Interview
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S&U interviews
6 min read

"Nobody is neutral": Kate Forbes on her Christian faith and political future

Politician Kate Forbes knows how it feels when public life misunderstands a faith-led life. Robert Wright interviews her as she reflects on that experience and what next.

Robert is a journalist at the Financial Times.

 

A women stands beside in a corridor beside a large window through which a wing of a building and a distant hillside can be see,
Kate Forbes at Holyrood, the Scottish Parliament.

When Scotland’s then first minister, Nicola Sturgeon, unexpectedly announced her resignation in February, Kate Forbes was on maternity leave from her job as Scotland’s finance secretary. As such, Forbes, a committed Christian, had not made any public statements about politics in six months. 

Yet, reflecting on the campaign earlier this month, Forbes recalled how social and mainstream media were immediately “awash” with comments about why her religious convictions made her unfit to succeed Sturgeon. The controversy, much of it centred on Forbes’ membership of the small, theologically conservative Free Church of Scotland, continued throughout the subsequent election campaign. Most involved her stance on gay marriage and Scotland’s gender recognition legislation. 

Forbes discussed the campaign in an interview in her small office in the Scottish parliament building in Edinburgh – one of her first since the often fractious campaign. Forbes secured an unexpectedly strong 47.9 per cent of the vote after the elimination of the third-placed candidate, Ash Regan, and the redistribution of her second-preference votes. She now sits as a backbench Member of the Scottish Parliament (MSP) for Skye, Lochaber and Badenoch. Forbes rejected an offer from Humza Yousaf, the victor, the clear choice of the party establishment, of a cabinet job far more junior than her previous role. 

She started the discussion by challenging the idea – which she thought motivated some criticisms she faced - that atheists, agnostics and other non-believers were neutrals on questions of religious conviction. It was one of many points where Forbes used her experience to paint a picture of a public life where issues of faith and faithful people were increasingly marginalised and misunderstood. 

“Nobody is neutral. There’s this perception, which is flawed, that there are some people who are neutral and some people who have faith.” 

Everyone viewed the world through a philosophical framework, Forbes went on. It was critical to ensure people were not shut out of public debate on the basis of their philosophies, she said – just as it was important to avoid excluding people for their race, sex, sexual orientation or any of the other characteristics protected in law. 

Her comments explain the unusually frank approach that she took to matters of faith when asked during the campaign about her convictions – which she insists represent a “mainstream” Christian perspective on issues of personal morality. 

“I think that people of faith are under immense pressure to compromise or to change their views in the public spotlight. I think we have to logically and rationally walk through how we can both believe in a personal faith which calls us to be public witnesses to that faith and at the same time serve those with other faiths or no faith.” 

Forbes, now 33 and first elected in 2016, has said that she would have voted against gay marriage if she had been a Member of the Scottish Parliament (MSP) in 2014 when the Scottish parliament voted to introduce the measure. However, she has insisted that, with the provision now on the statute books, she will defend it. 

“By and large, I absolutely believe in… freedom of choice, freedom of belief and of expression. I don’t believe my views should be imposed on other people.” 

Forbes nevertheless argued that there were issues of conscience where politicians should be allowed to make choices free from the normal party-political considerations. Forbes was on maternity leave in December when the gender recognition legislation came before parliament. The SNP denied its MSPs a free vote on the measure – a decision with which Forbes disagreed. The vote split all the main parties in the parliament. 

Little of the commentary during the leadership election captured the nuances of her positions. 

“The vote on marriage in 2014 was deemed to be a vote of conscience. My party has always held that issues around abortion should be votes of conscience. So, I think it’s possible to both believe that you legislate on behalf of everyone and treat everyone equally and make space for some votes of conscience, which are a consequence of strongly held views and convictions.” 

Forbes added that “without a shadow of a doubt” MSPs should be given a free vote on one forthcoming piece of legislation - the Assisted Dying for Terminally Ill Adults (Scotland) Bill. The bill, likely to come before parliament in the next few months, would allow terminally ill people over the age of 16 to ask for help in dying. 

“Matters of life and death are hugely important, hugely personal but have big public implications. You might think that’s a tension. But I have always been able to accommodate that tension.” 

There had never been any suggestion that Forbes’ faith led her to exclude any group from receiving funds when she was finance secretary, she added. 

“Of course, it did inform my care and concern for those in poverty, for those who are under-represented in society, for those who need more help than others,” she said. 

As her office filled with the noise of children enjoying their lunch break at the neighbouring Royal Mile Primary School, Forbes mostly sounded relaxed when talking about the leadership campaign. But she insisted she had felt subject to disproportionate scrutiny, particularly pointing to a leadership debate staged by Channel 4 which included a segment on “faith in politics”. 

“If you watch that clip, it’s basically the interrogation of Kate Forbes. There are very few questions put to the other candidates.” 

The imbalance, she said, rested on the false assumption that Yousaf, a practising Muslim, and Regan, who has no religion, took essentially neutral positions on faith questions. She said, however, that she had won support from many people of faith because of her willingness to speak openly. 

“I can remember one imam saying to me, ‘It’s given us hope to see you being true and authentic to your faith even when it’s difficult’,” Forbes recalled. 

Forbes, who grew up partly in India where her parents were missionaries, recalled how living through the Gujarat earthquake of 2001, when she was 10, helped to bring her to her own faith. The earthquake is estimated to have killed between around 14,000 and 20,000 people. 

“It was coming face to face with the realities of life and the realities of death that I started my own faith journey,”

Forbes became noticeably more animated when talking about the nature of her personal faith than at other times, when she sounded far more guarded. 

Her faith was not “a hobby like knitting or playing the guitar”, she added. 

“It’s a truth that compels me to be loving and caring and be willing to sacrifice my own life.”

For the moment, however, the questions facing Forbes are more humdrum. Forbes gave her interview before Yousaf warned MSPs to back Sturgeon, the former first minister, following her arrest in June on suspicion of fraud in an inquiry over the SNP’s finances. Sturgeon, who was released without charge, has vigorously denied any wrongdoing. 

Peter Murrell, Sturgeon’s husband, the former SNP chief executive, the first person arrested, and Colin Beattie, the party’s former treasurer, have also been released without charge. Both also deny any wrongdoing. 

Forbes accepted the arrests had been a “huge shock”. 

“I said after the second arrest… that integrity should characterise everything we do – and not just the substance of integrity but the perception.”

She also accepted there were limits to the areas where faith could guide her thinking. 

She declined to say whether Jesus would prefer Scotland to be independent or remain part of the union. 

“There’s no 11th commandment that decrees whether or not Scotland should in the union. I think what [God] cares about really is the values by which we live. So, you’re going to get no answer from me on that.” 

She sounded still less certain, meanwhile, about where her future career path would lead. 

She would continue as an MSP “for the foreseeable future”, she said. 

But she went on: “The honest answer is that I don’t know what to do next.” 

She had previously said it was “highly, highly unlikely” she would ever stand to be leader again, she added. 

“I still hold to that position,” she said, adding that she had family and constituency commitments. 

She added, nevertheless, that a sense of sacrificial calling was “ingrained” in her by her parents’ decision to leave Scotland in their 20s to serve a marginalised, impoverished community in India. 

“I wait to see, really, what I can and should do next.”

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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