Chagall in Chichester

[It is forty years this month since the unveiling of a stained glass window in Chichester cathedral, designed by Marc Chagall. This edited extract from my book on Walter Hussey, dean of Chichester, who commissioned it, tells the story of its making.]

Hussey had begun to think more or less immediately, on his arrival at Chichester in 1955, of new stained glass for the cathedral. However, it was only after his retirement in 1977 that he achieved his goal, in between which he had commissioned work from Graham Sutherland, John Piper and many others.

The Chagall window is located in a curiously obscure area of the building. Geoffrey Clarke’s pulpit in aluminium faces out into the nave; Sutherland’s Noli me tangere is visible from the full length of the south aisle; the colours of Piper’s tapestry frame the high altar, the focus of the central liturgical work of the cathedral, and are visible from the west end. By contrast, the Chagall window is tucked away in the wall of the north quire aisle, and so the visitor to the cathedral must venture deep into the building to find it. As Robert Holtby, Hussey’s successor as dean, noted in his sermon at the service of dedication, it is also all but invisible from the outside. Inside, it is the frame or backdrop to no liturgical action, being connected to none of the chapels and their altars. As such, of all the artistic work in the building, it is most like a painting in a gallery: an object for personal viewing and contemplation, not a companion to the collective action of the congregation as the Body of Christ as it worships.

The Chagall window in Chichester cathedral

In one sense, this more detached position suits the work itself, a work of art in a church on the theme of the arts in the Church. The theme of the 150th psalm was suggested by Hussey, the common property of Hussey and of Chagall the Jew. But the subtitle – ‘The arts to the glory of God’ – suggests that the project was also a gloss on Hussey’s life’s work, which took on a valedictory quality as retirement approached. ‘True artists of all sorts, as creators of some of the most worthwhile of man’s work, are well adapted to express man’s worship of God’ he wrote to Chagall. ‘I can imagine a window showing a variety of these artistic activities all caught up in a great act of worship – Psalm 150….. it has been the great enthusiasm of my life and work to commission for the Church the very best artists I could, in painting, in sculpture, in architecture, in music and in literature.’

In the early 1950s, Chagall, after decades in Russia, Germany, France and the USA, had returned to France where he would stay for the rest of his life. This late period in the artist’s work, which was to extend for three decades, was marked both by a return to the Biblical subjects of Chagall’s Russian childhood, and a move into new media: in particular, stained glass. In 1959 he received his first commission for new glass for a church building: the cathedral at Metz. Several other such commissions were to follow; particularly notable were the twelve windows for the synagogue of the medical centre at the Hebrew University in Jerusalem, completed in 1961. These windows formed the basis of a record-breaking exhibition at the Museum of Modern Art in New York, preceded by a similar show at the Louvre in the summer of 1961.

Hussey visited Paris to see the Louvre exhibition, and was impressed by Chagall’s handling of colour. This impression was shared by ‘sensitive and expert friends’, one of which may well have been John Piper, who had been impressed by the only other Chagall windows in an English church, at Tudeley in Kent. The other such friend may have been Robert Potter, cathedral architect, since it was Hussey who had recommended Potter as architect to Lady d’Avigdor Goldschmid, in the memory of whose daughter the Tudeley windows were made.

Others were less sure. In 1970, Hussey sought the advice of Edwin Mullins, art critic of the Sunday Telegraph, who thought rather too much attention was being paid to both Piper and Chagall and suggested several other names, including Ceri Richards, Patrick Heron, Bridget Riley and Richard Smith. But by this time, Hussey had approached Chagall; by October 1969, he understood that Chagall was considering the idea seriously with his maker of all his glass, Charles Marq, after a visit to Chichester, possibly in connection with the unveiling of the first Tudeley glass in 1967.

Hussey was accustomed to waiting for his schemes to come to fruition, but the six-year silence that then ensued must have tried even his patience. In 1975, he wrote again, stressing that time was now short, as he was to retire in 1977. Marq and his wife Brigitte then came to Chichester in April 1976, met with cathedral staff and inspected the site. Chagall was fit and active, and his wife was keen for him to take on the commission, but there would be a further delay. Chagall, it turned out, was having difficulty getting started; would Hussey go to see him?

Hussey described his difficulties in getting to France in December 1976, and in finding the Chagall’s home: a sorry tale of flight delays, linguistic incomprehension and wrong directions on a rainy night. Once there, he and Chagall conversed over a full-size drawing of the window, with Madame Chagall interpreting, and in the company of the Marqs. Chagall asked how Hussey imagined the window; Hussey ventured the idea of an array of figures representing the various arts, arranged around a central figure. It should also have the ‘rich and luscious colours’ that Hussey had been so impressed by in the Louvre. Chagall seemed to like the idea, and indeed the final design was along these lines.

This meeting seems to have released Chagall’s thinking, and the sketches were begun in January, and a maquette had been made by March. Marq sent a colour photograph of the maquette, stating that the glass work could not be finished until the summer, and possibly rather later, as a particular kind of red glass was only produced by the manufacturers at St Just twice a year. Now clear that the window would not be installed before he retired, Hussey resolved to move the matter as far on as it could be. The design was accepted by the cathedral chapter on the basis of the photograph, apparently without dissent. Both Potter and the Clerk of the Works, Eric Brooks approved the design: ‘happiness and satisfaction all round’. Even then, the window was not to be installed for over a year; it was unveiled by the Duchess of Kent in October 1978.

One critic has described the Chagall window as Hussey’s ‘crowning achievement’, which ‘immeasurably enriched the Cathedral’. Kenneth Clark thought it a ‘triumph’. How significant is the Chagall window in the history of patronage and of religious art in England? On the one hand, it is one of only two Chagall works in English churches, and the only one in a cathedral. On the other, the twelve window scheme at Tudeley is on a much larger scale, and was commissioned earlier (although the whole sequence unfolded over several years, between 1967 and 1985). Neither was particularly early in Chagall’s work in glass.

The Chagall commission shows the limits of Hussey’s engagement with the very contemporary in art as he had grown older. The commissions of Henry Moore and Sutherland at Northampton were of relatively unknown young artists by a young provincial priest, which provoked scandalised reactions amongst press and public. The Chagall commission is by one old man of an even older man, who was still producing fine work, but who had long since ceased to be in critical favour. The window provoked no particularly adverse reaction: there was little to fear from Chagall in 1978.

Chagall was also now a very expensive man to hire; the eventual cost of the commission was in excess of £20,000, not including fees and expenses for Chagall and Marq. For previous commissions, Hussey had been supported financially by either a collecting box, as at Northampton, or by the private funds of a donor connected with the church (as with Moore at Northampton, and Cecil Collins at Chichester). The Friends of the cathedral had also funded the Sutherland painting, copes from Ceri Richards, and the Piper tapestry. In the case of Chagall, Hussey had assured the Chapter that he would not be calling on Chapter funds. Not only that, but he had also undertaken not to approach any Chichester people who had not yet contributed to the restoration appeal for the cathedral fabric, or any trusts and charities that might support it. Hussey was thus obliged to seek the aid of trusts that specialised in art, with or without any particular connection with the churches. The target was met, with a significant contribution from Hussey himself (£4,000), as well as public funds from the Arts Council. In this, Hussey moved some way from his earlier model of funding, in which a local church community commissioned a work of art and covered the costs in its own strength. Both models of patronage have survived him.

Walter Hussey and the Arts: chapter summaries

Abstracts of each chapter of Church and Patronage in 20th Century Britain: Walter Hussey and the Arts (now available from Palgrave Macmillan, 2017 as ebook and hardback), with links to purchasable PDF versions of each.

The book as a whole
The first full-length treatment of Walter Hussey’s work as a patron between 1943 and 1978, first for the Anglican parish church of St Matthew in Northampton, and then at Chichester Cathedral. He was responsible for the most significant sequence of works of art commissioned for the British churches in the twentieth century. They included music by Benjamin Britten, Leonard Bernstein and William Walton, visual art by Henry Moore, Graham Sutherland and Marc Chagall, and poetry by W. H. Auden. Placing Hussey in theological context and in a period of rapid cultural change, it explores the making and reception of the commissions, and the longer-term influence of his work, still felt today.
As well as contributing to the religious and cultural history of Britain, and of Anglo-Catholicism and the cathedrals in particular, the book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts.

Chapter 1. Introduction
The introduction outlines Hussey’s reputation as patron of the arts both during his career and since his death. It reviews the scholarly literature to date insofar as it has paid Hussey any attention, and sets out the several areas of the current historiography of British religion and the arts to which the study addresses itself. Finally it outlines the argument of the book chapter by chapter and ends with some remarks on the scope of the book and what it aims (and does not aim) to do. Buy the PDF

Chapter 2. The formation of a patron
Chapter 2 traces Hussey’s formation in the 1920s and 1930s: the son of a clergyman who progressed through public school (Marlborough), Oxford and ordination training at the Anglo-Catholic Cuddesdon College to a curacy in London. It also examines his early aesthetic development, as a viewer, listener, amateur musician and artist, and lays out the context for that development: of Anglican theologies of the arts of the 1920s, and the available examples of ecclesiastical patronage that others set. It argues that Hussey’s understanding of the arts in relation to culture and of the right form of patronage were both present in their essentials before he began his work at Northampton, as were his particular enthusiasms and artistic blind spots. It also shows that Hussey’s homosexuality was key to understanding the relationships he was later to form with those he commissioned. Buy the PDF

Chapter 3. The 1943 Jubilee festival at Northampton
Chapters 3 and 4 together examine the full record of patronage for Northampton. Chapter 3 begins by situating the church of St Matthew in its local context, and as a prominent example of an Anglo-Catholic church. It then examines the five ventures that together formed the jubilee festival of the church in 1943: an organ recital from George Thalben-Ball, a concert by the BBC Orchestra, new music from Benjamin Britten (his Rejoice in the Lamb) and from Michael Tippett, and finally (in 1944) the sculpture Madonna and Child by Henry Moore. It examines in particular the critical and public reactions to each work, and shows that the debates that the Moore provoked went to the very heart of what religious art was, and what it was for. Buy the PDF

Chapter 4. Music, art and poetry: 1944-55
Chapter 4 continues the story of Hussey’s patronage from 1944 until his departure from Northampton in 1955. It produced a painting from Graham Sutherland (Crucifixion, 1946), poetry from W.H. Auden and Norman Nicholson, and music from Malcolm Arnold, Lennox Berkeley, Edmund Rubbra and Gerald Finzi (Lo, the full final sacrifice, 1947) amongst others, including Benjamin Britten (for a second time). Those twelve years also saw the establishment of Hussey’s characteristic modus operandi, as he created ex nihilo a network of supportive critics, clergy and key players in the spheres of art, music and broadcasting. Buy the PDF

Chapter 5: The religious arts on a rising tide: people, media, networks
Chapter 5 places Hussey’s growing renown in the changed context of the immediate post-war period. Whilst the characteristic catholic understanding of the nature of culture was mostly unaltered by the War, Hussey’s project was now also framed by the need for reconstruction, both physical and (as some saw it) cultural and spiritual. The chapter describes a moment at which a new settlement between the church and the arts seemed possible, supported by a growth in media coverage, scholarly interest and exhibitions. It also details two key relationships in Hussey’s network: with Kenneth Clark, perhaps the most influential individual in British art, and with George Bell, bishop of Chichester, the other most significant figure in Anglican patronage of the arts in the period. It was Bell who brought Hussey from Northampton to Chichester in 1955: the cathedral of a diocese in which Bell had done significant work in relation to the arts, but that was itself not quite ready for a project such as Hussey’s. Buy the PDF

Chapter 6: new visual art for Chichester
Hussey’s commissions of new visual art and new music for Chichester cathedral are examined in chapters 6 and 7 respectively. Chapter 6 begins with an examination of what cathedrals were thought to be for, since their purposes were in question in a new way in the fifties and sixties. It then examines each of the works of visual art in turn: works by Graham Sutherland, Geoffrey Clarke, John Piper, Ceri Richards, Cecil Collins and Marc Chagall. As in chapters 3 and 4, it examines both the making of the works and their reception, and argues that, whilst highly effective in their own right, the works as a whole strike a less radical note than the Northampton pair from 1944-6. Buy the PDF

Chapter 7: Chichester music
Chapter 7 examines the series of compositions of new music for Chichester. It argues that the final compositions in the 1970s from the older figures William Walton and Lennox Berkeley have a similarly conservative flavour to the works of visual art documented in chapter 6. However, the commissions from Bryan Kelly, James Bernard, William Albright and in particular from Leonard Bernstein (the Chichester Psalms) show a more consistent engagement with contemporary trends in composition, and in particular the revolution in ‘church pop’ then under way. Buy the PDF

Chapter 8: cathedral, city and diocese
Hussey’s time as dean was one of searching, indeed existential questioning of the very purpose of the cathedrals within the church, in their urban environments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; chapter 8 examines the rest of his record as dean, and argues that his overwhelming focus on the arts was to the detriment of other areas of the cathedral’s life. Buy the PDF

Chapter 9: Legacy
The book ends with a reflection on the nature of Hussey’s model of patronage. Hussey did inspire others during his career and immediately following to commission new works for churches. But chapter 9 argues that Hussey’s success was in large part due to his personal qualities; his work was not as a distant, demanding patron but as a friend and collaborator, and as an unofficial chaplain to those with whom he worked. As such, his way of working was not easily codified into a model that could easily be transferred to other contexts, and the more public and institutional way in which the churches have come to work in the very recent past is perhaps an acknowledgment of the fact. More fundamentally, it argues that Hussey’s work was based on a catholic understanding of the relationship between national religion and culture, formed before the Second World War but given new impetus by it, which became hard to sustain as both the arts and the position of the churches changed during the long Sixties. Those in the present day churches who would see a live tradition of ecclesiastical patronage have needed to look elsewhere for their justification. Buy the PDF