Review
Art
Culture
5 min read

Blake, imagination and the insight of God

A new exhibition focuses on seekers of spiritual regeneration and national revival.

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

William Blake's illustration of God squatting down to create with his hair and beard blown to one side
Blake's Ancient of Days.
The Fitzwilliam Museum.

The exhibition William Blake’s Universe at the Fitzwilliam Museum, Cambridge, enables visitors to discover a constellation of European Romantic artists who sought spirituality in their lives and art in response to war, revolution and political turbulence. 

The exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from the Fitzwilliam Museum's collection, alongside artworks by Blake's European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now. Though they never met or connected in their lifetimes, Blake, Runge and Friedrich shared an unwavering belief in the power of art to redeem a society in crisis.  

Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. 

The exhibition also places Blake within his artistic network in Britain, drawing parallels with the work of his peers, mentors and followers including Henry Fuseli, John Flaxman, and Samuel Palmer. In the exhibition catalogue Esther Chadwick draws attention to a little-known series of paintings in which ‘Blake is shown partaking in an immense community of like-minded intellectuals of the European Romantic generation.’ These include writers and poets associated with Runge, as well as artists and poets such as Flaxman, William Wordsworth and Samuel Taylor Coleridge. Flaxman introduced Charles Augustus Tulk, a well-known Swedenborgian, to Blake, to whom Tulk later introduced Coleridge saying ‘Blake and Coleridge, when in company seemed like congenial beings from another sphere breathing for a while on our earth’. 

Exhibition curators David Bindman and Chadwick have said: “This is the first exhibition to show William Blake not as an isolated figure but as part of European-wide attempts to find a new spirituality in face of the revolutions and wars of his time. We are excited to be able to shed new light on Blake by placing his works in dialogue with wider trends and themes in European art of the Romantic period, including transformations of classical tradition, fascination with Christian mysticism, belief in the coming apocalypse, spiritual regeneration and national revival.” 

Independently of each other, Blake and Runge were inspired by the writings of German mystic Jacob Böhme, who, as Bindman and Chadwick explain, ‘believed that all being arises from the dynamic interplay of opposites: between darkness and light, life and death, hot and cold, male and female’. As a result, he viewed our spiritual quest as ‘the reconciliation of differences to produce spiritual and philosophical regeneration’. Bryan Aubrey has also shown that Böhme believed human beings can share in the divine imagination, through which we act ‘with, and on behalf of, the creator’. Böhme ‘equated the strong imagination with the faith that moves mountains’ while Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. Blake was, as a result, indebted to Böhme for his concept of the imagination and his doctrine of contraries. 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. 

Melanie Öhlenbach has argued that ‘Runge's life, his theory and works bear testimony to Böhme's importance’. For Runge, art ‘is considered as the revelation of God and the artist as its tool, while the artist's imagination creates the insight of God’. He believed it is ‘the artists' duty to re-create the diverging harmony of man and cosmos in the sense of an artistic-spiritual revolution’. She writes that due to his early death, ‘Runge managed only partly to put his ambitions into practice’, notably in his Times of Day series which represent not only the changing times of day, but the seasons, the ages of humanity and historical epochs. Similarly, Friedrich’s seven sepia drawings The Ages of Man are thought to be inspired by Runge’s interest in visual representations of time, meaning that this exquisitely delicate series is associated with the themes of change in nature, the cyclical representation of time and the temporality of human life. 

The significance of these artists is, in part, as prophets within the Christian tradition. Lucy Winkett has noted that ‘Blake’s faith was in the Jesus whom he believed the Church had abandoned’. As a result, ‘he was — and still is — an internal rather than external critic of the way in which the Christian faith is practised by its adherents; and so, for those who have ears to hear, his is a prophetic rather than destructive force within the Christian tradition’. Richard A. Rosengarten states that ‘Blake wanted to stir things up because he thought the Christian revelation was meant to stir things up’. He argues that, for Blake, the ‘first step in doing so (after reading the Bible from stem to stern) was to liberate Imagination from the shackles of Reason’. This is what ‘could make us fully human again, and thus much more approximately the creatures of God that we truly are’.   

Malcolm Guite suggests that both Blake and Coleridge: ‘recognised Jesus as the Divine Imagination and Love bodied forth for us and kindling afresh in us the love and imagination which is God’s lost image deep in our souls. Both men were calling for England (‘Albion’ in Blakes terms) to awaken from the sleep of materialism, greed and conquest, and to be renewed in Christ through an awakening of the spiritual imagination.’ 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. In our own time of war, revolution and political turbulence, it may be that this is a prescient exhibition bringing us artists who, as Winkett said of Blake, have ‘a distinctively Christian voice for our time’.  

In Jerusalem, one of Blake’s illuminated books from which many plates are shown in this exhibition, Blake writes: ‘I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination – Imagination, the real & eternal World of which this Vegetable Universe is but a faint shadow, & in which we shall live in our Eternal or Imaginative Bodies when these Vegetable Mortal Bodies are no more.’ 

William Blake’s Universe, 23 February 2024 - 19 May 2024, Fitzwilliam Museum.

Watch the exhibition trailer

Explainer
Belief
Community
Creed
Politics
7 min read

The peripheries of belief: how faith shaped the north’s identity

Northern spirituality’s rebellious capacity to adapt is still in play today

Tom Rippon is Assistant Editor at Roots for Churches, an ecumenical charity.

Dark clouds over Durham Cathedral
Durham Cathedral and town.
David Connor on Unsplash.

2025 has so far been the year of the north. At its start, we were treated to the plasticine escapades of Wallace and Gromit, whose unabashed northern-ness was enough to faze American TV executives. Then in April, the story turned to northern industrial decline when Scunthorpe steelworks hit the headlines, prompting last-minute state intervention. In May, the local elections saw the astonishing rise of Reform across areas previously dominated by Labour. Taken together, these three moments encapsulate the range of associations often evoked by life on the periphery of England: regional pride, good-natured humour, close communities, economic precarity and hard graft. 

The north is a landscape of contraries and co-existence, where sweeping fells and dark skies meet red-brick chimneys and rolling waves of terraced houses.   As David Barnett puts it, it is “a place made up of individuals, bound by an ethereal quality that is at once a myth and, conversely, as real as grit and graft.’  

Hard to pin down, yet real once seen, the same could also be said for the faith that has filled the region with a multitude of expressions to this day. 

Of course, when we talk about ‘the north’, we mean everything and everyone from the conurbations of Merseyside and Greater Manchester to the Lake District and Northumberland, where centuries of border warfare have left a plethora of castles and fortified houses (‘pele towers’). Two landscapes dominated by buildings which have long lost their original purposes. Perhaps the principal shared characteristic of these communities is a sense of distance from mainstream political and cultural life (just try catching a train that isn’t heading to London). But with distance comes an independence of identity and a proud sense of cultural distinctiveness.  If anything, the only thing that can be definitively said about northern identity is that it is the quality of being ‘not southern’.   

Northern Christianity has not escaped this wavering relationship with the south.  In 664 AD, the Northumbrian Church gathered at Whitby for a meeting presided over by King Oswy of Northumbria and the Abbess Hilda of Whitby.  It was quite literally a pivotal moment for the early Church and the north more widely.  The matter at hand was whether Northumbrian Christianity, then centred on the Holy Island of Lindisfarne, should remain orientated towards Celtic Christianity, which had as its principal focal point the abbey of Iona, or whether to turn towards Rome and its growing mission in the south, headquartered in Canterbury.  North or south?  Canterbury or Iona?   

In the end, the group opted for closer links with the Roman Church.  Yet the Christian faith in the north remained distinctive, blending the older influences of St Columba and St Aidan with the new ones coming up from the south.  Lindisfarne Priory remained a centre for Christian life in the north and its prestige led it to accumulate the wealth that eventually precipitated its own destruction by Viking raids in 793 AD. In spite of this, the northern saints drew reverent pilgrims for centuries to come, as the grandeur and scale of Durham Cathedral, the burial place of St Cuthbert, testifies to this day. 

Behind the independent northern spirit lies a long history of political, economic and spiritual divergence from the south. Northern spirituality is characterised by a sustained distinctive flowering of the Christian faith that intertwines itself with the social identity of the peoples and places of the north.  The region’s response to the religious reforms of Henry VIII was the Pilgrimage of Grace, which protested both his break from the Roman Catholic Church and socio-economic policies implemented by the king and his chief minister, Thomas Cromwell.   

By the seventeenth century, faith in the north had taken on a distinctly reformist hue as non-conformism – that is, churches and sects not aligned with the Church of England, the Church of the state and the establishment – flourished in the region. The beginnings of the Quaker movement can be traced to an open-air sermon given by the reformer George Fox in 1652 on Firbank Fell, near Sedburgh in modern Cumbria - the crag he spoke from is still known as Fox’s pulpit - while other reformist movements, including Methodism, Congregationalism and Presbyterians, also drew increasing crowds with their passionate preaching in fields, moors and disparate farming communities. 

The very landscape of northern England, often challenging and remote, drew its inhabitants away from both socio-political centres and the established Church, nurturing forms of belief in the seventeenth and eighteenth centuries which were as independent as those of seventh- and eighth-century Northumbria. Much of religious life in the region was organised around a large parish church that served numerous small communities spread across a large area.  Living at such distances, no wonder people felt a disconnect from the parish church and the national Church it represented. Non-conformist chapels and meeting houses quickly spread across the landscape, particularly in remote villages outside of the control of major landowners and Church authorities. As David Petts argues, the building of chapels expressed the collective economic and organisational independence of rural labourers and miners, and united dispersed communities through collective endeavour. 

The region has proved itself capable of delivering considerable shocks to the London political establishment. 

Once the chapel was built, they would prove valuable training grounds for rethinking the political organisation of the poor; the significance of non-conformism thus lay not only in its spiritual divergence from the establishment, but also in its fostering of alternative political systems. Methodism in particular was to provide an ideological and practical template for mass movements such as Chartism, which campaigned for social reform and an expansion of democratic suffrage in the mid-nineteenth century. Chartist campaigners called themselves ‘missionaries’ and crisscrossed the country preaching ‘the gospel of Chartism’ and forming Chartist congregations. Their political vision found a receptive audience in the working population of the industrialised north, who were raised on the non-conformist emphasis on Christ as the carpenter’s son and a poor man, one who worked for his living as they did. Towards the end of the nineteenth century, the non-conformist social Gospel produced notable reformers such as the journalist W. T. Stead, born  in rural Northumberland as the son of a Congregationalist minister, and the Quaker confectioner Joseph Rowntree of York. 

Amidst the darkness, grime and crushing conditions of nineteenth-century mills and mines, the Christian message of mutual aid and fellowship, first articulated by the early Church, again found expression. In Manchester, the Methodist Central Hall served a dual purpose, providing a space for worship on Sundays and a community space during the week, when it offered libraries, food, clothing, shelter, childcare and even entertainment to the people of the city. 

Social reform and the Christian faith buttressed one another across the region and together resisted the fractures, pressures and degradations that industrialisation exerted on the communities they served. The social values of these interdependent movements left a lasting impact on the modern political landscape of the region, until recently known as Labour’s ‘Red Wall’. As any political correspondent will tell you, northern politics can no longer be taken for granted and the region has proved itself capable of delivering considerable shocks to the London political establishment.  Walking through these communities, left behind by deindustrialisation, globalisation and our periodic post-crisis recoveries, the air seems pervaded by a sense of unravelling as the old bonds and certainties slowly slip-away. The Church is not immune to these processes and the north follows the overall national trend of declining church attendance. The empty chapels testify as much to the seismic shifts taking place in the region as the empty warehouses and factories. 

But if the history of Christianity in the north tells us anything, then it is that northern spirituality has never stood still. It has an ingenious capacity to adapt, to regenerate itself to meet the challenges faced by each generation. The challenges are varied and specific to each community, but the Church is there. In Burnley, the fight of the early disciples against urban poverty is echoed in the work of the Church on the Street, whilst on Holy Island itself, the Parish Church of St Mary the Virgin is a driving force behind the Holy Island 2050 project, which aims to assure the sustainability of the Island community in the face of depopulation and rural precarity. 

If the dominant atmosphere in the north is one of feeling left behind, then the Christian call to reach out to those around us is needed more than ever. More than one thousand years separate St Aidan from us, but the Christian faith can still help the us to navigate the challenges and precarities of a changing world.

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