Article
Change
Character
Purpose
Virtues
7 min read

What’s the point of purpose?

We need a wider understanding of our purpose – grand or small.

Emerson writes on geopolitics. He is also a business executive and holds a doctorate in theology.

A white arrow on tarmac points towards a setting sun and people walking by a silhouetted lamp post.
Chris Loh on Unsplash.

In his 2009 book Start With Why, the leadership speaker and consultant Simon Sinek encourages leaders and businesses to think about their purpose. He encourages them to answer the question ‘Why?’ before moving to ‘How?’ Sinek’s book is part of an industry, with no shortage of self-help books, executive coaches and university programmes assisting individuals in finding purpose. Surely Sinek is right that a sense of mission (the ‘Why?’) needs to come before the development of a strategy (the ‘How?’ as well as ‘Who?’ ‘What?’ ‘When?’ and ‘Where?’). Yet working out our purpose is not easy. It takes time, effort, listening and crucially, an open mind.  

In a ‘purpose economy’ (to use the term coined by writer Aaron Hurst), we risk arriving at fast, superficial, or inflated purposes disconnected from the unique vocations to which we are actually called. Several years ago, I undertook a project, of which elements were shared in the Harvard Business Review. One interviewee stated ‘We are a generation that is ruthlessly comparing ourselves with those around us and our role models at the same time. And if we are not doing something exceptional or don’t feel important and fulfilled for what we are doing, we have a hard time.’ In an age dominated by social media and its emphasis on presentation of superficial images inviting us to compare ourselves with others, these are words worth dwelling on. 

This reflection struck me at the time, implying that many people believe that their purposes must be significant. Without grand purposes, we tend to struggle. That interviewee was right. Many of us value purposes involving high levels of excellence if not notoriety, whether pursuing elected political office, climbing the ranks in prestigious industries such as finance or consulting, or entering professions that are well-known and whose value can be readily explained to others (such as medicine, law or accounting).  

The problem with an idea of purpose focused on excellence is that only some people will be seen to have worthy purposes. The consequence is more ‘ruthless comparison, in which we all look over our shoulders to what our peers are doing, wondering whether their respective purposes measure up or not. Of course, this issue could be dismissed as little more than a case of early-career angst, in which ambitious self-starters seek to outdo their peers in climbing the career ladder, but I doubt this is a good explanation.  

Her calling is not as impressive in the world as the more publicly recognised calling of a profession, but surely the calling is of equal value. 

After all, modern workplaces are full of people, across all generations, searching for purpose. More generally, rapid industrial transition over recent decades – whether the loss of the shipbuilding or coal mines (not to mention important parts of the steel industry in recent months) in the UK, or the recent loss of manufacturing jobs in the United States – and waves of technological change leave countless thousands of people feeling lost at sea. A sense of aimlessness is amplified when personal dignity is connected to work rooted in local communities. When this industrial work vanishes seemingly overnight amid shifts in government policy and technological change.  

These examples suggest the need for a wider understanding of purpose, which makes room for many kinds of excellence, whether grand or small. Consider the example of a single mother. In comparison to the high-flying politician, business executive or university administrator, her purpose is anonymous. A paid job in the workplace is unlikely to be the source of the single mum’s purpose. Rather, the raising of a family is almost certainly the driving purpose in her life, a purpose which is nevertheless no less significant than those occupying more esteemed, high-status roles.  

In the eyes of God, the single parent is called to the vocation of parent (I don’t think there is a difference here between a vocation or purpose), possibly through an unexpected event such as a divorce or passing of a spouse. Her calling is not as impressive in the world as the more publicly recognised calling of a profession, but surely the calling is of equal value. Indeed, from a Christian perspective, the lone parent fulfills a vital role of service in raising children who can help to approximate the Kingdom of God on Earth. Martin Luther pointed it out well: every person has a divine calling providing them with purpose, whether they are aware of this or not.  

The idea is that a sense of what we are becoming matters more than the circumstances we find ourselves in. 

How then can we define our purpose when elements of culture, technology and other forces tempt us to identify clear purposes as rapidly as possible? To start, it helps to resist the urge to form large and lengthy purposes. Our purposes are often revealed gradually. Even the most profound events altering the landscape of a person’s life must be digested slowly. Tom Wright, in his biography of Saint Paul, writes that after Paul’s encounter with Jesus while on the Road to Damascus, he returned to Tarsus for ten years to meditate on what he had learned. In all likelihood, Paul spent this time working as a tentmaker, working within a ‘small, cramped workshop,’ in which ‘he prayed, he studied, and he figured out all sorts of things.’  

It is only ‘by the end of the Tarsus decade [that] Saul had worked out in considerable detail what it meant that the One God had revealed himself in and as the crucified and risen Jesus.’ Paul’s purpose was formed over many years, ‘hammering away’ at what he learned on the Road to Damascus. Had Paul wanted to make sense of his encounter with Jesus in a single go, then his purpose would surely have been truncated, thereby limiting the fulfilment of his unique calling that transformed the world we live in today.  

Our circumstances may also limit the scope of our purposes. Our family, geography, gender, and socioeconomic situation all shape the people we become – at least in the short-term. The philosopher Robert Adams writes in Finite and Infinite Goods that ‘One’s actual circumstances condition and in various ways influence and limit one’s vocation. The vocation, however, is not the circumstances, but what one is called to do in them.’  

The idea is that a sense of what we are becoming matters more than the circumstances we find ourselves in. The question of who we wish to become is a crucial one, involving personal vision, and Adams sees this question as outweighing extensive consideration given to existing circumstances. Another idea of vocation, proposed by the theologian Oliver O’Donovan, is more gradual. He says that we come to be a certain person over time, without too much planning. Our purposes develop one day at a time. Specific events give us chances to put our purposes into action, but we do not know when these events will occur.  

With this approach, clear purposes are formed over time through constant practice, rather than revealed at the outset of an activity. 

How then can we find our purposes when they are often ambiguous, intertwined with our personal circumstances, and without too much recourse to self-help books, life coaches or university programmes recommending quick answers?  

Our purposes need to be worked out through consistent, small-scale practice of the things we enjoy. For some, this is the playing of a musical instrument, for instance the piano or guitar, two hours per day. For others, this is the constant practice of a given sport in the early hours of the morning. And for others, this is working away on a tricky mathematical problem that simply grips them.  

With this approach, clear purposes are formed over time through constant practice, rather than revealed at the outset of an activity. It is then unexpected events – as Harold MacMillan said ‘Events, dear boy, events’ – which shape us. These events may change us, setting us in entirely new directions much like Paul’s encounter on the Damascus Road, or the lone parent following a divorce or death of a spouse. But it is not only the events that create purpose. The seeds of purpose are planted well ahead of time, through practice in relation to the things that bring us joy.  

Our purposes, then, should be less a cause of anxiety requiring self-help industries – needing to figure everything out at once – than a reason for play, practice, and prayer, listening to the still small voice – perhaps the voice of God, gently leading us to a settled sense of purpose. This allows purposes we never imagined to reveal themselves to us over time, sometimes merging with – and sometimes out of – our circumstances and personal attributes that are more easily visible.  

Rather than search for fast answers to our purposes, we can take comfort knowing that we do not need to do all the work ourselves. We may begin to work out our purpose through action, but trust that our purposes will come to fruition when the time is right. 

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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