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5 min read

The art of encouraging

After uncovering the enchanting story of how Prince Albert encouraged Queen Victoria, Belle Tindall explains why it's not only children who crave the art of encouragement.
Under a gilded arch, a statue of a young Queen Victoria sits, between two standing figures.
The Queen Victoria statue in the House of Lords.
Queen Victoria 1819-1901 Reigned 1837-1901 Supporting figures: Justice & Clemency Bas-reliefs: Science Commerce Industry / Useful Arts, Fully-rounded carving by John Gibson , © UK Parliament, WOA S88 heritagecollections.parliament.uk

In the Prince’s Chamber of the House of Lords sits a mighty marble statue of Queen Victoria. 

She is sitting on her throne, holding both her sceptre and her crown, hemmed in on either side by two figures who represent justice and mercy. Her expression is strong, her posture is powerful, she is visibly assured and confident in her identity and role as Queen.

You can view the statue, in all its glory, on Parliament's website.

To say it’s striking is an understatement. It’s simply unmissable.  

And yet, the most remarkable thing about this statue is not that it exists, there are nine similar figures in London alone. No, what’s so notable about this statue is where it exists, and why.  

The story is an admittedly enchanting one. Prince Albert commissioned this particular statue of his wife, and had it precisely placed so that it greeted her head-on as she stepped out of her Robing Room and made her way to the Chamber of the Lords. It had one purpose and one purpose only - to give Queen Victoria courage when she was likely to need it most. 

And that’s exactly where it still sits, its colour may be long faded, but its impact is not. It sits as somewhat of an alter to this historic romance, but more profoundly, as an ode to something that is notably overlooked in our culture: it is an ode to the practice of encouragement.  

Psychologist and Professor Y Joel Wong powerfully defines encouragement as  

‘The expression of affirmation through language or other symbolic representations to instil courage, perseverance, confidence, inspiration, or hope in a person(s) within the context of addressing a challenging situation or realizing a potential’.  

When defined this way, it is clear to see just how integral such expressions of affirmation are to the cultivation of a flourishing life. And yet, Prof. Wong also observes just how underestimated, understudied, and undervalued the art of encouragement is. The vast majority of research that has attempted to theorize encouragement places its focus exclusively on early childhood development, implying that they believe it to be an essential need that humans simply outgrow. And yet, while such an idea floats around on an academic level, it’s likely that we each feel a sense that this is simply not congruent with personal experiences. The delight we feel upon learning the story behind Queen Victoria’s statue in the House of Lords is surely evidence that this kind of encouragement from another person is something that we continue to crave well into adulthood.  

I would suggest that the underestimation of the practice of encouragement may be a subtle symptom of the individualistic culture we now find ourselves in.  

What individualism may starve us of

The political and social philosophy of individualism can be dated back to the late 1700s, primarily as a reaction to the French Revolution. Since then, it has been re-framed and refined countless times, perhaps most influentially by Emile Durkheim in 1893 and Max Weber in 1947. Each philosopher foresaw a society that looks strikingly like ours, here in the 21st Century. A society which expects individuals to grow, learn and flourish independently of each other, which values self-definition, self-sufficiency, and self-actualisation, which ultimately encourages a self-centred and goal-oriented life.  

In his 1841 essay, Self-Reliance, Ralph Waldo Emerson famously wrote that ‘nothing is at last sacred but the integrity of your own mind’. According to this school of thought, the rights and convictions of the individual supersede the duties of the community, and the Western world is arguably steeped in this very notion (of course, there are exceptions to the rule - the NHS and welfare system being two prime examples).  

To condemn individualism completely seems to me to be too simple of a judgment; the notion that one is responsible for their own actions undergirds much of our justice system, our right to question institutions and power structures is integral, while the freedom that each person has (in theory) to pursue their own passions and convictions is a wonderful thing. And yet, it could be argued that the emphasis it places on individual success feeds competition and comparison, which is consequently starving us of empowerment and encouragement.  

Perhaps this is one reason the theorizing of encouragement is notably neglected in so much psychological study.  

Further to that, maybe this is why stories such as Prince Albert commissioning a statue of Queen Victoria, or Marilyn Monroe famously sitting front row at every one of Ella Fitzgerald’s shows in a notoriously segregated club, or the Barcelonian crowd at the 1992 Olympics who erupted in applause as Team GB’s 400m runner, Derek Redmond, weepingly limped across the finish line with a freshly-torn hamstring, affect us so profoundly. Because encouragement is profoundly absent from our culture - and we miss it.  

Christianity and the emotional life 

 Christianity, as you can imagine, has an awful lot to say about the emotional life of humanity and the key ingredients involved in human flourishing. Although it stresses the individuality and dignity of every single human being, while also emphasising the agency (or ‘free will’) of every person, that is largely where its relationship with individualism comes to a halt. To untangle the inherent value of community from Christianity is a mean feat indeed.  

In his book, Unapologetic: Why, Despite Everything, Christianity Can Still Make Surprising Emotional Sense, Francis Spufford writes that Christianity is supposed to make us  

‘full of passion for each other’s minds, hearts, souls, and bodies’ because it is in this curiosity and passion that we ‘recreate as best we can some fraction of the absolute and inimitable love behind everything.’  

This certainly doesn’t leave much room for an exclusively self-actualising existence.  

If Francis Spufford is correct, if Christianity’s worldview has even a little sense to it, then it’s possible that our success is directly linked to the success of others. Individual victories, communal victories, collective losses, personal losses – they are, to a point, inseparable from each other. If this is the case, it is worth suggesting that the art and the impact of encouragement may well be worthy of far more of our attention.

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4 min read

The seen and the unseen of the coronation regalia

The coronation’s magnificent regalia is not just bling. Ian Bradley unlocks their visual symbolism and the deep meaning linking the objects.

Ian Bradley is Emeritus Professor of Cultural and Spiritual History at the University of St Andrews.

A crown, orb and sceptre rest on velvet cushions.
St Edward's Crown, and the sovereign's orb, sceptres and ring. The first colour photograph the regalia, taken in 1952.
United Kingdom Government, Public domain, via Wikimedia Commons.

In the course of his coronation on May 6 Charles III will be presented (the technical term is invested) with a number of ancient objects and clothed in various special garments. Known collectively as the coronation regalia, all have deep symbolic significance and point to the Christian basis of the ceremony and of the British monarchy. 

Crowning glory

A crown of gold with purple cloth and an orb and cross.
St Edward's Crown.

The crown which will be placed on the king’s head by the Archbishop of Canterbury is, of course, the most splendid and iconic symbol of majesty. Like the other items of the coronation regalia, it was specially made for the coronation of Charles II in 1661 to replace the medieval regalia which had been broken up and melted down during the time of the Commonwealth and Protectorate when England was without a monarchy in the mid-seventeenth century. Known as St Edward’s Crown, it replaced a medieval original which is said to have been made for King Edward the Confessor, a saintly eleventh century king who built the original Westminster Abbey and was officially canonised as a saint in 1161. Weighing nearly 5 lbs and made of solid gold, its rim is set with precious gems and from it spring two arches symbolising sovereignty. Where they meet there is a gold orb surmounted by a jewelled cross, a reminder of the cross of Christ and of His sovereignty over all.  

Placing St Edward’s Crown on the monarch’s head, the Archbishop traditionally says:  

‘God crown you with a crown of glory and righteousness, that having a right faith and manifold fruit of good works, you may obtain the crown of an everlasting kingdom by the gift of him whose kingdom endureth for ever.’ 

The orb’s different empire 

An orb of gold with a cross on top of it.
The Sovereign's Orb.

The crown is not the only conspicuous symbol of Christ’s power and sovereignty that will make an appearance at the coronation. The orb, which is customarily put into the monarch’s right hand before his crowning, is the oldest emblem of Christian sovereignty, used by later Roman Emperors and Anglo-Saxon kings. A ball of gold surmounted by a large cross thickly studded with diamonds and set in an amethyst base, it acts as a reminder, in the Archbishop’s words, ‘that the whole world is subject to the Power and Empire of Christ’.  Its first appearances in Britain are on a seal of Edward the Confessor in use between 1053 and 1065 and in a depiction of the crowning of King Harold in the Bayeux Tapestry. It is significant that the complex planning of Charles III’s coronation is code-named ‘Operation Golden Orb’. 

The wedding ring 

The ring, in Latin annulus, which is next traditionally placed on the fourth finger of the right hand has often been specifically made to fit the new sovereign, although Elizabeth II used an existing one inlaid with a ruby and engraved with St George's cross. It is presented to symbolise the marriage of monarch and country and was known in medieval times as ‘the wedding ring of England’.  

The sceptre’s power 

a golden sceptre topped by a cross lies next to a golden rod with an eagle on top.
The Sovereign's Sceptre and Rod.

The final pieces of regalia with which a monarch is traditionally invested before being crowned are the rod and sceptre, known in Latin as the baculus and the sceptrus. These may originally have derived from the rod and staff mentioned in Psalm 23. The solid gold sceptre has since 1910 contained the largest clear-cut diamond in the world, part of the massive Cullinan diamond found in the Transvaal in 1905. It is surmounted by a cross, which stands for kingly power and justice. The longer rod, also made of solid gold, is surmounted by a dove, signifying equity and mercy.  

Working clothes  

There is also deep spiritual symbolism in the traditional coronation garments worn by the sovereign. Based on ecclesiastical vestments, they are designed to emphasize the priestly and episcopal character of monarchy and are put on immediately after the anointing which is carried out with the king or queen wearing a simple linen shirt to symbolise humility. The colobium sindonis, a sleeveless garment made of white linen with a lace border is to all intents and purposes a priest’s alb or surplice. Over it is put the supertunica, a close-fitting long coat fashioned in rich cloth of gold, identical to a priest’s dalmatic - a long, wide-sleeved tunic. A girdle of the same material put round the waist has a gold buckle and hangers on which to suspend the sword with which the monarch is girded.  A cloth of gold stole is placed over the shoulders. At a later stage the sovereign is traditionally vested in the imperial mantle, or pallium regale, a richly embroidered cope similar to those worn by bishops. 

These garments emphasize that, like priests and bishops at their ordinations and consecrations, monarchs are set apart and consecrated to the service of God in their coronations which are first and foremost religious services. This aspect is further emphasized by the framing of the coronation service in the context of a service of Holy Communion according to the order laid down in the Book of Common Prayer.  

The unseen 

Some will dismiss the ancient regalia with which the monarch is invested, which have also traditionally included golden spurs, bracelets and swords, as anachronistic medieval mumbo jumbo out of keeping with our modern world. Yet they symbolise in powerful visual terms the sacramental nature of our Christian monarchy which points beyond itself to the majesty and mystery of God. In the words of a former Archbishop, Cosmo Gordon Lang, writing just before he presided at the coronation of King George VI, these ancient rites and ceremonies demonstrate ‘that the ultimate source and sanction of all true civil rule and obedience is the Will and Purpose of God, that behind the things that are seen and temporal are the things that are unseen and eternal.’