Oxford: Ervin Bossányi, Nicholas Mynheer, Roger Wagner, James MacMillan

Yesterday, I was in Oxford to see the transformational refurbishment of the ground and lower-ground public areas at Modern Art Oxford and their first exhibition on reopening Belkis Ayón: Sikán Illuminations. While in Oxford, I also visited St Peter's College Chapel, St John's College Chapel, and St Mary the Virgin, Iffley, before attending the Oakeshott Lecture given by Sir James MacMillan at The Sheldonian Theatre.
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Ervin Bossányi (1891-1975) now best known for his stained glass, was an immensely productive and versatile artist. His work, expressed in a language of strong colour and skilful draughtsmanship, speaks of harmony, serenity, and human dignity which tells much about a sensitive artist who shunned publicity and was happiest in the sanctuary of his studio. His life and career were closely interwoven with major upheavals and events in European and world history of the 20th century. Born in Hungary, Bossányi was twice exiled, first in Germany, and then after the rise of National Socialism, in England. The influences upon him crossed cultural divides and continents and were blended into an unmistakable personal style. His artistic achievements range from small personal ornaments, interior decoration and textile designs, to paintings, friezes and stained glass windows in prestigious buildings such as Canterbury Cathedral and Washington National Cathedral in the USA.

At the west end of the south wall of the nave in St Peter's College Chapel is a wonderful window by Bossányi on the theme of ‘In his hands a seed will grow’. It was created as a personal project in 1943 and installed in 1997 as a memorial to the artist and his wife. It sits at eye level, so affording a rare opportunity to get a close-up view of a window by Bossányi executed in his unique style. St Peters College Chapel also has designs Bossányi made for several of his most significant windows including Canterbury Cathedral and Washington National Cathedral. The Ervin Bossányi collection was generously gifted to St Peter’s College by the artist’s estate in 1996. The East window at St Peter's College Chapel is a superb example of John Hayward’s distinctive style with close, cross-hatched leading, brilliant colours, and witty details. Hayward (1929-2007) was one of the foremost stained glass artists of the post-war period.

St John's College Chapel also houses significant pieces of contemporary art. To the right of the altar is a small triptych of The Life of John the Baptist by local artist Nicholas Mynheer, while in the Baylie Chapel is a modern Coptic icon of The Baptism of Jesus, made in Egypt. In the main body of the Chapel are two windows by Bossányi, donated by his son Jo, depicting scenes from the life of St Francis of Assisi.

St. Mary the Virgin in Iffley is a fine example of late Romanesque architecture built in the 1160s by the Clinton family whose castle was at Kenilworth. The complexity of the symbolism throughout the church, including the geometry of the design, suggests educated and pious patrons. The sumptuous sculpted decoration and the quality of the materials brought to the site for the building, including Tournai marble shafts from present day Belgium, demonstrate that the building was designed to make a statement in this world as well as to God. Apart from the early thirteenth century extension at the east end, the church is substantially as originally built. During the last twenty five years, two magnificent windows have been installed in the baptistery, one by John Piper related to Christ’s birth, and the other by Roger Wagner depicting the ‘Flowering Tree’. Wagner and Nicholas Mynheer designed the new font cover and Mynheer also designed the new aumbry to the south of the altar.

 
In the third Oakeshott (formerly Scruton) Lecture of 2024, world-renowned composer and conductor James MacMillan spoke about music and the idea of the sacred, contrasting antiquity with the modern world, reflecting on the relationship between faith and the arts. Following his lecture, Macmillan was joined on stage by the composer and Prior of Blackfriars Dominic White, for a wider discussion.

MacMillan spoke about his appreciation for the writings and ideas of Roger Scruton after whom this series of Lectures was originally named. He spoke about the music that Jesus would have sung at the Last Supper and the links between that style of singing and Gregorian chant. He noted that Gregorian chant has been widely appreciated and studied by composers throughout history, including modern and contemporary composers. He also noted that, although churches in the Western have experienced declining numbers in the modern and contemporary period, composers have, in large numbers, continued to be inspired by religions and the music of religion. Although, as a post-War reaction, many composers eschewed the stirring up of emotions through music, opting for a more abstract style, increasingly composers, including MacMillan himself, have re-embraced emotion in more recent years.

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James MacMillan - Who Shall Separate Us.