Explainer
Culture
Freedom
Liberalism
6 min read

On liberty’s limits: why Mill was wrong about freedom

This month, it’s 150 years since philosopher JS Mill died. His definition of freedom remains hugely influential. But is it still the right one for healthy relationships and contentment amid the isolation of modern life?

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A copy of the Statue of Liberty, holding a stick of bread, stands outside a shop window displaying an 'Open 24 Hours' signs.
Photo by KC Welch on Unsplash.

You can tell what a society values by what it goes to war over. In the 17th century we fought our wars over religion. In the 19th it was empire. In the 20th and 21st, we fought our wars over freedom, either defending our own or trying to export our version of it to other parts of the world. We tend, of course, to assume we know what freedom is: the liberty to do what we like, as long as don’t harm other people. But we rarely know how time-conditioned and recent such a view of freedom is.  

John Stuart Mill, child prodigy, colonial administrator, Member of Parliament and philosopher, who died 150 years ago this year, is one of the primary architects of our contemporary ideas of freedom. In his own words, his book On Liberty, published in 1859, was an exploration of the ‘nature and limits of the power that can legitimately be exercised by society over the individual’. Mill famously argues that the only valid reason for interfering with another person’s liberty of action is to protect them from physical harm. It is never justifiable to interfere with another person’s freedom to ensure their happiness, wisdom or well-being, because that is to determine what that person’s well-being is. Freedom is defined as liberty of conscience, thought, feeling and opinion, as ‘liberty of tastes and pursuits … doing as we like … without impediment from our fellow creatures, so long as what we do does not harm them’. 

For Mill... individual liberty is vital, not just for the sake of the individual, but for the sake of human progress.

Mill is one of the great champions of nonconformity in thought and action. Even if just one person held a particular opinion while everyone else in the world held the opposite, there would be no justification in silencing that one voice. For Mill, one of the main ingredients of social progress is freedom from the traditions and customs imposed by others, both the past constraints of tradition, and the present ones of custom, which restrict the cultivation of individuality, which in turn ‘is one of the leading essentials of well-being’. Individual liberty is vital, not just for the sake of the individual, but for the sake of human progress. Without it there will be no originality or genius, no new discoveries or innovation. Civilisation cannot advance without individual freedom which encourages spontaneous expression, the development of new thoughts and ideas unconstrained by the patterns of the past.  

It is a powerful argument. On Liberty is full of the fear of Victorian conformity – the individualist’s reaction to a stifling society with a high degree of social control. It is very much a book of its time, assuming the cultural superiority of the modern age. It also breathes an elitism that looks down on the mediocrity of what it calls ‘average men’.  

But more than that, there is, I think, a deeper flaw in this way of thinking about freedom. If freedom is essentially my liberty to say or do what I like, as long as I don’t tread on the toes of my neighbour, then what does that do to my relationship with my neighbour? He or she becomes at best a limitation, or at worst a threat to my freedom. There may be all kinds of things I want to do – play music loud on a summer’s night, or drive my car at 100 mph on a quiet suburban road – but I can’t because I might disturb my neighbour’s peace or risk crashing into an oncoming bus. Or even worse, my neighbour might want to play her music too loud for me, or drive her car too fast in my direction, thus invading my personal space. This approach keeps the peace between us, but at the cost of making us see each other either as irritating limitations to our desires which of course define our self-chosen goals in life, or threats to our own precious autonomy. 

The German sociologist Hartmut Rosa argues that  

“the ethical imperative that guides modern subjects is not a particular or substantive definition of the good life, but the aspiration to acquire the resources necessary or helpful for leading one.”  

In other words, in the individualised world imagined by Mill, we are all left to dream our own dreams, choose our own ambitions, and are all caught up in the fight to get hold of the money, rights, friends, looks, health, and knowledge that will enable us to get to our self-chosen destination. It therefore makes us competitors with each other, not only seeing each other as rivals in this race for resources, but also as potential threats who might stand in the way of our freedom to pursue our dreams.  

There is however another, older view of freedom, rooted more in character and virtue than in individualised personal goals. This version, found in classical literature, sees liberty not as freedom from the limitations and social expectations that stop us following our self-chosen desires, but freedom from the passions. The Greeks viewed the soul as like a ship which should sail serenely towards the harbour of such virtues as prudence, courage and temperance. It was guided on this journey by paideia, or education in virtue, yet was at the same time buffeted by the winds of irrational and destructive impulses such as envy, anger or lust that threaten to blow it off course. For them, our passionate inner desires are not the sacrosanct moral guide to our true selves but are a distraction from the true path of virtue.  

True liberty is freedom from anything that would stop us becoming the person we were created to be.

This version was developed further by Christian thinkers such as St Paul, St Augustine and Thomas Aquinas. For them, true liberty is freedom from anything that would stop us becoming the person we were created to be: someone capable of love for what is not ourselves – for God and our neighbour. True liberty is freedom from internal urges such as the greed, laziness or pride that turn us in upon ourselves rather than outwards towards God and each other. It is also freedom from external forces such as the grinding poverty that dangles the temptation to steal in order to survive, or an economy that constantly tells us that if you don’t acquire as much stuff as your neighbour you are a failure. It is not so much freedom for ourselves, but freedom from ourselves: freedom from self-centred desires, or the crippling self-absorption that makes us think only of our own interests. It is freedom to create the kind of society where we are more concerned with our neighbours’ wellbeing than our own.  

In this view of freedom, my neighbour becomes not a limitation or a threat, but a gift – someone without whom I cannot become someone capable of the primary virtue of love. Putting it bluntly, if I am to become someone capable of other-centred love, I need someone to practice on.  

This Christian understanding of freedom offers a vision of society where you might begin to trust other people to look after your own needs, because they are looking out for yours. It is also a vision of freedom that delivers personal happiness better than the libertarian view. Becoming the kind of person who has learnt, as St Paul once put it, to ‘look not to your own interests, but to the interests of others’ is in fact a recipe for healthy relationships and contentment rather than the increasing isolation of much modern life.  

Mill may have had a point in the stifling conservatism of Victorian Britain, but in an age of increasing loneliness, isolation and anxiety, his view of freedom doesn’t help build good neighbourhoods, families or communities. We need a better version - one that brings us together, rather than drives us apart.

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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