Article
Culture
Re-enchanting
4 min read

A prophet in springtime

A visit to a spring, surrounded by marks of belonging, prompts Andrew Rumsey to consider the purpose of property.

Andrew Rumsey is the Bishop of Ramsbury. He is also an author whose writing centres on themes of place and local identity.

An oak tree stands over a field and fence, behind which, in the distance, rises a man made hill with a flat top.
Swallowhead Spring with Silbury Hill in the distance.
Jim Champion, CC BY-SA 2.0, via Wikimedia Commons.

After weeks of winter the land awaits its consolation. Unfurling woes roll out so regularly that media feeds read like lament, a psalmody of untethered sorrow. The temptation is to withdraw into immediacy, of course, and purely field the incoming as if sat in a gaming chair of perpetual reaction, spotting and batting away the next insurgent.  

When we cry for strategy perhaps what we really mean is prophecy – strategy being inorganic, mechanistic, hardly adequate for the times. After all, how do you map a scene that is constantly changing? Our present panic seeks good words from the world to come, where no one but God has been. But in an age that sniggers away divine possibility the Lord is afforded the past tense alone. We shall, I suspect, come to regret being so confident of our own purposelessness.  

What if our absent-minded land were a place of promise, and we had simply forgotten?

What characterizes this world is a kind of dogged amnesia: collapsing past and future into a monotonous present. ‘There is no remembrance of former things; neither shall there be any remembrance of things that are to come with those that shall come after’. Like the rivers, he suggests, that run into the sea before their ascension and condensation start the cycle again. But what if repetition is not our destiny, and we inhabit instead an ecology that is radically open? What if our absent-minded land were a place of promise, and we had simply forgotten? 

What is clear, however, is the enduring need to mark territories where meaning or identity has been found: our arrow-hearted initials notched into the bark.

Prophecy returns to the origins of things in order to seek and sketch what is to come. So, after its overflow last week, I am drawn to revisit Swallowhead Spring, near Avebury in Wiltshire, where the River Kennet rises and begins to drain down into the Thames. Like many such sites round here, the signage indicates conflicting claims on this landscape. A ‘Pagan Britain’ sticker has been slapped upon an anti-littering notice and the trees are frilly with ribbons and dangling dream catchers, the symbolism of which escapes me. What is clear, however, is the enduring need to mark territories where meaning or identity has been found: our arrow-hearted initials notched into the bark. Lovers and villagers would apparently come to Swallowhead Spring for Good Friday picnics, before shinning up the then-accessible Silbury Hill. When I last visited in October, it was just a dry basin with a slightly sludgy brook, but now I can hardly approach for the cataract. 

Back home, a bubble-wrapped book has arrived, being the proceedings of the 1941 Malvern Conference: a source I am exploring for clues to the current and future condition of the beleaguered English Church. Under the shroud of total war, Archbishop William Temple gathered an eclectic range of prelates, poets and politicians to devise a route by which the Church might offer a lead to society in the new world that would, at some point, emerge. It is immediately striking in its erudition and reach, addressing the fundamental concern that ‘the true end of man’ had lately been obscured by the pursuit of wealth.  

The purpose of work, and education, therefore, needed recovering – but with personality, not product, at its heart. Progress was, however, almost derailed by a Christian Socialist attack on private property, which T. S. Eliot, among other conservative delegates, rebuffed. Hard, perhaps, to imagine the same debate stirring such feeling today, although any consideration of social justice surely must. As H. G. Wells once observed, from the earliest times society was a mitigation of ownership – the mutual recognition that co-operation needed to override competitive possession if humanity was to flourish. The matter was finessed at Malvern in fine Anglican style, with the following resolution: 

It is a traditional doctrine of Christendom that property is necessary to fulness of personal life; all citizens should be enabled to hold such property as contributes to moral independence and spiritual freedom without impairing that of others; but where the rights of property conflict with the establishment of social justice or the general social welfare, those rights should be overridden, modified, or, if need be, abolished. 

This was synthesis, not fudge, I choose to think – and helpful in reaching a similar conclusion lately, while trying to locate my true north, politically speaking. The conservative in me tends towards continuity, local institutions and the Parable of the Talents, in its acknowledgement of unequal gift and yield; the radical abhors squandered privilege and exploitation of the poor for personal gain. Naboth’s vineyard may be the place, therefore, given that I am firmly in favour of covenantal ownership, which either serves the common good or is reckoned to be in deficit. 

The conservative fallacy is to recycle the sins and sinecures of our forebears and call it tradition; the equivalent on the Left is to be perpetually uprooting and call it liberty. Amid their own peculiar failings, the Christian has – somehow – both to belong and not belong, to possess all and yet nothing, in search of a country that is forever ahead. 

Review
Culture
Economics
Trust
5 min read

Money’s hidden meanings in a contactless age

The Bank of England Museum reveals the symbolism, morality and power woven into the history of money

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

Gold bars stacked in the Bank of England vault.
The Bank of England vaults.
Bank of England.

Our era of contactless payments obscures the symbolism once lavished on money. But the rich history of meaning, morality and power, layered into everyday transactions, is uncovered at an exhibition at the Bank of England Museum 

Building the Bank celebrates 100 years of the current Bank of England building, on the site of Sir John Soane’s original structure, completed in 1827. Surveying a century makes past practices seem quaint: until 1973 the institution was guarded by the Bank Piquet military guard. A 1961 photo shows 12 Guardsmen with bearskin hats and bayonets, together with a drummer or piper, a sergeant and an officer, marching into the Threadneedle Streer entrance. Even now, when the wealth of most people in developed countries is contained in data warehouses, 400,000 gold bars are held in vaults deep beneath the Bank. 

Faiths have grappled with money’s impact for millennia. Christianity’s relationship with money is tinged with unease, as St Paul’s oft misquoted letter to Timothy illustrates: “For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.” Personally, the immobilising feeling of envy, particularly if it is towards friends, does feel exactly like being pierced with blinding toxicity. 

Contrastingly, in Hinduism pursuing wealth is one of four pillars of faith, called Artha. In Hinduism attempting to attain material wealth is part of attempting to attain salvation. 

Herbert Baker, architect of the Bank of England, embodies moral ambiguity around faith and money. Buried in Westminster Abbey, and architect of Church House next door, Baker established his reputation working for Cecil Rhodes, prime minister of the Cape Colony 1890- 96. Vicar’s son Rhodes is now seen as paving the way for apartheid in southern Africa, and imposing an economically exploitive, racist, and imperialist system on the region. Baker also worked with better- known Edwin Lutyens on government buildings in New Delhi from 1912, declaring of the British Raj’s new seat of power “it must not be Indian, nor English, nor Roman, but it must be Imperial”. 

After World War One, Soane’s bank was too small to house the increased staff numbers needed to service the ballooning national debt and financial complexity of the Roaring Twenties. Bordered by major roads at the heart of the City of London, the institution’s footprint could not expand, so Herbert created a design incorporating some of Soane’s classical aspects, but with floors at a greater depth and height than its processor.  

From grand gestures to tiny details, classical mythology is a key element of the Bank’s design. Sculptor Charles Wheeler modelled doorknobs showing the face of Mercury. Mercury is the patron deity of finance and communication. Tiles for an officials’ lunchroom show a caduceus, with two bright blue snakes, tails entwined, framing Mercury’s face. Caducei are the symbol of commerce, representing reciprocity and mutually beneficial transactions.  

Forty caryatids, the classical female form used in place of a pillar in Greek architecture, were salvaged from Soane’s building and reused. Some caryatids are in the area where old banknotes can be exchanged, besides the museum, now the only part of the Bank open to the public.  

Outside, on the dome at the northwest corner of the bank, a gilt bronze statue of Ariel, named after the spirit of the air in The Tempest, represents “the dynamic spirit of the Bank which carries Credit and Trust over the wide world.” 

The image of banks as depositories of trust and positive relationships took a pasting worldwide during the 2008 Credit Crisis and lean years that followed. But in 2015 former Archbishop of Canterbury, Justin Welby, argues that banking services are a key part of functioning communities, and banks should be able to put people before profit. “At the heart of both these expectations is the value of the person as sacred, and all other things as secondary to human dignity. It is a value rooted in many faiths and especially in our Judaeo-Christian tradition. Of course profits have to be made, but they need to be measured not only in terms of their absolute return on capital employed, but also in terms of the human cost of achieving that return. 

“Large institutions with adequate balance sheets working to maximise returns from those who can most afford it do not produce a sustainable society in the long term. Such an approach is narrow-minded and short-termist, because sustainable societies are essential to the large companies within them. It is also an immoral approach.” 

Mosaics created by Boris Anrep idealise the Bank’ of England’s sunnier intentions towards the wider community. Anrep also designed mosaics for Westminster Cathedral, Tate Britain and the National Gallery. For the Bank, a tiny coin from the reign of Henry VIII known as the George Noble, the first time St George and the dragon appeared on English coinage, was magnified into a roundel showing the galloping saint, visor up, lancing the prostate dragon at the base. The George Noble was one of 50 designs, based on advances in coinage, gracing the Bank’s corridors.  

At the main entrance, a mosaic showing a pillar, representing the Bank, is guarded by two lions, referencing the sculpture from Mycenae. The Bank’s global role, and place at the centre of the then British Empire is shown by the constellations of the Plough and Southern Cross, representing the southern and northern hemispheres. 

An image of the Empire Clock Baker made for the Bank, - now disassembled - shows an ornate dial, marked in 24 sections, with the sun representing India and an anchor symbolising the port cities of Singapore and Hong Kong. 

In 1946 the Bank of England was nationalised, formalising its role as a public institution, operating in a post war decolonialising world, totally different to the one its building had been designed for just 20 years before. 

Systems and symbols around money mutate with the times. Money’s intangibility in our time of app and tap payment, makes its power less distinct than in the days of gold sovereigns. But we fool ourselves if we say money is unimportant, because all of history says otherwise. 

  

 

Building the Bank, Bank of England Museum, until 2026