The Piper Tapestry Chichester Cathedral, 1966.

Billingsley, Naomi

If at Berwick it was the artists that caused upset, the murals themselves being recognisably traditional in style and subject-matter, the Piper Tapestry at Chichester raised objections primarily on aesthetic grounds (although theological and financial protestations were also made). The commissioning of John Piper to design a reredos for Chichester Cathedral was one of several important projects initiated by Walter Hussey as Dean (1955-77). The brief: to focus attention on the High Altar and Sanctuary by introducing colour that would bring warmth to the space, and call to the visitor from the West end. The result--a vibrant seven-panel tapestry on the theme of the Trinity --certainly met that aim. Hussey was delighted; not all agreed.

Hussey's view was that the church had always commissioned contemporary work to sit alongside the ancient, and so it should be for the new reredos. He approached Piper in 1963 with a view to a painting; Piper and Robert Potter, the Cathedral architect, explored a number of ideas before deciding upon tapestry. (1) Piper's initial idea was for a figure scheme: one in each of the sanctuary screen's seven niches, as in his windows for Oundle School (1955-56). This plan was replaced with a scheme of the Trinity (the dedication of the Cathedral), Evangelists and four elements; a design was in place by late 1964. The Archdeacon of Chichester, Lancelot Mason then raised an objection: at this stage, the central section depicted the flame, the Tau cross and the triangle. Thus, there was a symbol for the Holy Spirit, for Christ, and for the Trinity, but not one for the Father--it seems Piper had intended the triangle to represent the Father. Piper was unnerved at Mason's objection, 'at this 11th hour', wishing that it had been raised earlier. Piper now found it difficult to incorporate another symbol, leaving him feeling that he needed to rethink the whole central section, thus delaying proceedings. (2) He struggled to find a solution, but eventually decided to 'have a white light up on the left', completing the group of symbols in the final design. (3)

Piper was facing the centuries-old problem of representing the complex idea of the Trinity. His solution drew on traditional symbolism for each of the Persons, but employing these in a composition to represent the Trinity was unusual, and arguably, does not do justice to the togetherness of the three identities--the triangle is a nod to the unity, but is in itself a debatably inadequate symbol for interrelationship. Nevertheless, the design was approved and Piper prepared full-sized cartoons for the seven panels.

The panels were produced by Pinton Freres of Felletin, near Aubusson, France, who quoted 39,000 Francs about 3,500 [pounds sterling]. (4) There were objections about the cost because the Cathedral was also fundraising for major renovations. Hussey defended the project on the grounds that the cost was 'small compared with the sum that is needed for repairs' and that the public were more likely to support a Cathedral that was alive and cared for. (5)

Having caused controversy as parish priest in Northampton with his brave commissions from Graham Sutherland and Henry Moore, and in previous work at Chichester (including another Sutherland, which so riled one viewer that she attacked it with a biro), Hussey was prepared for a mixed reaction. His dedication address urged viewers to be open-minded: If we are wise we shall look at them and study them a number of times, in different lights, before we express an opinion ... Then I believe we shall recognise them as a magnificent & contemporary, and therefore traditional, adornment of this wonderful House of God. (6)

Perhaps the most famous reaction is Cheslyn Jones, Canon Chancellor, donning dark glasses to the dedication service to express his opinion about the tapestry's vibrancy. Others wrote to Hussey to express their feelings. G H Eggers described his party's 'amazement' to see, upon entering the Cathedral, 'in place of the dignified Altar and Screen ... a garish backcloth'. They felt unable to take Communion and that any message intended in the design was lost. Finally, he hoped that the Cathedral would soon 'revert once again to it's [sic] quiet dignity and peace' which he believed would 'attract more people to God than the present innovation.' (7) John Parker also felt that the colour was 'glaring & non-neighbourly' with its surroundings, and prophesied that the next generation would remove the piece. (8)

By contrast, Godfrey Thomas wrote that he found the tapestry 'an aid to worship and contemplation, both in its outstanding presence and also by its dispensation with picture images to represent living abstraction.' He hoped that dissenting opinion would not result in defacement or removal. (9) Ethel Bunyer had visited somewhat apprehensively, but was impressed to see: ... something that was glowing and alive & symbolic of what the Church must and should be in the present age. It took away the feeling that Christianity is old and crumbling like the Cathedral. Here was something to bring hope & a challenge to all of us ... (10)

Lloyd Morrell, Bishop of Lewes, similarly felt that the piece had made the Cathedral 'come alive' and that the 'wonderful focus of colour and design seems to take its place so naturally in a building which has absorbed something from every age'. He added that 'the whole Diocese' should be 'grateful ... for [Hussey's] vision and enterprise'.11

Fifty years on, in spite of prophesies that it would be removed, the tapestry is a familiar feature in the Cathedral, and the slice of its red and yellow glimpsed as the visitor enters at the West end continues to surprise and excite. In 2016, Pallant House Gallery held an exhibition on Piper's textile work to mark the half-centenary (reviewed in A&C 86)--a marker of the regard in which the piece is held. Hussey's recommendation that the tapestry merits time was borne out in some of my work as Bishop Otter Scholar, with some participants in discussion groups that I held about the art in the Cathedral reporting a deepened appreciation for the tapestry. I met more admirers than objectors (granted, my work made it more likely for me to encounter sympathetic viewers) but of course, views about the piece remain mixed. It continues to challenge those who worship in and visit the Cathedral --here's to another 50 years of service!

Naomi Billingsley is a Leverhulme Early Career Fellow at the John Rylands Research Institute, University of Manchester

(1) 'Weaving a Modern Work of Art', 'Weekend Telegraph, Number 104, September 23 1966, 34-37: 35/37. Hussey Ms. 367, West Sussex Record Office. The Hussey papers are quoted here by courtesy of the Very Revd. the Dean of Chichester and with acknowledgements to the West Sussex Record Office and the County Archivist.

(2) Piper to Hussey, 2 January 1965. Ms. 365.

(3) Piper to Hussey, 19 February 1965. Ms. 365.

(4) Pinton Freres to John Piper, 23 September 1964. Ms. 365.

(5) Typescript of Walter Hussey's address at the dedication of the Piper Tapestry at Chichester Cathedral, 20 September 1966. Ms. 367.

(6) Ibid.

(7) G.H. Eggers to Walter Hussey, 4 January 1967. Ms. 366.

(8) John Parker to Walter Hussey, 14 November 1966. Ms. 366.

(9) Godfrey Thomas to Walter Hussey, 28 September 1966. Ms. 366.

(10) Ethel A Bunyer to Walter Hussey, 23.9.66. Mss. 366.

(11) Bishop of Lewes to Walter Hussey, 20 October 1966. Ms. 366.

Caption: John Piper Tapestry, 1966