messages sent by its retention of constitutional privilege and by its very visible association with the royal pomp and opulence of a traditional coronation. It may have only a decade or so to prepare itself for such an eventuality. 

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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