Article
Care
Change
6 min read

Are we forgetting how to care?

The profound act at the heart of nursing.

Helen is a registered nurse and freelance writer, writing for audiences ranging from the general public to practitioners and scientists.

A nurse bends beside a bed and talks to a patient
Marie Curie.

Recently, at a nursing leadership programme in Oxford, attendees focused on the fundamentals of care.   Have we forgotten how to care? What can we re-learn from those who pioneered an ordinary yet profound act that affects millions? 

Anam Cara is an old Gaelic term for ‘soul friend’, a person with whom you can share your innermost self, your mind and your heart. It is a term that Tom Hill, former chief executive at Helen House Hospice in Oxford, used to describe the relationship between his staff and the thousands of children and their families who passed through their ‘big red door’ in its first twenty-five years. The hospice (or ‘loving respice’ as it became known) had been founded by Sister Frances Dominica in 1982.  

Other care in this country can also trace its religious roots. Between 1048 and 1070 in Jerusalem, the Order of St. John was founded for the purpose of helping pilgrims (“our Lords, The Sick”) who had become lost, weary, or beset by other difficulties while on their way to the Holy Land. Today, in the United Kingdom, the British Association of the Order has extended care to older people first in almshouses and later in care homes. A trustee for ten years was John Monckton, a man of ‘considerable talent, enormous integrity and deep religious conviction’; his tragic murder in 2004 led to the creation of the John Monckton Memorial Prize, which recognised and rightly celebrated commitment to care by care workers. 

Today, across the world, seen and unseen, nurses, carers and families continue to provide compassionate care. “Assisting individuals, sick or well, in the performance of those activities contributing to health or its recovery (or to peaceful death) that he would perform unaided if he had the necessary strength, will or knowledge” is the very essence of nursing, captured by ‘architect of nursing’, researcher and author Virginia Henderson in 1966. Meeting more than basic needs such as breathing, eating, drinking and eliminating bodily waste (which are of essential importance), Henderson recognised the role of the nurse in enabling humans to communicate with others, worship according to their faith, satisfy curiosity and sense accomplishment.  

In the desire for modernisation and professionalisation, have we lost sight of the core values and activities central to patient care?

An uncomfortable truth brought out in healthcare reports such as the Final Report of the Special Commission of Inquiry (The Garling Report) 2008, and the Report of the Mid Staffordshire NHS Foundation Trust Public Inquiry (The Francis Report) 2013 is though that this type of nursing is too often done badly or even missed, leading to pressure injury, medication errors, hospital-acquired  infection, falls, unplanned readmission, critical incidents and mortality. According to nurse scientist and scholar Professor Debra Jackson, “missed care occurs much more frequently than we might think”. She cites a systematic review in which ‘care left undone’ on the last shift ranged from 75 per cent in England, to 93 per cent in Germany, with an overall estimate of 88 per cent across 12 European countries’. 

In one offensively-titled paper, “Shitty nursing - the new normal?” (in which the authors apologise for the title but not the questions raised), real-life pen portraits are drawn of patients lying for hours on hospital trolleys, immobile through infection or injury, ignored by staff. Whilst acknowledging contextual factors for poor care, such as a shortage of nurses and resources, the authors argue that circumstances cannot be the sole cause of missed nursing care. 

A report published by the University of Adelaide, School of Nursing, has called for nurses to ‘reclaim and redefine’ the fundamentals of care. It asks whether the cause of the problem (of missed nursing care) lies “deep in the psyche of the nursing profession itself?” “Has something happened to the way modern nursing views and values caring?” it continues. “Indeed, is nursing in danger of losing its claim to care? In the desire for modernisation and professionalisation, have we lost sight of the core values and activities central to patient care? Or is this a broader social pattern where individuals are less inclined to show kindness, compassion, and care for others even if it is a necessary requirement of the job?” 

Compassion, he emphasises, is more than empathy - and way "less fluffy" but much more measurable than kindness. 

Writing in the British Medical Journal, Professor of critical care medicine Peter Brindley and Consultant in intensive care Matt Morgan wonder whether doctors also “too often default to high-tech and low-touch” when patients are dying – a time “when community and connection matter most”. They powerfully begin with a mother’s comment: “Humans are gardens to tend – not machines to fix.” 

Professor Sir Al Aynsley-Green, the first National Clinical Director for Children in Government and former Children’s Commissioner for England, and past president of the British Medical Association, suggests that we as a society need a “momentum for compassion”. Struck by the extremes of compassion witnessed during his wife’s treatment in the last years of her life, Sir Al wants to see a cultural transformation in healthcare: for compassion to be a key operating principle in NHS and care settings, led by the Chief Nurse’s Office; for every organisation to promote the importance of compassion at the professional level; for the views of patients and families to be sought regularly; for much earlier and better focus on compassion in undergraduate and postgraduate teaching programmes for all staff; for compassion to be inspected against by the Care Quality Commission; and for a willingness to encourage staff at all levels to expose poor practice as well as celebrating excellent care.  

Compassion, he emphasises, is more than empathy - and way "less fluffy" but much more measurable than kindness. “It’s putting yourself into somebody else’s shoes – and doing something about it.” Recently appointed the UK’s first Visiting Professor in Compassionate Care at Northampton University, at the age of 80, Sir Al certainly is doing something about it. He has made it his new purpose in life to “embed compassion into every aspect of care”.  

Like Sir Al, Queen Elizabeth II, the UK’s longest serving monarch, espoused compassion, in word and deed. Living a life of compassionate service, the Queen made clear that her Christian faith was her guiding principle. She speaks of Jesus Christ as ‘an inspiration,’ a ‘role model’ and ‘an anchor’. “Many will have been inspired by Jesus’ simple but powerful teaching,” she said in her Christmas Broadcast, 2000. “Love God and love thy neighbour as thyself – in other words, treat others as you would like them to treat you. His great emphasis was to give spirituality a practical purpose.”    

When nurses do unto others as they would have done unto themselves, and act as role model to colleagues, not only do patient experiences of care and their outcomes improve – but so does job satisfaction for nurses: a critical factor in nurse recruitment and retention – the biggest workforce challenge faced by healthcare organisations. Across the UK, there are currently more than 40,000 nursing vacancies, and thousands of burnt-out nurses are leaving the profession early. Whether nurses decide to stay or go is driven in part by their daily experience at work. The late Kate Granger, Consultant in medicine for older people, inspired Compassionate Care Awards in her name, envisioning that such a legacy would drive up standards in care - and surely also help retain nurses, through restoring a sense of pride, achievement and fulfilment to the nursing workforce.  

Review
Art
Awe and wonder
Culture
5 min read

This gallery refresh adds drama to the story of art

Rehanging the Sainsbury Wing revives the emotion of great art

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

An art gallery arch reveals a suspended crucifix and other paintings in a distant room
The Sainsbury Wing interior.

The Sainsbury Wing of the National Gallery has recently reopened after closure for two years for building works. There was controversy over the designs for the Sainsbury Wing in the planning stage but its use, once built, to tell the story of the early stages in the development of Western art was widely welcomed and appreciated.  

The story that it told is essentially the story of Christian art and so the reopening of the Sainsbury Wing together with the rehanging of the National Gallery’s collection provides an opportunity to review that story. As a result of the completed work over 1,000 works of art - a larger proportion of the collection than has been previously displayed - trace the development of painting in the Western European tradition from the 13th to the 20th centuries from beloved favourites to paintings never previously seen in the National Gallery.  

The Sainsbury Wing features works from the medieval and Renaissance periods. Painting came of age during this time. It moved from manuscript illumination to images on panel and canvas, overtaking metalwork, tapestry and sculpture as the most popular and prestigious art form in Europe.  

An opening room contains works from the 14th to the 16th centuries, including The Wilton Diptych and Leonardo Da Vinci’s The Virgin of the Rocks, which together ask visitors to consider the full spectrum of what painting can do. This introductory room gives a sense of what these paintings were for and how they were used. Painting’s rise in status was due to all the things it can do such as tell complex stories, convey human emotions, fool the eye, capture a likeness, make viewers laugh, weep, pray and think. This room provides a sample of those achievements and the various functions painting fulfilled.  

Throughout the Sainsbury Wing, new display cases are used to show paintings as objects viewed from all sides, not simply as flat panels on walls. Medieval altarpieces often had winged panels that could be opened or closed depending on the season or occasion. An example is included here to show how such hinged panels were used. 

From this introductory room spanning the period, visitors can follow either a Northern European route or Italian route around the space, enabling influences between both to be highlighted. The key change explored on both routes is that artists in this period began to create a convincing illusion of reality in their paintings.  

The earliest paintings in the National Gallery Collection were made in central Italy nearly 800 years ago. These naturalistic and intimate images of love, grief and suffering responded to a new interest in the humanity of Christ. A chapel-like space is entirely dedicated to Piero della Francesca whose work, with its cool colour palette and keen sense of space and light, possesses a dignified solemnity. Another room focuses on the spiritual power of gold-ground scenes of devotion, exploring the way gold in paintings was used to evoke the timeless, spiritual significance of Christ, the Virgin and saints, and set these holy figures apart from our world. 

The galleries in the Sainsbury Wing were designed to evoke, for visitors, a Renaissance Basilica. Its architectural features make it possible to display paintings in a similar way to how they would have originally been encountered. The central galleries form the nave of the basilica and all the altarpieces displayed are now there. These galleries are devoted to works made in Florence, Venice, and Siena. The early Florentine room represents the principal point of departure for this new art. In the Venetian room we see the development of perspective, while the Siena room resembles a side chapel in the basilica.  

An altarpiece made for the church of San Pier Maggiore in Florence by Jacopo di Cione and his workshop has been reconstructed and sits on an altar-like plinth to evoke the view of it originally seen by worshippers. Predella panels by Fra Angelico are displayed in a case in front of this altarpiece giving an indication of the way in which predellas interacted with a larger, grander altarpiece. The positioning of these two works also illustrates the movement in terms of realism found in the paintings of this period. The Ascension scene on the altarpiece depicts a statue-like ascended Christ while Fra Angelico’s resurrected Christ in the predella is more realistically floating in the air. 

In a first for the National Gallery, Segna di Bonaventura’s Crucifix is visible down the central spine of the Sainsbury Wing, suspended from the ceiling. This enables today’s audiences to view the work in the way it would have been seen in the 14th century. Painted crucifixes were common in 13th- and 14th-century Italian churches, often displayed high-up like this one. Rood screens on which such crucifixes were originally placed were often destroyed in the Counter Reformation, which led to crucifix’s then being hung from the ceiling, as is the case here. 

The rehang also presents several works back on display after long-term conservation projects. The Martyrdom of Saint Sebastian by Antonio del Pollaiuolo and Piero del Pollaiuolo is back on show after nearly three years of conservation and scientific examination. 

The rehang of The Sainsbury Wing brings to life the way artists forged a new way of painting, painting with a drama that no one had seen before.

Despite the religious and political upheaval caused by the Reformation, the arts also flourished in Northern Europe during this time. Prints transformed the exchange of artistic ideas. Christians were encouraged to use images as a focus for meditation on the lives of Christ and the saints and paintings that were meant to be handled and examined close-up were created for the private devotion of members of religious orders and laypeople. Albrecht Dürer and Lucas Cranach were key figures, with Dürer’s prints, portraits, altarpieces and non-religious subjects transforming painting both in the Holy Roman Empire and beyond. 

Christianity became the predominant power shaping European culture after classical antiquity, inspiring artists and patrons to evoke the nature of sacred mysteries in visual terms. The rehang of The Sainsbury Wing brings to life the way artists forged a new way of painting, painting with a drama that no one had seen before and with stories flowing across panels in colourful scenes. These displays also promote a greater understanding of how works of art were, and still are, used as models of moral behaviour, as celebrations of the deeds of holy figures or as a plea for one’s hopes, both in this life and in the afterlife. 

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