Is Mrs. Grundy the hero we need? Photo by Jeff J Mitchell/Getty Images.

Across the pond, dire warnings are often intoned about something called Christian Nationalism. This is (we are told) a rising, virulent strain of theocratic fascism that fuses Christian dogma with sexism, ethnocentrism, and state power. Others, again, warn that this is now in danger of spreading to sensibly secular Britain.
Except that Britain is already the historic home of Christian nationalism. We have, after all, had a nationally established Christian church since 1534. Since then, this body has (as the name “Church of England” suggests) sought to hold in homeostasis England’s spiritual and political bodies, as both Christian, and a nation.
Can it last, though? Last week’s Commons vote in favour of a bill permitting state-licensed suicide points toward England now being more post-Christian than not. And if the UK is now post-Christian, so too our current ruling uniparty seems increasingly post-national; the enthusiasm shown by the current lot for handing away national possessions such as the Chagos Islands and — just this week — the Elgin Marbles are only the two most recent cases in point.
We got from the historic version of Christian nationalism to our contemporary post-Christian, post-national state ideology via a secular pseudo-church. This emerged within the Anglican Church, spread via its social structures, and then replaced Anglicanism as England’s established faith: the welfare state, and centrally, the NHS. Its unwitting midwives were the welfare state’s 19th-century precursor: England’s church ladies.
This bourgeois group, metonymically referred to at the time as “Mrs Grundy”, represented the public moral conscience of the country. Tireless institution-builders, the Mrs Grundies of the 19th century were often largely content to leave industry, formal politics, and military and imperial matters to men, believing women’s “sphere” instead encompassed family, education, and moral leadership: a figurative as well as literal maternalism that paired satisfyingly with guardianship of the nation’s moral character.
To this end, Mrs Grundy founded charities, schools, and poor relief initiatives. She published improving literature. She campaigned for women’s education. Supported by bodies such as the Girls’ Friendly Society, the Mothers’ Union, and the National Union of Women Workers, a vast network of social reform initiatives flourished across the country.
In most cases, these were profoundly shaped by Mrs Grundy’s Christian faith: the Girls’ Friendly Society (GFS), for example, was founded in 1875 with the support of the Anglican Church, and aimed to support young working-class women who left their homes in the country to take up work in England’s rapidly growing and industrialising cities. The explicit aim was to provide “for every working girl of unblemished character a friend in a class above her own”. Similarly, the Mothers’ Union, founded 1876 (again with the blessing of the Anglican Church) shared with the GFS an aspiration to moral reform of the nation, and to strengthening the Empire through womanly influence. It aimed, according to its own mission statement, “To uphold the sanctity of marriage and to awaken in mothers of all classes a sense of their great responsibility as mothers in the training of their boys and girls (the future fathers and mothers of the Empire)”. Thousands of Mothers’ Union groups, publicised by their popular periodicals, formed the backbone of the now-mocked “Jam and Jerusalem” version of Anglican piety.
Patriotic, pious, maternalist, and energetically pro-Empire, Mrs Grundy represented Victorian Britain’s moral mainstream: the real, historic Christian nationalists. Largely framed by the Church of England, Mrs Grundy worked to improve her nation’s moral fibre from the family level upwards, all for the greater glory of God and the British Empire. Over the same period, though, other intellectual currents sought to channel the same broadly Christian impulse toward social reform in less overtly religious directions.
Positivism, for example, developed by the French thinker Auguste Comte, recognised only what could be scientifically verified. Positivists opposed empire, and decried Christianity as a superstitious remnant of an earlier age, while (long before Fukuyama) celebrating the industrial era as the endpoint of human development. Positivism heavily influenced women such as the Women’s Guild organiser Ethel Harrison, who embraced Comte’s vision of women’s distinct social role as moral improver amid a new “religion of Social Service” that would replace the old explicitly theological type.
In this sense, Harrison typified the Positivist efforts to square their philosophy with a still heavily Christian-flavoured moral framework, that emphasised principles such as public service, concern for the weak, and universal equality. And they were hardly the only Victorians keen to salvage Christian moral intuitions while ditching the Christian story. The Fellowship of the New Life, a forebear of Britain’s Ethical and Humanist movements, promoted pacifism, unselfish communitarianism and material simplicity with unmistakably Christian overtones — just without the Christian eschatology. Its most noted spin-off was the Fabian Society, which would go on to shape the intellectual outlook of the Labour Party all the way to its present-day avatar, Keir Starmer.
Such unconventional thinkers often socialised and collaborated with more conventional church ladies. For example, despite Positivism’s opposition to Christianity and imperialism, Ethel Harrison was close friends with several much more conventionally Christian and patriotic social reformers. But if these ladies collaborated in public life, their underlying worldviews were in conflict. And from today’s vantage-point, it’s evident that the secularisers won.
But Mrs Grundy wasn’t so much abolished, as nationalised. By the early 20th century many of the institutions founded by church ladies had grown so indispensable to the social fabric they were eventually absorbed into national welfare infrastructure: schools and hospitals were absorbed into state education, for example, while the patrician home-visiting once performed by Mothers’ Union ladies became social work under the eye of local authorities. In the process, the “Jam and Jerusalem” piety and overt Christian ethos that inspired them were progressively sanded away. In its place, the worldview represented in Mrs Grundy’s heyday by groups such as the Positivists and Fellowship of the New Life came into its own: a version of the Christian public service ethos featureless, ductile and “neutral” enough to be delivered by impersonal bureaucracy, rather than officious matrons.
In this way, imperceptibly, the version of the established Church of England that dominated the high Victorian era gave way to a new established Church: one in which God and Caesar converge in a bureaucratic, state-managed nationwide project of moral reform and poor relief, with “tithes” or “fundraising” now formalised as general taxation. Perhaps its most obviously religious manifestation today is the devotion inspired by the NHS, as when, during Covid, we closed churches, schools, pubs, and much else besides in the name of our all-important collective duty to “save the NHS”.
The clarity of national moral focus, in a crisis, was underlined by the one in-person collective action we were still allowed: the “Clap for Carers” coordinated five-minute exeat from our homes to join in ritual applause, for the NHS workers’ holy preservation of our bodily safety and wellbeing. The only reason this partially escapes being seen as a religious practice is that its values are the post-Christian, secular ones that spun out of the collision between Victorian Christianity and scientific materialism.
Meanwhile, too, if this new established church preserved a thinned-out, neutralised version of Christianity, so it also preserved a dilute “civic” form of the nationalism — as an enabling mechanism for the welfare state. For, very reductively, National Insurance presupposes a nation. More subtly, too, willingness to pay the taxes that fund requires high levels of social solidarity in turn presupposes an “imagined community”. And in the popular understanding, this tends to comprise some mix of genetic, historic, cultural and/or geographic commonalities — a phenomenon that, again, maps closely to the modernist political entity “nation”.
That, in broad outline, is the version of “Christian nationalism” that’s held in England for roughly the last century. Meanwhile, in the aftermath of its establishment, the older overtly Christian Church of England has grown ever more etiolated, as practical ministry increasingly devolved to the state and the spiritual kind came to feel optional or simply irrelevant.
Does this matter? It should, perhaps, to those who remain Christian in terms that would have made sense to Mrs Grundy. For it’s one thing for an established church to shrug as formerly church-based charity work is nationalised in name of secular “compassion”. It’s another altogether to go on shrugging, as actively anti-Christian activities such as state-licenced suicide — a cause supported by Fellowship of the New Life member and Fabians including Havelock Ellis and Starmer — are added under the same rationale. It is, of course, more than possible to adhere to Christian beliefs while living in a state that professes a different or even hostile creed; this remains true, today, for many Christians worldwide. But last week’s vote in Parliament ought perhaps to invite devout Anglicans to consider whether the nominal position of their own faith as England’s national church has left them unduly complacent about the actual established Church, and the actual standing of Christianity in England.
Meanwhile, too, even those unsentimental about the older Church might eye the evolution of its successor, and wonder about the prognosis for the “imagined community” of England in which it remains nominally established. This is not just due to the post-national sensibility of Keir Starmer and those of his ilk, but also a paradox at the heart of England’s religion of state welfare.
For this relies for sustainability on an ever-growing population and economy. And as Britain’s birth rate has declined and its economy stagnated, politicians have turned with increasing desperation to migration, to fund and staff the welfare our state religion demands. Then, as they do so, the resulting demographic change has progressively undermined the cohesion of the “imagined community” that legitimised it to begin with.
A century and a half on from Mrs Grundy’s heyday, then, it’s clear that Mrs Grundy won, in the sense that her Christian nationalism entrenched itself in the architecture of the British state. But she lost, too, as it subsequently evolved into something actively solvent both to Christian doctrine, and to national identity as such.
As this progresses, both Church and nation (in the sense Mrs Grundy would have understood them) are now sliding ever closer to extinction, under a regime that sees in both only a threat to its utopian universalism. And whatever you think of the welfare state, I would not bet on its survival much beyond the Christian nationalism that birthed it. Mrs Grundy would be appalled by the fruits of her own triumph.
This is the kind of article for which I subscribe to Unherd. Thoughtful, deep, well-written, unrushed in its manner and form – a work of art all its own. My thanks to the author and to Unherd. More of such would be most welcome!
True, but so painful to read.
My suggestion is don’t go to university, don’t rely on an art gallery to legitimise your art, don’t bother with the arts community, stop believing in the idea of being an artist. They are not savants, they’re merely entertainers. If you think you’re something special and you want to live off it then you’re going to have to play the game. You don’t need them to create, but you do to make money. Art is the ultimate elite game. This story just confirms it. The arts community talk about AIs destroying art because it’s not human. There’s nothing human about the arts today. It’s a closed, suffocating shop ticking off the boxes and bending everything into some shape that satisfies their warped egos, including antisemitism, the latest “trend”.
Having spent a professional life encouraging students to develop their thinking skills and knowledge by attending university, previously known as institutes of higher learning (but no longer deserving of that title), I would counsel any youngster possessed of an independent spirit and a modicum of intelligence to avoid these conformist echo chambers like the plague.
I entirely agree. And the world of contemporary literature is fast behind it: despite having an even bigger claim to being a medium meant to make us think, see other perspectives and empathise.
We have a number of tax-funded literary presses in the UK pumping out anti-western propaganda on a daily basis. 87 press is one of the most pernicious. Its editor is also studying for a tax-funded PhD in [whatever], while denying anyone was raped and any ‘innocents’ were harmed on October 7th.
It’s funny that art schools preach transgression but oddly seem to produce conformism.
I guess this is what happens when the traditional battle grounds of sexuality and politics have effectively been conquered.
I’m trying to remember my own art school days and what agitated us back then. As I remember it was ban the bomb, anti Thatcher and the after shock of the AIDS epidemic. I genuinely think we still had boundaries that needed to be crossed.
What we have now, some 35 years later, is a borderless, valueless society where everything is relative and nothing is sacred.
Maybe we are doomed to repeat cycles of hate and conflict. All that remains is for the people to decide which group of others to go to war against.
Yes, herdish transgression is the new “plat du jour” and relativism the latest absolute
The reoccurring theme here with the artists mentioned isn’t that they’re Jewish, it’s that they’re Israeli, which isn’t the same thing. Of course no one should blame each and every Israeli citizen for the actions of their government, that’s absurd, but assuming all criticism of the Israeli state is motivated by hostility to Jewish people is also absurd, especially when many of Israel’s staunchest critics are themselves Jewish.
Sorry but as a British Jew I can tell you that while you think this to be the case, it isn’t. If you are Jewish there are parts of this country that will shun you unless you are on ‘their’ side. We are guilty by association unless we denounce – sounds eerily familiar.
You missed his point.
He was speaking of the references in the article, not of your (alleged) personal experience.
With respect I didn’t miss his point and although most of the artists quoted were Israeli there is one that isn’t, and undoubtedly more that didn’t want to be named as suggested in the article. My point is that we as British Jews cannot disassociate or indeed are not allowed to disassociate ourselves from the conflict. People consistently try to separate the two, but it is impossible without us denoucing what is going on. When doors were kicked in on my brother’s road a few years ago it wasn’t because those houses all had Israeli flags, it’s because they displayed symbols of Judaism and were automatically associated with Israel. This is what people do not understand when they make comments like the above. It applies to any religion/religious conflict but is most pronounced with respect to Jews and Israel.
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Just to be clear, it is eerily familiar of the authoritarian left (Stalin,etc). A Jewish artist who is explicitly and resolutely anti-Zionists and denounces Israel will be lauded by the art world which is overwhelmingly dominated by the left.
This is exemplified by the open letter published in July 24 by Artists for Palestine UK, the signatories, including more than 100 Jewish creatives, decrying as “shameful” the Royal Academy’s removal of a photograph of a protestor holding a placard that reads, “Jews Say Stop Genocide on Palestinians. Not In Our Name.
More than ever, the West’s art world is a leftist propagandas machine. Jews and non-Jews alike will be exhibited if they keep to the left.
assuming all criticism of the Israeli state is motivated by hostility to Jewish people is also absurd,
did you read the article? Did you get to the part where the author speaks to a particular piece and is told “how could any country promote an artist like her?”
Hi Chris, it’s the same. Israel is not just a Jewish state, but the land of the Jews (the Jewish people), and its name is Israel. It’s easier to say “Israeli” than “Jew” to cover up hate, and people use “social justice” arguments to denounce one country. Go check the number of deaths and refugees in Ukraine/Russia. Where is the venom there? You start calling the Jews “Semite,” then kill them all and start saying “antisemitism.” And the Jews start using this to explain the hate. So what do you do? Start saying “Zionist” – a movement that ended 75 years ago. I’m waiting for the next name.
how could any country promote an artist like her?
Ah, the ever-present desire to silence, stigmatize, and scapegoat people of a certain identity. What are the odds of the woman quoted saying the same of a black artist, a Latino, a gay, or anyone else from the congregation within the church of the aggrieved and offended?
Art has become another word for another institution paralyzed by mind-numbing groupthink that mistakes itself for wisdom. Voltaire was right in saying that the people who can make you believe absurdities can make you commit (or accept) atrocities.
It’s appalling this antisemitism is allowed to continue. There’s a post on another forum from a concerned Jewish mother whose child is being subjected to anti-semitic bullying at her school which has 30% Muslim pupils. Quite a few posters have either disbelieved her or asked ‘why are you surprised?’
Zionists like talking about ‘light’ while obscuring it as much as possible. When they talk about art, it is invariably about the artifice of conflating Judaism with zionism and Jews with zionists. Such subversion of language is not artistic.
As ever, _what_ are you talking about. Zionism= believing the Jewish people should return to their historic homeland. What do you know about art anyway? Your religion only permits shapes.
When left to their own devices, Jews create Israel, whilst Muslims create Daesh. By their works ye shall know them.
The zionist state was created by the Brits, not the zionists, like Northern Ireland. And much like NI, it created a trail of misery stretching to, but not ending in, the present day.
Historically illiterate. It was _recommended_ by the Brits as only fair that the Jews should have a state and the Muslims too: Transjordan, which they got. The UN voted in favour of Israel’s creation & the trail of misery has been the abject refusal of all the surrounding Islamic countries refusing to live alongside a single Jewish one ever since.
Some day historians will write about this time the same way they described Europe in the 1930s and 40s: the Jew-haters who wanted to kill us Jews because we’re Jewish, and those who fought that medieval barbarity. We live in such a time again.
100% solidarity with the innocent victims of the hypocritical anti-jewish, leftist arts world.
“Which now of these three, thinkest thou, was neighbour unto him that fell among the thieves?
And he said, He that shewed mercy on him. Then said Jesus unto him, Go, and do thou likewise.”
More Levites and priests around nowadays than Good Samaritans. Pious hypocrisy is much in vogue. Not much mercy.
The Sokal Affair last century showed what the art world has become. A propaganda machine for leftist nonsense.
This article points out the real threat from the far left, socialist anti west ideology which threatens our way of life. Cancel culture which attacks free speech, free expression and liberty writ large, is a baked into the cake principle of Marxism. It would be a good idea for everyone to brush up on Lenin, Stalin and Mao tactics of implementing Marxist Communism and Socialism with regards to those who did not get in line with their doctrines. Over 75 million people were murdered or died from starvation in those regimes, and freedom of the people did not exist. It is not alarmist to say we need to be very alarmed and fight back against this scourge to Western Civilization values. Antisemitism as described in this article is just the beginning. We are all at risk.