Article
Attention
Change
Community
Loneliness
6 min read

Take some risks, invest in your friends

At the other side of risk is a precious thing: the overcoming of distance.

Tom is a physician and completing a theology doctorate. 

Three friends in the street laugh together.
Jed Villejo on Unsplash.

In the year 2000, political scientist Robert D. Putnam published Bowling Alone. Putnam analysed the decline of “social capital” in America, observing that relational networks, community involvement, and civic engagement were all waning. Why “bowling”? Well, for Putnam, the decline of involvement in bowling leagues was representative of his findings. It served as a microcosm of a bigger picture—the broad downtrend in social engagement. 

What of “social capital” in 2025? Everything, it appears, is different. The arrival of the online ecosphere has reframed how “social” is best understood. We are more “connected” than ever. Indeed, the proportion of society attached to a virtual social network, I suspect, outstrips the proportion of society involved in bowling (or other) leagues at their peak. And even in the short history of the world wide web, the nature of social engagement has developed at breakneck speed. A once revolutionary platform for connecting with past pals from school (remember “Friends Reunited”?) now seems prehistoric. We can “connect” in ways that no bowling league could ever have manufactured. Today, the array of relational possibilities is endless. Awaiting your acquaintance are inert artificial friends, with whom—we’re assured—“You can form an actual emotional connection.” Yes, the Replika app offers virtual companions “for anyone who wants a friend with no judgment, drama, or social anxiety involved.” 

What counts as “social” has expanded beyond measure since the year 2000. No doubt Putnam’s book would look different were it released today. But has the tide of social engagement really turned? 

The bond of friendship is precious. And, like many precious things, it is hard-won.  

Does today’s social mindset encourage us to pursue relationships marked by depth, confidence, nearness? The digital realm makes it extremely difficult not to treat connection as a commodity, more a product in the marketplace of life than a good to be pursued for its own worth. It generates a fantasy of risk-free relationships. “If a friendship isn’t working out, leave it; there’s always another one available”—one without “drama”, as the wisdom of Replika would have it. The measure of a good relationship here is not the strength of the bond itself. Such ties are a means to another end. Perhaps how well the relationship serves individual interests or meets personal preferences. And if we swallow this kind of “you do you” pill whole, we shouldn’t be surprised if our basic assumption is that people do not belong together but apart. 

When friendship becomes a commodity, enduring friendship is nothing short of a miracle. We are all too changeable for consumer relationships to last. Our preferences change. Our life-stages change. Once upon a time, lasting non-romantic bonds were perhaps a more given feature of life. When lifelong relationships and local community overlapped far more, the troughs of friendships were less easy to avoid but had to be faced. It wasn’t so easy to dodge “drama” and move on. But if today’s online social realm shapes our expectations of relationships, the long road of friendship becomes—unsurprisingly—uninviting. Seemingly viable alternatives to our present friends are always available. Indeed, if the “you do you” mantra holds, friendship most likely will not. Or at least not of the precious kind. 

Recently, Sheridan Voysey launched the Friendship Lab. Its aim? To make friendships thrive. Voysey, an author and broadcaster, has developed this new resource alongside a team that includes academics in psychology, law, and statistics. The Lab offers both live and on-demand courses to equip individuals and friends with wisdom and skills for fostering reciprocity and deepening connection. The Friendship Lab is Voysey’s answer to a question he asked himself: "Who can you call at 2am when everything has gone wrong?" Hence, its mission: “to see every adult have at least three 2am friends.” 

The Friendship Lab is on to something important. I suspect that something is, at least in part, that friendships require perseverance

In friendship, it takes time to be understood and to understand. We are all so remarkably complex. Our pasts are so multifaceted. There is no straightforward access to another person. No algorithm can achieve it. No personality test can name it. The deep roots of a relationship are established in attention and commitment. They are reinformed through loyalty and perseverance. The resources provided by the Lab point to the fact that friendships form over time. Like a muscle strengthened through repeated use, they are shaped by practices. Developing connection is more like slowly sculpting clay than sharing in a series of transactions.

At the other side of risk is a precious thing: the overcoming of distance. That precious feeling of being at ease. Unguarded and unafraid

This leads to something important: on its own, perseverance is not enough. Something else should be named if friendships are to thrive and last. And it is less common: risk. 

The bond of friendship always involves risk. Friendship is hard-won because it is risky. To let one’s guard down is a step into the unknown, a “drama” that can never be neatly calculated, because we can never know the outcome. And it is a particular kind of risk: the risk of making oneself vulnerable. Of exposing our hopes and fears, our wounds and weaknesses. Or facing these in others. And of course, we are all so aware of what can go wrong. Sometimes putting yourself out there results not in depth but in misunderstanding or, perhaps, rejection. And to be rejected in one’s vulnerability can be humiliating, even devastating. 

But the bond of friendship is established in these daring footsteps of risk. Friendship does not take shape by side-stepping risk but by taking the road through it—a road not free from but marked by missteps and disappointments.  

Yet such steps are not an end in themselves. They lead to a place that addresses a deeper longing—the ache for connection. At the other side of risk is a precious thing: the overcoming of distance. That precious feeling of being at ease. Unguarded and unafraid. The knowledge that you’re in safe hands.  

In an age where seemingly risk-free alternative connections are available, who would dare to take these steps? Some ancient wisdom might be needed here most of all. 

Around 30AD, a man called Jesus of Nazareth walked the road to hard-won friendship like no other. One of his followers described Jesus’ life as one of commitment to his companions “to the end.” Whilst Jesus’ profound teaching and demonstration of love often gets plenty of attention, there is something precious to be mined here. 

Risk and perseverance belonged to Jesus’ life. The risk of misunderstanding and of rejection—both of which he experienced at the hands of those closest to him. He was not immune to these. In fact, what it meant for Jesus to persevere in his commitment to his followers was for him to endure their abandonment of him. They modelled the opposite of friendship. But Jesus’ risk-taking perseverance knew no limit. It led him all the way to death. It persevered through the failure of his friends to reciprocate to the end. This is why it is just so startling that, in rising from the dead, Jesus says to his followers: “no longer do I call you servants… I have called you my friends.” 

If Jesus has walked the ultimate road of befriending us human beings “to the end”, could looking to this source unlock friendship in a new way today? 

There is a woman in the church community I’m part of who was once asked: “why are you part of this church?” Her answer: “I decided to come here.” She is in her eighties and has been part of that community for decades. I envy the simple sense of risk-taking perseverance in her approach. She is not side-stepping the “drama”—the inevitable missteps that belong to life with others. I do not belong to a generation or an age that puts a premium on risk-taking perseverance “to the end” in friendships. But another look at ancient wisdom might give us just the freedom to do so. And if the road to deep connection goes via some kind of “judgement, drama, or social anxiety” then I, for one, am all in. 

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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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