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Church and state
Creed
Leading
Politics
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5 min read

The one thing our new Archbishop can offer the world

How an unlikely argument between the Pope and Madonna points the way for the new Archbishop of Canterbury

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

An archbishop crowns the king.
The archbishop crowns the king.

The Catholic News Agency is a news outlet whose Instagram account posts warm pictures of the Pope, Catholic saints and so on, with heart-warming, if a little anodyne, quotations. A week or so ago, it sparked one of the most unlikely social media spats in recent times - an argument between Madonna (no, not the Virgin Mary) and Pope Leo himself.

With the announcement of Sarah Mullally as the 106th Archbishop of Canterbury, this debate may have something to say to her as she moves from London (where I knew her well and worked with her as a fellow bishop) to Lambeth.

The CNA had posted a picture of a smiling, waving Pope Leo with the caption: “My priority is the Gospel, not solving the world’s problems.” It referred to an interview in which the Pope had said: “I don’t see my primary role as trying to be the solver of the world’s problems… although I think that the Church has a voice, a message that needs to continue to be preached, to be spoken and spoken loudly.”

The comments below were predictable, ranging from “This is a God-inspired pope!” to “The pope is irrelevant’ – and much worse. But among the 2000 or so comments was one by Madonna herself: “The whole point of teaching and learning the Gospel is to inspire people to love one another and make the world a better place. Not just with words but with actions, which is exactly what Jesus did. I am truly disappointed by this.”

Madonna has always had an odd relationship with the Catholic Church, and this was not the first time she has engaged with Pope Leo (or his predecessor Francis for that matter) online. But the story still went viral.

So - back to soon-to-be Archbishop Sarah.

She certainly faces a challenging inbox - divisions among Anglicans over sexuality that threaten to tear the Anglican Communion apart; safeguarding scandals; the ructions that being a female Archbishop will raise for traditionalists within the Church of England and with the Catholics and the Orthodox; the rise of Christian Nationalism, criticism of the Church’s commitment of £100m for reparations for slavery, not to mention the continue decline of Anglican congregations around the country.

So what should her priorities be as she starts her role?

I must confess I’m on Pope Leo’s side in this one. Unsurprisingly, the scholarly Augustinian Pope is a better theologian than the singer of ‘Like a Prayer’.

Pope Leo went on to say: “The values that the Church will promote in dealing with some of these world crises don’t come out of the blue, they come out of the Gospel. They come from a place that makes very clear how we understand the relationships between God and us, and between one another. Going back to the very basic things of respecting one another, respecting human dignity: where does that human dignity come from and how can we use that as a way of saying the world can be a better place, and we can treat one another better?”

It is the job of politicians – not the Church - to work out the precise policies and mechanisms that will deliver a better society. Yet of course that begs the question: what does ‘better’ mean? And that is where the church does have something to say.

Pope Leo’s point is that if the Church does make political interventions, they have to arise strictly from the very heart of its own faith. Christian leaders shouldn't get too involved in detailed policy recommendations, but they can outline their vision of what a good life together looks like, based on the story of the gospel itself.

The one thing that the church has to offer the world is Jesus - in other words, the remarkable, world-shattering belief that God the Creator entered human history, like an author stepping on to the stage of his own play. Yet he did it in the most unexpected way possible, without fanfare, simply showing a radical, determined, self-giving love, dying an excruciating death at human hands and rising from death as the first sign that death is nothing to be afraid of because it has been beaten once and for all.

To believe that is weird. It changes everything – life is not a search for wealth, friends and success but for holiness and wisdom. It is not a search for self-fulfilment but a radical turn away from self-centredness to a growing love for God our Maker. The poor not the wealthy are the ones who matter. We are held in the hands of a God whose love for us is endless. The universe is not impersonal and silent but pulses with love. Evil is a force trying to undo everything that God has created. Death is just the gateway to something far better for those who believe.

Tom Holland put it like this this: “If you're a Christian, you think that the heart of the entire fabric of the cosmos was ruptured by this strange singularity where someone who is a God and a man set everything on its head.”

And paradoxically, it is by focusing on that extraordinary message, that the Church can play its part in helping unravel some of the other problems, whether in the Church or the world.

Pope Leo was right. And maybe this is the advice for our new Archbishop: don’t start out by trying to change the world. Start with the gospel. It’s all we have to offer. Teach it, remind the church and the world of it. Use imagination, creativity, social media – whatever.

You may end up solving the world’s problems, you may not. The early Christians didn’t march on Rome, petitioning Caesar for new laws on migration across the empire or fairer treatment for slaves. They simply lived out their faith, creating communities that included everyone, worshipped Jesus and excluded idolatry. They taught, learned and lived the gospel. And eventually the world was changed.

So our new Archbishop will and must talk about immigration, assisted dying, poverty and other political issues, but she must make sure it’s always rooted in something Christian. Or as St Paul put it: “Proclaim the message, whether the time is favourable or unfavourable. Always be sober, endure suffering, do the work of an evangelist, carry out your ministry fully.”

And let the rest of us encourage her in doing that as well as she can.

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Review
Art
Culture
Royalty
Weirdness
5 min read

From witchcraft to statecraft: inside the mind of King James

A new exhibition examines art the monarch commissioned and inspired

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

A portrait of King James VI, his eyes fix the viewer.
King James, by an unknown artist.
National Galleries of Scotland.

James IV and I devoted his twenties to trying to rid his kingdom of witchcraft. And 400 years after his death, witches continue to cast a long shadow over his reign. While James’ beliefs on evil developed and refined over his 58-year reign, his reputation as solely a torture and femicide perpetrator remains stubbornly hard to shift. For many, identification with the abused, marginalised- yet- magical trumps all other historical considerations. 

In the exhibition World of James VI and I, the National Gallery of Scotland presents a more rounded picture of the cradle king, who gained the throne of Scotland at 13 months old and became the first joint monarch of Scotland and England in 1603, on the death of Elizabeth I. The beginning of James’ reign in England saw the first productions of Shakespeare’s Macbeth, King Lear and The Tempest. Inigo Jones’ appointment as Surveyor of the King’s Work introduced the classical architecture of Rome to the country, designing The Queen’s House in Greenwich and the Banqueting House at Whitehall. 

The painted ceiling of the Banqueting House by Peter Paul Rubens provides insight into James’ preoccupations. Commissioned by James in 1621, the tennis court sized series was installed in 1636 becoming a memorial to the late King. In The Apotheosis of James I, the King is depicted ascending into heaven on a giant eagle belonging to Jupiter, ruler of the Roman gods. The winged figure of Victory, together with a figure representing Great Britain hold a laurel wreath above the King’s head, in exchange for his earthly crown. Parallels between the King and divine power are explicit, underlined by the figure of Religion holding the freshly translated Bible showing the first words of St John’s gospel ‘In the beginning’ (was the Word). In a side panel to The Union of the Crowns, where the King is presented in a Biblical setting, Minerva, goddess of wisdom is stamping on Ignorance, represented by an old woman, naked and floored. 

Rubens’ identification of an old woman as low status and powerless did not come out of thin air. In the social hierarchy of seventeenth century northern Europe, most ordinary people had few rights and women had next to none, entitled only to the legal protection of their husband’s rank. But lack of rights did not prevent women from influencing their communities’ moral tone. The victims of the infamous East Berwick witch trials in 1590-92 and Pendle witch trials in 1612, first came to the attention of authority through accusations and feuds within their own communities. 

Daemonologie, published in Edinburgh in 1597, was written following James perceived experiences of witchcraft when storms imperilled his voyage from Denmark to Scotland, returning with his new 15-year-old bride Anne. It is believed the King was involved in interrogations of witchcraft suspects in East Berwick, authorising their torture and execution. One suspect’s ability to recount a conversation from the royal bridal chamber, convinced James the accused were the tools of diabolical powers intent on killing the royal couple. Beliefs around women’s inherent weakness, positioned them as easier prey for malevolent forces:  

‘sexe is frailer than man is, so is easier to be intrapped in these grosse snares of the Devill’ 

In later life James became more sceptical about claims of witchcraft and demonic possession, and searched for evidence to discount what was only the work of fantasy and attention-seeking. 

But the King’s family history and tumultuous times he lived through, made the road to discernment a long and winding one. James last saw his mother, Mary Queen of Scots as an 11-month-old infant. His father Lord Darnley was killed in a mysterious explosion, possibly arranged by his own wife. Mary was imprisoned in England by Elizabeth I and executed in 1587 at Fotheringhay Castle in Northamptonshire. In the lead up to his marriage James lamented that as a child he was ‘alone, without father, mother, brother or sister.’ 

The normalcy of removing troublesome relatives is illustrated by a 1605 portrait of Lady Arabella Stuart, attributed to Robert Peake the Elder. The King’s cousin died in the Tower in 1615, where James had her imprisoned, in case her marriage to William Seymour gave her too strong a claim on the throne. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role...  has no historical precedent.

Death also stalked James and Anne’s family, with only two out of their seven children surviving into adulthood. Their eldest son and heir Prince Henry Frederick died aged 18, and was mourned throughout Europe in the decades that followed the death in 1612, as he was seen as the great hope of the continent’s future.  

The World of King James VI and I is full of visual meditations on death. On entering visitors are greeted with Livinius de Vogalaare’s The Memorial of Lord Darnley, 1567, a substantial canvas, with a crowned, grey-robed infant James, kneeling before his father’s coffin. Darnley’s effigy with hands in prayer lies on top the casket, unicorns either side of his head. An engraving of Prince Henry Frederick’s Hearse, 1640 copy from 1612 original, shows the richly decorated hearse, complete with a wax effigy dressed in the prince’s clothes, which was accompanied by 2000 mourners as it made its way to Westminster Abbey. Eighteenth century artist James Mynde’s engraving The Mausoleum of James VI and I, illustrates the Jacobean era’s fondness for lavishly dressed effigies of the deceased, surrounded by figures of classical deities. 

Charm stones, believed to cure sickness in people and animals, formed part of James’ cosmology, together with the new translation of the Bible he commissioned, intended to sound beautiful for this age of oracy. James advocated for Protestantism and the reformation, while being in regular communication with the Papacy. He also brought a more English style of worship to the independent-minded Scottish kirk, insisting they used chalices and altar cloths. The monarch was devout, yet flexible, in his Christian beliefs. 

A simple reading of the Jacobean court is not possible. It was a place of ritualised gift-giving, with ciphered and initialled jewels indicating who was in or out of favour, whose power was rising, and whose power was waning. James believed he was sent by God to rule and protect his people, and felt justified in extinguishing anyone or anything threatening his divine project. Self -proclaimed, or community-nominated witches provided useful scapegoats for discontent around James’ rule, underlined in 1605 by the Gunpowder Plot. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role and presenting a blank screen for the dark projections of the powerful, has no historical precedent for bringing liberty or social transformation. Cos-playing the historically marginalised will not make things better for today’s excluded and underserved, but focusing on down to earth, earthly political and economic power will. 

 

The World of James I and VI, National Galleries of Scotland, until 14 September.