This essay makes two distinct but related points. It seeks firstly to begin to sketch the web of connections between the clerical and artistic worlds in this period, and to suggest that the impetus for and shape of this putative ‘revival from above’ derived in large part from an informal yet determined alliance of interested clergy, artists, and critics. Secondly, by examining both the similarities and differences of motivation among the constituent parts of this informal church-artistic ‘establishment’, it will suggest that the anticipated shape of this ‘revival’ depended on whose revival it was to be.