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6 min read

Cost of living crisis: faith and food banks combine to tackle destitution and its causes

The Trussell Trust wants food banks in its network to reduce the need for their services. Robert Wright finds out why the trust regrets they still distribute so much food.

Robert is a journalist at the Financial Times.

 

A man stands in front of a food bank's shelves of cereals and boxes labelled by foot type.
Howard Wardle at Eastbourne's food bank.

When Howard Wardle was making plans to set up a food bank in Eastbourne, in East Sussex, he received little support from his fellow church leaders. Speaking in the industrial estate warehouse that has been the food bank’s headquarters since 2017, Wardle recalls how at a meeting called to discuss the idea he largely encountered bafflement. At the time, Wardle was pastor of the town’s Community Church. 

“They said, ‘There isn’t a need in the town – you’re wasting your time doing it’,” Wardle says of the meeting in 2011. 

Wardle nevertheless received encouragement from Eastbourne’s Citizens’ Advice Bureau, from the major of the local Salvation Army congregation, the local authority’s social services – and the Trussell Trust, the UK’s largest organiser of food banks. The food bank, of which Wardle is now chief executive, last year handed out 280,000 meals. 

Yet for Wardle and the Emma Revie, the Trussell Trust’s national chief executive, it is a matter of regret that its members are distributing so much food – organisations affiliated with the Trussell Trust handed out 2.99mn parcels in the year to March 2023. The figure was a 37 per cent increase on the year before, a rise largely down to the cost of living crisis started by the spikes in energy and food prices following Russia's full-scale invasion of Ukraine in February 2022. 

“It’s incredibly worrying and upsetting that so many people – more people – are having to come to food banks,” Revie says. 

Workers at the Eastbourne Foodbank and others nationally are following a strategy of campaigning for policies that seek to ensure no one needs to seek emergency food support. They also employ staff who help clients to navigate the benefits system, prepare for work or take other steps to find a permanent solution to their problems. 

“We were absolutely resolute that enough is enough. We needed to do whatever we needed to do to reduce the number of people needing to come to food banks.” 

Emma Revie

The Trussell Trust centrally provides organisational support for affiliated food banks but deliberately does not undertake functions such as purchasing food. 

Revie says it adopted the strategy of trying to put itself out of business five years ago, after experiencing significant growth in demand for its services. The trust was founded in 1997 in Salisbury by Carol and Paddy Henderson, a Christian couple. Christian principles have been core to the trust’s operations ever since. 

“We reached a decision point where we either had to accept that this situation was likely to increase and would always be needed or we had to decide that that was not acceptable and change the way we thought about our work,” Revie says. 

The trust recognised how inadequate food parcels were to the fundamental needs that member food banks were seeing among clients, she adds. 

“The reason people are coming to food banks is they don’t have enough money to afford the essentials,” Revie says. “They know it’s not going to put credit on the gas meter. They know it’s not going to pay for school shoes.” 

The organisation had to decide whether it accepted as inevitable that so many people needed its services or would reorient itself towards working to end that need, she adds. 

“We were absolutely resolute that enough is enough,” Revie says. “We needed to do whatever we needed to do to reduce the number of people needing to come to food banks.” 

“We’re not just here to get people on benefits. If we think they can work, we try to encourage people to get into work.” 

Robert Crockford

In Eastbourne, the strategy of reducing dependence on food banks has been in place from the start, according to Wardle. 

“When we started, we felt it was one thing to have a food bank giving out food but another to have people not need to come to food banks,” he says. 

After receiving some grant funding, the food bank took on staff to help clients to resolve their financial problems and ensure they were receiving all the welfare benefits to which they were entitled. 

“We built a welfare benefits team, a debt team and a medical benefits team so that we could help clients,” Wardle says. 

Robert Crockford, the food bank’s senior advocacy officer, says he helps food bank clients to navigate issues such as the two-child limit and the overall benefits cap that restrict the amount benefits recipients can receive. 

The two-child limit stops parents from receiving child benefit for any more than two children if the additional children were born after 2017. The benefit cap - £283.71 for a single person living outside Greater London – was introduced in 2013. It limits the total amount a person or family can receive from the system. 

Crockford explains that he seeks to help clients to explore whether they count as disabled, a carer or have some other status that might enable them to receive higher benefits. 

The group also works with People Matter, a charity that helps to prepare people for work. 

“We’re not just here to get people on benefits,” Crockford says. “If we think they can work, we try to encourage people to get into work.” 

Revie bemoans the overall inadequacy of the benefits system, pointing out that many recipients of Universal Credit – the main income-support benefit for most people who are unemployed or on low incomes in the UK – cannot afford food. 

“When almost half the people on that benefit are unable to afford food, something systematically is failing,” she says. “So do you tackle the symptoms or do you tackle the actual problem?” 

That emphasis on tackling problems is clear at another food bank affiliated with the trust – in Kingston, on the south-western edge of London. 

Ian Jacobs, director of Kingston Foodbank, says his organisation works closely with Citizens’ Advice to try to develop permanent solutions for people seeking help. 

“We do deep-dive investigations into people’s circumstances to try to see if we can get more money into people’s pockets,” he says. 

Kingston Foodbank currently operates six foodbank centres and one pantry, where referred clients can select and buy reduced-price food. Jacobs says he would like one day to reverse the proportion, so that it operates six pantries and one food bank. 

Jacobs, a member of the Doxa Deo Community Church, an independent evangelical church, also makes it clear that many volunteers are working at the food bank out of Christian conviction. 

“We’re always open to pray with clients,” he says. 

Revie says the trust is “deeply rooted” in the local churches. 

“Many of our volunteers and staff are motivated in the work that they do by their Christian faith,” she says. “Our values of community, compassion, dignity and justice are deeply rooted in the Christian faith.” 

Revie points out that the trust was founded by Christians and that its network grew through approaches by individual churches to the trust. 
"We as an organisation work with people of all faiths and none and we certainly support people of all faiths and none," she says. "But we are deeply rooted in the local churches and many of our volunteers and staff are motivated in the work that they do by their Christian faith,” she says. 
Faith has a "very special role to play" in the trust's work, Revie adds. 
 “Our values of community, compassion, dignity and justice are deeply rooted in the Christian faith," she says. 

“We don’t believe there should be food banks in today’s society,” Jacobs says. “That’s why we do all the extra work to make sure people aren’t dependent on the food bank.” 

Review
Art
Character
Culture
Faith
5 min read

Inside the minds of Siena’s finest artists

To exhibit art from a golden age, it first needs to survive.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A split wooden sculpted head stands in an exhibition.
Lando di Pietro's carving from 1388.

Curating an art exhibition about the emergence of recognisably life like painting and sculpture, pre-supposes just one thing. That the once innovative and venerated art works survive to today, even if shorn of their original, usually religious, settings. Those that made it to the National Gallery’s Siena: The Rise of Painting 1300-1350 have some tales to tell. That give us insight into their creators and their beliefs. 

A cracked skull is sadly not an unusual find in the aftermath of an explosion. But the head discovered in the rubble of a Siena church following a World War Two Allied bombing raid in 1944 was remarkable. Almost life-sized, made of walnut and depicting Christ’s face, the carving had originally been part of the figure on a crucifix, but now severed from its body, the head was almost sheered in two. From this destruction spilled more secrets.  

Hidden inside the skull, its creator Lando di Pietro inserted parchment with personal prayers. What little documentation we have about 14th century artists is usually public: contracts, lawsuits and wills, but these two scraps of writing represented Pietro’s personal faith. He dramatically asserted himself as the creator of the work: 

“Lord God made it possible for Lando di Pietro of Siena to sculpt this cross from wood in the likeness of the true Jesus Christ to recall for people the Passion of Jesus Christ…have mercy on all generations”  

And Lando also prayed for good health and for the world. 

The fragment of a crucifix dating from 1338, is the only surviving example of wooden sculpture by this renowned goldsmith and architect, one of the Trecento creators on display at Siena: The Rise of Painting 1300-1350. In the hothouse of creativity that was the Tuscan town in the first half of the 14th century, goldsmiths collaborated with sculptors and painters, and the images they collectively created inspired manuscript illuminators, whose works, passing through many hands, went on to inspire other artists. 

Siena’s position on the Via Francigena, the major pilgrim route between northern Europe and Rome, ensured the city’s artistic innovations spread to Britain and eastern Europe and beyond. And Sienese painter Simone Martini’s patronage by cardinals and members of the Papal curia in the Pope’s court at Avignon, showcased the techniques, materials and styles of Siena to influential church leaders and royal courts throughout the Catholic communion. Interconnected through marriage and diplomacy, the courts of northern Europe would have diffused Sienese style through the exchange of gifts, and hosting and commissioning peripatetic artists from the city. 

The portability of devotional objects also spread the developments of Siena’s more naturalistic and emotional style, way beyond the city’s boundaries. 

Decorative crosiers would have been in motion during processions, and the sculptural decoration contained in their curved tops were viewed in the round. On the Master of San Galgano Crosier, about 1315-20, the cast figure of the saint kneels in front of his makeshift cross. St Galgano’s praying hands and bent elbows form a perfect line with the sheathed sword, that the twelfth century knight miraculously drove into a rock. The Abbey of San Galgano grew up near the site of the miracle, and the intricately decorated reliquary containing the saint’s head is faithfully reproduced in enamel at the top of the staff.    

Simone Martini’s Orsini Polyptych, dating from around 1310, can be understood as a freestanding, miniature, double sided altarpiece, depicting a silent Annunciation on one side, and a tumultuous Passion cycle on the other. The polyptych’s probable patron, Cardinal Napoleone Orsini is portrayed at the foot of the cross in the Deposition. Fully closed for transportation, the eight panels resemble a block of marble encased in gold. With the outer wings closed, the marble ‘covers’ become a setting for an Annunciation diptych. Fully opened, the panels tell the Passion, story Christ’s torture and death.  

Originally the panels were likely hinged together, so the work could fold like a concertina. After a period at the Papal curio in Avignon, the panels were separated centuries ago. Seeing the panels individually lost the tangibility of the object’s manipulation of space, through folding and portability. Seeing them united in the National Gallery for the first time in centuries is incredibly moving. 

An early fifteenth century French prayer book The Belles Heures of Jean de France, Duc de Berry, has a Lamentation scene sharing many motifs with the Orsini Polyptych, including the woman tearing at her hair, Saint John the Evangelist covering his eyes, and the back view of Mary Magdalene crouching over Christ’s feet. Within a hundred years, the Sienese emphasis on human emotion and portraying figures in recognisably three-dimensional space, had rippled out to other art forms and other countries.  

One of Britain’s medieval treasures, the Wilton Diptych, commissioned by Richard II about a decade earlier than Berry book of hours, also reveals the influence of Siena: from the king’s animated pose kneeling before the Virgin and Child, to the egg tempera paint, and gold leaf sgraffito, where the surface is scratched away to depict sumptuous textiles. 

In an exhibition full of showstoppers, the unification of the back predella (altarpiece base) of Duccio’s Maestra altarpiece is a standout moment. Installed in Siena Cathedral in 1311, Maestra has the oldest surviving narrative predella. On the front, depicting the Virgin Mary at the centre of a heavenly court, the painter had included his signature and a prayer. 

“Holy Mother of God, bring peace to Siena, and bring life to Duccio who painted you like this.”  

While the front image of the heavenly court would have been viewed from afar, the congregation could move close to the back predella and view a sequence of panels on Christ’s teaching and miracles as they prayed.  

In 1771 the Maestra was sawn in half, and the predella dismantled. Its individual scenes were dismantled and displayed, and then sold, separately. The eight surviving panels are reunited in the National Gallery for the first time in 250 years. 

The Black Death struck Siena in 1348, killing up to half its population, including many artists. Over centuries, plague, war, differences of religious doctrine, and fashion for Grand Tour mementoes, saw objects dismembered and repurposed. Yet the emotional resonance of maternal love seen in Ambrogio Lorenzetti’s Madonna del Latte, c.1325 or the humanising family drama of Simone’s last surviving work, Christ Discovered in the Temple, 1342, could never be undone. Art grounded in human emotions and human perceptions of the spaces around us, was here to stay, 

The wartime work of the Monuments, Fine Arts, and Archives (MFAA) unit in preserving treasures such as the Head of Christ found in the ruins of the Basilica di San Bernadino all’Osservanza, was dramatised in George Clooney’s 2014 film Monuments Men. Creativity’s boundless resistance to the forces of destruction will always be box office.  

  

Siena: The Rise of Painting 1300 -1350 National Gallery, until 22 June. 

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