Article
Art
Culture
5 min read

Why is religious art still popular?

What looters, curators and today's public find in a genre that survives the centuries.

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

A painting depicts a man a prophet pointing skywards while another person sleeps on the ground
Detail from Parmigianino’s The Vision of St Jerome.
The National Gallery.

The museums of Europe and North America are filled with religious art. Why? Certainly, gallery goers of the nineteenth century, when many public museums were founded, were more likely to practice a faith than visitors in today’s global cities, but this does not explain religious art’s continuing appeal. If we are so much more secular than the folks in stiff collars and leg ‘o mutton sleeves who curated and donated to early museum collections, why is the religious art they championed still so popular?  

Individual religious paintings’ chequered history, together with the formal elements of their composition, provide two lenses into the genre’s ability to resonate across multiple generations. 

Celebrations around the National Gallery’s 200th anniversary, with its reappraisal of the earliest works to enter the collection, offers an ideal time to study the blueprints for public collections, which continue to shape the art we see today. The French Revolution is popularly credited as the genesis of public art institutions, as the art and fine furniture from displaced aristocrat’s palaces was put on display at the Louvre, opened in 1793. But the idea of a semi-public art collections had been present in Italy from the early eighteenth century, as families opened their palazzos and collections of classical art to visitors on the Grand Tour. Rome’s Capitoline Museum opened in 1734, as the papacy saw an opportunity to showcase the heritage of ancient Rome to the city’s wealthy tourists, and position themselves in the role of art patrons. 

At the National Gallery, Parmigianino’s The Vision of St Jerome, 1526-1527, (reunited for the first time with rare preparatory drawings until 9 March) pulls on many of the threads that makes religious art, even in a secular age, enduringly powerful. 

Painted when Parmigianino was only 24, and already being hailed as ‘Raphael reborn’, the painting is reputed to have stopped looting soldiers in their tracks, when they saw it in the artist’s studio during the 1527 Sack of Rome. The painting itself had an adventurous life, spending far longer in secular surroundings than it ever did in the religious settings it was intended for.  

Commissioned as an altarpiece for a funerary chapel in Rome, the upheaval of the city’s occupation by the troops of Charles V saw The Vision of St Jerome stored, but not publicly displayed, in the refectory of a nearby church. Somehow during the terror and mayhem, the 3.5 metres high altarpiece, weighing nearly 100 kilograms, was transported from the artist’s studio across the city to safety. 

Thirty years later a great nephew of the original woman patron, Maria Bufalini, took the altarpiece from Rome to the family’s Umbrian hometown of Citta di Castello. Had it instead gone to its intended Roman church San Salvatore in Lauro, it would have been destroyed by the church fire of 1591. The Vision of St Jerome stayed in the family chapel of Sant’Agostino, inspiring artists from the region, until around 1772 when Cardinal Giovanni Bufalini moved the altarpiece to the restored Palazzo Bufalini, placing a copy in Sant’Agostino. If the original stayed in the church it would have been ruined by an earthquake in 1789. 

Having spent just over 200 years in a sacred setting, the painting was sold by the Bufalini heirs to an English art agent in Rome, setting sail from Livorno in December 1791 for its new life in England. 

After inheriting Parmigianino’s Virgin and Child with Saint John the Baptist and Mary Magdalene (1535-40), George Watson Taylor, with his heiress wife Anna, added The Vision of Saint Jerome to the significant private art collection, displayed at their London Townhouse in Cavendish Square. In 1819 the painting was exhibited publicly in England for the first time when Watson Taylor lent it the British Institution, the forerunner of the National Gallery. 

Four years later the painting fetched £3,202 at the sale of Watson Taylor’s collection, securing a higher price than Rubens’ Rainbow Landscape. It was purchased by the Reverend William Holwell Carr on behalf of the British Institution. The Vision of Saint Jerome hung in the National Gallery within two years of the institution’s foundation. 

Once part of the nation’s collection, the mannerist style of Parmigianino, with its elongated limbs, twisted torsos, classical drapery and foreshortened perspective, provided a context to discuss the Biblical figures depicted in the work. A loosely draped, seated Virgin Mary holds a tussle haired child between her knees, who kicks one leg out, as if to step away. Beneath them John the Baptist points a massive arm towards the heavens, while a smaller scale St Jerome sleeps clutching a crucifix. Regency and Victorian Christians such as Howell Carr, and popular art historians Anna Jameson and Elizabeth Eastlake, wife of the Gallery’s first director Charles, saw the potential of art created 400 years ago to speak to the spiritual questions of their day. Shorn of a traditional religious setting, the message, and missional potential, of the work came across as powerfully as ever. 

After surviving war, fire and earthquakes, The Vision of Saint Jerome was relocated to Manod Quarry in Wales from 1941 until the end of World War Two to escape the bombing of London. During this period, the National Gallery brought one painting out of storage to view in the empty Trafalgar Square landmark, the war weary public’s Picture of the Month. The tradition continues today.  

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

The first Picture of the Month, in 1942, was Titian’s Noli me Tangere, c. 1514. In a rather Italianate Garden of Gethsemane, with glowing sun and tumbling hills, Mary reaches out her hand to Christ. Having tended Christ’s crucified body in the tomb, Mary is grieving, and at first believes the figure before her is a gardener. To her astonishment he reveals himself to be the Christ, resurrected from the dead. Titian portrays the bittersweet moment after Christ’s miraculous return, when Mary comprehends that although Christ is present, she can no longer have any human contact with him, represented by her rebuffed gesture of touch. In common with all Christ’s followers, it is time to relinquish his earthly presence. While the kneeling Mary is bound to the earth, the standing Christ figure forms an arc over her, representing his protection of humanity. 

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

Religious art’s continued survival, through eras of supposed indifference, amplifies its specialness and continuing popularity. 

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Article
Books
Culture
Original sin
Trust
6 min read

When the penny drops, on the Salt Path or a London street

Being taken in unleashes dark, unpalatable emotions

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

A painting show Adam and Eve wide-eyed after the fall.
Paradise Lost, Emil Nolde, 1921.
Nolde Foundation Seebüll.

Doubts about the honesty of The Salt Path, Raynor Winn’s memoir of walking the Southwest coastal path with her ill husband Moth, have raged in the past weeks. Investigations revealing the duo’s real names, financial history and the medical unlikelihood of the reversals in Moth’s degenerative condition, as presented in the book, provoked thousands of readers to express anger and disappointment at being duped. But being taken in and learning from it is part of being human: a lesson in how to trust more wisely, rather than not trusting at all 

Last summer I was scam mugged on my local high street. Passing a frail pensioner pulling loose notes from his pocket, I picked up his fallen tenners and returned them. Six steps later, a woman shrieking I’d thieved her “granddad’s” money grabbed my arm. Cue a few minutes of struggling and shouting, before I got away, bruised and humiliated, but still gripping my bag. Vowed afterwards to always walk on by if I saw someone needing help on London’s streets, as it could be a set up. 
But this detachment didn’t last. Being a goodish Samaritan is hardwired, even on the capital’s occasionally mean streets. We want to support and connect with our brothers and sisters. Withdrawal from our fellow citizens makes us more unsafe, not less. As Kaya Comer-Schwartz, London’s Deputy Mayor for Policing and Crime, said: “The safety of our town centres is more than just policing – it's about building stronger, more connected communities where everyone feels secure.” 

Certainly, a police officer would have been a welcome sight while tussling with my would-be conwoman. But I was grateful to the handful of people who stopped, as they would be my witnesses if the assailant went full mugger, in frustration that the ploy for me to open my bag had gone awry.  

Memoirs also entreat us to bear witness, explaining the betrayal felt by some of the Salt Path’s two million readers who invested emotion and empathy in its uplifting tale of a hard -done -by couple finding solace in nature. Identifying with the memoir’s midlife, everyman duo and believing a long trek through the Southwest is a silver bullet for homelessness, financial woes and degenerative medical conditions, does not make the Salt Path’s former fans saps, it makes them beautifully human.  

Raynor and Moth’s unmasking as Sally and, still remarkably healthy, Tim Walker, who lost their Welsh farmhouse following accusations of embezzlement against Sally and owned a property in France when claiming to be homeless, has lifted the lid on the publishing industry’s hunger for real life stories, with morally simple, feelgood narrative arcs. Bonus points if the tale includes a “nature cure”, where nature is not just a balm for grief and pain, but somehow vanquishes it altogether. Fact checking takes a lower priority than shaping a story into a series of emotional hot button scenes, with a neat, satisfying ending. And publishers may be guilty of their own sleight-of-hand by incentivising booksellers to personally recommend to customers a list of predetermined titles, creating the aura of ‘word of mouth’ hits. 

Mean Girls’ great line “Jealous much?” captures journalists’ enthusiasm, mine included, for the Salt Path scandal. How can bestseller success pass over writers with have spent decades crafting phrases like popular orange vegetable to avoid writing carrot twice, yet shine on Raynor/ Sally’s repetitive, clunky prose? ”We lost. Lost the case. Lost the house.” Her dizzying ascent from unknown debut non-fiction author, with only a piece in the Big Issue to her name, to a book deal with Penguin, seems to other writers a mystery as great as anything in her trekking tale. 

Feeling deceived unleashes these dark, unpalatable emotions such as envy and desire for revenge. I long nourished fantasies of catching the scammers in action and deflecting their next victim by shouting “Look! Granddad’s dropping his money again,” before handily nearby forces of law and order brought them to book. Even if you lose little materially from a con, the loss of dignity and sense of agency from becoming a mark, a manipulated, dehumanised bit player in another’s exploitive narrative, takes time to get over.  

Popular accounts of online romance fraud feel designed to give audiences a sense of superiority, ‘I’d see that coming a mile off’, over the victims, reinforcing their sense of shame. Yet evidently with many thousands being lured by romance fraud, the perpetrators use effective psychological coercion techniques. Omniscient superiority needs to be replaced with empathy and support for fleeced, broken-hearted victims. 

Grifters are part of life, but their reductive, empathy-free, world view does not have to be. As singer Nick Cave’s counsels, cynicism is not the answer: "Cynicism is not a neutral position — and although it asks almost nothing of us, it is highly infectious and unbelievably destructive. In my view, it is the most common and easy of evils.”  

Religious origin stories, including the Garden of Eden, contain an element of falling for a trick. Eve does the serpent’s bidding, and she and Adam are banished from paradise. “So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.” Emil Nolde’s painting Paradise Lost, 1921, catches perfectly the moment the penny drops with Adam and Eve on the consequences of falling for the serpent. Yet by the following chapter of Genesis they start a family, moving on with life with new insight. 

To never confront disappointment would be to remain as an infant, without the opportunities to grow and develop as adults. 

In the Good Samaritan, one of the best-known parables, Jesus transforms the categorising question ‘who is my neighbour?’ into the universal quest of ‘how can I be a better neighbour’? Our bonds with our communities, a sense of shared humanity are the best, possibly the only defence, against those who would mislead us or do us harm. 

Celebrated American journalist Ira Glass said: “Great stories happen to those who can tell them.” Published in 2018, The Salt Path’s direct, film-like scenes of survival against the odds and against the elements, would have resonated with all the people who saw their security and lifestyle nosedive after the 2008 financial crash, never to recover. Suspending disbelief, Raynor and Moth’s 620-mile wild camping trek, represented a symbolic railing against a heartless economic system. 

My experience of the penny dropping a fraction too late to escape the scammers, has made me revise my self image as a streetwise Londoner. On my way to pick up holiday money that afternoon, my head was full of travel plans rather than focused on the here and now, a tendency I must curb.  

If my assailant was writing her memoir I like to think our scrap would be the opening chapter, where she is at a crossroads of having to mug somebody in broad daylight, with a small, attentive audience, or rethink her street hustling career. Dressed in a fake leather biker jacket on a hot summer day - the smell lingers in my olfactory memory - her outfit was possibly an homage to Catherine Zeta Jones’ catsuit in Entrapment. As we know from all the TV series on con artists, looking the part is key. 

 Finding out the reality of her life since I broke free of her grip 11 months ago would not be hard, as she is now stationed outside Premier Foods by the tube station, in much scruffier clothes, asking for a pound for water. This sideways, or probably downwards move, in the street economy appears to be working out for her, and the peace of the neighbourhood. 

Despite having lived in small rural communities for decades, throughout all The Salt Path controversy, nobody has come forward to say the Winns / Walkers were good neighbours. Setting this right could be their next adventure and next bestseller. 

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