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+
+This eBook is for the use of anyone anywhere in the United States and most
+other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms of
+the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you'll have
+to check the laws of the country where you are located before using this ebook.
+
+Title: The Cathedral Church of Oxford
+ A description of its fabric and a brief history of the episcopal see
+
+Author: Percy Dearmer
+
+Release Date: August 2, 2015 [EBook #49581]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRAL CHURCH OF OXFORD ***
+
+
+
+
+Produced by Jonathan Ingram, David Cortesi, David Garcia
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+[Illustration: CHRIST CHURCH, FROM THE EAST.]
+
+
+
+
+THE CATHEDRAL CHURCH OF OXFORD
+
+A DESCRIPTION OF ITS FABRIC AND A BRIEF HISTORY OF THE EPISCOPAL SEE
+
+BY THE REV. PERCY DEARMER, M.A.
+
+WITH THIRTY-FOUR ILLUSTRATIONS
+
+[Illustration: Arms of the See]
+
+LONDON: GEORGE BELL & SONS, 1899
+
+
+
+ First Published, April, 1897.
+ Second Edition, Revised, April, 1899.
+
+
+
+
+GENERAL PREFACE.
+
+
+This series of monographs has been planned to supply visitors to the
+great English Cathedrals with accurate and well illustrated guide books
+at a popular price. The aim of each writer has been to produce a work
+compiled with sufficient knowledge and scholarship to be of value to the
+student of archæology and history, and yet not too technical in language
+for the use of an ordinary visitor or tourist.
+
+To specify all the authorities which have been made use of in each case
+would be difficult and tedious in this place. But amongst the general
+sources of information which have been almost invariably found useful
+are:--firstly, the great county histories, the value of which, especially
+in questions of genealogy and local records, is generally recognised;
+secondly, the numerous papers by experts which appear from time to time
+in the transactions of the antiquarian and archæological societies;
+thirdly, the important documents made accessible in the series issued by
+the Master of the Rolls: fourthly, the well-known works of Britton and
+Willis on the English Cathedrals; and lastly, the very excellent series
+of Handbooks, to the Cathedrals, originated by the late Mr. John Murray,
+to which the reader may in most cases be referred for fuller detail,
+especially in reference to the histories of the respective sees.
+
+ GLEESON WHITE.
+ E.F. STRANGE.
+
+ _Editors of the Series._
+
+
+
+
+AUTHOR'S PREFACE.
+
+
+For one who has learnt the best of what he knows within Christ Church
+walls it has been very pleasant to gather these notes of the Cathedral's
+history and architecture. Moreover, I am less remorseful than I might
+be at adding to the world's overcrowded library, because certain recent
+discoveries in the Cathedral have thrown the best of the old books out
+of date, and made it necessary for some one to weave together the older
+and the later knowledge. My indebtedness, therefore, is not only to
+former labourers in this field, but especially to the author of these
+discoveries, Mr J. Park Harrison, who roused my enthusiasm in the old
+days, and now has most generously helped me with his advice, and allowed
+me to incorporate in these chapters the substance of his own papers. To
+these pamphlets I would refer any who wish to go to the fountainhead for
+the account of the investigations, and especially I may mention two:
+"The Pre-Norman Date of the Choir and some of the Stone-work of Oxford
+Cathedral," and the "Account of the Discovery of the Remains of three
+Apses at Oxford Cathedral" (Oxford: Frowde, 24 and 23 pp.). I must also
+express my thanks for the kindness and help of Professor York Powell,
+and of Mr W. Francis, the senior verger, and to Messrs Carl Norman & Co.
+of Tunbridge Wells, Mr W. Giles, Mr Park Harrison, and Mr R. Phené
+Spiers, F.R.I.B.A., for the loan of and permission to reproduce various
+drawings and photographs.
+
+ PERCY DEARMER.
+
+
+
+
+CONTENTS.
+
+
+ PAGE
+
+ History of the Cathedral 3
+
+ Description of the Exterior 27
+ Spire and Tower 28
+ On the North Side 32
+ The Saxon Foundations 33
+ Cloister 37
+ Chapter House 39
+ Bell Tower 43
+ Tom Tower 44
+ College Buildings 47
+
+ Description of the Interior 49
+ Nave 51
+ Monuments of the Nave 57
+ Organ 58
+ Pulpit 58
+ Tower 58
+ Aisles of Nave and Transepts 62
+ Glass in Aisles 63
+ North Transept 65
+ Glass in Transepts 67
+ South Transept 67
+ St. Lucy's Chapel 70
+ Monuments of Transept and Chapel 71
+ Choir 72
+ East End 78
+ Reredos 79
+ High Altar 80
+ South Choir Aisle 81
+ Monuments 81
+ North Choir Aisle 83
+ Shrine of St. Frideswide 84
+ Lady Chapel 88
+ "Watching Chamber" 89
+ Monuments in Lady Chapel 91
+ Glass in the Aisles 97
+ Latin Chapel 102
+ Glass in Latin Chapel 105
+
+ History of the Foundation 109
+ St. Frideswide 109
+ The Priory 114
+ College and Cathedral 118
+
+ The Diocese of Oxford 126
+ Oseney 126
+ List of the Bishops 128
+
+
+
+
+ILLUSTRATIONS.
+
+
+ PAGE
+
+ Christ Church from the East _Frontispiece_
+ Arms of the See _Title_
+ The Roof of the Choir 2
+ The Cathedral at the End of the Seventeenth Century 5
+ Christ Church from the Garden of the Canon of the 2nd Stall, 1857 10
+ Christ Church in the Eighteenth Century 11
+ The Tower and Spire 29
+ Early Saxon Arches 33
+ Plan of recently excavated Saxon Arches 34
+ Conjectural Plan of Early Saxon Church 35
+ Doorway of Chapter-House 39
+ Corbel in Chapter-House 40
+ Boss in Chapter-House 41
+ Choir, from the Old Cemetery 42
+ Tom Tower 44
+ Western Entrance and Bell Tower 45
+ Plan 52
+ Early English Moulding 54
+ Nave and Choir, looking East 55
+ Pulpit 58
+ Choir and Nave, looking West 59
+ From the North Transept 66
+ Clerestory Window in the South Transept 69
+ Third Capital of the Choir 72
+ Capitals of the Choir 73
+ Tracery of the Roof 77
+ Lady Montacute's Tomb 91
+ Ornament from a Tomb 95
+ The "St. Cecilia" Window 99
+ Window in the Latin Chapel 103
+ Section of the Interior before the Restorations 107
+ The Exterior in 1857 113
+ The Interior before the Restorations 123
+ Arms of the College 136
+
+
+[Illustration: THE ROOF OF THE NAVE.
+ (FROM A DRAWING BY R. PHENÉ SPIERS, F.R.I.B.A.)]
+
+
+
+
+CHAPTER I.
+
+THE HISTORY OF THE BUILDING.
+
+
+The "Cathedral Church of Christ in Oxford" has had a somewhat unfortunate
+history. Built for the small monastery of St. Frideswide, with no thought
+of any ampler destination, it was in the sixteenth century raised to
+the rank of a cathedral, just after it had been reduced in size by the
+destruction of the bays of the nave, and sunk out of sight among a mass
+of college buildings. Nor was this all the indignity it suffered; for
+it had also to do duty as the chapel of the new academic foundation
+which Wolsey established, and very soon the cathedral was forgotten
+in the college chapel. So neglected was it that Britton wrote at the
+beginning of the present century--"It is very common for visitors,
+and even those of rather refined and critical minds, to leave Oxford
+without examining the building now under notice." A century earlier
+Browne Willis had been content to make the astounding observation:
+"'Tis truly no elegant structure."
+
+The first church on this site was that built by St. Frideswide, "The
+Lady," as she was afterwards called in Oxford, and her father Didan,
+about the year 727. The story of this saint, which no visitor to her
+church should omit to read, will be found in our chapter on the History
+of the Foundation.
+
+A contemporary of the Venerable Bede, she was one of those noble and
+devoted souls who (as Dr. Jessopp reminds us) made Anglo-Saxon monasticism
+the brightest spot in the history of English community-life. The monks
+and nuns of that period were in fact missionaries, who spread the
+Christian faith among the half-civilised _pagani_, or country-folk;
+and, by the wise method of planting themselves in remote districts, and
+quietly living the gospel they preached, touched the hearts, and won
+the souls, of their rough neighbours. Thus, without the use of force,
+without even the exercise of royal authority, says Professor Freeman,
+the whole of England had, by the time of the birth of St. Frideswide
+(c. 700), accepted the Christian faith. But the religion of the country
+districts must have still been of a very untutored description; and
+St. Frideswide was one of those who spread in the South, just at the time
+when Mercia was the paramount power in England, the finer civilisation
+which had already established itself in the North, and produced kings
+like Edwin, saints like Aidan, and poets like Caedmon. Whatever may
+be the authority of the legends which gathered about her name, it is
+certain that she gave up her high estate, "devoted herself and all her
+worldly goods to the service of Christ and her poor brethren," refused
+the offer of a royal marriage, escaped the persecutions of her suitor,
+"and finally died in the odour of sanctity, blessed by the poor and
+ignorant people to whom she had devoted her troubled life."
+
+Of the place where she established the little church, part of which can
+still be seen in the walls of the cathedral, Dr. Liddell, the late Dean,
+thus writes:--
+
+"Meadows unbroken by human habitations or human cultivation, a river
+wandering through them as it listed, unbarred by locks, or weirs, or
+mills, the hills down to their margin clothed in primeval forest. The bank
+of gravel which still slopes down to what we call Christ Church Meadow,
+offered a dry and pleasant site; the river supplied fish for the inmates
+of the new convent; the Trill-mill stream bears testimony by its name
+to the fact that its water was in early times, perhaps the earliest,
+used to turn the wheel which ground their corn; the neighbouring forests
+supplied abundant wood for fuel, as well as game for food, and acorns
+for the swine; the rich meadows of the valley furnished pasture to
+the flocks and herds. In those days, no doubt, the existence of such a
+peaceful community exercised a humanising and softening influence over
+the rude thanes and their clansmen and serfs, who had as yet perhaps
+hardly heard the name of Christ."
+
+[Illustration: THE CATHEDRAL AT THE END OF THE SEVENTEENTH CENTURY
+ (_from an old engraving_).]
+
+Our next glimpse of the church is a terrible one. Despairing of beating
+back the Danes, Ethelred the Unready gave the mad and treacherous order
+for the Massacre of St. Brice's Day, 1002. "Urged by secret orders from
+the king," says Mr. J.R. Green, "the West Saxons rose on St. Brice's Day,
+and pitilessly massacred the Danes scattered defencelessly among them. The
+tower of St. Frideswide, in which those of Oxford had taken refuge, was
+burnt with them to the ground." This account is touched up by Mr. Andrew
+Lang with a little local colour:--"We are tempted to think of a low
+grey twilight above that wet land suddenly lit up with fire; of the tall
+towers of St. Frideswyde's Minster flaring like a torch across the night;
+of poplars waving in the same wind that drives the vapour and smoke of
+the holy place down on the Danes who have taken refuge there, and there
+stand at bay against the English and the people of the town." A finishing
+touch comes from the old chronicler, William of Malmesbury:--"Into the
+tower of St. Frideswyde they were driven, and as men could not drive
+them thence, the tower was fired, and they perished in the burning."
+
+This closes the first era in the history of the church: the old
+_ecclesiola_ of Didan and his daughter was gutted by the fire, and its
+roofs and furniture destroyed. Indeed, until lately it was held that
+the whole building was of wood, and perished therefore with the tower
+and roof, no vestige of it remaining for later times. But the recent
+investigations of Mr. J. Park Harrison, an archaeologist of remarkable
+devotion and insight, have proved that the east wall of the eighth century
+church, with two of its primitive arches, still remains, a venerable relic
+of times past, as part of the wall of the cathedral; while the foundations
+of the three apses, into which the three low arches once led, have been
+discovered in the garden to the north-east of the church (see pp. 33,
+34). So did Anthony à Wood, when in the seventeenth century he wrote of
+"the antientist buildings" as "on the east and north side of the church,"
+speak more truth than even he himself was aware.
+
+After the slaughter of St. Brice's Day, King Ethelred made a vow that
+he would rebuild St. Frideswide's church. And well did he keep it; if
+in 1004 he built the splendid church which forms the main part of the
+cathedral as we know it to-day, sparing the more sacred part of the rude
+old building, it may be, because of the veneration in which everything
+connected with St. Frideswide was held. His charter contains the
+following sentence:--
+
+"In the year of our Lord 1004, in the 2nd indiction, and in the 25th year
+of my reign, according to the disposal of God's providence, I Ethelred
+ruling over the whole of Albion, have with liberty of charters by
+royal authority and for the love of the Almighty, established a certain
+monastery situated in the city which is called Oxoneford, where the body
+of St. Frideswide reposes."
+
+And here another question of the deepest architectural interest occurs.
+This church of Ethelred's was of a size and magnificence until lately
+considered not to have been attainable in England till many years after
+the Conquest. It was therefore taken for granted that the church was
+wholly rebuilt in the years 1160-1180, and that Ethelred's work was as
+entirely lost as Didan's was supposed to be. Dr. James Ingram, President
+of Trinity, had, it is true, written in the thirties to prove that the
+cathedral was Saxon, but, great authority as he was, he wrote at a time
+when architectural history was in its infancy; and at the restoration
+of 1869, Sir Gilbert Scott was content to write--"Dr. Ingram evinces
+great anxiety to prove that traces of his (Ethelred's) work still exist,
+but I need hardly say there is not a shadow of foundation for such a
+supposition." However, a greater authority than either of the preceding
+showed that the tide of knowledge was turning against the accepted view.
+Professor Freeman in his "History of Architecture" wrote that the
+cathedral might be "in the main portions of the fabric a monument of
+the later days of Saxon architecture," and that "the evidence between
+the conflicting statements which would assign it, some to the days of
+Æthelred II., others to those of Henry I., seems very evenly balanced;"
+in the former case, he said, "we have a complete minster of comparatively
+small size, but of the fullest cathedral type, belonging to the early
+part of the eleventh century." Mr. J.H. Parker, himself, who had been the
+chief authority for the theory that the Saxon architects built almost
+entirely in wood, at length changed his mind; and even went so far as
+to say, in the fourth edition of his "A.B.C. of Gothic Architecture,"
+that "the Saxons, at the date of the conquest, appear to have been more
+advanced in the fine arts, such as sculpture, than the Normans," that
+"their work was more highly finished, had more ornament," and that their
+masonry was more finely jointed than that of the Normans.
+
+Following up these admissions, Mr. Park Harrison carried on the most
+thorough investigations, examining almost every stone in the building,
+investigating Saxon MSS., and travelling over England and Normandy
+for the purposes of comparison. As a result he succeeded in convincing
+Professor Freeman, Professor Westwood, and other experts in Anglo-Saxon
+archæology, that Ethelred's church was still in the main extant; and at
+this moment his theory has a good many supporters. Without committing
+ourselves irrevocably to Mr. Park Harrison's conclusions, some of which
+are naturally not so well established as others, we may, in the majority
+of cases, accept them, at least provisionally. Many allusions to them
+will occur in this book; and here, therefore, it is well to say that,
+ingenious and striking as they are, many high authorities are still
+unconvinced, and that we cannot venture to predict how much of them may
+be damaged or maintained by future research.
+
+In this place the following summary of the evidence will suffice:--
+
+1. There is no document or anything tending to show that the original
+fabric, as restored and enlarged by Ethelred, was ever rebuilt on a
+new plan.
+
+2. Several of the choir capitals differ essentially in their ornamentation
+from any others in the cathedral; but resemble very closely the ornamental
+work in illuminated MSS. of Ethelred's time. They should consequently
+belong to the church as enlarged by him in 1004 (p. 72).
+
+3. The junction of the eleventh century, or Ethelred's work with the
+later work, is clearly visible at the north and south-west corners
+of the choir; and the abaci, though resembling each other, are of
+different thickness. The ashlar work is different, and the courses are
+not continuous (p. 61).
+
+4. The manner in which the Norman vaulting shafts are inserted in the
+north choir aisle implies that vaulting was not contemplated in the
+original plan of the church, and that the aisle was built at a date when
+vaulting ribs were not in use (p. 33).
+
+5. The introduction of attached shafts in the tower piers shows that
+additions were made, about 1160, to earlier work with roll mouldings
+corresponding with those of the choir: similar proofs of alteration are
+to be seen in the imposts of the tower and transept arches, which have
+been cut through to admit late Norman capitals (p. 58).
+
+6. There is also good evidence that the Norman Presbytery is not part of
+the original choir, or the earliest part of the church, as was assumed,
+but probably stands on the site of an apse which belonged to Ethelred's
+building (p. 79).
+
+7. The worn condition of the choir capitals can only be accounted for by
+the state of disrepair into which the church had fallen by the middle of
+the twelfth century (p. 74).
+
+[Illustration: CHRIST CHURCH FROM THE GARDEN OF THE CANON OF THE
+2ND STALL, 1857.]
+
+The reason is not far to seek for the unusual magnificence of Ethelred's
+plans. His brother-in-law was Richard II., Duke of Normandy, whose fame
+as an art-patron and church-builder was spread so far that, according to
+the Chronicles of Fontenelle, "bishops and clergy, abbots and monks,"
+travelled from all parts, from Greece and Armenia, to visit him, and
+William of Jumièges speaks of him as producing a kind of renaissance
+in his country. It so happens that one bay remains in the abbey church
+of Fécamp of the original building commenced by Duke Richard in 1001,
+just before Ethelred began his operations; and the capitals in this bay
+are ornamented with the same curious twining foliage that is found in the
+choir at Oxford. It is more than likely, then, that the Saxon king sought
+assistance from the cultured court of Richard-le-bon; the Queen Emma may
+well have been anxious to have the church rebuilt on a scale that would
+accord with the monastic buildings of her own land; and so important was
+the work considered, that King Ethelred (as we learn from his charter)
+had contributions given him for carrying it on by his whole people.
+
+[Illustration: CHRIST CHURCH IN THE EIGHTEENTH CENTURY.]
+
+But more troubles were to follow, for Ethelred had yet to pay the
+penalty for the massacre of St. Brice's Day, and his "long reign of
+utter misgovernment" was interrupted in 1013, when the heathen Viking
+Sweyn drove him out of his kingdom to take refuge in Richard's court
+in Normandy. The exile of the king, and the triumph of the Danes,
+who besieged and took Oxford in the same year, must have interrupted
+the work there for a time; and a remarkable break of joint between the
+masonry of the choir and the south transept bears silent witness to the
+dislocation of the Anglo-Saxon rule (p. 61). When Sweyn died in 1014,
+Ethelred returned, and for three years, with the help of his noble son
+Edmund Ironside, held Canute in check. At this time the work at St.
+Frideswide's was probably resumed, the king being doubtless anxious
+to complete the fulfilment of his vow at a time when he sorely needed
+the divine assistance; and a certain difference in the character of the
+capitals and foliage in the transepts points to their having been built
+at this time, for they bear traces of oriental influence similar to that
+in the church at Bernay which Duke Richard was building in the year when
+Ethelred was with him in exile, and the eastern monks were flocking to
+his court in Normandy. But it is probable that, what with the strain of
+the terrible war, and the constant drain of the Danegelt, the work was
+never finished according to Ethelred's complete design, for he died in
+1016, and his son Edmund Ironside only reigned for seven months.
+
+Nor have we any record that anything further was done under Canute or
+Edward the Confessor. Though it is not at all improbable that Canute
+continued the work, for we know that he restored many monasteries which
+had been injured or destroyed by his father, being very fond of the
+monks; and that the Witenagemot met several times at Oxford during his
+reign. His marriage to Ethelred's widow Emma, also, placed him in the
+same relationship to the Norman court as Ethelred himself. The church
+must have been in use during this time; for we read that in the reign of
+Edward the Confessor troubles arose owing to the substitution of Regulars
+for the Secular Canons. Under King Harold the Seculars were restored,
+and, says Anthony Wood, "It was not long after this but that, whether
+by the negligence of the Seculars or the continuall disturbance of the
+expelled Regulars, it was almost utterly forsaken and relinqueshed,
+and the more especially because of that troublesome warre betweene
+King Harold and William the Conqueror,--a few persons all that while
+only remaining in it." In this ruinous state it proved a kind of white
+elephant that no one cared to possess; given first to Abingdon Abbey,
+and then to Roger, Bishop of Salisbury, it was at last handed over to
+Henry I., who made Guimond his chaplain Prior.
+
+Although the whole church has been sometimes attributed to Prior Guimond,
+it is probable that he was too much taken up with restoring order to
+devote himself to architecture. And, as there is no suggestion in history
+that Ethelred's church was destroyed, so there is no mention of any
+building by Guimond. William of Malmesbury, his contemporary, praises
+his piety and learning (_excellentis literaturæ et non aspernandæ
+religionis_), but is totally silent about architectural talents. Besides,
+the establishment was at that time too impoverished for anything of the
+kind, many of the lands and revenues having been alienated, as we learn
+from the Domesday Book. If Guimond built at all, he would have had enough
+to do, we may imagine, in adapting the tumble-down monastic buildings
+for their occupation by canons regular. Sir G.G. Scott attributes the
+Norman doorway into the chapter-house to him; and he may have begun
+the restoration by putting a roof on the old church; for the weathered
+condition of some of the choir capitals bears out the historians who
+tell us that in the eleventh century the place was become ruinous.
+
+Robert of Cricklade, called Canutus, another excellent man, was next
+prior. He ruled from 1141 to 1180. There was a copy of one of his works,
+says Dr. Ingram, in the library of Balliol College in Leland's time. In
+1158 Cricklade obtained a confirmation of the privileges of the priory
+from Pope Hadrian IV. (Nicholas Brakespear, the English pope) who wore
+the tiara from 1154 to 1159. It was probably at this time that the
+restoration of Ethelred's church was begun, for the monks would almost
+certainly not have undertaken such extensive works until their property
+was secured them.
+
+Robert of Cricklade did not build a new church, but it was probably he
+who restored Ethelred's church on the old plan, rebuilding those portions
+of the walls that required it, and inserting most of the later Norman
+work, especially the clerestory and presbytery. Much of the earlier work
+appears to have been imitated at this time, as is known to have been
+the case elsewhere when enlarging or rebuilding a church; and some of
+the carved work was used again. Cricklade appears, from architectural
+evidence, to have left most of the old pillars, but he rebuilt two of
+those in the nave, and reduced the girth of the rest.
+
+The restoration must have been pretty well finished by 1180, for in
+that year the relics of St. Frideswide were translated "from an obscure
+to a more noted place in the church," by the new prior Philip, who
+himself wrote a book, "_De Miraculis S. Frideswydæ_." The "obscure"
+place was doubtless the southernmost of the three early Saxon apses,
+recently discovered outside the east wall of the north choir aisle
+(see p. 37). So important a ceremony could not have taken place till
+the church was fit for the great company that assembled there; for the
+translation was regarded as an event of national interest,--King Henry
+II. possibly, and the Archbishop of Canterbury certainly, being present,
+with many other prelates and nobles. This occasion may have also been
+the inauguration of Oxford University, since seven years afterwards we
+come upon the first mention of regular students.
+
+Here is Wood's account of this the first translation:--
+
+"After they were meet, and injoyned fasting and prayers were past, as
+also those ceremonies that are used at such times was with all decency
+performed, then those bishops that were appointed, accompanied with
+Alexio, the pope's legat for Scotland, went to the place where she was
+buried, and opening the sepulchre, took out with great devotion the
+remainder of her body that was left after it had rested there 480 yeares,
+and with all the sweet odours and spices imaginable to the great rejoycing
+of the multitude then present mingled them amongst her bones and laid them
+up in a rich gilt coffer made and consecrated for that purpose, and placed
+it on the north side of the quire, somewhat distant from the ground,
+and inclosed it with a partition from the sight hereafter of the vulgar."
+
+The fame of her miracles spread over all England, and multitudes came to
+be healed, many of whom went away whole and rejoicing.
+
+But the troubles of the Priory were not yet over. During the priorate
+of Philip in 1190, a great fire broke out in Oxford, which destroyed a
+large part of the city. St. Frideswide's did not escape, and, though the
+church itself does not seem to have suffered materially, it is probable
+that the monastic buildings were much injured, the chapter-house and
+cloisters among them; for the old Norman doorway has, through all the
+changes of seven centuries, borne the red marks of the fire, and bears
+them as unmistakably to-day.
+
+This mishap did not mark an era in the architecture of the church; for
+nothing can with certainty be pointed to as the work of the last decade
+of the twelfth century; nor indeed do we find that any important work
+was undertaken till, well into the thirteenth century, the spire was
+added. The monks seem to have patched up the ruined chapter-house as
+best they could, for it was not till about the middle of the thirteenth
+century that the present beautiful room was built. About this time the
+second bay of what is now the Latin Chapel was also added.
+
+It seems certain now that the Lady Chapel, though it was undoubtedly
+vaulted, and its pillars cut into Early English shafts, was not built for
+the first time at this period. Part of the wall between it and the Latin
+Chapel remains in all its primitive roughness, while there is no sign of
+a wall between it and the north choir aisle. Its east wall is even older,
+for it contains one of the eighth century arches already alluded to.
+
+In 1289, Robert de Ewelme being prior, the relics of St. Frideswide were
+again translated. "The old coffer," says the Oseney Chronicle, "of St.
+Fritheswyda was translated, and placed in a new and more precious one in
+the same church, and near the place where the old one had stood." Its
+marble base has recently been discovered, and replaced in what seems
+to have been its old position. The beautiful northernmost chapel,
+called the Latin Chapel, was added in the fourteenth century, the
+single Early English bay being incorporated, and the north wall of the
+Lady Chapel further opened out, for this purpose. Some of the Norman
+windows were also altered to Decorated. The Norman windows at the east
+end were replaced by a large five-light window, which was spoilt in
+the seventeenth century, and ultimately removed by Sir Gilbert Scott.
+Decorated windows of three lights were also placed at the east ends of
+the choir aisles, and a four-light window in the Lady Chapel. These all
+went in the seventeenth century, but the beautiful window in St. Lucy's
+Chapel survived. All the fourteenth century work belongs to a rather
+late division of the Decorated style.
+
+Towards the end of the fifteenth century the Perpendicular style began
+to spread over the church. Besides the windows of the nave and north
+transept aisles, the clerestory of the choir was remodelled to carry the
+elaborate vaulting, which was probably also added in this century, and not
+by Wolsey as has been supposed, though the work may have been completed
+in his time. The similarity of the vaulting to that of the Divinity
+School in Oxford enables us to fix the date pretty accurately at 1480.
+
+Another characteristic feature of the church was made at this time,
+to wit, the fine chantrey tomb, called the Watching Chamber, but very
+probably the third and last "shrine" of the patron saint. The cloisters
+were also reconstructed, and, in order to make room for their eastern
+side, the western aisle of the south transept was destroyed.
+
+We are able to fix the date of the great north window of the north
+transept, and of the commencement of vaulting in its northern bay,
+because they were paid for out of a bequest of a monk, James Zouch,
+who died in 1503, and is buried under the window. One may conjecture
+that the whole of the church would have been vaulted in a style similar
+to that of the choir, if the dissolution of the priory had not come,
+and left this one bay as a pathetic little protest against the sweeping
+reconstructions of Cardinal Wolsey.
+
+Indeed Wolsey, who in 1524 created Christ Church as a college, did
+nothing but harm to Christ Church as a church. It used to be thought
+that he had thrown the vault over the choir, and even that he had
+built the palpably early English spire!--an idea which throws a curious
+light upon the architectural knowledge of our grandfathers. But, alas
+for his reputation, the only work connected with the church that can
+with certainty be attributed to him is the destruction of one half
+of the nave. For, in order to build the great quadrangle now known as
+"Tom Quad," he demolished its three western bays, and was apparently only
+prevented from carting away the whole church by his sudden fall from the
+royal favour in 1529. His scheme for "Cardinal College," as Christ Church
+was at first called, was one of extreme magnificence; and he began--much
+to the amusement of Oxford--with the splendid kitchen, still in daily
+use. Tom Quad gives one some idea of the scale on which he formed his
+plans: it, however, has never been properly finished, as it is too large
+and too much inhabited to be fit to receive the cloister for which it was
+designed. The real cloisters are of much more modest dimensions. Wolsey
+destroyed one side of them in order to build the college Hall.
+
+In justice, however, to Wolsey it must be stated that he commenced to
+build a new chapel along the north side of Tom Quad, which, judging by
+the foundations that some draining operations in the canon's gardens have
+recently disclosed, would have rivalled the chapel of King's College,
+Cambridge, in size, and have been about 100 feet longer than the actual
+length of the cathedral. To this the Aubrey MSS. (written about 1670)
+refer:--"Ye foundations of that famous begun Chapel or Cathedral of
+Cardinal Wolsey which went towards the blue Boare in Oxford and pulled
+down by Dean Fell about 1671." Aubrey also mentions that the height
+of the walls of this chapel was seven feet at the time of Wolsey's
+disgrace. The west end ran in a line with the front of the octagonal
+turrets in St. Aldate's Street, and the walls reached nearly to Fell's
+passage into Peckwater.
+
+To the sixteenth century belong also the flat wooden roofs of the nave and
+transepts, and perhaps the concealment of the lantern story of the tower.
+
+The Reformation, apart from the usual destruction of altars, furniture,
+plate, and ornamental work generally, is chiefly remembered in the history
+of the church by the demolition of St. Frideswide's shrine. Anthony à Wood
+says of the third shrine that, "being adored till the dissolution of the
+religious houses, it was then, 30 Henry VIII. [A.D. 1538], amongst others,
+taken down, and all the offerings conveyed into the King's Treasury." We
+give an account of the curious incidents connected with the demolition
+in our description of the shrine itself.
+
+An inventory taken in the last year of Henry VIII.'s reign is interesting
+for the glimpse it gives us of the rich ornaments which even then
+survived, and must have made so vast a difference in the appearance of
+the church. They were confiscated, no doubt, as being "monuments tending
+to idolatrie and popish or devill's service, crosses, censars, and such
+lyke fylthie stuffe," to quote the curious phrases used by Bishop Horne
+of the plate of Trinity College.
+
+There were eight altars in the aisles and body of the church, in
+addition to the high altar. The furniture then remaining of the high
+altar and choir was catalogued (only that the spelling was obscurer)
+as follows:--"Upon the high altar a here-cloth, 40s. _Item_, two
+altar-cloths, one of olde diaper, and the other of fine linen cloth.
+_Item_, a mass-book and a desk. _Item_, a great sacring bell. _Item_,
+4 high latten candlesticks. _Item_, a canopy with a pix of copper.
+_Item_, 4 desks with two cloths of old silk. _Item_, a pair of organs,
+with a turned chain to the same. _Item_, 2 forms. _Item_, a canopy over
+the Dean's head of old silk. _Item_, 15 antiphoners and 9 grayells."
+After some more books comes:--"_Item_, a foot-cloth for the high altar
+of old tapestry." All the hangings of the side altars are enumerated,
+besides their vestments, candlesticks, etc. Thus the south choir aisle
+had "4 hangings for above and beneath the altar, whereof two of white
+satin Bruges, and the other two of yellow and red," and two altar-cloths;
+St. Lucy's Chapel had "two altar-cloths of old diaper, two hangings for
+the altar for above and beneath, the one of old needle-work, and the other
+of buckram"; the four altars on the north of the choir were hung with
+"dornaxe," diaper, yellow and white baundkin.
+
+The description of some of the fourteen copes sounds very beautiful,
+for instance:--"2 copes of red silk, woven with sunbeams of gold;" "one
+cope of blue silk, woven with flower de luce, roses, and crowns of gold,
+and a whole suit to the same." There were also copes of purple and red,
+branched with gold, of red and white flowers, bordered with clouds, of
+red and green, of velvet and baundkin, and chamlet; and many suits of
+vestments besides; and tunicles, albs, and amices for the choristers.
+
+The inventory also contains, among other items, heavy silver bowls and
+other vessels belonging to the "house plate," and the "church plate,"
+which we here give in the original spelling:--"A pixe of the ymage of
+God, gilte, weing 33 oz. _It'm._ a highe standing pixe w'th a cover
+gilte, weing 23 oz. dim. _It'm._ a crosse w'th Mary and John and a fote
+to the same gilte, weing 114 oz. _It'm._ a ship [incense-boat] and a
+spone gilte, weing 12 oz. dim. _It'm._ two bassings parcell gilte, weing
+92 oz. _It'm._ a halliwater [holy water] bokett, and a sprinkell, whitt
+syluer, weing 33 oz., 2 greatt sensors, and a litle sensor, whit syluer,
+weing 170 oz. _It'm._ two crowetts [cruets] of whit syluer, weing 8 oz.
+_It'm._ a little paxe gilte, weing 3 oz.; 4 chalesses, gilte, w'th
+patentts, weing 95 oz. _It'm._ 3 chalesses w'th patentt, whit syluer,
+weing 50 oz. _It'm._ a litle cros, parcell gilte, weing 51 oz. _It'm._ a
+crismatory gilte, not weighted. _It'm._ 2 gospells, plated w'th syluer
+of thonesyde [the one side], not weighted. _It'm._ two maces for the
+preuelege, plated w'th syluer vppon yeron [iron], not weighted. _It'm._
+two virge roddes, plated w'th syluer vppon yeron, not weighted; 4
+rectors staves, the haadds of syluer wherof two gilte, not weighted.
+_It'm._ two stavis for the crosse, plated with syluer, not weighted."
+
+When, in 1546, St. Frideswide's became the cathedral church of the four
+year old diocese of Oxford, the momentous change in its character left
+no mark upon its architecture. The great alterations in the fabric and
+fittings had either happened already or were yet to come.
+
+During the deanery of Brian Duppa in 1630, the unhappy church suffered
+a sweeping restoration, which well-nigh destroyed its ecclesiastical
+character altogether. As Dean Duppa was a cultured man himself, and wrote
+a life of Michael Angelo, his work was all the more disastrous,--a mere
+Philistine would have probably been content to let well alone. To begin
+with, he, "_being minded to adorn it_," says Wood, "did first take down
+all the old stalls in the choir, and in their places put up those that now
+are," those great ugly pews, that is, which Dean Liddell removed. Then,
+in laying down his new pavement, he removed many of the old monuments,
+"having most of them," continues the old antiquary, "Saxon inscriptions
+on them; which being looked upon by the dean and canons as old superfluous
+stuff, and unhandsome to be mixed with their new pavement, they did
+cause them to be thrown out of the church, as also those out of the
+cloister." The remaining monuments he moved to the aisles, having,
+with two exceptions, "duly deprived them of their brasses." Thus was a
+priceless record of the priory's history lost to us. Most of his work
+has during this century been undone; but one memorial of him remains,
+a valuable historical landmark, and full of the characteristics of its
+age--the Jonah window at the west of the north aisle of the nave.
+
+In order that the windows of the aisles might be "beautified with
+glass, admirably well performed by the exquisite hand of Abraham Ling,
+a Dutchman, an. 1634," Brian Duppa and his chapter altered the whilom
+Perpendicular windows, sawing away "the fine architecture or crustation of
+those windows," and changing them from three lights with tracery to two
+plain lights, the author of the "Anatomy of Melancholy" being the donor
+of part of the new glass. The priceless old glass, which had been set
+up by ancient priors of St. Frideswide's, and contained pictures of the
+life of "The Lady," besides the arms of many benefactors, was ruthlessly
+sacrificed. This act of vandalism has led to still more unfortunate
+reprisals in our own time; for Van Ling's old glass, which had great
+merits, was taken away at the last restoration, and replaced by some
+entirely uninteresting modern stuff (to say the least of it), while the
+tracery was remade into a respectable nineteenth century parody of the
+original Perpendicular.
+
+The amiable and terrible Duppa also ruined the Decorated windows of three
+lights which terminated the aisles of the choir by converting them into
+his favourite two-light windows; and the beautiful four-light window
+of the Lady Chapel was similarly treated. The great north transept
+window was likewise impoverished in its tracery; and at the end of the
+seventeenth century the great east window was reduced from five to three
+lights by the same curious and unaccountable perversion of taste. One
+more memorial of Dean Duppa defaced the cathedral down to our time. This
+was the strange arrangement of stone screens by which the eastern chapels
+were separated from the transepts, and the most romantic feature of the
+church destroyed. They were particularly offensive, as they finished
+in a half-circle turned upwards, so that, with the Norman arch above,
+a complete circle was formed. However, the fine pulpit and organ-screen
+must be set down to the credit of this period.
+
+Dean Duppa's successors signalised themselves, as far as the cathedral
+is concerned, only by the erection of monuments, some gruesome, and all
+heavy. Their work for the college was more considerable, and we shall
+enumerate it in our chapter on the Exterior.
+
+A great deal of mischief was done to the painted glass during the Civil
+War, many of the windows being destroyed, and not one left quite perfect;
+but otherwise the church escaped pretty well. Indeed, in this orderly
+country a great deal more damage has been done by lawful authority than
+by popular riots.
+
+Up till Dean Liddell's time the cathedral was in as bad a state as most
+of the other cathedrals of England. A writer in the "Ecclesiologist"
+for February 1847 thus bewails its then condition:--
+
+"We now come to the present estate of the cathedral, which is more
+deplorable than can be imagined. It is really wonderful that the cathedral
+of an English diocese, and the chapel of one of our greatest colleges,
+should remain in a condition which would disgrace the meanest hamlet. In
+the first place, it will hardly be credited by those whose eyes have
+not witnessed the sacrilege, that a portion of the church is actually
+desecrated. In so vast a college the hire of a single room cannot be
+dispensed with, but the House of God must be defiled; a bay of the south
+transept and one of the adjoining chapels are blocked off to form a
+residence for the verger. On this subject we can hardly trust ourselves
+to speak.
+
+"The fittings up of the choir are of the most wretched and irreverent
+description. The stalls are of seventeenth century work, and by no
+means a favourable specimen: those of the dean and canons are marked
+by canopies. The episcopal throne is meanness itself, and can hardly be
+distinguished without a most diligent search: on the prayer-books nearest
+to it, and nowhere else, are inscribed the words 'Christ-church Chapel,'
+as if to warn the Bishop off the forbidden ground. Nearly the whole area
+of the choir between the stalls is filled with benches looking west,
+and in which kneeling is all but impossible. These are occupied by the
+overgrown mass of undergraduates, and at the 'canons' prayers' partly by
+choristers. Further, that not an inch of available space may be lost, an
+arch on each side is blocked up by a gallery, which at surplice-prayers,
+when the students and commoners attend, is filled by the choir thus
+displaced. Finally, behind the stalls are some darksome dens, occupied
+by women, which greatly encumber the choir aisles. The screen [then
+blocking up the choir] is a cumbrous piece of work contemporary with
+the stalls, but of better character: it supports, of course, a vast
+and unsightly organ. The miserable appearance which is thus produced
+in this really noble chancel is almost indescribable. The whole seems
+so narrowed and confined; one feels pent in without the least scope for
+one's energies. Of the service performed within the degraded choir we can
+only trust ourselves to say that it is the most slovenly and irreverent
+that we have ever witnessed in any English cathedral."
+
+The stalls seem to have been particularly bad. The "Gentleman's
+Magazine" for 1856 says that "the choir aisles and the chapels were also
+excluded from view, and almost from any participation in the service,
+by the box-like framing, which rose to the height of eleven feet from
+the paving." Of course, all this had caused serious damage to the
+architecture: the pillars on the north and south side of the choir were,
+for instance, _squared_, and their bases cut away; thus mutilated they
+had been "encased with heavily moulded Italian framing intermixed with
+some remnants of Jacobean workmanship."
+
+But since the fifties the appearance of the cathedral has been completely
+changed. Dean Liddell began the restoration in 1856, when Mr. John Billing
+was employed to repair some parts of the walls that had become unsafe,
+and to remove the galleries and high pews. The work then done was only
+temporary; the reseating whereby decent accommodation was provided for
+the whole college was managed out of the old woodwork, not a plank being
+taken out or carried into the church; the organ was moved for the time
+into the south transept, so that the choir could be thrown open to the
+nave, and other work of a simple and necessary character carried through.
+
+In 1870, Dean Liddell employed Sir G. Gilbert Scott to carry on the
+great restoration, whereby very considerable changes were wrought in the
+fabric itself.
+
+On the whole, it has been real restoration, and not destruction: here
+and there one might have wished that the changes had been less sweeping,
+or that the renewed carved work had been left unattempted till such time
+as the dignity of labour in craftsmanship is recovered; but it remains
+one of the most judicious and successful works of restoration that this
+not impeccable age has produced. The difficulties to be encountered were
+very great, for the church had suffered unusually; a certain amount of
+rebuilding was therefore inevitable, and besides provision had to be
+made for the church as a college-chapel as well as a cathedral.
+
+The restoration was preceded by a report on the condition of the building,
+which Sir Gilbert Scott drew up in 1869. The following extract shows the
+"reparation" that was needed:--
+
+"It is fortunately the case that the main walls of the building do not
+show any symptoms of failure or of weakness. The external stone-work
+is very unequal in its state of preservation, some parts being very
+much decayed, while others have suffered in a very small degree. On the
+whole, however, there can be no doubt that the decay is very extensive,
+and even some parts which, at first sight, seem tolerably sound, are
+found on closer examination to be seriously decayed. The eastern parts
+are, as a rule, better preserved than those facing in other directions,
+though the southern aisle of the choir is also among the least decayed
+portions. The tower is generally very severely decayed, but the spire
+less so, though its lights are very much damaged. The reparation of this
+wide-spread decay is a work requiring much discrimination and judgment.
+Every stone which retains ancient work in an intelligible state should be
+carefully preserved, and only such parts renewed as have become shapeless
+from decay, or the retention of which would tend to future injury.
+
+"Internally, the stone-work generally needs little more than the careful
+brushing or washing off of the white-wash and the exposure of the original
+surfaces. This should be effected with extreme care and tenderness, so
+as not to efface in any degree the original tool-marks or to disturb
+any ancient wall-painting which may exist. The mutilations which the
+work has in some places suffered would of course be repaired, as well
+as any structural defects which may be brought to light."
+
+This proves that Gilbert Scott went to work with a full sense of his
+responsibility, so far as the "reparation" was concerned. With regard
+to the "restoration," many complicated questions arose, but Scott
+generally threw his weight on the conservative side, respecting all the
+alterations which had been effected before "the extinction of our national
+architecture in the sixteenth century"; and, happily, respecting as well
+all the good work of a later date. Thus the organ-case and pulpit were
+spared. Duppa's work was mostly destroyed, his windows being rebuilt
+according to their former Perpendicular and Decorated designs, with the
+one interesting exception already mentioned. To make provision for the
+church's collegiate use, while rendering it at the same time suitable
+for diocesan purposes, an iron screen was carried round the nave as
+well as the choir, and the seats of the nave were set lengthways. This
+arrangement could not well have been bettered: the college is well
+accommodated without any blocking up of the church, and the choir is
+conveniently situated in the eastern bay of the nave. The organ at the
+same time was moved to the west end of the church, where a new bay was
+made; and thus, while an increased effect of length was given, a screen
+was provided for the college-chapel, without hiding any of the old work
+in the nave, and the choir was no longer hidden by the organ.
+
+The great Decorated east window, which had been spoilt in the seventeenth
+century, was, after much deliberation, removed; and, traces being found
+of a large circular window assumed to be Late Norman, the east end was
+rebuilt in accordance with the conjectured Norman design,--a bold venture,
+but a remarkably successful one. At the same time the two Norman windows
+at the sides of the presbytery were reopened.
+
+The bay of the south transept, which had been cut off, and used as a house
+for the verger, was recovered, and the present vestry built therein, in a
+style, right no doubt in general plan, but not very successful in detail.
+
+The vaulting of the cloister was completed, and, by the happy expedient of
+building a raised wooden vault in one part, the old chapter-house door was
+once more fully exposed to view. The division which had entirely spoilt
+the chapter-house itself was removed; as were also the stone screens which
+had cut off and defaced the beautiful cluster of north-eastern chapels.
+
+The opening of the lantern-story added greatly to the beauty of the
+interior, but it made it necessary to chime the bells instead of ringing
+them; and in 1878 they were removed altogether, as their vibration was
+considered dangerous to the tower, and an admirably contrived belfry
+built in 1880 over the staircase of the Hall by Mr. Bodley. Scott also
+constructed the porch which opens into Tom Quad, and affords an entrance
+to the cathedral at once more dignified and convenient than before.
+
+Since Scott's time a good many further improvements have been effected,
+among which may be mentioned the reredos, the stained glass of Sir Edward
+Burne Jones, the fitting up of the Latin Chapel and recovery of the
+easter sepulchre therein, the recovery also of the marble base of the
+second shrine of St. Frideswide, and of the early Saxon arches hard by.
+
+At least it cannot be true now, as it seems to have been fifty years ago,
+that many persons, visiting Oxford to explore its antiquities, "actually
+go away without entering the cathedral church, or that undergraduates
+any longer pass an academical career, content to be aware possibly that
+Christ Church has its chapel, like other colleges."
+
+
+
+
+CHAPTER II.
+
+THE EXTERIOR.
+
+
+The peculiar position of Christ Church, as a cathedral which is
+three parts college chapel, is apparent to the most casual observer,
+who, passing by the college porter in the gateway of Tom Tower, finds
+himself in a great open quadrangle with a fine hall on one side, but
+no sign of a cathedral anywhere, except a spire which seems so far off
+that it might very well belong to some other college. He may well be
+struck by that doubtfulness as to any means of exit, which makes most
+of the colleges appear to the stranger as if they consisted of one
+quadrangle only. There really seems no way of getting to the cathedral,
+for the incipient cloisters of Tom Quad stretch in unbroken array round
+the four points of the compass; and no one could be expected to guess
+that the two rat-holes at one side of the eastern terrace stand for the
+west front of a great church. But so it is, and on Sundays a crowd of
+citizens mingle with the undergraduates in their curious open surplices,
+and drift across the Quad, past Mercury fountain, leaving no doubt in the
+mind of the traveller that this is a cathedral church, and he is as free
+of it as anybody else. There is, indeed, another entrance from the old
+cloister on the south side, which is public, though mainly convenient
+to those members of "The House" who dwell in the Old Library and Meadow
+Buildings; and a third entrance besides, which is, however, the private
+boon of the Professor of Pastoral Theology.
+
+It follows, therefore, that without describing the various college
+buildings, which are rather outside our province, we can say little about
+the exterior, except in matters of detail; for there is no close, and
+the cathedral is thus far from being common property that it is hidden
+in a rather intricate environment of college buildings and private
+gardens. But the one feature which in part rises above its misfortunes
+is the spire.
+
+=The Spire.=--Among all the strange domes and steeples which give to the
+city of Oxford such a unique appearance, this spire of the cathedral
+is to the architectural eye not the least striking. Very humble in
+its bearing, it seems to put forward no claim to our attention, and may
+escape the notice of a hurried traveller; but it has more character and
+interest than the elaborate spire of the University Church itself. Its
+very modesty gives it a distinction; were it taller it would be but one
+among a hundred, but as it is there is no other in England at all like it
+in the quiet dignity of its low proportions. The first time one sees it
+one is most struck by its squat appearance; it seems almost to have been
+built as little more than a convenient stone capping for the tower; and,
+indeed, each time one returns to Oxford one is impressed afresh by this
+lowliness; so that one fancies for a moment that it may have subsided a
+little during one's absence. But it quickly resumes its old dignity--the
+kind of dignity that one sometimes notices in short people--and every day
+it seems to grow a little higher. Homely and simple, as befits the crown
+of a foundation which is called "The House," it wins an almost human place
+in the affections of those who live near it; and never was a spell so
+honestly cast, never a friend that bore so well the test of familiarity.
+
+And its low proportions are soon accounted for. It is one of the earliest
+spires (perhaps the very first) ever built in England. Thus it was an
+experiment in what must have appeared at the time a very hazardous style
+of building; and that which to us is low, to the men of the thirteenth
+century must have seemed dangerously lofty. It was a pioneer, and as such
+needed to be sturdy. We need not then regret that it is not like that of
+Salisbury; it gives the whole cluster of buildings a look of security,
+and it causes no anxiety to its guardians.
+
+"This spire," wrote Dr. Ingram in 1837, "certainly accords in character
+with some of the earliest specimens in Oxfordshire and Northamptonshire,
+measuring in height about two diameters of its base; and it is remarkable,
+that the small turrets at the angles of the north transept are made to
+terminate in pyramidal octagons, similar to those which surmount the
+angles of the tower. These are the simple prototypes of those exuberant
+pinnacles, niches, and tabernacles, enriched with crockets and finials,
+which so profusely embellish the spires and turrets of a later date.
+A singular specimen of this improved kind of turret is seen on the north
+side of the cathedral; beneath which is an elegant niche, containing a
+statue of St. Frideswide."
+
+[Illustration: THE TOWER AND SPIRE, FROM THE CLOISTERS.]
+
+The lower story of the tower is Norman, or earlier, with later work
+added. The belfry-stage and the spire are early English. On each side
+of the lower story can be seen the line of the ancient high roof,
+destroyed in the Perpendicular period, to the great loss of the exterior
+effect, which Sir Gilbert Scott was anxious to restore. On either side
+of the roof-line is a plain window. At each angle a circular turret
+supports the tower, the turret being reduced in size at the belfry-stage
+where the Early English work commences, and ornamented with a tall and
+graceful arcade; an arcade being also carried all round the walls of the
+belfry-stage, and its central arches pierced for windows. Each turret
+finishes above the belfry-stage in a pinnacle. "These pinnacles," says
+Mr. R.J. King, "are modern; but are faithful, or, more truly, servile
+imitations of the ancient ones; of which not only the original features,
+but those resulting from the wear and tear of six centuries, have been
+too exactly copied."
+
+The spire itself is octagonal, with circular ribs at the angles; it is
+of the "broche" form, that is to say, it rises from the exterior of the
+tower walls, like most others of that period. Its eaves are supported by
+a corbel-table of pointed arches; and from its cardinal faces project
+the four spire lights of the same graceful character as the arcading
+of the belfry-stage. When the upper part of the spire was restored,
+the beautiful finial of foliage was for some unaccountable reason not
+reproduced. The old spire point was erected in one of the canon's gardens,
+where it rests in peace.
+
+The tower can best be seen from the cloister, the staircase window in
+the Library in Peckwater Quad, and the canon's garden on the north side.
+Of course, there are many distant points of view; but one from the path
+between the Broad Walk and Merton College gives a better idea of the
+cathedral as a whole than most.
+
+The tower can be ascended from the gallery in the south transept, but it
+should not be attempted by any but slim persons. The visitor makes his
+way along the clerestory and round the lantern, which is the first stage
+of the tower. Having avoided the iron bars which threaten him at every
+turn, he will have to squeeze through an incredibly small doorway, and
+then climb up a dark staircase which takes him, not into the belfry,
+but into the spire. One can only peer into the lower part of the belfry
+from the shuttered windows on the outside; but as the interior of the
+spire is open to it, the whole, forming one queer-shaped room, can be
+seen therefrom. The bells have all gone, as they taxed the strength of
+the tower, having been originally cast for the larger tower of Oseney
+Abbey (see p. 43); they are now hung in the new bell-tower over the hall
+staircase. The belfry-stage can be considered octagonal from the interior,
+four very short extra sides being formed by the angular turrets, which
+are chamfered off on the inside. Above these are the squinches which
+support the spire. Round the arcade which contains the belfry windows
+runs a passage, made just like the clerestory passage of a church. The
+whole structure is remarkable for its careful and finished work, the
+very corbels just above the floor being heavily foliated, as if they
+were intended to be seen from below.
+
+The windows of the spire are interesting for the double plane of tracery
+which adds to the strength of the spire. The inner tracery resembles
+that without, with the difference that it has no transom. The transom,
+by the way, is a rare feature in the Early English period.
+
+The only exterior view of any extent is from the garden of the Professor
+of Pastoral Theology on the northern side of the cathedral. It seems
+unfortunate that so important a spot should be in private hands, and the
+public excluded; but still a visitor who desires to go into the garden
+can obtain permission by applying at the professor's house in Tom Quad.
+The garden is a pretty one, and the view of the homely-looking cathedral
+set in this quiet old-fashioned retreat is well worth taking the trouble
+to see. The Latin Chapel, which seems to stand right on the lawn,
+looks like some little village church, while the north transept seems
+inconceivably smaller than from the inside.
+
+From between the transept and the nave, near the house that is to say,
+there is an excellent view of the tower.
+
+Two remarkable square turrets flank the transept: they resemble those at
+the east end, and are nearly of the same date; they are, however, capped
+by pinnacles like those on the tower, but somewhat earlier. At the angle
+of the transept aisle there is a smaller turret, early Perpendicular in
+style, with crockets on its spire, and in its west face a niche with a
+weather-worn statue of St. Frideswide. The flowing tracery of the four
+beautiful windows of the Latin Chapel is well seen from here; and the
+buttresses that support its wall should also be noticed.
+
+[Illustration: EARLY SAXON ARCHES.]
+
+=The Saxon Apses=.--In this garden can also be seen the site of the
+Saxon apses, discovered in 1887 by Mr. Park Harrison. The history
+of this discovery is an extremely interesting one. It was known that
+two small rag-stone arches existed at the east end of the Lady Chapel
+and north choir aisle, though blocked up and concealed by plastering
+inside the church. Their character and rude workmanship suggested that
+they formed part of the original church of the Holy Trinity, St. Mary,
+and All Saints, which was built C. 727; but there was some years ago
+a tradition among architects that nearly all Saxon churches were built
+of wood, and the presumption naturally was that the original church
+was entirely destroyed in the fire of 1002. However, it came gradually
+to be admitted, even by the late Mr. J.H. Parker, that Saxon churches
+were built of stone from the earliest times; it was further found to be
+implied by the charter of Ethelred that the old church had been of stone;
+for the charter states that, when it was found necessary to dislodge the
+Danes by burning, the fire was thrown upon the wooden shingles of the
+roof. Another document supported this theory by stating that Ethelred
+"repaired and enlarged" the old building. Thus the presumption lately
+came to be that these arches, and the wall in which they stood, belonged
+to the church of 727.
+
+In opposition to this it was suggested that they were nothing more than
+barrow-holes made in the twelfth century to admit the Norman workmen.
+Mr. Harrison, however, was strongly opposed to this view, urging that no
+barrow-holes existed of such narrow dimensions as these doors, or in such
+an inconvenient place as the east wall of a chapel. In order to put his
+conviction to the test he asked that excavations should be made outside
+the east wall, to see if the doorways led into a crypt or "porticus,"
+since apses, used for interments, had been found of an equally early
+date at Winchester and Lyminge.
+
+[Illustration: PLAN OF RECENTLY EXCAVATED APSES.[1]]
+
+This venture of faith was triumphantly rewarded by the discovery in 1887
+of the foundations of three apses, corresponding with these two arches,
+and with a third between them, of which traces were found shortly after.
+The first excavation in the canon's garden took the form of a trench
+outside the southern arch, and led to the discovery of part of the
+foundation of an apse, which measured a quarter-circle. The rest of this
+foundation had been destroyed, evidently when the wall of the Norman
+presbytery was built (which, it is notable, is quite twelve inches
+thicker than the wall containing the arches); but it was evident that
+the archway in the wall must have stood in the centre of a perfect apse.
+Similar foundations were next laid bare opposite the northern arch. Then
+the earth was removed opposite the Norman pilaster buttress, which,
+standing midway between the two arches, led the investigators to suppose
+that it hid a centre Saxon archway. Nothing was found at first but a small
+piece of concrete walling (2 feet by 1-1/2 feet) which it was at once seen
+might prove to be part of the north wall of the chancel of the ancient
+church, if a centre apse could be proved to have projected beyond the two
+side apses. Excavations were therefore commenced further east, with the
+result that the foundations of the central apse were discovered under
+a drive in the garden. The missing portion of this apse was accounted
+for by a main drain which had been cut across its inner side, and by
+a pit which had been made for the interment of bones found elsewhere
+in the Close. About the same time Mr. A.J. Evans, the Keeper of the
+Ashmolean Museum, found rag-stones by the side of the Norman buttress,
+which proved to be part of the central archway, a little wider and higher
+than the two side ones. It now became clear that this archway was really
+not a doorway at all but a small chancel-arch, the three arches being
+similar to those still used in the conservative churches of the East. It
+is a foot wider than the chancel-arch of the Saxon church at Bradford,
+Wilts, and two feet wider than the arch between the tower and chancel
+of Wotten Wawen church in Warwickshire, the jambs and arches of which
+were also built of rag-stone. Further evidence of the antiquity of this
+east wall is the fact that the sill of the south archway was found to
+be 2 feet 8 inches below the level of the pavement of the Norman church,
+as is shown in the elevation.
+
+[Illustration: CONJECTURAL PLAN OF EARLY SAXON CHURCH.]
+
+This Eastern plan of three apses was adopted about the same early period
+at Melbourne and Lindisfarn; and, as it was not long before the death of
+the great Archbishop Theodore that this arrangement came in, there is a
+great probability that he introduced it from his native country of Syria,
+where the churches were always constructed with three apses. The absence
+of any marks of juncture upon the exterior of the walls also inclines one
+to suspect that there was a passage from apse to apse behind the wall,
+as there always is in Eastern churches. The whole arrangement will be
+made abundantly clear from the above conjectural ground-plan of the
+ancient church, c. 740.
+
+There are indications that these three apses are not of precisely the
+same date, for the northernmost arch is the smallest of the three, and
+the apse is correspondingly smaller. It is therefore surmised that the
+southernmost apse belonged to the church of Didan, the father of St.
+Frideswide, and dedicated to the Holy and Undivided Trinity, "without
+any more title and addition," while the other apses were the additions
+of Frideswide herself, when the church was adapted to the purposes of
+a convent, with the additional dedication to St. Mary and All Saints.
+This may be the reason why the chapel in a line with the central apse,
+and therefore on the site of the ancient nave, is still the Lady Chapel.
+
+Another important point rests upon the document which states that, when
+Ethelred II. enlarged and repaired the old building, the result was
+that the tomb of St. Frideswide, which before was on the south side of
+the church, thereupon stood in the middle. The tomb of St. Frideswide
+must therefore have been in the southernmost of these three apses (in
+a "chapel," as Wood says, on the south side of the convent church),
+and not, as some people have supposed, in the vault discovered under
+the tower during Scott's restoration. A significant corroboration of
+the old document is supplied by the fact that the Norman plinth, which
+was carried across the other two archways, breaks off at the arch which
+leads into the south apse. It would thus seem that access was, after
+the Norman restoration, still afforded into this chapel, and that St.
+Frideswide's relics remained there until the Translation of 1180, when
+they were moved "from an obscure to a more noted place in the church"
+on the completion of the Norman restoration.
+
+After the investigations had been completed, the earth was laid down
+again, but stones have been set in the drive to mark the site of the old
+foundations. Some charcoal and reddened stone which was found--evidently
+a relic of the fire of 1002--is now to be seen in the gallery over the
+vestry in the cathedral. In addition to this, the remains of a rough
+pavement were exposed in the north apse, and some square stones in the
+chord of the central apse, which seem to be part of the old altar. In
+addition to the numerous scattered bones that the workmen unearthed,
+two complete skeletons were found in the southern apse, and underneath
+the stone slabs upon which they lay another skeleton, that of a woman
+or a man of short stature, possibly that of Didan himself, or his wife
+Saffrida, who are both known to have been buried in the church.
+
+=The Cloister= now forms only three sides of a square, the western part
+having been destroyed by Wolsey in order to make room for the hall
+staircase. Considerably inferior to those of Magdalen and New College,
+it is small and unpretentious: its tracery, of a humdrum Perpendicular
+type (mostly restored), and its vaulting, which is peculiar, point to
+the latter half of the fifteenth century as the time of its erection. Of
+the earlier cloister no trace remains, except the door and windows of
+the chapter-house. The north walk was converted into a muniment room,
+much to the defacement, one may imagine, of this part of the college;
+but it has now been restored, and a good imitation of the fine old lierne
+groined roof inserted, though funds have not been provided to finish the
+carving of the bosses. Mr. R.J. King points out that the panelling of
+the sides of the windows agrees very closely, even to the character of
+the cusps, with that introduced into the clerestory of the choir. The
+quadrangle of the cloister was the scene of Cranmer's degradation. In
+its area are the foundations of the lavatory, which was built about 1490.
+
+Above the arches of the cloister runs a story with latticed windows on
+the east and south side, which adds considerably to the picturesqueness
+of the whole. Indeed, as one stands on the steps leading to the hall,
+the ivy-grown cloister, in spite of its modest proportions, has a beauty
+of its own. The latticed windows give it an air of mystery, as if strange
+old rooms were concealed by them; and in fact on the south side there
+is a curious library of time-worn theological books, which is seldom
+entered, and hardly ever used: it belongs to the Regius Professor of
+Divinity. The windows on the east side hide nothing more romantic than
+a small lumber-room, cut up by the raising of the wooden roof beneath,
+and an undergraduate's bed-chamber.
+
+From the same position at the west of the cloister one can enjoy the
+best view of the tower and spire of the church. One is close enough
+to see all the detail, and yet from this angle nothing is lost of the
+general effect. On a moonlit evening the effect is particularly solemn
+and beautiful. From this point also should be noticed the difference in
+the masonry of the south transept. The lower story is entirely of rubble,
+while the upper story is partly of good ashlar work.
+
+On the south side of the cloister is the Old Library, as it is now called,
+which was formerly the refectory of the monastery, and is all that now
+remains of the conventual buildings. Its large Perpendicular windows,
+rising like a clerestory above it, look on to the cloister, but they were
+spoilt on the inside by a staircase, when the building was turned into
+undergraduates' rooms. On the other side, facing the meadow buildings,
+there is a curious little oriel window, its lights now walled up, that
+once contained the pulpit whence the lessons were read during meals. The
+rest of the Perpendicular windows on this side are entirely gone, and
+the beauty of what was one of the best buildings in Oxford destroyed.
+An engraving of the Refectory in its original state is given in Skelton.
+
+[Illustration: DOORWAY OF CHAPTER-HOUSE.]
+
+The roof, which formerly hid the upper part of the chapter-house door, has
+been removed, and, by a happy device, a wooden roof groined in the same
+way has been inserted at a higher level, thus giving the old doorway the
+benefit of its full proportions. This doorway has been attributed to Prior
+Guimond, and belongs mainly to the later Norman period, of which it is a
+fine example. The two inner divisions of the arch are richly ornamented
+with zigzag moulding; the two outer divisions rest on shafts, of which
+the pair on the north have sculptured, and the pair on the south plain
+cushion, capitals. On either side of the doorway is a round-headed window
+of two lights, plain without, but ornamented within with the same label
+as that which surrounds the outer arch of the doorway itself. An ancient
+painting can be made out on the north side of the northernmost of these
+windows; it was traced recently, and found to be the figure of a saint.
+
+=The Chapter-House= was rebuilt in the very best Early English period,
+of which it is an excellent example. It bears some resemblance to the
+chapter-house at Chester, being especially remarkable for the purity of
+its style and the excellence of its detail. It would, indeed, be hard to
+find a better specimen of a mediæval chamber.
+
+As the whole effect of the room depends upon its proportions, it is hardly
+necessary to say that the extraordinary genius for making the worst of
+everything, which seemed at one time to take possession of the English
+people, inspired some one to build a wall right across the middle. This
+has, however, been removed, and the visitor has now nothing to complain
+of but a want of colour. The chapter-house has been used for divinity
+lectures since the Latin Chapel was restored to its original purpose;
+and the lower part of the walls is now hung with curtains, which help
+to destroy the coldness due to the destruction of the old painting
+and furniture.
+
+[Illustration: CORBEL IN CHAPTER-HOUSE.]
+
+The room is an oblong, divided into four bays, the vaulting of which
+springs from clustered shafts, supported on curiously carved corbels.
+Two of these corbels are in the form of monks' heads, very vividly
+conceived; they face each other, and are thought, from the vivacity
+of their expression, to be represented as carrying on a conversation
+together. The perfect taste of the rich carving on the bosses of the
+roof will also be noticed. One of them represents our Lady crowned,
+in the act of giving an apple to the Holy Child.
+
+But the most striking feature of the chapter-house is its east end. An
+arcade of five arches fills the entire space; of these the three central
+arches are pierced for windows, deeply recessed, and having a double set
+of shafts to support their arches, the inner shafts being clustered,
+and ornamented with dog-tooth moulding. Each light is crossed by a
+transom, with a later four-centred arch beneath. Foliage is introduced
+in the spandrels, and every capital in the room is richly foliated,
+nor could anything exceed the grace and finish of the carving. There
+are two windows of similar character on the south side of the room,
+and one on the north. There are also some pieces of remarkably fine
+glass in these side windows, which one should be careful not to miss.
+The remains of painting on the groined ceiling are not likely to
+escape notice,--the figures of St. Peter and St. Paul can be easily
+distinguished.
+
+[Illustration: BOSS IN CHAPTER-HOUSE.]
+
+A thirteenth century stone slab now rests in the chapter-house; it was
+brought here from Rewly Abbey, where it covered the tomb of Ela, wife of
+Thomas de Newburgh, Earl of Warwick, and daughter of William Longspée.
+In the east wall is preserved the foundation stone of Wolsey's College
+at Ipswich, the inscription on which runs,--"_Anno Christi 1528, et
+regni Henrici octavi, regis Angliae 20, mensis vero Junii 15, positum
+per Johannem epm. Lidensem_,"--John Holt being titular Bishop of Lydda,
+and probably a suffragan of Lincoln. The stone has no connection with
+Christ Church, beyond the fact that it commemorates another benefaction
+of Wolsey, and was presented to the House in 1789.
+
+A small staircase in the south wall leads up into the charming
+oak-panelled room, which is used by the chapter for meetings. In the
+window of the staircase will be noticed some initial letters and other
+devices in stained glass which are among the very finest of their kind.
+In the upper room itself, which looks pleasantly on to a garden, are
+some interesting pictures:--one of Henry VII.; another of the same
+king, younger, with his queen; Henry VIII.; Elizabeth; Mary; Samuel
+Fell, the father of Bishop Fell, and Dean of Christ Church himself;
+Busby, the terrible headmaster of Westminster School, also connected
+with this House; two portraits of the talented Dean Aldrich, and one
+of Peter Martyr, whose wife was so strangely made to share the grave
+with St. Frideswide. Peter Martyr had been himself an Augustinian prior:
+he adopted strong reforming views, and was made Regius Professor of
+Divinity here in 1549. He lived near Tom Gate; but the undergraduates
+broke his windows, and he moved to the cloister, where he fortified
+his garden. According to Blunt, he gave up the professorship when the
+undergraduates annoyed him, but returned on being made a canon. In this
+chapter-room there is a good Elizabethan table, a curious old iron safe,
+and some Chippendale chairs.
+
+[Illustration: THE CHOIR, FROM THE OLD CEMETERY.]
+
+A gateway in the cloister to the north of the chapter-house leads into
+the slype, which occupies the position usual in monastic buildings
+between the chapter-house and the transept. In this case the slype is a
+plain barrel-vaulted passage that takes up part of the transept itself,
+and forms the lower story of the choir-vestry (as it now is) within the
+church. It leads into the old cemetery, whence a good view is obtained
+of St. Lucy's chapel, the east end, and the chapter-house. In the garden
+are the tombs of Philip Pusey, son of Dr. Pusey, and Edith Liddell,
+who is commemorated in St. Catherine's window. The round-headed doorway,
+now blocked up, should also be noticed: it may be one of the doorways of
+Ethelred's church, and is in any case the only ancient one left.
+
+The east end was restored in 1871 by Gilbert Scott, in accordance with the
+late Norman design, of which fragments, left when the Decorated window
+was inserted, still remained in the wall; but how far exactly it follows
+the original no one appears to know.
+
+An elaborate wheel-window occupies the upper part of the chancel gable;
+above it is a blind arcade of transitional pointed arches, and below are
+two round-headed windows. The square turrets at the angles are ornamented
+with arcading in three stories: the upper is on a level with the pointed
+arcading of the main wall, and similar in style; the middle carries on
+the line of the wheel-window, and consists of two round arches on each
+turret; the lower, on a level with the two round-headed windows, is made
+up of three round arches, which, by intersecting, form four pointed
+arches. The whole, in spite of its being (with the exception of the
+turrets) a restoration, gives one a good idea of transitional work on a
+large scale. In plan it is still Romanesque, in detail it is Early Gothic.
+
+=The Bell Tower=, which stands above the hall-staircase, is really only
+a stone case built by Mr. Bodley to hide the wooden structure which
+actually contains the bells. The tower, as it now stands, is incomplete,
+Mr. Bodley having intended a lofty and intricate wooden superstructure to
+rest upon it. The authorities, however, were afraid of its dwarfing the
+spire and Tom Tower, and consequently left the structure in its present
+state, much against the opinion, as we understand, of the architect, whose
+completed design can be seen in the common-room, and is so magnificently
+picturesque, that one cannot help hoping that the authorities will see
+their way to erecting it. After all, if every one in the past had been
+afraid of overtopping the cathedral, Oxford would never have become the
+"Sweet city of her dreaming spires" that we know The cathedral can hold
+its own, and so can Tom Tower; for neither makes any pretensions to
+loftiness. The original hall-tower seems to have stood on the same spot
+before the space was cleared for the erection of Dean Fell's staircase.
+
+The bells themselves are, with Great Tom, the only relics left of the
+glorious Abbey of Oseney. They were considered the finest in England,
+and were after their removal to the cathedral made famous again as
+"The merry Christ Church bells" of Dean Aldrich's catch. Their names are
+contained in the following line, which professes to be a hexameter--
+
+ _Hautclerc, Douce, Clement, Austin, Marie, Gabriel et John._
+
+[Illustration: TOM TOWER.]
+
+=Tom Tower=, over the entrance to Tom Quad from St. Aldate's, is one
+of the characteristic features of the city. The lower story was built
+by Wolsey, but the cupola which gives it so uncommon an appearance was
+added by Sir Christopher Wren in 1682. On the side facing St. Aldate's
+is a statue of the great Cardinal, in a very dramatic attitude, and on
+the quadrangle face a statue of Queen Anne, placed there by her minister
+Harley, with this inscription,--_Annae Principi Optimae Secretarius
+ipsius principalis Robertus Harley hac in sede posuit quod illam coleret
+et hanc amaret_. The vault of the archway under Tom Tower is decorated
+with the arms of those who helped towards the completion of the
+quadrangle. "Tom," the great bell which gives its name to the quadrangle,
+and its orders to the whole University, came, with the cathedral bells,
+from Oseney Abbey; and twenty shillings were paid in 1545 for the
+conveyance of Tom and his satellites from the Abbey to Christ Church.
+It weighed 17,000 pounds, and bore the inscription,--_In Thomae laude
+resono Bim Bom sine fraude_; but it was recast in 1680, and its present
+inscription is _Magnus Thomas Clusius Oxoniensis renatus Apr. 8, 1680_.
+It will have to be recast again some day, for it is sadly out of tune;
+its note ought to be B flat, but is not, and the bell itself is cracked.
+
+[Illustration: THE WESTERN ENTRANCE AND BELL TOWER, FROM TOM QUAD.]
+
+Perhaps the other college buildings are sufficiently connected with
+the history of the cathedral to allow of our mentioning them. For
+Wolsey built the kitchen, which is a remarkably fine specimen of the
+peculiar architecture necessitated for such a building, and also the
+magnificent hall, the finest perhaps in England, and interesting to
+us also as containing the portraits of many of the men referred to in
+this book. Wolsey also built three sides of Tom Quad. Though the bases
+of the buttresses for its cloister invite the enterprising builder, the
+Quad is probably best left as it is; for a projecting cloister is not
+anything the architectural success that a cloister is which forms the
+ground story of a building continued over it, and the Quad is besides
+so large as to be unmanageable in the matter of cloisters. The fountain
+in the middle is called "Mercury," because Dr. Anthony Radcliffe set up
+a statue there of the nimble god in 1695. Frank Buckland, by the way,
+about five years before his death, put into Mercury several golden
+carp; there was also added an _Aurea Tinca_ from Austria, a superb
+creature, popularly called "The Dean." The surface of the Quad was in
+1665 lowered three feet, so as to give a greater appearance of height
+to the surrounding buildings. Bishop John Fell finished the quadrangle,
+and his father, Dean Samuel Fell, built the vaulted staircase of the Hall
+(1640), which is one of the instances of the curious survival of Gothic
+in Oxford, that home of "lost causes," which need never have been lost,
+and of "impossible ideals," which ought to be made possible. Late as it
+is, and open to the structural criticism of all Perpendicular work, it is
+most deservedly admired. The staircase itself must not be laid to Fell's
+charge; it is the work of the James Wyatt. Dean Aldrich built Peckwater
+Quad, which is a decent work of its kind, too grim and gloomy to be as
+attractive as All Saints Church, and dreadfully disfigured by the strange
+tendency to moulder away that besets Headington stone, from which Oxford
+as a whole has suffered so much.
+
+The Library in Peckwater Quad was begun in 1716 (designed by Dr. G.
+Clerke), and finished in 1761, the original intention having been to leave
+an open piazza beneath it; but its columns were connected, in the end,
+by a wall. It contains a few first-rate pictures (including an exquisite
+Francescà) among a great many palpable shams, and a collection of
+drawings mainly by fifteenth and sixteenth century artists, which are said
+to have given Ruskin his first enthusiasm for Italian art, when he was
+an undergraduate at the House. Wyatt was the architect of Canterbury Gate.
+
+Dean Liddell built the Meadow Buildings nearly thirty years ago;
+the architect was Mr. T. Deane. They are as bad as the other college
+buildings in Oxford of the same period.
+
+
+
+
+CHAPTER III.
+
+THE INTERIOR.
+
+
+The cathedral is best entered through the handsome porch in Tom Quad which
+was cut by Mr. Bodley through one of the canonical houses; in order,
+perhaps, to announce that the old _régime_ had passed away, and the
+time at last arrived when "the teachers of theology no longer dwell on
+the ruins of the church they should protect," as a writer fifty years
+back had half-despairingly foretold. This porch is a happy compromise
+between the old heart-breaking descent into a half-ruined nave, and
+the rather impossible scheme of continuing the church into the middle
+of the Quad. The former spoilt the cathedral, the latter would have
+spoilt the college; but by the present arrangement the church serves
+very creditably for both its purposes, and one may well spend a day
+there without remembering what Wolsey did to the nave.
+
+On entering the cathedral itself the visitor finds himself in a kind of
+narthex which is in fact the ante-chapel of a college chapel. Before him
+is the organ-screen, the entrance under which is veiled by a curtain at
+service time; on either side he has a glimpse of the aisles. The effect
+is peculiar, but not unpleasant, although the ante-chapel is a bare bit
+of modern restoration, wisely left unsculptured, and unrelieved except
+for some monuments, of which one may gratefully say that they are best
+where they are. But passing under the screen, all is changed. We find
+ourselves in one of the most charming and distinctive interiors of a
+country of interesting churches. The curious and happy arrangement of
+the great pillars and triforium, the variety and originality of the
+sculptured capitals, the rich pendent vaulting of the choir, and the
+touch of mystery in the further chapels, all combine to give to this
+creation of a long and chequered history an attraction peculiarly its
+own.
+
+Yet the same bluntness of aspect which impresses one in the spire is
+the leading characteristic of the interior also. Only in this case the
+effect is not part of the original plan, but is due to the destruction
+by Wolsey of the three Western bays. Things must have seemed far worse
+before the new western bay added twenty feet to the nave, and brought
+the church right back to the cloister around Tom Quad, for though it
+only serves as an ante-chapel, it yet helps considerably to break the
+enclosed appearance, which must have been almost oppressive before.
+
+As it is, Christ Church is the smallest of our cathedrals; for even with
+the new ante-chapel it measures but 175 feet in length. Instead of being
+of the usual cruciform plan, it is now almost square,--in fact, the length
+from the reredos to the organ-screen is 132 feet, while the breadth across
+from the Latin Chapel to St. Lucy's Chapel is 108 feet. The church is
+made up of the shortened nave with its two aisles, and ante-chapel, the
+central tower, the north transept with its one aisle, the south transept,
+and the eastern half of the church, which itself contains no less than
+six divisions,--the choir, with its two aisles, the Lady Chapel on the
+north, and the Latin Chapel (or St. Catherine's) on the north again of
+that, while on the south is the small chapel of St. Lucy.
+
+If the unusual appearance of the cathedral is partly due to Wolsey's
+destruction, it is partly due also to its being used as a college
+chapel, and partly to the fact that in general plan, and to some extent
+in detail, it is Ethelred's design, commenced seventy years before the
+great developments of Norman architecture began. Ethelred himself probably
+only completed the choir and adjacent parts, and even there the work was
+very much altered in late Norman times; while the nave itself seems to
+be principally Norman (though built in imitation of Ethelred's work),
+with the exception of the pillars, which must be earlier than the Norman
+restoration, and may be of Saxon date, though we have no documentary
+clue as to what happened from the reign of Canute to that of Henry I.,
+except that the church was, during the latter part of the time, in a
+very bad way.
+
+The following are Mr. Park Harrison's conclusions as to the general plan
+of the church, which he set before the British Archæological Association
+in 1892:--"The design of the building is clearly derived from the original
+pre-Norman church. The uniformity of plan throughout affords a remarkable
+instance of the way in which early church-builders imitated previous
+work, the process being, at Oxford, slow enough to make stages in the
+construction, that must have occupied instead of thirty years, as stated
+in the explanatory cards suspended in the cathedral, and quoted in some
+of the guide-books, at least 160. There were three changes in the profiles
+of the bases, and three in the abaci, all before the years 1170 or 1180."
+
+Thus the cathedral is a most important evidence of the high state of
+civilisation at which our Anglo-Saxon forefathers gradually arrived
+after the landing of St. Augustine. It is some satisfaction to our
+national pride to discover that they did not owe their culture to the
+Norman settlement, nor worship in wooden sheds before the arrival of
+the Conqueror, as was till recently supposed; but that the people who
+produced poets like Caedmon, artists like Dunstan, and scholars like
+Alfred and Bede, were also able to build churches worthy of such great
+names. More will be said about their workmanship when we come to discuss
+the capitals in the choir, but here we may refer the reader to a drawing
+in Mr. Harrison's pamphlet, "The Pre-Norman Date," of the apse of a church
+from the "Dunstan" MS., which shows at what elaborate architecture the
+Anglo-Saxons had arrived by the year 1000, and illustrates the curious
+foliage found on the cathedral capitals.
+
+=The Nave= was probably completed during the priorate of Robert of
+Cricklade (c. 1160-1180), the restoration being begun shortly after
+1158, when the Pope's charter was secured. The clerestory, which is
+transitional, may therefore have been still unfinished at the time of
+his death.
+
+The remarkable arrangement of the triforium is characteristic of all the
+four main divisions of the church. From the large pillars spring circular
+arches worked with heavy round mouldings. _Underneath_ these arches,
+not above them, is the triforium which is a blind arcade of two arches
+set in the tympanum beneath the main arch. The reason why there is this
+space under the main arch is because corbels in the form of half-capitals
+are set on the further side of the great pillars, a good way below the
+true capitals, to support the vaulting of the aisles. In this way, says
+Scott, "the pillars and arches have been divided, as it were, into two
+halves in their thickness, the half facing the aisle retaining its natural
+height and proportions, but that facing the central space being so raised
+as to embrace the triforium stage, the openings of which appear between
+the two ranges of arches; the clerestory ranging above." Of course, by
+this arrangement, the pillars avoid the low and stumpy proportions they
+would otherwise have, and the general effect of height in the nave (which
+is actually only 41 feet 6 inches) is considerably increased; for, were
+the triforium in the usual place above the main arches, the main pillars
+would not come any higher than the lower half-capitals. The arrangement
+is very unusual in England; though it is found in Italian Gothic, and
+even in Renaissance work in that country, as in St. Petronio, Bologna.
+It occurs in the transept of Romsey Abbey, in the choir at Jedburgh,
+in Dunstable Priory, and in Tewkesbury Abbey. That it existed in Saxon
+times is proved by a drawing in Cædmon's Paraphrase (c. 1000) in the
+Bodleian (_c.f._ "The Pre-Norman Date"). Dr. Ingram, who wrote in 1830,
+thought that this arrangement was made in order to raise the height of
+the building in the twelfth century, the triforium being the clerestory
+of the old Saxon church peeping out under the later work. And though
+his zeal was not according to knowledge (he thought the chapter-house
+doorway was Saxon), yet there is a possibility that this theory of his
+may have some truth in it.
+
+[Illustration: CHRISTCHURCH, OXFORD. PLAN.]
+
+Until lately, the church was thought to belong altogether to Prior
+Guimond's time. Sir Gilbert Scott fixed the date of the rather heavily
+carved capital over Bishop Berkeley's monument at 1170-80, owing to its
+close resemblance to certain capitals at Canterbury Cathedral of this
+period. The others seem to be of earlier date than this, and possibly of
+Ethelred's time. Strange as they are, however, they do not suggest a Saxon
+origin so strongly as do those of the choir. They are unique in design,
+and have neither the massiveness of Norman, nor the crisp severity of
+Early English work. The light, graceful, and rather fantastic foliage of
+the three eastern capitals on the south side--almost like iron-work--will
+be noticed. The third capital on the north side bears some resemblance
+to two of those in the choir.
+
+The pillars of the nave also present problems of some difficulty. They
+are alternately circular and octagonal, and the masonry of six of them
+points with something like certainty to a date considerably earlier than
+the twelfth century restoration. In the four western pillars the stones
+are a good deal smaller than those in the two octagonal ones of the next
+bay: this makes it highly probable that they are of earlier date than
+the octagonal pillars, which are certainly Norman of the period of the
+restoration c. 1160. Mr. Harrison believes there is also considerable
+evidence that the two cylindrical pillars were reduced in girth in order
+to make them of the same size as the octagonal pillars then introduced;
+for the lower half-capitals project nine inches on either side beyond
+the pillars, while in those of the choir, which are unreduced, their
+projection is only five. There is also reason to suppose that the other
+pair of octagonal pillars, those by the organ-screen, were cut out of
+older ones at the same time.
+
+[Illustration: EARLY ENGLISH MOULDING.]
+
+The clerestory windows are transitional, as is proved among other things
+by their being pointed, for purely æsthetic reasons, and not (as in the
+case of the north and south tower-arches) from any structural necessity.
+Each window has a smaller blind arch on either side of it, making a
+triple opening within to a single window in the wall; and the shafts of
+this triple opening are made to carry small attached shafts which bear
+the arches above. The capitals of the larger and lower shafts spread in
+an unusual manner, having to support a mass of walling.
+
+=The Roof= is a fine example of sixteenth century woodwork, and doubtless
+replaced a simpler Norman roof of wood; but the brackets which support it
+were added later to the Norman shafts, in order to carry a Perpendicular
+vault of stone, which was never carried out. It is divided into small
+panels, whose ornament, though rich, is rather mechanical.
+
+The nave and choir are used as the College Chapel of Christ Church. In
+the returned stalls by the organ-screen sit the two censors; most of the
+undergraduates occupy the benches of the nave (which are modern woodwork
+carved by Chapman after Sir G.G. Scott's designs), as far as the raised
+seats where the choir sits; the central benches under the tower are
+reserved for the freshmen; while the dean, canons, students (_i.e._,
+fellows), and graduates fill the stalls of the choir, the other seats
+of the choir being occupied by the Scholars. The public use the aisles,
+transepts, and chapels on Sundays, but on weekdays are free of the nave
+for the two special cathedral services.
+
+[Illustration: NAVE AND CHOIR, LOOKING EAST
+ (_from a photograph by Carl Norman & Co._).]
+
+=Monuments of the Nave=.--Berkeley's monument is attached to one of
+the north pillars, which it entirely defaces. _George Berkeley_ was
+Bishop of Cloyne, and died in 1753, during a visit to Oxford; he was as
+good as he was famous, and his monument is as large as it is ugly. The
+epitaph, though not altogether untrue, and doubtless well meant, has the
+unfortunate effect of prepossessing the reader against its subject,--_Si
+Christianus fueris, si amans patriae, utroque nomine gloriari potes
+Berkleium vixisse_. Beneath is inscribed the quotation from Pope,--
+
+ "To Berkeley every virtue under heaven."
+
+On the pier by the pulpit the talented _Dean Aldrich_ is commemorated by
+a bust, which shows him to have had a very good face, and bears by way
+of further adornment a winged skull that is quite unnecessarily hideous.
+Aldrich has been already referred to: he was the architect of Peckwater
+and All Saints, the composer of many well-known anthems and services,
+the author of the once standard "Oxford Logic," and "a most universal
+scholar." He succeeded Massey, the Roman Catholic dean, who had to "make
+off and retire across the seas" in 1689. Browne Willis says of Aldrich
+that "as he spent his Days in Celibacy, so he appropriated his Income
+to Hospitality and Generosity, and, like Bishop Fell, always encouraged
+learning; as a celebrated Author tells us, 'to the utmost of his Power,
+being one of the greatest then in England, if we consider him as a
+Christian, or a Gentleman,' to which give me leave to add that he always
+had the Interest of his College at heart; of which I may experimentally
+say, he was an excellent Governor." He was very modest, and desired to be
+buried without any memorial, a wish which was at first complied with by
+his "thrifty nephew." Sunk into a pillar opposite is a curious old brass,
+to the memory of John Walrond, student, who died young in 1602.
+
+A marble slab on the pavement in the midst of the nave commemorates
+_Dr. Pusey_, who was canon of Christ Church, in virtue of his Hebrew
+Professorship, and lies buried here. The Latin inscription mentions also
+his wife and daughter, and of him it speaks as "Professor of the Hebrew
+tongue, and Canon of this church (_aedis_), who in the peace and pity of
+Jesus fell asleep, September 16th, 1882, being 82 years and 24 days old."
+
+=The Organ= stands on a fine Jacobean screen, dating from Duppa's
+time (c. 1635); it was removed here from before the choir during
+the restoration. The outer casing belonged to a former organ built by
+Father Schmidt in 1680. The present instrument was built by Willis &
+Son in 1884. It has four manuals and pedals, thirty-nine speaking stops,
+nine couplers, ten pneumatic pistons, six composition pedals, and other
+accessory movements. It has a very fine tone, and is well placed for
+sound. Its external appearance is much improved by the pretty green
+_appliqué_ curtain which now hangs in front of the organist's seat.
+
+[Illustration: PULPIT.]
+
+=The Pulpit=.--Christ Church is fortunate in possessing an old oak pulpit,
+escaping thus the garish ventures in marble which have been disastrous
+to so many other cathedrals. This pulpit is Jacobean (c. 1635). It is a
+remarkable piece of workmanship, elaborately carved, and well designed:
+the grotesques on the panels should be especially noticed, as well as the
+light elevated canopy, surmounted by a pelican, which was at one time
+transferred to the episcopal throne, and has recently been restored to
+its original use.
+
+=The Tower= is not square, the nave and choir sides being wider than
+those of the transepts. For this practical reason (and not because of
+the transitional character of the work, though transitional it is)
+the north and south arches are pointed, while the east and west are
+round-headed. The tower arches seem originally to have sprung from the
+imposts ornamented with trefoil leaves which can still be seen, though
+they were cut through when the present capitals were introduced at the
+time of the Norman restoration. The Norman shafts and capitals were
+attached to the older and ruder piers. Round these piers are the shafts
+of very firm and graceful proportions, their capitals decorated with
+foliage. The lower parts of the vaulting shafts of the great piers are cut
+off and finished with a narrow beading, which shows that the ritual choir
+originally stood here, and did not correspond with the structural choir.
+
+[Illustration: CHOIR AND NAVE, LOOKING WEST.]
+
+The lantern, which had been blocked up, was reopened at the time of the
+recent improvements, and adds considerably to the appearance of the
+church. Its first stage is ornamented with an arcade of stout Norman
+shafts, whose capitals are carved with a breadth and simplicity well
+suited to the height at which they stand: the arcade is bounded above
+and below by a heavy round string course. The upper stage has another
+arcade, of four large round arches on each side, the corner ones pierced
+as windows. Above is an early sixteenth century roof: it is divided
+into square panels, in most of which marks of the old ornaments (in
+the form of Maltese crosses like those of the nave roof) can be clearly
+discerned. At the springing of the main arches Fifteenth Century corbels
+have been inserted. In the south-east pier of the tower occurs the break
+in the masonry which marks, it is thought, the cessation of the building
+operations when Ethelred was driven out of England by Sweyn. It can be
+clearly seen from the south choir aisle. The tooling of the masonry half
+way up the tower has also been found to be marked with the cross lines,
+which distinguish Saxon from Norman mason's work.
+
+During Mr. Billing's restoration in 1856 a remarkable crypt was opened
+three feet beneath the paving of the choir between the north and
+south piers of the tower. This crypt, which was covered up again after
+investigation, was 7 feet long by 5 feet 6 inches, and just high enough
+for a man to stand upright; its walls were of stone, and contained
+aumbries or lockers at each end. There were also slight remains of
+indented crosses on the western side, and at the east enough was missing
+to suggest a doorway. The entrance to this chamber may have been through
+a trap-door, or by a passage leading into the east side. It was clearly
+not intended for sepulture, as its length was from north to south; and
+the absence of passages giving convenient access on each side seems to
+prove that it was not intended for the exhibition of relics. The most
+likely theory is that it was used as a secret chamber to contain the
+University chest, which was called the Frideswide chest, because it was
+kept in a secure place in this church, its keys being in the hands of
+certain canons by appointment of the chancellor. If this seems a very
+public place for a secret chamber, it must be remembered that originally
+it was immediately under the rood-loft, and therefore admitted of a
+trap-door being concealed; though the resting-place of the chest may not
+have been kept very secret for all we know. This crypt was probably made
+in Norman times, and is unique of its kind.
+
+=The Aisles of the Nave and Transepts= show the progress which was made
+at the end of the twelfth century in vaulting: Mr. Ruskin says of the
+work here that it is "bad and rude enough, but the best we could do
+with our own wits, and no French help." Vaulting originally began with
+square ribs, after wards the ribs became plain half-rounds, and later
+were moulded Here we find good specimens of the development of all three
+stages. In the choir aisles the vaulting arches are partly square and
+the ribs on the groins half-round, of a heavy character. These ribs were
+inserted at a later period, as is sufficiently clear from the awkward
+way they are fitted to corbels at the side of the capitals which carry
+the vault. In the west aisle of the north transept the vaulting is the
+same, but lighter in character; and there are no corbels, though the
+fitting is still awkward. In the north aisle of the nave the vaulting is
+pointed but still with plain half-round ribs, a little lighter than in
+the transept-aisles. But in the south aisle of the nave, as the builders
+got on with their work to the westward, their style underwent a further
+development, and a pear-shaped moulding with a fillet along the edge
+proclaims that the Early English period had begun. With the completion of
+this aisle they seemed to have become bolder; for the vaulting shafts in
+the transepts with their unmistakable Norman capitals, and the solitary
+ribbed stones resting on those of the south transept, prove that they
+intended to go beyond the practice of Norman architects and throw a
+vault across the wider span of the transepts themselves. Perhaps they
+immediately afterwards discovered that the task was beyond them: at all
+events the vaulting shafts were left as they are, and the transepts have
+never been vaulted.
+
+The windows of the nave and transept aisles are uniformly uninteresting.
+They were originally plain Norman lights, then Perpendicular, then
+seventeenth century Gothic, and finally "restored" by Scott, in
+imitation of the Perpendicular work. The windows of Dean Duppa,
+which they replaced, were certainly not beautiful in their tracery,
+as may be seen by that at the west end of the north nave aisle, which
+only the delightful Dutch glass of Van Ling redeems,--but they at least
+had some character. In the south nave aisle an attempt has been made to
+hark further back by the introduction of a window in Norman style; but
+fortunately this has not been persevered with. Only one of the original
+Romanesque windows remains, by which to judge the effect contemplated
+by the first architects; it is that containing Bishop King's portrait.
+
+=Glass in the Aisles=.--The glass in the restored Perpendicular windows
+of the nave aisles (by Clayton and Bell) is very unsatisfactory both
+in colour and design. Of that in the round-headed window of the south
+aisle of the nave by an Irish artist (O'Connor) one can only say that
+it was better conceived than executed. Over the door that leads into
+the cloister is a half-window by Mr. Wailes.
+
+The "Faith, Hope, and Charity" window next to this (namely, at the west
+end of the aisle) was Sir Edward Burne Jones' second essay here in this
+craft. If his first, that in St. Catherine's, the Latin Chapel, was a
+wonderful success, this one is a not unpleasant failure, but a failure
+none the less. None of the figures are very graceful; the firing seems to
+have gone wrong in the most important places, especially in the faces,
+which are coarse and expressionless, though one cannot help admiring
+the fortitude of Charity in carrying the bulky infant who presents his
+vast back to the spectator. The colour is strong, and free from the
+miserable timidity of the work in the Perpendicular windows,--for the
+whole thing is of course a work of art (and not of commerce), though an
+unsuccessful one,--still it fails to harmonise. The window as a whole,
+however, is saved by the beautiful foliage which forms the background,
+and by the four slender figures in the tracery.
+
+Others have admired it more. Here, for instance, is an appreciative
+description from the columns of "The Builder" for April 1888:--"The figure
+of Hope has a greyish-blue drapery, varied in tint, and diapered with
+the pattern of a flower in stain. The scarf floating round the figure
+is sky-blue in tone and lighter than the dress. The figure of Charity has
+a ruby over-mantle, with a white dress underneath; while the figure
+of Faith has a blue dress beautifully and richly diapered, the upper
+portion with a sumptuous Venetian design familiar on the brocades of
+the sixteenth century, and the lower portion with a sprig of foliage.
+The tone of the backgrounds is a rich, warm green, and is very carefully
+painted with foliage, and the contrast yielded by the pale blue of the
+drapery, and the rich, warm green of the background in the two outside
+windows, is most harmonious and striking. The detail in this window is
+very elaborate, and every part of it bears traces of care and thought."
+
+In a corner of this window is an inscription,--_In Memoriam Edwardi
+Denison hujusce Aedis commensalis Curâ amicorum, A.D. 1870._ Edward
+Denison, nephew of the Speaker, and son of the Bishop of Salisbury, was
+the pioneer of those who have since founded the numerous settlements
+in the neglected parts of London. At a period of acute distress he
+convinced himself that no good could be done by sending money from
+the West End unless educated people could be found who would give up
+their lives to making friends with the poor. Accordingly he took the
+novel step of going to live in the East End; there he founded a club,
+and lived apart from the brilliant society to which he was accustomed.
+Besides teaching and organising, he studied carefully the social
+conditions of his neighbours, and many of the methods now universally
+practised date from his experience. Shortly after he had been elected
+M.P. for Newark he died, at the early age of twenty-nine, and there was
+"hardly a home within his district that had not some memory left of the
+love and tenderness of his personal charity."
+
+In the west end of the north aisle of the nave is the last remaining
+relic of the glass which the Dutchman Van Ling painted in Dean Duppa's
+time. The rest, which filled the aisle, was removed about twenty-five
+years since, on the ground that it made the church too dark. There are
+various opinions about this window, which represents Jonah sitting under
+his gourd, and the town of Nineveh in the distance. We must confess to
+a great admiration for it; the foliage is fine and rich, and if it is a
+little over-strong in its green, that only makes it more characteristic
+of its age. And, however that may be, there cannot be two opinions as to
+beauty of the town in the background, which reminds one irresistibly of
+Dürer; and, with its rich brown houses, bluish roofs, touches of greenery,
+and fair purple hills beyond, makes the right-hand light of the window
+a picture of which one never wearies. The whole is leaded in rectangular
+panes, like Bishop King's window.
+
+=Monuments of the Nave Aisles=.--In the south aisle there are two
+monuments of interest; that of _Corbet_ (1688) for the characteristic
+decoration of cupids and wreath work; that of _Pococke_ for further
+reasons. Edward Pococke (1604-1691), whose bust was moved here from the
+north aisle by Scott, is represented with pointed beard and wearing the
+old tufted college cap. He was the great Arabic scholar of his day;
+the first text in Hebrew characters printed at Oxford was published
+by him, and his 420 oriental MSS. were bought by the University. Yet
+he was condemned, under the Commonwealth, by the Berkshire "Committee
+of Scandalous Ministers," on the ground of "insufficiency," his real
+offence being that he had used part of the Prayer Book in the public
+service. There are two portraits of him in the Bodleian, representing
+him with light hair and dark eyes; and a fig-tree which he planted still
+flourishes on the south side of the Professor of Hebrew's house. A
+striking biography of him has come down to us in a sentence--"His life
+appeared to me one constant calm."
+
+=The North Transept= has the unnoticeable peculiarity, that it turns
+slightly westward. This is because the choir (into which it is built at
+right angles) turns a little to the north, to symbolise, it is said,
+the droop of our Lord's head upon the cross. The western aisle of this
+transept still remains; the eastern aisle has been lost in the chapels,
+of which it now forms the respective western bays.
+
+The north bay of this transept bears the marks in its clerestory of
+late Perpendicular restoration; the carved heads on the string-course
+above the arch afford an interesting comparison with the Norman heads
+above the capitals, and are vigorous sketches of contemporary life. The
+capitals in this transept and those in the north aisle of the nave are
+strong and varied. The wooden roof of both the transepts was made in the
+early sixteenth century, earlier than that of the nave.
+
+The tracery of the great north window had been altered and made ugly by
+the seventeenth century restorers; it was accordingly restored back to
+its original design by Sir Gilbert Scott.
+
+Under this north window is a panelled tomb belonging to Henry VII.'s
+time. It is attributed to _James Zouch_, a monk of the priory, who
+died in 1503. In his will, dated October 16, 1503, and preserved in
+the Prerogative Office in London, he directs that he shall be interred
+under the window of the north transept, and a tomb be erected for him
+in the midst of the same window. He also bequeathed £30 to the convent
+for vaulting that part of the church, in consideration of his being
+there buried.
+
+On each of the shields in the quatrefoil compartments of the tomb is an
+inkhorn and pen-case, indicating, it is said, that the monk was a notary
+or scribe by profession, though Dr. Ingram speaks of "the pen-case and
+inkhorn of Zouch" as an heraldic blazonry.
+
+[Illustration: FROM THE NORTH TRANSEPT.]
+
+In the north transept aisle there are curious thin, wavy scrolls of
+brasses, commemorating "Leonardus Hutten," and hard by are two pleasant
+kneeling figures also in brasses.
+
+Some of the monuments that disfigured the church have fortunately been
+removed; of these is Chantrey's great sitting figure of Cyril Jackson,
+which took up most of the north transept, but is now removed to the
+Library. Of these sequestrated monuments some have been placed in the
+ante-chapel; among them are the large and simple memorial of Bishop Fell,
+and those of Dean Gaisford (d. 1855) and Bishop Lloyd (d. 1829).
+
+One cannot but admire the spirit which has caused so many brasses to be
+set up in recent years to deceased members of the House; and yet it has
+become an abuse which calls for serious protest. It is now so much a
+precedent that every member of the foundation should have a brass set up
+to his memory at his death, that the tribute is become mechanical, and
+indeed it would now be a marked slight if any don should die without a
+memorial brass being erected. At this rate the cathedral will in a few
+generations be entirely defaced unless the tradition be interrupted. As
+it is, the brasses are all the reverse of beautiful; and, after a period
+of lacquered obtrusiveness, they become leprous, and afterwards black.
+A modern brass, indeed, defaces a wall as much as a modern tablet. Surely
+some more beautiful form of memorial could be devised. The cathedral is
+in need of many things, of colour, and hangings, and furniture. Could
+not those tributes of respect take in the future this more honourable
+form? Then, when an inscription is necessary, the enamelled tablet, with
+its endless possibilities of jewel-like colour, might be used in place
+of brass or marble. Something has already been done by the erection of
+the beautiful eastern windows, and the cathedral has been fortunate in
+escaping an eruption of episcopal tombs; but latterly there has been
+an epidemic of brasses, which makes one fear that the artist's work is
+being forgotten in the temptation to set off an epitaph with a display
+of Latinity.
+
+=Glass in the Transepts=.--The great window of the north transept is by
+Clayton and Bell. Mr. Tyrwhitt says of it that it "glows with all the
+fires which a fervid fancy can bestow upon the inwards of the Dragon."
+
+The glaring glass in the clerestory of the north and south transepts is
+by Henri and Alfred Gérente (1854), artists famous in their day. It was
+originally in the great east window (now destroyed), and must have thrown
+the members of the House into a stupor when in that prominent position. As
+it is, the clerestory windows are a very inappropriate place for colour,
+violent enough to "scare a chameleon"; though the glass was evidently put
+there as the least conspicuous position. It might now be taken out and
+buried, on the chance that time and the earth may have a mellowing effect.
+
+The half-window above the vestry in the south transept is filled with
+glass, coloured to look as if it were old, by Clayton and Bell, and given
+in memory of Dr. Liddon.
+
+=The South Transept= was originally on the same plan as the north, but
+its aisles have disappeared: that on the west to make room for the
+cloister; while that on the east is now represented by the chapel of
+St. Lucy. Its appearance has also been much altered by the division of
+its southern bay into two stories, which reduces its length, since the
+lower story is the slype or passage that leads from the cloister to the
+cemetery, and is therefore to all intents and purposes outside the
+church. The upper story is reached by steps from the transept floor.
+The whole of this curious structure, which has the appearance of a small
+house built into the transept, is a modern restoration, its immediate
+predecessor having been literally a house where dwelt the verger and his
+family. In earlier times, however, there had been some kind of erection
+here, which was used as a sacristy, and of this traces were found by
+Gilbert Scott which led to the present restoration. As these traces,
+however, consisted principally of some fragments of a staircase, the
+present Early English restoration is only conjectural. On the whole it is
+tolerable, though the heavy and unnecessary central buttress one may well
+suppose not to be part of the old design. Why the slope of this buttress,
+which stands in the middle of the transept, should be so stoutly protected
+against the weather, it is hard to imagine. The carving on the tympanum
+over the door that leads into the slype is stiff and repulsive. Just
+to the right of this door is a holy water stoup, very simply cut into
+the pillar, which proves that this entrance from the slype was usual in
+old times, when the monastic buildings lay on that side of the church;
+at present, however, the door is commonly kept locked.
+
+[Illustration: SAXON CLERESTORY WINDOW IN SOUTH TRANSEPT
+ (_from a drawing by J. Park Harrison_).]
+
+The chamber above the slype, representing the old sacristy, is now used
+as a vestry. It is reached from the transept, and a staircase in it leads
+to the gallery above, whence in all probability a door led straight into
+the dormitory of the monastery. A similar arrangement to this existed
+at Bristol, which was also an Augustinian house; and there are traces
+of a door in the wall of Canon Sanday's house which further substantiate
+the conjecture. Some direct access to the church from the dormitory was
+a great convenience in the days when matins was said in the middle of
+the night.
+
+The gallery is now used as a kind of museum for any odd fragments that
+are discovered in the precincts. Among them is the quaintly carved base
+of a Norman cross, which before the Reformation stood, together with a
+pulpit, at the west end of the nave, near the place now occupied by the
+fountain. The subjects represented are the Fall, Abraham's Sacrifice,
+the Giving of the Law.
+
+The open triforium directly over the Lyttleton monument in this transept
+is an important relic of the second Saxon church, and a good instance of
+the slight things which sometimes turn the scales in antiquarian disputes.
+Professor Willis had in 1840 pronounced (as against Dr. Ingram, whose
+pet theory it was that the triforium was the clerestory of Ethelred's
+church) that the triforium must be of Norman design, because no grooves
+could be found for the insertion of glass in the shafts, as would be the
+case if it were Saxon.
+
+Mr. Harrison accordingly, in December 1891, made a close examination of
+the shaft and small arches in the open triforium which had struck him
+as of Saxon character, with the result that the grooves for glass were
+discovered to exist beyond a doubt, but so neatly stopped with mortar as
+previously to have escaped notice. They can be clearly discerned inside
+the arches, by anyone with good sight, from the floor of the church. The
+base of the shaft which carries these arches is equally decisive, for it
+is "pudding shaped," entirely different from the other bases, and most
+unmistakably Saxon: it also can be seen from the floor, but is worth an
+inspection from the gallery over the choir-vestry, whence there is also
+an impressive view of the church. With this exception, the triforia and
+clerestories of the transepts are similar to those of the nave, though
+Saxon tooling has been found on the wall, and there is a break in some
+of the masonry on the angle shaft near the vestry door, which possesses
+a Saxon base. The principal arches of the clerestories are not pointed,
+which proves that the transepts were rebuilt earlier than the nave. Two
+corbels on the east side of the transept mark the site of a musicians'
+gallery which once projected beyond the triforium.
+
+=St. Lucy's Chapel= in the second bay of the old south transept aisle was
+used as a vestry in the days when the transept was devoted to domestic
+purposes. It must have ruined the effect of this part of the church,
+and formed an extremely inconvenient vestry. Now the chapel is used, not
+very appropriately, as a baptistery; it contains a font, well designed
+and carved, which was executed in 1882. It is Norman or earlier, with
+the exception of the eastern wall, which was rebuilt in order to hold the
+present beautiful window. This window is of an uncommon type; the three
+lights, less than half the height of the tracery above them, commence
+considerably below the spring of the arch. The tracery, which reminds one
+of that in Dorchester Abbey, a few miles away, is flamboyant in character,
+suggesting the form which the decadence of Gothic architecture took in
+France; only in this case it is a decadence that is vigorous as well as
+graceful.
+
+The chapel recalls the time when King Charles held his court in Christ
+Church, at the time of the Civil War, many cavalier knights being buried
+here.
+
+=Monuments of the South Transept and Chapel=.--There are the tombs of
+several prominent royalists in the transept as well as in St. Lucy's
+little chapel, most of which might well be spared were it not for their
+historic interest. That of Viscount Grandison, for instance, consists of
+an urn on a pedestal, altogether huge and hideous; yet Grandison was a
+brave and doubtless a graceful cavalier, who died in Oxford of wounds
+received in the attack on Bristol in 1643. Another ugly, big monument
+is that of Sir E. Littleton, keeper of the Great Seal, who took up arms
+"for the royal majesty, during the execrable siege of this city." Sir
+John Smith is also buried here: he "redeemed the banner royal" at the
+battle of Edgehill, was knighted on the field by the King, and died of
+his wounds in 1644, at the early age of twenty-eight.
+
+A very odd monument is that to Viscount Brouncker, who died in 1645,
+having been chamberlain to the young Charles, then Prince of Wales. A
+smartly dressed gentleman and his wife are represented seated in
+meditative attitudes, each with an elbow on the table, while between
+their two elbows is propped a skull.
+
+In the tracery of St. Lucy's chapel is to be found the finest old glass
+in the cathedral. It belongs to the year 1330, or thereabouts, and
+enables one to imagine what the church must have looked like when glass
+of this magnificent description abounded, and hangings and altar-pieces
+and wall-paintings, hardly less rich, filled every conspicuous position.
+In the uppermost compartment of the tracery is a figure of our Lord seated
+in glory; below there are angels with censers, and next two Augustinian
+monks in blue and white robes, kneeling with outstretched arms; then come
+coats of arms, and various grotesque beasts, all most richly coloured
+in ruby and blue and green and gold. Below, in the principal spaces,
+are (1) St. Martin on horseback giving his coat to the beggar; (2) the
+martyrdom of St. Thomas à Becket: St. Thomas' head has been knocked
+out by some fanatic, and replaced with white glass; the armour and shields
+of the knights should be noticed; (3) St. Augustine, who holds a pastoral
+staff, is teaching his monks and others. In the next four spaces are:--The
+head of a king; St. Cuthbert, carrying the head of St. Oswald, and wearing
+a green chasuble; St. Blaise, in a mulberry-coloured chasuble; the head
+of a queen. The glass in the three main lights was destroyed, and then
+replaced by some of seventeenth century work, but this too is now gone,
+all except a portion of the upper part, which shows that the design was
+architectural in character, and the colour that of fog-smitten stone-work.
+
+[Illustration: THIRD CAPITAL OF CHOIR.]
+
+=The Choir= is in four bays with a presbytery; it is in the same style
+as the rest of the church, with the exception of the Perpendicular
+alterations in the upper part. It was formerly filled with heavy,
+ugly woodwork, and half way up all the pillars may be traced the modern
+stone-work which had to be inserted when the stalls and panelling that had
+encased the pillars were removed. Not a wreck of the old wood remains, and
+the choir is now seated with walnut-wood stalls by Farmer and Brindley,
+along which runs a light iron screen, very carefully wrought by Skidmore
+of Birmingham in 1871. It is copied from Queen Eleanor's tomb in
+Westminster Abbey. The pavement relaid in 1871 contains representations of
+the cardinal virtues, copied from the church of the Knights of St. John at
+Malta. Yet there were original artists to be found twenty-five years ago!
+
+[Illustration: CAPITALS OF THE CHOIR
+ (_from a drawing by J. Park Harrison_).]
+
+The pillars of the choir are larger than those of the nave, which appear
+to have been reduced in girth (see p. 54). They are (according to the
+theory of p. 9) part of Ethelred's church, dating from the first decade of
+the eleventh century; but their bases belong to the Norman restoration,
+and were probably put in by Cricklade. The triforium is also Late Norman,
+here as throughout the church, with the single exception of the one
+window in the south transept.
+
+It is in the capitals of the choir that the most striking evidence of
+Saxon work in the church is said to lie. Thus they are of remarkable
+interest, besides being very fine specimens of stone-carving. If the
+visitor sits in a stall in the middle of the south side of the choir
+he will have the three most important capitals before him, and can study
+them at leisure. One striking feature common to them all is that they bear
+very evident traces of having been worn by the weather. It has been found
+by Mr. Drinkwater that the stone of which they are made is too durable
+to have been affected by the atmosphere while under cover; which would
+prove that they must have been in their present position exposed to the
+driving rains from the south, during the long period when the church was
+in ruins, that is to say, before the restoration of the twelfth century.
+
+Another significant feature which these three capitals have in common,
+not only with each other but with all the others in the choir, is that
+their abaci are extremely thick, just twice as thick as those in the
+transepts and nave; and thick abaci are a mark of early work.
+
+Their ornamentation is remarkable, partly Saxon and partly Oriental in
+character, and said to be unlike Norman work. Sir Gilbert Scott himself
+noticed the latter characteristic of these and other capitals in the
+church. "The foliated ornament," he wrote, "assumes a noble character,
+evidently evincing a study of the ancient Greek, which was effected
+through a Byzantine medium." We have already seen, in the History of the
+Cathedral, how this Byzantine influence is to be accounted for by the
+fact that Greek clergy flocked to the court of Ethelred's brother-in-law
+Richard; and further, it must be noted that many illuminated MSS. of
+Saxon date show that Greek ornament was admired and studied at the time.
+Professor Westwood, in his "_Lapidarium_," points out that in Saxon art
+the designs of stone-carving are so completely identical with those in
+the MSS. as to lead us to suppose that the artists of the illuminated
+drawings were also the designers of the architecture. So much is this
+the case that, "the age of a particular MS. being ascertained, we are
+able approximately to determine also the age of the carving." Professor
+Westwood was, in fact, among the first to be convinced of the Saxon
+origin of the capitals we are discussing.
+
+It is worth while to give a few illustrations of this very important
+point. The first capital from the tower on the north side of the choir is
+ornamented with that curious _spuma_ or wave-shaped work which has just
+the dip and swing of a wave of the sea as it curls over before breaking.
+
+In a Psalter of the beginning of the eleventh century (B.M. Har. 2904)
+is to be found precisely the same vivid conventionalism.[2]
+
+The second capital is the most curious one in the church, and is also
+the most strikingly Saxon, the stalks issuing from pipes or tubes being
+as characteristic almost of Saxon as interlaced work is of Celtic art.
+
+Standing immediately under this capital, one is able clearly to
+discern the faces on the corner volutes, which have each a crown of
+leaves like one found in the famous tenth century "Dunstan" MS. in the
+British Museum. One of these faces is that of a man, very heavy and
+stupid-looking; the other that of a comely woman. It is hardly fanciful
+to suppose that they are portraits of the blundering Ethelred and his
+wife Emma.
+
+The third capital is decorated with some branching work hardly less
+curious, and above it is a head wearing the unbifurcated mitre, which
+dropped out of use in the eleventh century. Of the three capitals on the
+south side of the choir, which do not bear the same signs of weathering,
+one has branching work, and the other two reworked leafage, such as is
+found also in one on the north side of the nave.
+
+As for the triforium and the rest of the work of the choir, it was all
+so much restored in the twelfth century that one cannot find in it any
+sign of pre-Norman work.
+
+The pendent ceiling is one of the most striking features of the cathedral,
+and is worth careful study. Ferguson considers this work to be the
+most satisfactory attempt ever made to surmount the great difficulty
+presented in all fan-tracery by the awkward, flat, central space which
+is left in each bay by the four cones of the vault. At Gloucester,
+King's College Chapel, Cambridge, Henry VII.'s Chapel, Westminster, and
+other places, various attempts were made to deceive the eye, and hide
+the unmanageable space; in Henry VII.'s Chapel the well-known pendants
+were boldly introduced with this object. None were wholly satisfactory,
+but, says Fergusson:--
+
+"Strange as it may appear from its date, the most satisfactory roof of
+this class is that erected by Cardinal Wolsey in the beginning of the
+sixteenth century [this is a mistake, the roof having been built some
+time before] over the choir of Oxford Cathedral. In this instance the
+pendants are thrust so far forward, and made so important, that the
+central part of the roof is practically quadripartite. The remaining
+difficulty was obviated by abandoning the circular, horizontal outline
+of true fan-tracery, and adopting a polygonal form instead. As the whole
+is done in a constructive manner and with appropriate detail, this roof,
+except in size, is one of the best and most remarkable ever executed."
+
+Fan-tracery is a peculiarly English feature, and was invented, according
+to Fergusson, in order to get rid of the endless repetition of inverted
+pyramids which earlier vaulting produced. He therefore considers it an
+improvement on the vaulting of the early English and Decorated periods;
+and, as he thinks the ceiling of Christ Church Cathedral to be the best
+example of fan-tracery, he comes near to pronouncing it the finest in
+the world.
+
+It certainly must strike every observer as possessing exceptional
+beauty. At once rich and light, it yet accords wonderfully with the
+homely Norman work that it crowns, and gives a happy finish to the most
+important part of the cathedral. Even the lantern pendants seem more
+graceful than is usually the case with those strange architectural
+solecisms. Mr. Ruskin calls the ceiling "true Tudor grotesque, inventively
+constructive, delicately carved, summing the builder's skill in the
+fifteenth century."
+
+[Illustration: TRACERY OF THE CHOIR CEILING, SHOWING TRANSEPT CLERESTORY
+BEFORE THE RESTORATION.]
+
+The ceiling is certainly too early in design to have been built by Wolsey,
+as was supposed. But there are traces in the work which have led some
+antiquaries to suppose that, though begun about 1480, its western bay
+may not have been finished till the Cardinal's time, or even till the
+end of Henry's reign. The head on the large corbel over the Dean's stall
+certainly wears a Tudor crown, and is bearded. This would lead one to
+suppose it to be a likeness of Henry VIII.: furthermore, the face is broad
+but emaciated, with the beard straggling; and we learn from historians
+that the King did let his beard grow longer at the end of his life,
+when he was worn and ill, and expressed more penitence for his many
+misdeeds than he is generally given credit for. The woman's head on the
+corbel opposite, also wearing a Tudor crown, would probably be the last
+of his wives, Katherine Parr. The face wears the happy expression of
+one delivered from great anxiety.
+
+In the arched space nearly above these heads are four canopied figures:
+on the north, St. Peter with his keys, and St. Mary Magdalen (suggestive
+of Wolsey's own college in Oxford); on the south St. Luke, over his bull
+(possibly because of the connection of St. Frideswide's with the healing
+art), and St. Catherine, holding the remains of a sword in her right hand,
+and retaining a fragment of the wheel in her left. St. Katherine will be
+found in the same attitude in a painted window of the Latin Chapel. The
+central bosses of the roof are interesting. Over the altar is the head of
+our Lord, surrounded by an aureole, the beard twisted into three points:
+in the next bay is the Madonna and Child, and next a graceful figure,
+identified as St. Frideswide by the curious sceptre with heavy foliage
+at the end, which she is again represented with in the middle window
+of the Latin Chapel. An angel is on either side of this figure. In the
+next bay is an archbishop (Augustine?) with his cross; and on the last
+a bishop (perhaps Birinus), holding his pastoral staff and supported by
+two figures which may be chaplains or acolytes.
+
+The clerestory of the choir was converted into Perpendicular at the
+time when the roof was vaulted. The old walls were simply covered with
+panelling, and the old windows enlarged into Perpendicular ones.
+
+=The East End=, now one of the most characteristic features of the
+cathedral, is the work of Sir G. Gilbert Scott, and is supposed to be a
+reproduction of the original twelfth century design: for enough fragments
+of the old work were said to remain on the walls to leave no doubt as to
+its original plan. Of course the detail has the usual machine-made look
+of modern carving; but it is something to have recovered the original
+effect, especially as the Decorated window which it has replaced had been
+spoilt in the seventeenth century, when it was altered from its original
+five lights to three. The design, says Mr. J.H. Parker, is very rare in
+England, and not common anywhere. It consists of a large wheel-window,
+with an intersecting arcade under it, and _two_ round-headed windows
+below: the wheel-window is set in a large round arch that seems to rest
+on two stout pillars. This round window is an imitation of an old one in
+Canterbury Cathedral. The arcade has a truer and less mechanical look than
+most of the restored work. The whole effect of the East End is excellent;
+dignified and varied, it has something of that refined homeliness which
+is so strong a characteristic of the cathedral. The stained glass in the
+windows by Clayton and Bell is not at all unpleasing when seen from a
+distance. It is in character with the stone-work, and only just fails
+to be really fine in colour. Dr. Liddon and Sir John Mowbray were the
+donors of the glass.
+
+It was formerly thought that the Norman presbytery was part of the
+original choir, and therefore presumably the earliest portion of the
+church; but Mr. Harrison gives the following technical reasons for
+holding that it was an addition to an older building with an apse, built
+by Ethelred:--
+
+1. The arches of the two side windows cut through string courses
+which run eastwards on both sides of the presbytery, being, in fact,
+continuations of the abaci proper of the half-capitals at that end
+of the choir. 2. If the east windows were designed from fragments of
+previously existing Norman ones, these cannot have been of the same date
+as the choir arches. The mouldings are later, and the old bases of the
+windows still in the east wall are clearly of transitional character,
+differing essentially from those belonging to corner shafts in the east
+aisles of the transepts. 3. The east walls of the choir aisles, which
+had been heightened to carry the vaulting, abut against and cover the
+jambs of the two side windows of the presbytery on the outside, a thing
+which could not have happened had the presbytery and choir aisles formed
+part of the same design.
+
+=The Reredos=, an anonymous gift, erected in 1881 in red Dumfries
+sandstone, is a pleasant contrast to the chilly erections which now
+deface so many of our cathedrals. It has been said to be "perhaps the
+most exquisite piece of modern workmanship in Oxford," though this would
+not necessarily be very high praise. But, though a little too small for
+its position, a little wanting in breadth and overstrained in detail, it
+is a sound and sincere piece of work. Nor can we agree with the criticism
+which says that nothing can make it look like part of the structure, for
+this is the fault of the structure in its present condition; when the old
+colouring is revived, the reredos will certainly not be too rich for it,
+and there is plenty of late Gothic in the choir to harmonise with its
+carving. Mr. Bodley designed it, and Mr. Brindley was the sculptor of
+the figures. They are of marble (rosso antico), and are excellent both
+in feeling and execution. The central panel represents the Crucifixion,
+with Our Lady and St. John at the foot of the cross, and Jerusalem in
+the background. In the niches on the left are St. Michael in armour, and
+St. Stephen in a dalmatic; on the right, St. Augustine, in cope and mitre,
+and a very feminine looking St. Gabriel. Above the niches are carved and
+gilt shields bearing the emblems of the Passion. The warm effect of the
+whole is heightened by two handsome, green curtains on either side. The
+inscription, under the crucifix is _Per crucem tuam libera nos Domine_.
+
+=The High Altar=, of cedar wood, is less successful. Its eight clumsy
+legs, which are the only part visible, are covered with unpleasant,
+geometrical carving, most inappropriately accentuated by gilding: the
+result is that an impression of some strange, many-legged insect fastens
+on one in entering the church, and is hard to dislodge. One could wish
+that the altar were panelled, or frontals used to cover the legs.
+
+The two silver-gilt candlesticks are extremely fine examples of
+seventeenth century plate; they are rather squat in shape, with large
+bases richly embossed. The alms-dish which stands over the credence
+is also silver-gilt of the same date, magnificently embossed. These
+were given at the Restoration, and bear the date 1661-2. The chalices,
+patens, and flagons have been made to match them in more recent times.
+The altar books are good specimens of binding in velvet and precious
+metal. They were given in 1638 by Canon Henry King. On the fly-leaf of
+each book is a curious inscription in Latin, of which the following is
+a translation:--"Bequeathed to the Church of Christ, Oxford. A brand
+snatched from the burning, 1647, by the zealous care of R. Gardiner,
+Canon of Ch. Ch., but displaced from his rightful position by the greed
+of his times." These books were in use when Charles I. worshipped in the
+cathedral during the civil war.
+
+The lectern, of ancient, pale brass enriched with filigree work, and
+garnished with amethyst, cornelian, and agate stones, is the gift of two
+former censors of the House, the Rev. T. Vere Bayne and the Rev. H.L.
+Thompson. The stem, surmounted by a globe and a good conventional eagle,
+bears the figures of St. Frideswide, Cardinal Wolsey, and Bishop King.
+At the base are three lions bearing the arms of the Priory, the College,
+and the University. The bible bears the date 1674. A beautifully
+illuminated lectionary on vellum, a relic of Cardinal Wolsey, and used
+by him in this church, can be seen in the Christ Church library.
+
+The Bishop's Throne (in Italian walnut) is a not very inspired work
+of Messrs. Farmer and Brindley. It was put up as a memorial to Bishop
+Wilberforce, at a cost of £1000, and has a medallion of the Bishop with
+mitre and pastoral staff at the back.
+
+=The South Choir Aisle= is of an earlier period than the nave and transept
+aisles, the walls being, it is thought, of Ethelred's time. A stone
+bench runs along its south side, adding to its bright and pleasant
+appearance. The southern windows were rebuilt by Scott in Norman
+style of a different character to the window containing Bishop King's
+portrait which has its original capitals and bases. The corbels which
+carry the vault are carved into heads of men and baboons: the vaulting
+ribs have been unmistakably fitted on to the earlier Norman work. The
+Decorated east window, which, owing to the Burne Jones glass, is such
+a prominent feature of the cathedral, is restored, but there is a good
+deal of the original ball-flower moulding around it. At the side is a
+late Perpendicular piscina, with bold, square flowers cut on the jambs;
+and on the pillars opposite there are traces of paintings, which must
+have been very bright-coloured once, and would very likely be so still,
+had it not been for Brian Duppa's wood-work.
+
+=Monuments=.--There is an old brass on the wall, near the eastern end,
+to Stephen Pence, who died in 1587. Near this is a not very pleasing
+life-size medallion of Prince Leopold in statuary marble set in Sicilian
+marble; it was sculptured by Mr. T. Williamson of Esher. The bronze
+tablet, with the portrait in relief of Dr. Mackarness, the late Bishop,
+is very much better both in colour and design. Further west another
+medallion in statuary marble, set in giallo antico, commemorates Sarah
+Acland, the wife of Sir Henry Acland, who is an Honorary Student of
+the House, and was for many years Regius Professor of Medicine in the
+University; the Sarah Acland Home for Nurses keeps her pious memory fresh
+in Oxford.
+
+The late Tudor monument to the first Bishop of Oxford, _Robert King_, has
+been removed from its former place under his window to the bay between the
+aisle and St. Lucy's Chapel, where it now forms a sort of small screen
+to the little chapel. Bishop King died in 1557; his tomb is recessed,
+canopied, and covered with shallow panel-work in minute divisions, but
+without any effigy, sculptured or incised. Though it is among the last
+works of the mediæval school of monumental architecture, it is still
+graceful and restrained; and indeed a great contrast to the new style
+of monument which came in a few years later. _Inscription:--Hic jacet
+Robertus King sacre theologie Professor et primus Ep'us Oxon. qui obiit
+quarto die Decembris Anno (Domini M.D. LVII)_.
+
+Crossing to the north side of the choir, one reaches the beautiful
+cluster of chapels which add so much to the grace of the cathedral,
+relieving it of any grimness of aspect which its unbroken array of
+massive columns might otherwise have produced, and by their unaffected
+dissimilarity enhancing at once its historical interest and its visible
+charm. Here the eye wanders among pillars and arches which branch away
+in so many directions that the grandest churches can scarcely give more
+thoroughly the idea of infinity. And here one stands on the site of St.
+Frideswide's first little church, with the very arches that she had
+built for her, still standing in all their primitive simplicity. These
+three aisles, and the south aisle on the opposite side of the choir, are
+indeed eloquent of the unpretentious, lasting work that brave women have
+done for humanity: the latter has become, through its window, sacred to
+the memory of St. Catherine, whose own Latin Chapel is now for the same
+reason inseparably connected with St. Frideswide. St. Cecilia looks down
+upon the aisle next the choir, and the chapel of Our Lady is separated
+from it only by the monument of the Saxon maiden, while St. Lucy has
+given her name to the fifth and smallest of these eastern chapels. Thus
+has this great society of learned men taken pleasure in doing honour to
+the good women of Christendom.
+
+=The North Choir Aisle= and the two aisles which adjoin it were lengthened
+one bay by the gradual inclusion of the eastern aisle of the transept.
+A heavy pier has been left with no attempt at decoration on the transept
+side but with a cluster of shafts on the side facing east; and the next
+pier to the north has been similarly treated. It will be noticed that the
+arches over these western bays of the north choir aisle and Lady Chapel,
+being the arches of the old transept aisle, are extremely massive;
+unlike anything else in the church, except the one remaining arch, is
+the corresponding south transept aisle (now St. Lucy's Chapel): these
+are therefore thought to be unrestored parts of Ethelred's works. The
+fact that Norman vaulting shafts have evidently been inserted into the
+pier walls of the aisles point also to the conclusion that the aisle
+was erected at a date when vaulting shafts were not in use.
+
+At the east end there is a small arch, extremely rough, its ragstone
+voussoirs patched in one part with a block of modern stone. A similar
+arch is to be seen in the wall of the next (Lady) Chapel, and between
+these two are traces of another. These three arches led to one of the
+most interesting architectural discoveries of recent years; and one can
+hardly look at them unmoved, remembering that they form part of the
+original church which was built by St. Frideswide and her father. They
+were indeed the three "chancel arches" (if one may use the expression)
+which led into the three apses, the discovery of which we have described
+in our chapter on the exterior of the cathedral.
+
+It was not till 1888 that the plaster was removed from the walls, and
+these arches exposed to view. It was then obvious that they had been
+part of a permanent church, and not merely temporary doorways for the
+convenience of Norman masons. Rough as they seem, to the expert they
+bear marks of care and repair, of having been, in fact, preserved as a
+specially venerated part of the church. As an instance of this, Mr. Park
+Harrison points out that one of the supporting stones is quite two feet
+long (longer than any other in the cathedral), and has Norman tooling
+upon it. It can scarcely be doubted, he says, that this was introduced
+to support the springing-stones of the arch, for there are clear signs
+that there had been some settlement. The head of the archways, too,
+had been plastered. In both archways there is an impost (a projection,
+that is, from which the arch springs), and this impost is continued
+through the thickness of the wall. It will be noticed that the jambs of
+these arches go more than two feet below the level of the floor, which
+is another sign of their early date. Within the apse that was reached
+through the southernmost archway lay the body of St. Frideswide in its
+first resting-place, and for long this part seems to have been held in
+special veneration, until the first translation in 1180, when the relics
+of "The Lady" were moved into a more noted place in the church, and this
+apse doubtless abandoned like the other two. Somewhere here the relics
+were then placed (as they lie to-day in the ground beneath this chapel),
+but the first monument has been lost. Of the second monument, which also
+was lost but is found again, it is now the place to speak. But, first,
+it may be well to explain that what is usually called the shrine of St.
+Frideswide is really the marble monument, or base, upon which the shrine
+itself formerly rested. In the Middle Ages, relics (with the two English
+exceptions of Westminster and St. Albans) were preserved in a shrine,
+usually of metal, which was enclosed in a coffer or _feretrum_.
+
+=The Shrine of St. Frideswide=.--Foremost in historical interest,
+as well as in actual beauty, are the remains of the marble monument
+which have recently been put together and set up in the easternmost
+arch between the Lady Chapel and the north choir aisle. The coffer
+or shrine, which was made for the translation in 1289 (its base being
+therefore the most ancient monument in the cathedral), was knocked to
+pieces at the Reformation (1538), and, being of wood, must have entirely
+perished. But gradually, and from different places, fragments of the base
+were brought together: first, several pieces of delicately carved marble
+were discovered in the sides of a square well in the yard south-west of
+the cathedral; then a part of the plinth on the south side was found to
+be in use as a step, luckily with the carved portion turned inwards;
+next, a spandrel was detected by Mr. Francis, the head verger, in the
+wall of the cemetery; and last of all a piece of the plinth was found
+in a wall in Tom Quad. Though some portions are still wanting, it is
+not impossible that more may yet be found.
+
+As the monument stands now, it cannot, of course, impress one as it
+would have done in its perfect state, with the rich superstructure
+crowning it: especially as the restored shafts are merely square
+stone supports of the clumsiest description, so studiously careful
+has the restorer been not to confuse them with the original work. One
+cannot but applaud this conscientious spirit (would, indeed, that it
+had been adopted earlier!), but at the same time the modern supports
+have been made quite unnecessarily hideous. Still, though the base
+of St. Frideswide's shrine is only a collection of fragments, these
+fragments are of remarkable beauty and interest. It is of Forest marble,
+measuring seven feet by three and a half; and consists of an arcade of
+two richly cusped arches at the sides and one at each end. On the top
+of this was fixed the _feretrum_, containing the jewelled casket that
+held the relics themselves. The spandrels are filled with wonderfully
+carved foliage, unusually naturalistic, and preserving still the traces
+of colour and gilding to remind one of its former glories. The plants
+have been identified by Mr. Druce of High Street, the well-known Oxford
+botanist. On the south side there is maple in the central spandrel,
+with a wreath of what is probably crow's-foot in a boss below: the two
+side spandrels contain columbine and the greater celandine. On the north
+side the foliage is mostly oak, with acorns and numerous empty cups;
+sycamore and ivy filling the adjoining spandrels. At the east end one
+of the spandrels contains vine leaves and grapes, the other fig-leaves,
+but without the fruit; the cusp under the vine has a leaf which may be
+that of hog-leaf. At the west end there is hawthorn and bryony. The choice
+of all this foliage was doubtless made for symbolical reasons, referring
+first to St. Frideswide's life in the oak woods near Abingdon, and next
+to her care for the sick and suffering at Thornberrie (now Binsey). And
+in this connection it is pleasant to think that the sculptor, with tender
+fancy, chose plants which were famous for their healing virtue.
+
+The foliage at the angles takes the form of pastoral staves; and the
+intermediate spandrels at the sides have women's heads carved in the
+centre. The plinth, which has been set on a chamfered base and step of
+white stone, is ornamented with a series of quatrefoils, containing the
+head of a bishop at the north-west corner, and the heads of queens on
+the south side. Foliage, instead of a head, occupies the centre and end
+panels on the sides; and very delicate foliage is worked on a little
+roll moulding extant at two of the angles.
+
+Here is an account of the destruction of the shrine, and the treatment
+of its relics, in the words of Dean Liddell[3]:--
+
+"It is a strange story. It is well known that, before the Reformation,
+the Church of St. Frideswide and her shrine enjoyed a high reputation as
+a place of sanctity. Privileges were conceded to it by royal authority.
+Miracles were believed to be wrought by a virtue attaching to it; pilgrims
+from all parts resorted to it,--among the number we find the name of
+Queen Catherine of Aragon, whose visit to the shrine shows the veneration
+in which it was held. Twice a year the Vice-Chancellor and principal
+members of the University visited the church in solemn procession,
+being considered (as we are told) the 'Mother Church of University and
+town,--there to pray, preach, and offer oblations at her shrine.'
+
+"These practices and privileges not unnaturally seemed to the zealous
+Reformers of those times to call for summary interference. The old
+superstitions, which certainly gave rise to many abuses, must, they
+thought, be abated at once; nothing but strong measures would avail to
+withdraw the minds of the people, nurtured as they were in absolute belief
+in these superstitions, from belief in them. Accordingly, we cannot be
+surprised to find that this famous shrine was doomed to destruction,
+and was actually destroyed. When this happened it is not easy to
+determine,--probably in the time of Henry VIII. The fragments were used
+either at the time, or not long afterwards, to form part of the walls
+of a common well; and there we found them. The reliques of the Saint,
+however, were rescued by some zealous votaries, and carefully preserved
+in hope of better times. Meantime Catherine (the wife of Peter Martyr,
+a foreign Protestant theologian of high repute, who had been appointed
+Regius Professor of Theology here) died, and was buried near the place
+lately occupied by the shrine. Over her grave sermons were preached,
+contrasting the pious zeal of the German Protestant with the superstitious
+practices that had tarnished the simplicity of the Saxon Saint. Then
+came another change. The Roman Church under Mary Tudor recovered a brief
+supremacy. The body of Peter Martyr's wife was (one regrets to learn),
+by order of Cardinal Pole, contemptuously cast out of the church, and
+the remains of St. Frideswide, preserved, as I have said, by the piety
+of her devotees, were restored to their former resting-place. But it
+does not appear that any attempt was made to restore the shrine. Party
+zeal still prevailed. Angry contests continued between the adherents of
+the two parties even after the accession of Elizabeth.
+
+"In consequence, the Queen, soon after her accession, ordered Parker,
+Archbishop of Canterbury, and Grindal, Bishop of London, to look into
+this and other matters in dispute between the adherents of the Roman
+Church and those of the Reformed Faith; and these eminent ecclesiastics
+commissioned the authorities of this House to remove the scandal that
+had been caused by the inhuman treatment of Catherine Martyr's body. The
+matter was conducted by James Calfhill, lately appointed to a stall in
+this church, and then acting as sub-dean. In a letter to Bishop Grindal
+he gives an account of the ceremony that took place. He was resolved, if
+we may judge from his action, not to give a triumph to either party. On
+Jan. 11th, 1561, O.S., the bones of the Protestant Catherine and the
+Catholic St. Frideswide were put together, so intermingled that they
+could not be distinguished, and then placed together in the same tomb.
+This solution of the difficulty could not have been displeasing to the
+great Queen, who had been consistently endeavouring rather to win over
+her opponents by conciliation than to crush them by persecution. We may
+well suppose that she approved of the act of our Dean and Chapter. Death
+is the great reconciler; enmities should, at all events, be buried with
+the dead."
+
+Calfhill, the sub-dean, wrote two epigrams on the burial of Catherine
+Martyr with St. Frideswide. The first ends thus: _Ergo facessant hinc
+rabida impietas, inde superstitio_; the other thus: _Nunc coeant pietas
+atque superstitio_. Perhaps these apparently contradictory sentiments
+led Isaac Disraeli (in his account of this curious transaction, which
+he selects in his "Amenities of Literature" as an illustration of the
+mutability of time) to remark that Calfhill "seems to have been at once a
+Catholic and a Reformer." Sanders the Jesuit was indignant at the "impious
+epithet," which he says was added, _hic jacet religio cum superstitione_;
+"although," says old Fuller, "the words being capable of a favourable
+sense on his side, he need not have been so angry."
+
+The exact spot where the bones of The Lady now rest is supposed to be
+marked by a brass on the floor of the Lady Chapel, lately placed there by
+Canon Bright. But we can only be certain that, somewhere in this part of
+the church, "the married nun and the virgin saint," to use Froude's words,
+"were buried together, and the dust of the two still remains under the
+pavement inextricably blended."
+
+=The Lady Chapel=, which is the aisle next to the north choir aisle, is
+sometimes called "the Dormitory," because many of the canons are buried
+here: the word being a literal translation of the Greek _coemeterium_
+(sleeping-place), applied to the catacombs of Rome. It was enlarged,
+with the Early English pillars and vaulting of the period, in the
+thirteenth century. The shafts are filleted, and the capitals carved
+in the characteristic curling foliage. It owes its position possibly
+to the original dedication of the eighth century church; though the
+Elder Lady Chapel of Bristol Cathedral, another Augustinian house, is
+similarly situated. Its eastern wall proves that it must have already
+existed long before the thirteenth century. The most casual observer
+will also be struck by the ingenuous clumsiness with which it has been
+patched together. There is a fine Decorated four-centred window at the
+East End, restored to its present condition from the mean two-light
+window that the seventeenth century had made of it: underneath, at the
+side of the blocked-up Saxon doorway, is a once richly coloured piscina,
+the outer moulding much damaged. The roof and arches of the second bay
+from the east bears many traces of colouring, which show among other
+things that the capitals were all painted green alike, the abaci red,
+and the ribs of the vault and arches red, green, and perhaps other
+colours. The figures of angels can be made out on the roof, a swinging
+censer being particularly clear. A glance from here at the high altar
+makes one realise how much more bright and strong the old colour was,
+and is indeed even now, than the modern. This decoration proves that in
+the second bay stood something of particular importance. It is generally
+agreed now that this was not the shrine of St. Frideswide but the altar
+of Our Lady, for shrines were placed behind and not before the altars.
+Such an arrangement would leave the eastern bay of the chapel free for
+the two shrines, the large one (commonly called the "Watching Chamber")
+and the small one recently discovered and placed opposite to it under
+the south-east arch. The fact that this arch is also coloured, and is
+the only other part which is thus treated, goes to prove that the small
+shrine did originally stand where it now is. Another sign is that the
+pillar nearest to the east end of it has been cut away, evidently to
+allow of a free passage round the shrine.
+
+The Lady Chapel is divided from the Latin Chapel by four arches. Of
+these the first, being part of the original transept aisle, is very
+plain and massive, without mouldings and of one order; it springs from
+a square pier with shafts at the corners, and has an extremely broad
+soffit. It is almost beyond doubt part of Ethelred's church, and proves
+that the transept was finished early. The second arch is Early English,
+cut irregularly through the wall, which bears traces of a round arch
+above it. The first of the four arches which separate this chapel from
+the north choir aisle is similar to the one just described. The rest are
+very obtuse; for the two eastern bays of the Lady Chapel are two feet
+wider than the others, perhaps in order to increase the accommodation
+for worshippers at the shrine of St. Frideswide.
+
+=The "Watching Chamber."=--Next in interest to the "shrine," and far more
+imposing in appearance, is the large tomb or watching chamber under the
+easternmost arch between the Lady Chapel and the Latin Chapel. Its real
+nature is still a matter of dispute: some maintaining it to have been
+used as a chantry chapel for the welfare of those who were buried below;
+others that it served as a "watching chamber" to protect the gold and
+jewels which hung about the shrine of St. Frideswide. But there is much
+likelihood that is was built for the new shrine of St. Frideswide, when
+the growing taste for elaboration in architecture tired of the comparative
+simplicity of the old one. If this be the case, the "watching chamber"
+would be in reality the third and last monument of St. Frideswide, the
+second being that already described, while of the first (that made for
+the Translation of 1180) no trace remains. The _feretrum_ would have been
+removed from its position on the second monument, and placed within the
+little wooden chapel of the chamber.
+
+Most elaborately carved and crocketed, the "watching chamber" is a
+beautiful example of full-blown Perpendicular workmanship; "most lovely
+English work, both of heart and hand," according to Mr. Ruskin. It
+consists of four stories, the two lower, in stone, forming an altar tomb
+and canopy, and the two upper in wood. A door from the Latin Chapel
+leads one up a small and well-worn stone staircase into the interior of
+the little upper chapel, which is now a rough wooden room. Its extreme
+roughness suggests that it was once panelled and otherwise adorned,
+while there are marks at its east end, which may be the site of an altar,
+or of the _feretrum_ itself.
+
+The "watching chamber" belongs to the turn of the fifteenth century, and
+may have been erected in 1500, under the patronage of Archbishop Morton,
+the inventor of "Morton's fork," who died in that year, having been
+Chancellor of the University, and a great benefactor of it. The stone
+altar-tomb is of rather earlier date than the wooden superstructure, and
+bears the matrices of two brasses, from which one can make out enough of
+the horned head-dress of the female figure to settle the costume as one
+that remained in fashion till about 1480.
+
+In 1889 Mr. Park Harrison explored the interior of the tomb which forms
+the lower portion of the "watching chamber." Entrance was effected by the
+removal of two steps of the staircase which leads into the Latin Chapel,
+and the whole space beneath the stone slab was found to be packed with
+carved stones and rubble. The pretty battlemented coping, which is now
+happily placed on the sill behind the altar of the Latin Chapel, was
+thus found; and also a pillar piscina of Norman date, and a fine Early
+English piscina, with two trefoiled arches, divided by a slender shaft
+with foliated cap, and profusely enriched with the tooth ornament. This
+latter find can now be seen lying on the slab itself.
+
+By an accident it was discovered that what seemed to be the floor of
+this tomb was really the ceiling of a vault beneath. The pavement was
+opened in the Latin Chapel just outside the tomb, and steps were found
+which led to the vault through a flat four-centred doorway. In the vault
+was a single oak coffin, widest at the head and tapering in a straight
+line to the foot, like the stone coffins of an earlier period. It was
+apparently of fifteenth century date, and contained a body closely
+swathed in cerecloth; but after the coffin was opened the dust within
+the cerecloth rapidly subsided. The body was pronounced by experts to be
+that of a woman about five feet six inches in height, and was probably
+that of the lady in the mitred head-dress whose brass can be traced on
+the altar-tomb.
+
+[Illustration: LADY MONTACUTE'S TOMB.]
+
+=Monuments in the Lady Chapel=.--In the bay of the west of the "watching
+chamber" is the tomb of _Elizabeth, Lady Montacute_, who gave to the
+Priory the large field now known as the Christ Church Meadow, in order to
+maintain two priests for her chantry in the Lady Chapel. There seems to
+be no ground for the statement that she built the Latin Chapel; in her
+foundation-deed she expressly directs the masses and other offices to be
+said "within the chapel of the Blessed Mary," and, so far from her bequest
+proving sufficient to build a new chapel, it was soon found inadequate
+for the maintenance of the two chantry priests. Lady Montacute was the
+daughter of Sir Peter de Montfort, and was married first to William de
+Montacute, by whom she had four sons and six daughters, and afterwards
+to Thomas de Furnival. Her monument consists of a high tomb, the sides of
+which are divided into three panelled compartments. In these compartments
+are little statuettes of her children, and her own effigy rests on the
+top; at the head and foot of the tomb are quatrefoiled compartments
+containing sacred symbols and figures. It is very beautiful, and of
+great interest as showing many specimens of the costume of the period;
+but one can hardly imagine what its splendour must have been when the
+rich hues, with which it is painted in every part, were fresh. The colours
+mentioned in the following learned description by Mr M.H. Bloxham
+have long tended to monochrome, and the hand of the mutilator has been
+unusually painstaking and systematic.
+
+"The head of the effigy reposes on a double cushion, and is supported on
+each side by a small figure of an angel in an alb; these albs are loose,
+and not girded round the waist. The heads of these figures are defaced,
+and they are otherwise much mutilated. She is represented with her neck
+bare, her hair disposed and confined on each side, the face within a
+jewelled caul of network; over the forehead is worn a veil, and over this
+is a rich cap or plaited head-dress with nébulé folds, with a tippet
+attached to it and falling down behind. Her body-dress consists of a robe
+or sleeveless gown, fastened in front downwards to below the waist by a
+row of ornamented buttons. The full skirts of the gown are tastefully
+disposed, but not so much so as we sometimes find on effigies of the
+fourteenth century. The gown is of a red colour, flowered with yellow
+and green, and at each side of the waist is an opening, within which is
+disclosed the inner vest, of which the close-fitting sleeves of the arms,
+extending to the wrists, form part; this is painted of a different colour
+and in a different pattern to the gown. This was probably the corset worn
+beneath the open super-tunic. The gown is flounced at the skirts by a
+broad white border, and round the side openings, and along the border
+of the top of the gown, is a rich border of leaves. The hands, which
+are bare, are joined on the breast in a devotional attitude. Over the
+gown or super-tunic is worn the mantle, fastened together in front
+of the breast by a large and rich lozenge-shaped morse, raised in
+high relief. The mantle, of a buff colour, is covered all over with
+rondeaux or roundels connected together by small bands, whilst in the
+intermediate spaces are _fleur de lis_: all these are of raised work,
+and deserve minute examination. They are apparently not executed by means
+of the chisel, but formed in some hard paste or composition [_gesso_]
+laid upon the sculptured stone and impressed with a stamp. The feet of
+the effigy appear from beneath the skirts of the gown in black shoes,
+and rest against a dog."
+
+Of the statuettes on each side of Lady Montacute's tomb, which are each
+a foot and a half high, Mr Bloxham says:--
+
+"The first and easternmost of these, on the north side, is the most
+puzzling and difficult of all to describe, as regards the costume,
+and the more so from the mutilated state in which it now appears. It is
+that of a male, who is habited in a red cloak, the borders of which are
+jagged. This is buttoned in front to the waist by lozenge-shaped morses,
+and may have been the garment called the Courtepye, and discloses a short
+white tunic or vest, plaited in vertical folds, with a bawdrick round
+the body at the hips."
+
+"Next to this is the effigy in relief of an abbess, in a long loose white
+gown or robe, a black mantle over, connected in front of the breast by
+a chain, with a tippet of the same colour. The head has been destroyed,
+but remains of the plaited wimple which covered the neck in front are
+visible, as also of the white veil on each shoulder. The pastoral staff
+appears on the left side, but the crook is gone.
+
+"Two daughters of Lady Montacute were in succession Abbess of Barking,
+in Essex, and so, next to the last figure is another abbess similarly
+dressed, with the exception that the left sleeve of the gown, which is
+large and wide, is seen, as well as the close sleeve of the inner robe.
+Sculptured figures of abbesses, especially of this period, are extremely
+rare.
+
+"The next figure is that of a female, in a green high-bodied gown or
+robe, with small pocket-holes in front and sleeves reaching only to the
+elbows. The fifth figure is also that of a female, in a white robe or
+gown, with close sleeves, close fitting to the waist, where it is belted
+round by a narrow girdle, and thence falls in loose folds to the feet;
+over this is a black mantle. There are also indications of a plaited
+wimple about the neck, but the head of this, as of the other effigies,
+has been destroyed.
+
+"On the south side, the easternmost figure, of which the mere torso
+remains, is that of a male in a doublet, jagged at the skirts,
+and buttoned down in front from, the neck to the skirts, with close
+sleeves buttoned from the elbows to the wrists,--_manicae botonatae_,
+with a bawdrick, round the hips, and buckled on the right side. From the
+bawdrick on the left side the gipciere is suspended. This much mutilated
+effigy presents a good specimen of the early doublet.
+
+"Next to it is the figure of a male, in a long red coat or gown, the
+_toga talaris_, with a cloak over, buttoned in front downwards from the
+neck as far as the third button, from whence it is open to the skirts.
+This dress, in the phrase of the fourteenth century, would be described
+as _cota et cloca_. In the right hand is held a purse.
+
+"Next to this is the figure of a Bishop, intended possibly to represent
+Simon, Bishop of Ely, 1337-1344, one of the sons of Lady Montacute. He
+appears in his episcopal vestments, a white alb, with the apparel in
+front of the skirt, a black dalmatica fringed and open at the sides,
+and a chocolate-coloured chesible, with orfreys round the border and
+disposed in front pall-wise. The parures or apparels of the amice give
+it a stiff and collar-like appearance. The head of this effigy has been
+destroyed, and the outline of the mitre is only visible. The pastoral
+staff has been destroyed, with the exception of the pointed ferrule with
+which it was shod. It was, however, held by the left hand. The maniple
+is suspended from the left arm, but no traces of the stole are visible.
+In more than one instance we may notice on episcopal effigies the absence
+of either the tunic or dalmatica, and sometimes of the stole.
+
+"The fourth figure is that of a lady in a gown or robe buttoned down in
+front from the breast to the waist, and with sleeves reaching only to
+the elbows, from whence depend long white liripipes or false hanging
+sleeves; small pocket holes are visible in front. From beneath this
+gown or super-tunic the loose skirts of the under robe, of which also
+the close-fitting sleeves are visible, appear. Behind this figure are the
+remains of a mantle. The fifth and last figure is also that of a female in
+a gown or super-tunic, close-fitting, and buttoned in front to the waist."
+
+The quatrefoiled compartments at the ends of the tomb are particularly
+good: they contain,--at the head, the Blessed Virgin and Child, between
+a winged figure at a desk and an eagle, which are the symbols of St.
+Matthew and St. John the Evangelist,--at the foot, the symbols of SS.
+Mark and Luke, and between them a woman in gown and mantle with long
+flowing hair, probably St. Mary Magdalene. The shields in the panels are
+blazoned with the arms of Montacute, Furnival, and Montfort.
+
+On a pillar near Lady Montacute's tomb there are two brasses; one bearing
+a graceful kneeling figure of _Johañ, Bishop filii Geo. Bishop_, who
+died March 23rd, 1588; the other of Thomas Thornton, who died August
+17th, 1613.
+
+The next tomb to the west of Lady Montacute is that of a Prior, supposed
+to be _Alexander de Sutton_, prior from 1294 to 1316. It used to be
+called Guimond's tomb, and Prior Philip's, but it cannot, of course,
+be of their time: for the beautiful canopy, supported by Purbeck shafts
+with vine-leaf capitals, and powdered with ball-flower without, and
+groined within, as well as the figure beneath it, are Decorated, and
+belong to the reign of Edward I., about a hundred and fifty years later
+than Guimond's death in 1141. There were formerly figures at the angles,
+of which one on the north-west remains with a little of its original
+colour. The effigy, also of Purbeck marble, is thus described by Mr.
+M.H. Bloxham:--"The head of the effigy, which is bare and tonsured, with
+flowing locks by the sides of the face, reposes on a double cushion. The
+Prior is represented vested, with the amice about his neck with the
+apparel; in the alb, the apparels of which appear at the skirt in front
+and round the close-fitting sleeves at the wrists; with the stole, and
+dalmatica or tunic--which, it is somewhat difficult to say: these two
+latter are not sculptured, but merely painted on the effigy, and are
+only apparent on a careful examination; over these is worn the chesible.
+This vestment is very rich, and ornamented with orfreys round the borders,
+over the shoulders, and straight down in front. Hanging down from the
+left arm is the maniple. The boots are pointed at the toes, and the
+feet rest against a lion. There is no indication of the pastoral staff;
+the hands are joined on the breast." Another proof of its fourteenth
+century date is that the face is close-shaven: had it been an effigy of
+the twelfth century the face would have been bearded.
+
+[Illustration: ORNAMENT FROM A TOMB IN CHRIST CHURCH.]
+
+West of this is the tomb of _Sir George Nowers_ (de Nodariis), who died
+in 1425. His effigy gives one a good idea of the armour of his time--or
+rather of a period slightly before his death. Mr. Bloxham, who devoted
+special attention to these three monuments, thus describes the armour:--
+
+"On the head is a conical basinet attached by a lace down the sides of the
+face to a camail or tippet of mail, which covers the head and shoulders,
+epaulières, rere, and vambraces, and coudes incase the shoulders, arms,
+and elbows, and on the hands are gauntlets of plate. The body-armour
+is covered with an emblazoned jupon, with an ornamental border of
+leaves, and round this, about the hips, is a rich horizontally disposed
+bawdrick. Beneath the jupon, which is charged with the bearing--three
+garbs Or--is seen the skirt or apron of mail. The thighs, knees, legs,
+and feet are incased in and protected by cuisses, genouillères, jambs,
+and sollerets, the latter composed of movable lamina; or plates, and
+rounded at the toes. The feet of this effigy rest against a collared dog,
+and the head reposes on a tilting helm, surmounted by a bull's head as
+a crest." On a scutcheon at the head of the tomb are the knight's arms:
+they are--a fess between three garbs, impaling a chevron between three
+greyhounds.
+
+On the pier at the foot of Sir George Nowers' tomb is fixed the remarkably
+characteristic monument of _Robert Burton_, the famous author of "The
+Anatomy of Melancholy," who died in 1639, having been Student of Christ
+Church for forty years, and also Vicar of St. Thomas', Oxford. His bust is
+coloured, and surrounded by an oval frame; it should be a good likeness,
+and one fancies that the face is drenched in melancholy.
+
+On the frame are two medallions with a sphere, and a curious calculation
+of his nativity, composed by himself, and placed here by his brother
+William, the historian of Leicestershire. The inscription, written by
+himself, is:--
+
+ Paucis notus, paucioribus ignotus
+ Hic jacet
+ Democritus Junior
+ Cui vitam dedit et mortem
+ Melancholia.
+
+At the south side of the Montacute tomb there is a stone in the floor with
+a large cross upon it, and an inscription in Lombardic characters of which
+these words can be made out:--_Johan: de: col ... v. le: gist: id: Dieu
+... Merci. Pour: lame: prier: dis: jours: de: pardon: aver: amen_.
+
+In the north aisle of the choir a stone commemorates _Andreas de Soltre
+quondam rector Ecclesiae de Kalleyn_; and a brass, James Coorthoppe,
+Canon of Christ Church 1546, and Dean of Peterborough till his death in
+1557. On the floor of this aisle there is also a small brass with the
+figure of a youth, with the Courtenay arms, and this inscription:--_Hic
+jacet Edvardus Courtenay, filius Hugonis Courtenay, filii Comitis Devomæ,
+cujus animæ propicietur Deus_. This Hugh Courtenay, the father of the
+lad, must have been either Hugh second Earl of Devon, or his son Hugh,
+surnamed _le Fitz_, one of the heroes of Crécy.
+
+=Glass in the Aisles=.--The three lovely east windows of the aisles and
+Lady Chapel were designed by Sir Edward Burne-Jones and executed by Mr.
+William Morris. The only possible criticism is that made by Mr. Ruskin,
+who once said that they were beautiful pictures, but were they windows?
+They are perhaps open to the objection, but a comparison of them with the
+Reynolds windows in New College Chapel, which are flagrant offenders in
+this way, makes one feel that the objection is purely formal, and that
+these are true windows, adding colour and interest to the old cathedral
+in a perfectly legitimate way. One is naturally prejudiced against large
+figures pictorially treated, because of the atrocities of the Munich
+school, but these were made, not at Munich but at Merton, by the most
+accomplished craftsman of the century.
+
+The first window, that in the Lady Chapel, was erected in memory of
+Frederick Vyner, an undergraduate of the House, who was murdered by
+brigands at Marathon in 1870. The figures represent Samuel the Prophet,
+David, King of Israel, John the Evangelist, and Timothy the Bishop. In
+the panels beneath are, Eli instructing the young Samuel, David slaying
+Goliath, St. John at the last supper, and Timothy as a little boy learning
+from his mother. The legends are:--(1) _Loquere Domine, quia audit servus
+tuus_, and in the panel _Prope est Dominus quibus invocantibus eum_; (2)
+_Deus, Deus, meus, ad te de luce vigilo_, and _Tua est Domine victoria_;
+(3) _Qui recubit in coena super pectus ejus_, and _Quis nos separabit
+a charitate Christi_; (4) _Dabit tibi Dominus in omnibus intellectum_,
+and _Statuit super petram pedes meos_.
+
+At the end of the north choir aisle is the St. Cecilia window, presented
+in honour of the patroness of music by Dr. Corfe, a former organist,
+in 1873. In the centre light the saint is represented playing her regal
+or small hand-organ; two angels holding other musical instruments, with
+palms in their hands, stand by her. The drapery is wrought in white glass,
+the angels have pale blue wings, and the flesh tints matted over with red
+tell warm against the drapery. In the lower panels are three scenes from
+her life: "Here St. Cecilia teaches her husband," "Here an angel of the
+Lord teaches St. Cecilia," "Here St. Cecilia wins a heavenly crown;" the
+saint's figure in this last panel is most touchingly drawn. These lower
+panels are richer in colour than the rest, and a greater variety of tints
+is introduced; but the colours are so delicate, and so skilfully blended,
+that they fall in most harmoniously with the main parts of the window.
+As the neighbouring window just described is full of the robust strength
+of manhood, so this one, in colour as well as in design, is graceful,
+delicate, and feminine. Probably it will lead to the north choir aisle
+being known by the name of St. Cecilia, whose art has certainly many
+votaries in Oxford. Mr. Malcolm Bell, in his monograph on Burne-Jones,
+gives the following description of the St. Cecilia window:--
+
+"A still more beautiful instance of the use of simple figures with
+complicated draperies is found in the lovely St. Cecilia window, executed
+in 1874-5, a companion to the 'St. Catherine,' executed in 1878, in
+Christ Church Cathedral at Oxford, in which, moreover, it is enhanced
+by the soberness of the colouring, which, with the exception of a few
+touches of stronger hues in the lower panels, is green, and white, and
+gold, symbolic of the lily of heaven, into which mediæval commentators
+tortured the meaning of her name. The saint herself stands in the middle,
+with attendant angels on either side, bearing the palm of martyrdom,
+who hush their harmony while she plays. Below the left-hand angel,
+St. Cecilia, seated on her bed, reads to her husband Valirian the lesson
+of chastity. In the centre the angel brings to them the miraculous proof
+of the justification of her faith which he demanded from her:
+
+ "Valirian goth home, and sint Cecilie
+ Withinne his chaumbre with an aungel stonde,
+ This aungel had of roses and of lillie
+ Corounes two, the which he bar in honde.
+
+[Illustration: THE "ST. CECILIA" WINDOW, BY SIR EDWARD BURNE-JONES.]
+
+"The lilies, symbolical of virgin purity; the roses, of victory over
+death. In the third, the executioner holds her by one hand as she
+kneels on the floor of her bath-room, which is seen in the background,
+the steam still rising in it after the ineffectual attempt to roast her
+to death. With his sword raised he is about to strike the first of the
+three blows which failed to cut off her head.
+
+ "And for ther was that tyme an ordinaunce
+ That no man sholde do man such penaunce
+ The ferthe stroke to smyten, softe or sore
+ This tormentour durste do no more."
+
+At the end of the south choir aisle is the third figure window of
+Burne-Jones. It is dedicated to St. Catherine, and is in memory of Edith
+Liddell, a daughter of the late Dean, "who, having been scarcely five days
+betrothed, seized by a sudden attack of illness, rendered her spirit to
+God, June 26th, 1876." St. Catherine, crowned, is the central figure:
+she is painted in the likeness of Edith Liddell. On the right is the
+Angel of Suffering and Submission, with mutilated hands, the wheel of
+torture and flames beneath; on the left is the Angel of Deliverance,
+crushing the wheel of torture and scattering the flames. The draperies
+are white, the wings of the angels are a pale blue, and the curtains
+hanging at the back of the figures of a rich greenish blue, while
+the detailed background is cut out of violet-coloured glass, a daring
+but thoroughly successful arrangement. In the tracery above are angels
+playing triumphant music. The whole is as beautifully executed as it is
+finely conceived. In the three lower panels are scenes from the life and
+death of the saint:--(1) She disputes with philosophers, pleading for her
+fellow Christians, and demonstrating _avec force syllogismes_ the truth of
+Christianity, and the falsity of paganism. This little panel has as large
+an effect as if it were a fresco covering half a wall. (2) Her dream,
+in which she is led through a wilderness by the blessed Virgin into the
+presence of our Lord, who is seated amid a concourse of cherubim. The
+way in which the cherubim are cut out of tones of ruby, full of depth,
+and without a suspicion of crudeness, should be noticed, and compared
+with the treatment of ruby glass elsewhere. This is perhaps the most
+beautifully drawn picture of all; and the figure of St. Mary is something
+not to be forgotten. (3) St. Catherine is laid in the tomb by angels.
+The inscriptions are:--_Agnus reget illos, et deducet eos ad vitae fontes
+aquarum, et absterget Deus omnem lachrymam ab oculis eorum. Timor Domini
+ipsa est sapientia. Beati mundo corde quoniam Deum videbunt. Cum dederit
+dilectis suis somnum._
+
+The two first windows in the wall of the south choir aisle, in memory of
+Dr. Jelf, Canon from 1830-1871, are by Hardman. Next is a most interesting
+glass painting of Bishop King, last abbot of Oseney, and first Bishop of
+Oxford, which is perhaps from the hand of Van Ling. This window, with
+some others, was taken down during the Civil War, buried for safety by
+a member of the family, and put up again at the Restoration. The Bishop
+is represented standing vested in a jewelled cope of cloth of gold,
+and mitre, a pastoral staff in his gloved hand. In the background, among
+the trees, is a picture of Oseney Abbey in its already ruined condition
+(c. 1630), drawn without much feeling for its architecture, but of great
+value as almost the only picture of the place we possess. The western
+tower was the first home of what are now the Christ Church bells. Three
+coats of arms (being those of the Bishop, impaled with the abbey of
+Oseney and the see of Oxford) complete the richness of what is a very
+good example of seventeenth century _painted_ glass, in the strict sense
+of the word.
+
+It is to be regretted that some of the glass, which formerly was seen by
+everybody in the cathedral, has been removed to the chapter-house, where
+it is seen by few: among the glass thus removed the lovely I.H.C. should
+not be missed.
+
+=The Latin Chapel= (St. Catherine's, or the Divinity Chapel, St. Catherine
+being the patroness of students in theology) was built on to the rest
+in two parts, the walls of the Lady Chapel being cut into arches, and
+duly fitted with shafts. The first bay from the west is, like that of
+the Lady Chapel, part of the transept aisle; the second bay was built
+in the thirteenth century, so as to form a chapel like that of St. Lucy
+on the south side of the church; the third and fourth were added in
+the fourteenth century, and make now one large chapel, very secluded
+and self-contained, a kind of _hortus inclusus_ that has an attraction
+peculiarly its own, and dwells pleasantly in the memory of every one who
+sees it. It is that supremely excellent thing, a church within a church,
+without which no cathedral can be what its builders intended it to be;
+nor any religious building fulfil that instinctive desire of men for an
+inner place, where they can find their way to the inner places of their
+own hearts. In such a home of recollectedness, doubly guarded against the
+dogging world without, is "rest without languor and recreation without
+excitement"; in such a place one is "never less alone than when alone";
+and the fine sympathy with the needs of workaday humanity, which led
+mediæval architects to build such sanctuaries as this chapel here, or
+the Lady Chapel of so many churches, had led men in far earlier ages to
+find room even within the travelling tabernacle of a wandering tribe for
+a holy place and a holy of holies. Such being the case, it was like the
+crude instincts of the "dark ages of architecture" to choose this very
+chapel as most suitable for a lecture-hall--out of all the lofty rooms
+in the spacious college. Quite lately this practice has been dropped,
+and the Latin Chapel restored to something of its ancient sanctity,
+though a good deal remains to be done in a place where there is not as
+yet even a chair to proclaim a _siste viator_.
+
+[Illustration: WINDOW IN THE LATIN CHAPEL.]
+
+The Decorated vaulting was built when the chapel was enlarged in
+the fourteenth century. The foliage of its bosses is very beautiful;
+the water-lilies especially of the third boss, so suggestive of Oxford
+streams, and the roses a little further east, are a happy combination of
+naturalistic treatment with decorative restraint. It will be noticed that
+the vaulting does not run true in the third bay, the Decorated work there
+having been somewhat awkwardly joined to the Early English of the second
+bay. That part of the old wall which forms the pier at the juncture has
+been left in a strangely rough condition; the builder having seemingly
+given up the problem of fitting the vaults to the unequal spaces of
+the bays, and left the pier as a simple bit of old wall, without even
+a moulding to mark its juncture with the vault.
+
+A prominent feature in the Latin Chapel is the old oak stalling, which
+a second inspection proves to be patchwork. The returned stalls at the
+west end probably belonged to the choir of the conventual church, and
+in that case would have been fitted in here when Dean Duppa "adorned"
+the choir by destroying the old wood-work. Near to these is some of
+the work prepared for Cardinal Wolsey's new chapel. The poppy-heads are
+good specimens of wood-carving, and contain a monogram I.H.S., a heart
+in a crown of thorns, a cardinal's hat, and other devices. The pulpit,
+with its delicate canopy, an excellent specimen of seventeenth century
+wood-work, was formerly the Vice-Chancellor's seat in another part of the
+church, occupied by him during university sermons. It was then used by
+the Regius Professor of Divinity for his lectures, but since the altar
+was restored six years ago, the chapel has been no longer used as a
+lecture room. At the time when it was refitted, a handsome ogival arch
+was found in the wall near the north end of the altar: the moulding is
+deeply recessed, and once the arch terminated in what must have been an
+ornate finial. The top of this finial has been cut down to a level with
+the window ledge, and the face of the moulding hacked off to make the wall
+flat for the panelling, which has now been removed. It was probably the
+"Easter Sepulchre," where the Host was deposited on Good Friday, but it
+may have been the tomb of the founder of the chapel. The curious break
+in the masonry at the back has not been yet explained.
+
+The wall behind the altar is pleasantly hung with Morris velvet. The
+altar itself was the high altar before the restoration of 1870. In 1890
+new legs were made for it out of the old organ screen, and it was placed
+in its present position.
+
+The eastern window (inserted as a memorial to Dr. Bull) is a pathetic
+instance of the corrupt following of Mr. Ruskin, which also inflicted
+upon Christ Church the gaunt Meadow Buildings. It is, of course, really
+as unlike Mr. Ruskin's well-loved Venetian work as anything can possibly
+be: as heavy as that is light, as clumsy as that is graceful, it is ugly
+and cold and dead; but it represents a genuine enthusiasm of the fifties,
+and commands our respect as an honest though mistaken effort, a landmark
+in the history of the architectural revival. It also illustrates a truth
+which one is apt sometimes to forget,--that it is easy to appreciate
+beauty, and very hard to create it.
+
+Fortunately it is nearly lost sight of in the splendid Burne-Jones glass
+which fills it, and represents another side of the artistic revival not
+less important than the architectural.
+
+=Glass in Latin Chapel=.--The beautiful windows at the side are filled
+with fine fourteenth century glass, which was replaced after a long period
+of exile by Dean Liddell. In the middle of each light is a figure in
+canopy work, the rest of the light being covered with "quarries,"--that
+is, diamond-shaped pieces of glass with leaves and flowers lightly
+burnt upon them. The spaces in the tracery are ornamented with curious
+medallions, and the borders with various beasts, as in St. Lucy's Chapel,
+monkeys among them. The Courtenay Arms--Three Torteaux--suggest that the
+family may have contributed towards building the chapel. Beginning at
+the west, the first window contains a St. Catherine in the first light,
+next a Madonna and holy Child (the blue pattern at the back of these
+figures should be noticed); next a figure of St. Frideswide, or her
+mother Saffrida.
+
+The second window contains the figure of an archbishop, holding a cross
+curiously blended into a crooked pastoral staff; angels are on either
+side.
+
+The next has St. Frideswide in the centre, with St. Margaret and St.
+Catherine at her side. The patroness holds the curiously foliated sceptre
+which has led to the identification of her figure in the choir boss,
+and Catherine handles her wheel and sword in the same way as her statue
+over the dean's stall in the choir. The last window on this side is by
+Clayton and Bell, and a particularly feeble one.
+
+The St. Frideswide window at the east end of the Latin Chapel was designed
+by Sir E. Burne-Jones and executed by Messrs. Powell of the Whitefriars
+Glass Works, the firm which is now making the glass for the mosaics
+at St. Paul's. "Burne-Jones, an Oxford undergraduate, destined for
+the Church, but gifted with high powers of romantic design, sought out
+Rossetti towards June 1856, and showed him some drawings. Rossetti told
+him at once that he ought to be, and must be, an artist, and he became
+one." In the next year Rossetti drew the attention of the Powells to the
+young artist, and they had the penetration to recognise his worth and to
+employ him. But though this is one of the first windows that Burne-Jones
+ever designed, it is one of his best. Better suited (as many think)
+to the purpose of a window, at all events in this enclosed chapel, than
+the freer method of the other glass, it carries on the best traditions
+of the craft, in its infinite variety of gem-like colour and complexity
+of detail; while it attains a degree of perfection in pictorial effect
+and figure-drawing which was impossible during the great era of mediæval
+glass-painting. The death of the saint, with its lovely effect of light
+through the latticed window, for instance, and the picture of her in the
+pig-sty, would be perfect as finished pictures, and yet do not for an
+instant outstep the convention which is necessary for their function as
+part of a window. The fact that the subjects are a little crowded is not
+the artist's fault. Mr. Woodward, the architect to whom the commission
+was due, made an unlucky mistake about the measurements, being in very
+ill-health at the time, and indeed on the point of death. Mr. Burne-Jones'
+cartoon had therefore to undergo a mechanical reduction which has
+slightly affected the clearness of the designs. The colour is, in spite
+(or rather because) of its radiant variety, not so immediately attractive
+to everyone as that of the other Burne-Jones windows; but when one has
+sat down for five or ten minutes and deciphered the various scenes, its
+unapproachable beauty becomes apparent, and each succeeding visit deepens
+the impression of the splendour and poetry of this incomparable work.
+
+The scenes depicted are, by the artist's own account, as follows:--
+
+_First Light._
+
+ St. Frideswide and her companions brought up by St. Cecilia and St. Catherine.
+ St. Frideswide founds her first convent.
+ A messenger from the King of Mercia demands her in marriage.
+ The King comes to take her by force, and the first convent is broken up.
+
+_Second Light._
+
+ Flight of St. Frideswide to Abingdon.
+ The King of Mercia and his soldiers in pursuit,
+ The Flight continued.
+ The Pursuit continued.
+ St. Frideswide takes refuge in a pig-sty.
+
+_Third Light._
+
+ Flight of St. Frideswide to Binsey.
+ The King of Mercia in pursuit.
+ St. Frideswide founds a new convent at Binsey.
+ Her merciful deeds.
+
+_Fourth Light._
+
+ Return of St. Frideswide to Oxford.
+ The Siege of Oxford by the King of Mercia.
+ The Siege continued.
+ The King struck blind.
+ The Death of St. Frideswide.
+
+[Illustration: SECTION OF TOWER, WITH A COMPARTMENT OF BAY AND CHOIR,
+BEFORE THE RESTORATIONS (_Britton_).]
+
+In the tracery above are the trees of life and of knowledge, and a ship
+of souls convoyed by angels.
+
+This east window was purchased with money left by Dr. Bull (1853), to whom
+there is a monument against the western wall. There are also brasses
+to the eminent Dr. Mozley (Regius Professor of Divinity till 1878),
+Dr. Ogilvie (1873), Dr. Shirley (1866), Dr Barnes (1859), Archdeacon
+Clerke (1877).
+
+
+
+
+CHAPTER IV.
+
+HISTORY OF THE FOUNDATION.
+
+
+St. Frideswide (Fritheswithe, "The Bond of Peace"), foundress and patron
+saint of the church, lived early in the eighth century, when Ethelbald
+was King of Mercia. Her father Didan was probably the under-king of the
+little town of Oxford, which was then a frontier city of Mercia. In
+spite of the legendary atmosphere that has gathered about her memory,
+there is no reason to doubt the main facts of her life; indeed, the best
+modern authorities endorse them.
+
+Here is her story, told in the delightful words of Anthony a Wood, who
+wrote towards the end of the seventeenth century:--
+
+"About the year of our Lord 727, as authors say, lived in the city of
+Oxford a prince (or as Malmesbury hath, a king) named Didan, one of
+incomparable honesty and virtues, who, by his wife Safrid, of a Saxon
+family, had an only daughter called Frideswyde, born at this place, and
+by her parents brought up in all manner of honest and liberal breeding,
+befitting her descent." Then is described her early piety, her refusal
+of marriage, and her refusal also to be a nun. The narrative continues:--
+
+"And furthermore, with great zeale, she added that seeing he had large
+possessions and inheritances and that she was like to enjoy most of them
+after his discease, he could not doe better than bestowe them upon some
+religious fabrick wherein she and her spirituall sisters (votaresses also)
+might spend their dayes in prayers and singing of psalmes and hymmes to
+God. To which the father giving an attentive eare and considering withall
+that his issue was like to be discontinued, took upon him a resolution
+to performe the same that soe he might leave his child in a comfortable
+manner and then dye in peace. Wherfore, not long after, the good old man
+built a church within the præcincts (as 'tis said) of the city of Oxon,
+and dedicated it to the honour of the Holy Trinity, the Virgin Mary
+and All Saints, and soe committed it wholy to the use of his daughter
+Frideswyde purposely to exercise her devotion therin."
+
+Then is told how Frideswide afterwards took the veil, inducing "12 virgins
+of noble extract to follow her"; how her father "erected other ædifices
+adjoyning to the church to serve as lodging rooms for the said virgins,"
+settled lands upon the Nunnery, and died. The central story of her life
+next follows:--
+
+"Frideswyde, continuing most constant in her strict course of life,
+was not only reputed famous for that particular, but also for those
+excellent parts that nature had endowed her withall; insomuch that
+both being conjoined in one body, was accounted the flower of all these
+parts. Which being quickly rumoured in other countryes, gave occasion to
+a young spritely prince, named Algar, king of Leycester, to become her
+adorer in way of marriage. Which she by his proxies and others of his
+wellwishers understanding, triumphed soe highly in her virginity, that
+she with an open profession utterly despised both him and his princely
+bed; neither left the least incouragement for him to proceed in this his
+designe. The king having such a sudden repulse, and supposing it to be
+a flashy resolution, encited him the more to goe forward; and sometimes
+considering her beauty, then her incomparable qualities, and both obscured
+under a minchon's hood, could not but attempt once more. Which, though
+he performed with all the intreaties and gifts imaginable, did not in
+the least disjoynt her purpose, but rather occasioned her to trample
+upon his accostments and with a coy deportment despise his offers. All
+it seemes was in vaine: nothing to be heard but nays: nothing to be
+received but foyles: nothing but what if pursued, usher him to dispaire:
+and the like. What shall we imagine this yong amoretto now to doe! Noe
+place is able to containe him, nobody please his curious fancy but deare
+Frideswyde! Noe note now but '_hei mihi, quod nullis_,' etc.!
+
+"To remedy this, therefore, and attaine his cure, he considered very
+well from the præmises could not be compassed unless it was by a forced
+stealth. These were his last thoughts; and this he was resolved to
+prosecute.
+
+"Wherefore, immediately summoning some of his faithfull servants, sent
+them as embassadours to prefer (under pretence) his last desires for
+marriage, with full power, if like to prosper, to complete it. With this
+speciall and soveiraign caution, if she did not concede, to watch their
+opportunity and carry her away by force."
+
+Then follows the account of the visit of the ambassadors, their threats
+of force, and the Saint's undaunted reply. The story proceeds:--
+
+"Well, the night is spent in consultation, and at the dawning of the
+day they sallied from their lodgings and made their appearance towards
+the Nunnery, where clambering the fences of the house and by degrees
+approching her private lodging promised to themselves nothing but surety
+of their prize. But alas! their purposes came short. What shall we think
+the event of this designe? Why! their hopes were utterly frustrated. For
+shee, either by the noise they made at their entrance or else (as 'tis
+said in another place) by the instinct of some good spirit, awakened and
+suddenly arose to see what was the matter. And immediately discovering
+who they were and their intent for what they came, and finding it in
+vaine to make an escape from them by flight being soe closely beseiged,
+she (as the best remidy) straightway prostrated her selfe flatt on her
+face and fervently prayed to the almighty that he would præserve her
+from the violence of those wicked persons that were now ready to take
+her away, that he would show some speciall token of reveng upon them for
+this their bold attempt. Wherefore the embassadors (as 'tis delivered)
+were miraculously struck blind, and like mad men ran headlong yelling
+about the city."
+
+The townsmen were much amazed at this strange sight, and this the cheifest
+of them went straightway to her and--"Upon falling upon their knees,
+humbly desired her to grant those simple and impertinent people their
+sights, promising withall that, as sone as they were perfected, would
+see them out of towne and enjoyne them noe more to returne. Hereupon she
+commanded them to be brought to her; and after fervent prayers in their
+behalfe, were as wonderfully restored to their eyes againe, as before
+they were deprived of them."
+
+On the ambassadors' return to Algar, he was filled with rage against
+"that witch, hagge, and fury Frideswyde," and planned vengeance:--"The
+king then gathering a force and intending for Oxon, breathed out nothing
+but fire and sword to this place. But the night before he came hither,
+there was an angel (as the story goes) appeared to Frideswyde in a dreame,
+saying to her these words: '_Ignoras, O Virgo_,' &c.: 'thou art as yet
+ignorant, O virgin, what will befall you tomorrow: for King Algar with
+his assistants intend to sett upon you and if it be possible will satisfy
+his lust upon you and leave you a miserable creature. But doe not feare:
+there is a safe place provided for you; and he for this his attempt
+shall be struck blind and never recover his sight. Arise therefore,
+and make hast to the way that leads to the river Thames, where you
+shall find a ship boat ready provided for you and one in it to convey
+you away in safety.' After this was pronounced Frideswyde awakened;
+and, suddenly arising from her couch, took two of her sisters the nunns
+named Katherine and Cicely; and walked to the place appointed her by the
+angell in her dreame. Where according to his admonitions, she found a
+boat by the river's side and in it the appearance of a yong man with a
+beautiful countenance and clothed in white: who, mitigating their feare
+with pleasant speech, placed them in the boat, in which, the space of
+one hour, shee and her sisters arrived neare the towne called Benton
+[Bampton or Bensington], ten miles and above distant from Oxon.
+
+"Where after their landing, followed a path adjoyning, which conveyed
+them into a vast and dismall wood. And wandring therin too and fro, met
+at length with a kind of hovell or shelter purposely erected to harbour
+swine and other cattell in times of cold and wett weather; and there
+taking up a resolution to fix, crossed themselves and retired therin.
+Which place being quickly overgrowen with ivy and other sprouts, they
+continued therin a long time, being in fasting and prayers, and utterly
+unknown to the inhabitants therabouts."
+
+Algar in the meanwhile had gone to Oxford, found Frideswide flown, and
+in the midst of his fury been smitten with blindness. After living three
+years in close retirement in the Benton wood, Frideswide, to comfort the
+nuns whom she had left, came by boat to Binsey near Oxford, and there
+lived for some time. Soon after she came back into Oxford, and spent her
+days in the service of the people, working in especial many miracles of
+healing. The Cottonian MS. relates her first miracle as happening at
+"Bentonia," when St. Frideswide cured a blind girl of seven through
+virtue of the water wherein the saint had washed her hands. Shortly
+after she helped a young man (_infortunatus juvenis_) named Alward, who,
+while cutting wood on a Sunday (_parvi pendens diem Resurrectionis
+Dominicæ_), found his hand fixed to the handle of his axe, so that he
+could not let it go. A beautiful story is told about her entry into
+Oxford; that a leper met her, and begged her to kiss him, which, after
+making the sign of the cross, she did, and he was healed of his leprosy.
+
+[Illustration: THE EXTERIOR IN 1857.]
+
+Of her last sojourn in Oxford, William of Malmesbury says:--"In that
+place, therefore, this maiden, having gained the triumph of her virginity,
+established a convent, and when her days were over and her Spouse called
+her, she there died."
+
+"Some time," says Dugdale, "after the glorious death of St. Frideswide,
+the nuns having been taken away, Secular Canons were introduced." We
+cannot fix the date when the community of nuns which the saint had
+founded was thus removed, but the passage which follows in Dugdale makes
+it clear that the seculars were in possession in 1004, when Ethelred II.
+rebuilt the church. It seems strange that the nuns, for whom Frideswide
+had suffered so much and laboured so successfully, should have been thus
+early made to give place to a chapter of married priests; but early
+it must have been, for by the middle of the tenth century Dunstan was
+busy suppressing the seculars, and enforcing everywhere the stricter
+monastic rule. Nor did the nuns ever come back; for, when the Secular
+Canons had finally disappeared, by the time of the Norman Conquest,
+the priory, after being for a long time in ruins, was made over, first
+to the great Benedictine monastery of Abingdon, of which it became a
+"cell" or dependency, shortly afterwards to the warlike Roger, Bishop of
+Salisbury, "but only for the profits issuing from their lands, which he,
+after its restoration, returned again with great reluctancy"; and it was
+finally restored under Henry I. (IIII) as a house of the Canons Regular
+of St. Augustine, an order holding a position midway between monks and
+secular canons, in whose hands it continued henceforward.
+
+Guimond was the first prior, and a curious story is told by several old
+writers as to the manner whereby he won the king's favour:--
+
+"On Rogation Sunday (30th April 1122), when the king was at mass and
+Guymundus performing divine service before him, did when he came to that
+parcell of the prophet, 'it did not rain upon the earth for the space
+of III. years and six months,' read thus, 'it did not rain upon the
+earth one, one, one years six months.' Which the king observing, and all
+the clerks marvelling and laughing at, did when mass was ended reprove
+him for it, and furthermore asked him the reason why he read after that
+manner. Guymund smilingly answered, 'Because you, my liege, are used to
+bestow your bishopricks and other church benefices to them that read so;
+and therefore be it known to you, henceforth I will serve no other master
+but Christ my King and Sovereign, who knoweth as well how to confer
+temporal as eternal benefits upon his servants that always obey him.'"
+
+By the eleventh century important national meetings were held in
+Oxford, as when in 1020, Cnut being then king, the English and Danes
+were reconciled, and both nations agreed to observe the laws of Edgar.
+But no king ventured to visit the city, for, after the failure of Algar,
+there was a tradition that boded misfortune to any king who entered
+within the city walls. Henry III. was the first to defy it by coming to
+worship at the shrine of St. Frideswide in 1264; but his example was
+an unfortunate one, for within six weeks Nemesis came in the Battle
+of Lewes. Edward I. was less daring than his father, for in 1275, when
+he reached the gates of Oxford, he turned his horse about, and sought
+a lodging outside the town. Later in his reign, however, he made the
+venture, and destroyed the superstition.
+
+St. Frideswide's Priory did not, according to the latest authority on
+mediæval universities, Mr. Rashdall, create Oxford University,[4] but
+reasons of convenience of access and other like matter-of-fact causes;
+for, if the University had needed only a religious house round which to
+cluster, the neighbouring monastery of Abingdon was far larger and more
+suitable. Yet there is great probability that the first germs of the
+University were produced by the Priory. It is said, indeed, that the
+Mercian kings built inns or halls in the neighbourhood of the convent,
+but we may suspect this as a legendary statement not more substantiable
+than the story of King Alfred's founding University College, since the
+first actual notice of "Oxeneford" does not occur till 912. But it is
+much more certain that, during the wise rule of Guimond (1122-1141),
+the first Regular Prior, and of Robert of Cricklade,[5] his successor,
+there was a school connected with the convent, as indeed was the case
+with most convents, and probably with St. Frideswide's itself before
+Guimond's time. This school stood near the west end of the church, about
+the middle of what is now Tom Quad. Writing of the arrival of Vacarius,
+in King Stephen's reign, Mr. J.R. Green says:--"We know nothing of the
+causes which drew students and teachers within the walls of Oxford.
+It is possible that here, as elsewhere, the new teacher had quickened
+older educational foundations, and that the cloisters of Osney and
+St. Frideswide already possessed schools which burst into a larger life
+under the impulse of Vacarius."
+
+The Priory was also one of the centres of university life in its early
+days, occupying perhaps in some sort the position held by St. Mary's at
+the present day. From the time of the Translation of St. Frideswide,
+the chancellor and scholars of the University used to go in Mid-Lent
+and on Ascension Day "in a general procession to her church, as the
+mother-church of the University and town, there to pray, preach, and
+offer oblations to her shrine." The Civil Law School belonged to St.
+Frideswide's as well as St. Patrick's Schools, and some others situated
+near to School Street. Among the Halls that the Priors possessed, Brend
+Hall was in 1438 made over to Lincoln College; Urban Hall and Bekes Inn
+were bought by Bishop Fox to procure a site for Corpus Christi College.
+
+Yet St. Frideswide's does not seem to have been so great a power in
+educational matters as its position would have warranted. In fact,
+most of the other orders were ahead of the Augustinian Regulars in
+this matter, for we do not hear of their doing anything much until the
+fifteenth century, when St. Mary's College near Northgate Street was
+an Augustinian establishment. It was the new orders, the Black Friars
+(Dominicans) and the Grey Friars (Franciscans), who did so much for the
+educational advance of Oxford. The Franciscan schoolmen, especially,
+gave the University a European reputation, for Roger Bacon, Duns Scotus,
+and William Occam were trained by them. Cardinal Wolsey, though he did
+much harm to St. Frideswide's church, did at least make the place a great
+educational centre.
+
+In one indirect way we find that the Priory helped to attend to the
+scholars' interests in the thirteenth century. "Owing to the general
+poverty," says Mr. Boase, "charitable people founded _chests_, from which
+loans might be made to poor scholars. Grostête began the system in 1240
+by issuing an ordinance regulating St. Frideswide's Chest, which received
+the fines paid by citizens; and we hear on the whole of about two dozen of
+these charitable funds, amounting in all to nearly 2000 marks. The money
+was lent out on security of books, plate, or other property, and it was,
+in fact, a pawnbroking business which charged no interest." The money
+accruing to the University was placed in a chest at St. Frideswide's,
+when the borrower was required to deposit some pledge--a book or a cup,
+or a piece of clothing. Pledges not redeemed within a year were sold
+by public auction. As time went on, private bequests were added to the
+Frideswide chest, to the great relief, no doubt, of the scholars, who
+were as poor as could be.
+
+The Fair of St. Frideswide was another useful institution connected with
+the Priory, for in early days the fairs not only afforded much innocent
+amusement, but they also served to mark the seasons of the year, and
+were of great practical value in the domestic economy of the people. St.
+Frideswide's Fair lasted for seven days, and during that time the keys
+of the city passed from the mayor to the prior, and the town courts were
+closed in favour of the Piepowder Court, held by the steward of the
+Priory for the redress of all disorders committed during the fair. By
+Stuart times the Fair had fallen almost to nothing, but its memory is
+still kept up by the annual cakestall in St. Aldate's.
+
+One of the strongest Jewries in England existed in Oxford, so the
+chest was a useful form of charity in the days when Jews were the only
+money-lenders, and it was found necessary to pass a law preventing the
+Hebrews of Oxford from charging over 43 per cent, on loans to scholars.
+In 1268 St. Frideswide's provided a curious proof of the strong protection
+which the Jews enjoyed till their expulsion from England for four
+centuries in 1290.
+
+"The feud between the Priory and the Jewry went on for a century more,
+till it culminated in a daring act of fanaticism on Ascension Day 1268.
+As the usual procession of scholars and citizens returned from St.
+Frideswide's, a Jew suddenly burst from the group of his friends in front
+of the synagogue, and snatching the crucifix from its bearer, trod it
+underfoot. But even in presence of such an outrage, the terror of the
+Crown shielded the Jewry from any burst of popular indignation. The king
+condemned the Jews of Oxford to make a heavy silver crucifix for the
+University to carry in the processions, and to erect a cross of marble
+on the spot where the crime was committed; but even this was in part
+remitted, and a less offensive place was allotted for the cross in
+an open plot by Merton College." The event which had opened the feud
+between the Priory and the Jews happened about 1185, when Prior Phillip
+complained of a certain _Deus-eum-crescat_ (Gedaliah), son of Mossey,
+who stood at his door as the procession of St. Frideswide passed by,
+and mocked at her miracles, no one daring to meddle with him.
+
+An instance of the widespread fame of the shrine of St. Frideswide, and
+the veneration in which it was held even shortly before its destruction,
+is given in Wood's "Annals." In 1518, "Queen Katherine being desirous to
+come to Oxford, was attended in her journey by the Cardinal [Wolsey]:
+and being entered within the limits, was received by the scholars
+with all demonstrations of love and joy. After she had received their
+curtesies, she retired to St. Frideswydd Monastery to do her devotions
+to the sacred reliques of that Virgin Saint, being the chief occasion,
+it seems, that brought her hither."
+
+But the great change was rapidly approaching. It had indeed been
+foreshadowed nearly a century and a half before, as when, for instance,
+on Ascension Day 1382, Wyclif's disciple Nicholas Hereford, preaching
+in the churchyard of St. Frideswide's, made a violent attack on the
+Mendicant Friars, and boldly asserted his sympathy with Wyclif.
+
+The suppression of the Priory in 1524 was not, however, a Protestant
+act; for Wolsey obtained a bull from Pope Clement VII., authorising him,
+with the royal consent, to suppress the Priory of St. Frideswide, and to
+transfer the canons to other houses of the Augustinian order, so that
+their dwelling and revenues might be assigned to the proposed college of
+secular clerks. Wolsey had magnificent ideas about education,--"indeed,"
+says Fuller, "nothing mean could enter into this man's mind"; he was bent
+on founding institutions which should surpass even those of William of
+Wykeham and William Waynflete; and he saw that monasticism had fallen
+into disrepute, with no prospect of restoration to public favour. He
+adopted, therefore, the hitherto exceptional method of suppressing
+certain priories, in order that he might endow with their revenues his
+new foundation of Cardinal College, as it was first styled. Henry VIII.
+readily assented to the scheme, and his minister was thus enabled to
+dissolve the oldest religious establishment within the walls of Oxford,
+and to dispose of its income of "almost £300 a year." Dr. John Barton,
+the last Prior of St. Frideswide's, was elected to be Abbot of the
+neighbouring monastery of Oseney, just as (a little later) Bishop King,
+the last Abbot of Oseney, was made first Bishop of Oxford.
+
+There was much popular opposition to Wolsey's act in suppressing
+St. Frideswide's, and (by a second Papal Bull) certain other monasteries.
+Hall, a chronicler unfriendly to Wolsey, averred that "the poor wretches"
+ejected from the monasteries received scarcely any compensation.
+Complaints such as these drew from Wolsey this earnest and redundant
+contradiction:--
+
+"Almighty God I take to my record, I have not meant, intended, or gone
+about, ne also have willed mine officers, to do anything concerning the
+said suppressions, but under such form and manner as is and hath largely
+been to the full satisfaction, recompense, and joyous contentation of
+any person which hath had, or could pretend to have, right or interest
+in the same, in such wise that many of them, giving thanks and laud to
+God for the good chance succeeded unto them, would for nothing, if they
+might, return or be restored and put again in their former state, as your
+Highness shall abundantly and largely perceive at my next repairing unto
+the same.
+
+"Verily, sir, I would be loth to be noted that I should intend such a
+virtuous foundation for the increase of your Highness' merit, profit of
+your subjects, the advancement of good learning, and for the weale of my
+poor soul, to be established or acquired _ex rapinis_."
+
+It was indeed, says Mr. Maxwell Lyte, part of Wolsey's "grand and
+statesmanlike scheme of establishing episcopal sees in some of the larger
+monasteries, and annexing thereto smaller monasteries to provide greater
+revenues." The graduates of Oxford were very grateful, and promised to
+remember him in their prayers to the end of time; but great fear came
+over the monks. His proceedings, says Fuller quaintly but truly, "made
+all the forest of religious foundations in England to shake, justly
+fearing the king would finish to fell the oaks, seeing the Cardinal
+began to cut the underwood."
+
+Thus was Cardinal College founded. Its magnificence certainly made a great
+impression upon Englishmen, as is shown by the fact that it is the only
+existing college mentioned by Shakespeare. In _Henry VIII._ Wolsey is
+praised for his new foundation:--
+
+ "though unfinished, yet so famous,
+ So excellent in art, and yet so rising,
+ That Christendom shall ever speak his virtue."
+
+But all Wolsey's great buildings, and projects still greater, were stopped
+by his sudden fall in 1529. Three years afterwards "bluff Harry broke into
+the spence," and, placidly transferring the whole credit of the idea to
+himself, refounded Cardinal College with the title "King Henry VIII. his
+College." Then he suppressed his own foundation, and, on Nov. 4th,
+1546, reconstituted it, adopting the novel and economical expedient
+of combining a cathedral with an academic college. The new style was
+_Ecclesia Christi Cathedralis Oxon ex fundatione Regis Henrici octavi_;
+so St. Frideswide's church, which had for seven years been the chapel of
+Cardinal College, and of King Henry's College for thirteen years, became
+at length the Cathedral Church of Christ in Oxford, and also the chapel of
+the college now at length called Christ Church, and presided over by the
+Dean of the cathedral. Ever since, the ancient church has had a two-fold
+character as cathedral church and college chapel; and "as the Dean of
+Christ Church is always present, and the Bishop of Oxford very seldom,
+academic usages and appearances rather prevail over the ecclesiastical,
+in a way that may have been the reverse of satisfactory to more than
+one occupant of the see of Oxford."
+
+Wolsey had contemplated establishing a hundred canons; but Henry
+reduced the number at a stroke to twelve, and then to eight; later
+they were further reduced to six, which is the present number. Besides
+the canons, dean, and bishop, Henry's foundation included eight petty
+canons or chaplains, a gospeller and a postiller or bible-clerk, eight
+singing clerks, eight choristers and their master, a schoolmaster and an
+usher, an organist, sixty scholars or students, and forty "children,"
+corresponding no doubt to the scholars of later days. Soon after,
+however, the whole scholastic part of the establishment was replaced
+by one hundred students, who (with the one "outcomer" of the Thurston
+foundation) are still nightly tolled by the hundred and one strokes of
+great Tom, this being the signal for college-gates to be closed all over
+Oxford.
+
+Such was the arrangement of the new establishment, which, as the name of
+_Ecclesia Christi_ was replaced by _Ædes Christi_, came to be called,
+according to the double use of the word _æedes_, both Christ _Church_
+and the _House_. The history of the see of Oxford, which was first set
+up at Oseney in 1542, will be found in another chapter.
+
+Curiously enough, the suppression of the monasteries, and the new vigorous
+religious movement, did not benefit the University, in spite of the
+addition of Wolsey's great college; on the contrary, the Reformation
+nearly emptied the University, which had already lost much of its old
+activity during the intellectual stagnation of the fifteenth century,
+so that, in Edward VI.'s reign, washerwomen took to hanging out their
+clothes in the schools. Most of the halls disappeared for ever, and from
+that time Oxford passed out of the hands of the poor man, Christ Church
+as the royal college becoming the special home of the gilded youth. The
+first functions of the House seem indeed to have been mainly ornamental:
+Henry VIII. was entertained there, public declamations were given before
+the University under Edward VI., Cranmer was unfrocked in the cloister
+under Mary. In Queen Elizabeth's reign, as well as in the seventeenth
+century, Christ Church Hall was used for the performance of plays,
+as when in 1583 _Dido_ was acted, and "there was a pleasant sight of
+hunters, with a full cry of a kennel of hounds, and Mercury and his
+descending and ascending from and to a high place. The tempest also,
+wherein it rained small comfits, rose-water, and snew artificial snow,
+was very strange to the beholders."
+
+The Deans in Elizabeth's time were undistinguished. There was Martiall,
+who was appointed by Mary, and deprived in 1559 for his religion, "which
+though he had two or three times changed, yet having made himself Enemies
+by his indiscreet Carriage, he was obliged to go into Yorkshire"; and
+there was Sampson, who was "so professed an enemy of the ceremonies of
+the Church of England," and of organs and vestments, that he was removed
+by Archbishop Parker, 1565. But there was no one else of much note till
+Brian Duppa was installed in 1629. This staunch old man left Christ
+Church in 1641 for the Bishopric of Salisbury, after having "adorned" the
+cathedral, with the mixed results we have witnessed. He was extremely
+generous and unselfish; and he stuck to the king through his evil days,
+even sharing his imprisonment in Carisbrooke Castle, where he is thought
+materially to have assisted in writing the "_Eikon Basilike_." Duppa,
+Mr. Wakeman tells us, "amid many dangers had boldly found means to carry
+on the torch of apostolic grace, even amid the proscriptions of Cromwell."
+
+During the troubles of the Civil War, Christ Church came in for its share
+of the work: in 1642 a University regiment of Cavaliers was drilled in
+Tom Quad, and of the hundred and one students of the House twenty became
+officers in the king's army. After Edgehill, Charles I. occupied Oxford,
+and kept his court with Prince Charles in Christ Church. On February 3rd,
+1644, the king appointed a thanksgiving to be made at evensong for the
+taking of Cirencester by Prince Rupert the day before. The doctors were
+then in their red robes, the officers and men in laced buff coats and
+polished breastplates. "But there was no new Form of Thanksgiving said,
+save only that Form for the victory of Edgehill, and a very solemn anthem,
+with this several times repeated therein--'Thou shalt set a Crown of
+pure gold upon his Head, and upon his Head shall his Crown flourish.'"
+
+In 1646 Oxford was taken by the Roundheads, and in 1648, at the visitation
+of the Parliamentary officers (the Dean, Samuel Fell, being in custody),
+Mrs. Fell, with some other ladies, and her children, refused to walk
+out of the Deanery, and had to be carried out with her companions, and
+"deposited in the quadrangle in feminine protest against extrusion." Dean
+Samuel Fell, who had finished Duppa's wood and glass work in the
+cathedral, and built the fine staircase into the hall, died heartbroken
+on February 1st, 1648, "the Day he was acquainted with the murder
+of his Royal Master King Charles I.": he was buried at Sunningwell,
+near Abingdon, with this inscription of touching brevity--_Depositum
+S.F. Februar._ 1648.
+
+The use of the Latin version of the Prayer Book, and the English version
+as well, had ceased three months before; but it was kept up in a house
+in Merton Street by three Christ Church men, one of whom was the Dean's
+son, John Fell, afterwards himself to become Dean and Bishop of Oxford.
+The intruding Dean and Chapter seem to have behaved villainously; for,
+in an account given by the Chapter of 1670, it is stated that the entire
+revenues of the College had been exhausted by the intruders, all the
+unfinished work on the north side of Tom Quad demolished, and the
+timbers actually sawn down from the walls and roof to be used as firewood.
+Almost every part of the College was damaged in this way, and the huge
+expense of making the destruction good had to be borne by the new Chapter
+after the Restoration.
+
+[Illustration: THE INTERIOR BEFORE THE RESTORATIONS.]
+
+Samuel Fell's first Puritan successor in the Deanery was Reynolds,
+a Presbyterian who, in two years (1650), was turned out "to make
+room," says Browne Willis, "for that noted, canting, Independent,
+Time-serving Hypocrite John Owen." This Owen was himself turned out in
+1659, and "retired among the Dissenters at London, and there ended his
+Days (preaching up Sedition in Conventicles)." He was buried in Bunhill
+Fields, with a portentously long epitaph, whereof one sentence may
+suffice as a specimen--_In illâ viribus plusquam Herculeis, Serpentibus
+tribus, Arminio, Socino, Cano, venenosa strinxit guttura_.
+
+Reynolds was restored by the Presbyterians in 1659, but them deserting,
+he became Bishop of Norwich, and was succeeded at Christ Church in
+1660 by Morley, who, in the same year, became a Bishop, and afterwards
+succeeded the tough old Duppa in the see of Winchester, 1662. John Fell,
+who had seen so much trouble in his father's old house, was next installed
+therein, in 1660. His biography will be found among the bishops.
+
+James II. made Massey, an ex-Presbyterian convert to the Roman Church,
+Dean of Christ Church, and the Holy Communion was celebrated according
+to the Roman use every day in the House. When the king visited Oxford in
+1687, he was lodged in the Deanery, and a chapel fitted up for his use.
+He summoned the fellows of Magdalen, who had refused to admit Bishop
+Parker as their president, into Christ Church Hall, and said:--"Is this
+your Church of England loyalty? Get you gone. Know that I, your King,
+will be obeyed. Go and admit the Bishop of Oxon. Let those who refuse
+look to it. They shall feel the whole weight of my hand." They refused,
+and twenty-five of them were expelled. James, by-the-way, touched for
+the King's Evil in the cathedral about the same time.
+
+Aldrich, the versatile, followed in the Deanery, nothing being said of
+Massey in the letters patent which installed him as direct successor to
+John Fell. We have alluded to him more than once in this book, and his
+monument in the nave is mentioned in its place.
+
+After Aldrich came Francis Atterbury in 1711, who in 1713 left Oxford
+to combine the rather dissimilar functions of Bishop of Rochester and
+Dean of Westminster. He found his way into the Tower of London in 1722,
+being convicted of correspondence with the Pretender.
+
+By the eighteenth century Oxford had sunk into a state of torpor, from
+which it began to recover in 1807, when the first honour schools were
+founded; though from 1783 Dean Cyril Jackson had been doing a great work
+in the restoration of order and efficiency at the House. Christ Church
+thus bore an honourable part in the revival of learning, and gradually
+developed from a rich man's plesaunce into a home of learning: the names
+of Ruskin, Gladstone, and Pusey are typical of the great men in different
+walks of life that have belonged to the cathedral college in our own
+era. Dean Gaisford more than half a century ago did much to help on the
+progress; and the long rule of his successor, Dean Liddell (1855-91),
+familiar to every schoolboy through his famous lexicon, covered a period
+of immense change both in the cathedral and in the college. Dr. Liddell
+died January 18th, 1898. His successor is Dr. Francis Paget, one of
+the writers in "_Lux Mundi_," and the author of some well-known volumes
+of addresses.
+
+Fifty years ago it was said that Christ Church was the only cathedral
+in Christendom where there were neither services nor sermons for the
+people of the diocese. But the new life, which has since then wrought
+such great changes in university, cathedral, and diocese alike, has left
+Christ Church, if still the smallest, yet not the least important of the
+great centres of ecclesiastical activity.
+
+
+
+
+CHAPTER V.
+
+THE DIOCESE OF OXFORD.
+
+
+Down to our own time, Oxford remained one of the new dioceses of the
+English Church, having been set up by Henry VIII. by way of compensation
+for his confiscation of the monastic properties. Before 1542 Oxford
+belonged to the enormous diocese of Lincoln; but in that year the new see
+was created, and Robert King, the last Abbot of Oseney, was made first
+Bishop of Oseney, and the Bishop's stool set up in his magnificent abbey
+church of St. Mary.
+
+This Abbey of Oseney, which had been founded by Robert D'Oilgi in 1129,
+and rebuilt in 1247, was, like St. Frideswide's, a house of Augustinian
+Canons, but far larger. It was, indeed, one of the finest abbeys in
+England, its principal cloister being as large as Tom Quad, and its
+church no less than 352 feet by 100, with double aisles, and twenty-four
+altars. Gardens and courts, and comely outbuildings, ran along the side
+of the river; in every corner a busy life went on among the orieled
+windows and high-pitched roofs, within the fretted cloister, the schools
+and libraries, the refectory, and the kitchen, whither a conduit brought
+the water from the river side. A great gate looked on to the high road;
+and the abbot's lodgings were so spacious that six men could walk abreast
+up the steps which led into his hall. Yet others were not forgotten;
+besides the guest-house, there was a building reserved for poor clerks.
+
+But Henry's mania for destruction could not let the Abbey stand. In 1546
+he moved the see to St. Frideswide's, reconstituting the old Priory,
+which Wolsey had turned into a college, as both college and cathedral.
+The doom of Oseney was pronounced, and in that year the demolition began.
+
+In 1566 Agar's map represents Oseney Abbey as still standing, but
+roofless; in 1644 a good deal remained, but Charles I. used the greater
+part to complete the fortifications of Oxford against the Cromwellians;
+in 1718 the abbot's chamber and the great stone staircase were all that
+was left. In Dr. Johnson's time a few ruins could still be seen, of which
+the great man said (at a time when such sentiments were uncommon)--"Sir,
+to look upon them fills me with indignation." At the present day the
+remains are almost invisible; they consist of a portion of a building
+attached to the mill, a fragment of the foundations of the gateway at the
+end of the same building, a small portion of the wall near the great gate,
+a few loose fragments of masonry, and some encaustic tiles. Bishop King's
+window in the cathedral gives one a vague reminder of its former aspect;
+and only the bells, which were transferred to Christ Church, remain
+intact. Thus perished the first cathedral church of the see of Oxford.
+
+ Of it there now remains no memory
+ Nor any little monument to see;
+ By which the traveller that fares that way,
+ That once she was may warned be to say.
+
+Apart from questions of vandalism, the destruction of this the first
+cathedral of Oxford was an egregious piece of waste and folly. Such places
+have been only too much needed by the University--indeed the need was
+felt a few years after the destruction--and vast sums have been spent
+in the erection of immeasurably inferior buildings. If Oseney Abbey,
+with its crowd of beautiful outbuildings along the water side, had been
+converted into a college, it would have been of immense use, and every
+other college now extant insignificant compared with it. Of all the
+headstrong and wanton actions of an irreverent age, the destruction of
+Oseney was one of the most wicked; and, as the train moves into Oxford
+railway station, the stranger may remember that the present approach
+to the old city is only so hideous because the glorious old abbey has
+given place to a collection of gasholders, coal-heaps, railway-sidings,
+modern tombstones, and obscene jerry-buildings.
+
+The diocese of Oxford now includes the deaneries of Aston, Burcester,
+Chipping-Norton, Cuddesden, Deddington, Dorchester (Oxon), Henley, Witney,
+Woodstock, and Oxford City, together with the counties of Berks and Bucks.
+
+
+=Robert King= (1542-1557), the first Bishop of Oseney and of Oxford,
+and the last Abbot of Oseney and of Thame, began life as a Cistercian
+monk. On the conversion of his abbey into a cathedral, he continued, as
+bishop of the new see, to preside; but he had already, seven years before,
+been raised to the episcopate, as suffragan of Lincoln, under the title
+(conferred by the Pope) of Bishop of Rheon in the province of Athens. He
+seems to have taken the Reformation pretty easily, passing through all
+the changes under King Henry, King Edward, and Queen Mary. He died at
+an advanced age in 1557, and was buried in Christ Church Cathedral. He
+left considerable riches to his nephew Phillip King, "which it seems,"
+says Fuller, "was quickly consumed, so that John King, Bishop of London
+(son of Phillip), used to say he believed there was a fate in abbey
+money no less than in abbey land, which seldom proved fortunate, or of
+continuance to the owners." He is supposed to have built "Bishop King's
+House" in Rose Place.
+
+After Queen Elizabeth had kept the see vacant for ten years, =Hugh Curwen=
+(1567-1568), a "moderate papist," according to Fuller, who had been made
+Archbishop of Dublin by Queen Mary, and now wished to end his days in
+peace, was translated to Oxford. "Very decrepid, broken with old age and
+many state affairs," he died next year. Whereupon Elizabeth kept the see
+vacant for twenty-one years more, "out of pure devotion to the leases,
+as some writers say."
+
+=John Underhill= (1589), Rector of Lincoln College, and one of Queen
+Elizabeth's chaplains, was next appointed, "being persuaded," says Willis,
+"on certain considerations, to accept it in the way of a better." But
+it proved "very much out of his way; for ere the first-fruits were payed
+he died in great discontent and poverty about the beginning of May 1592."
+
+Again Elizabeth, who had already taken away some of the best estates
+from the bishopric, kept it in her hands the third time (1592-1604):
+"who," says Willis, "constituting no bishop forty-one years of her
+forty-four, disposed of its income to her courtiers as she thought fit,
+giving whatever they had a mind to ask; though, as some writers remark,
+it proved miserably fatal to them, particularly to her great favourite
+the Earl of Essex."
+
+With =John Bridges= (1604-1618) commences the unbroken succession of
+Bishops of Oxford. It is suggested by Fuller in his "Worthies" that "the
+cause that church was so long a widow was the want of a competent estate
+to prefer her"; but at this time, Elizabeth being dead, the endowment
+of the see had been increased; and henceforward occupants for it were
+found. Bridges is known to history mainly from his name appearing at the
+head of the title-page of the first two Marprelate tracts. He was then,
+1587, Dean of Sarum, and had written a temperate reply to the Puritan
+pamphleteers who were pouring violent abuse upon Episcopacy. Martin
+Marprelate seized upon his book, "A Defence of the Government Established
+in the Church of England," and headed the "Epistle" and the "Epitome"
+with, "Oh read over D. John Bridges, for it is a worthy worke." He was
+a good Bishop.
+
+=John Howson= (1619-1628) was a great controversialist of the time, his
+four sermons against the Pope's supremacy having, according to Fuller,
+"made him famous to all posterity." He was one of the original members
+of Chelsea College, an institution founded by James I. "to afford
+divines leisure and other conveniences to spend their time wholly in
+controversy." Mercifully this terrible design soon gave way, and Chelsea
+College became Chelsea Hospital. Bishop Howson was translated to Durham
+in 1628, where he died at the age of ninety-five.
+
+=Richard Corbet= (1628-1632) was "a distinguished wit in an age of wits,
+and a liberal man amongst a race of intolerant partizans." But perhaps
+his liberality (which did not prevent him, by-the-way, from carrying out
+the Laudian discipline with a high hand) was due to his own easy way
+of living: for he and his chaplain were wont to lock themselves in the
+wine-cellar and be merry. He seems to have been a genial, kind, generous,
+and spirited prelate; sincere and affectionate in private life, he was,
+says Gilchrist, "correct, eloquent, and ingenious as a poet." At least
+he was a man of character. From 1632 to 1635 he was Bishop of Norwich.
+
+=John Bancroft= (1632-1641), Master of University College, and nephew of
+the Archbishop of Canterbury of that name, was a great benefactor to the
+see. Being a single man he devoted his money to this purpose; and besides
+many financial acquisitions, he built an episcopal palace at Cuddesden
+at the suggestion of Archbishop Laud. This palace, the first since the
+time of Edward VI., was finished in 1634, and burnt down ten years later
+by Colonel Legg, to prevent its becoming useful to the parliamentary
+forces. It lay in ruins till the time of Bishop Fell.
+
+=Robert Skinner= (1641-1663) was translated from Bristol. He was
+imprisoned in the Tower by the Puritan party, and remained in obscurity
+during the Commonwealth; but he was one of the few who continued to
+ordain. At the Restoration, being then over seventy, he was translated
+to Worcester.
+
+=William Paul= (1663) and =Walter Blandford= (1665) did nothing memorable.
+
+=Hon. Nathaniel Crewe= (1671-1674) entered into holy orders in 1664; in
+the short space of five years he was Dean of Chichester, and two years
+after that Bishop of Oxford. He was an ambitious and restless man: in
+1673 he had the boldness to perform the marriage ceremony between the
+Duke of York and Mary of Este, in defiance of the House of Commons. As
+a reward for this act, the Duke procured him the see of Durham, whither
+he was translated in 1674. At the Revolution, as a consequence of his
+political intrigues, he was excepted from the general pardon, and obliged
+to fly to Holland. But he afterwards made his peace; and, on the death
+of his elder brother, becoming Lord Crewe, he was the first man to be
+summoned to Parliament both as baron and bishop. He lived on till 1722.
+
+=Hon. Henry Compton= (1674-1675), son of the Earl of Northampton, who died
+fighting by the king at Hopton Heath in 1644, was after the Restoration
+a cornet in the army before he took orders. He was conspicuous throughout
+his long life for his efforts to reconcile the dissenters with the Church
+of England, and for his opposition to Rome; he was the first to sign the
+declaration for the Prince of Orange on William's arrival in London. But
+at Oxford he was a bird of passage, being translated to London in 1675.
+
+=John Fell= (1676-1686), the best known, and also the best of the Bishops
+of Oxford, was well-fitted to restore the traditions of the place; for
+his father Samuel Fell was Dean of Christ Church from 1637-1649, and had
+been elected student of the House as far back as 1601: thus John Fell must
+have had an intimate knowledge of the traditions of Christ Church as far
+back as the third interregnum of Elizabeth. A strong royalist, Fell kept
+in seclusion till the Restoration, when, in 1660, he was made Dean. He
+at once commenced to restore both the discipline and the buildings of
+the College. On his appointment to the Bishopric, he was permitted to
+retain the Deanery as well, in order "that he might better carry on his
+noble designs, which were so many that they contributed to wear him quite
+out and shorten his life." He employed Sir Christopher Wren to build
+Tom Tower, and finished the north side of Tom Quadrangle; he also built
+a new episcopal palace upon the ruins of the old one at Cuddesden. He
+founded ten exhibitions, and caused the University Theatre to be erected,
+and the Printing Press to be "advanced to a glory superior to any place
+in Christendom." He showed exemplary care in governing his diocese, and
+established daily prayers at St. Martin's (as the principal city church
+of Oxford) at eight in the morning and eight at night. His most important
+book is the "Life of Dr. Henry Hammond," 1660; he also wrote several
+theological books, edited St. Cyprian's works, and produced a well-known
+edition of the New Testament. He died in 1686, "having by a most pious
+unspotted single life left behind him an everlasting character," and was
+buried in the cathedral, where, in the ante-chapel, there is a monument
+to him. There is also a beautiful statue of him over the archway that
+leads past the deanery into Peckwater Quadrangle, by Mr. Bodley.
+
+Anthony à Wood records of him that he was "the most zealous man of his
+time for the Church of England." Still John Fell had his weak points,
+as this same Anthony Wood had cause to know. For it so happened that
+Wood had mentioned Hobbes, the redoubtable author of the "Leviathan,"
+in terms of great admiration, in his History and Antiquities of the
+University. Wood was himself a strong high-churchman, with (it had been
+said) a weakness for popery; in praising Hobbes he therefore acted with a
+generosity and fairness beyond his age. Fell, however, was not so liberal;
+he considered Hobbes no better than an atheist or a deist, and when one
+Peers was employed by Wood to translate his book into Latin, Fell got on
+the right side of the man, and made him alter all Wood's praises of Hobbes
+to expressions of abuse. The author of the "Leviathan," meeting the King
+in Pall Mall, got leave to reply, and hit the Bishop rather hard. Fell
+retorted with an answer that contained the famous description of Hobbes as
+_irritabile illud et vanissimum Malmesburiense animal_. Wood, of course,
+was furious, and the wretched Peers suffered at the hands of the muscular
+old Antiquary, so that "as Peers alway cometh off with a bloody nose or
+a black eye, he was a long time afraid to goe anywhere where he might
+chance to meet his too powerful adversary, for fear of another drubbing."
+
+=Samuel Parker= (1686-1687) was a typical specimen, of the place-hunter
+of the period. He was brought up a strict Puritan at Northampton, and,
+coming to Wadham College in 1656, when the Puritans were in power,
+he distinguished himself as "one of the most godly young men in the
+University," and was under the tuition of a rigid Presbyterian. Shortly
+after the Restoration, however, he changed his mind, and in 1663 he took
+orders, becoming "a zealous advocate of the Church of England." By 1686,
+however, he was the creature of James II., and was forced by that monarch
+upon Magdalen College, Oxford, as its President, in 1687, in the place
+of the lawful President, John Hough. At the installation only two of the
+Magdalen Fellows attended; the porter threw down his keys, the butler
+had to be dismissed because he would not scratch Hough's name from the
+buttery list, no blacksmith even could be found in Oxford to force the
+lock of the President's lodgings; and the whole University, which had
+suffered so much for the Stuarts, was alienated at last. Parker himself
+died very soon after, in the lodgings that he had unlawfully occupied. He
+lies buried in the ante-chapel of Magdalen, but no monument marks his
+grave. Antony Wood intimates that he would have become a Papist, but
+for his wife, who was unwilling to be parted from him; and he certainty
+wrote in defence of transubstantiation. Still, Parker, according to
+Mr. W.H. Hutton (_Social England_, iv. 421), was by no means a despicable
+man. As a philosopher in his _Disputationes de Deo_, and _Censure of the
+Platonick Philosophie_, as a satirist in his _Discourse of Ecclesiastical
+Polity_, and an ecclesiastical historian, he is eminent. "But most of all
+is he commended to modern thinkers by his little tract containing reasons
+for the abolition of the Test Act."
+
+=Timothy Hall= (1688-1690), another of James II.'s creatures, was also
+originally a Nonconformist, but afterwards, "getting nothing," says
+Willis, "for his loss of a small living in Middlesex, he complied."
+Being a very obscure and inconsiderable person, and on no account for
+learning, no one took any notice of him. At the Revolution he fled from
+Oxford, and died "miserably poor at Hackney near London, and was buried
+in the church there without any memorial."
+
+=John Hough= (1690-1699), the President of Magdalen whom King James
+had ejected, was the next bishop. He retained the Presidency during
+his episcopate. In 1699 he was translated to Lichfield, thence in 1717
+to Worcester, where he died in 1743. He was, says Macaulay, "a man of
+eminent virtue and prudence, who, having borne persecution with fortitude
+and prosperity with meekness, having risen to high honours, and having
+modestly declined honours higher still, died in extreme old age, yet
+in full vigour of mind," fifty-six years after the eventful struggle
+with James.
+
+=William Talbot= (1669-1715), father of Lord Chancellor Talbot, was
+translated to Salisbury in 1715, and to Durham in 1721.
+
+=John Potter= (1715-1737), son of a linen-draper in Wakefield, wrote a
+well-known book on the "Antiquities of Greece." He was "a learned and
+exemplary divine, but of a character by no means amiable, being strongly
+tinctured with a kind of haughtiness and severity of manners." He became
+Archbishop of Canterbury in 1737.
+
+=Thomas Secker= (1737-1758) came of dissenting parents, but was persuaded
+by the great Bishop Butler to abandon the study of medicine and to take
+orders in the Church. He was an estimable and able person, and in 1758
+became Archbishop of Canterbury. His portrait by Sir Joshua Reynolds
+is at Lambeth.
+
+=John Hume= (1758-1766), Bishop of Bristol 1756: translated to Salisbury
+1766.
+
+=Robert Lowth= (1766-1777) was the author of a variety of works, including
+a "Life of William of Wykeham," and a "Short Introduction to English
+Grammar." His controversy with Warburton, and the "Letters" to which
+it gave rise, are well known. Of his "Isaiah" Philip Skelton said that
+"Lowth on the Prophecies of Isaiah is the best book in the world, next to
+the Bible." He was moved to London 1777, and he refused the Archbishopric
+of Canterbury.
+
+=John Butler= (1777-1788) was a popular preacher and political
+pamphleteer; in reward apparently for his efforts in the latter function,
+Lord North advanced him to see of Oxford, though he was not a university
+man. Translated to Hereford 1788.
+
+=Edward Smallwell= (1788-1799), St. David's 1783. The first bishop since
+Dr. Fell to remain faithful to the diocese.
+
+=John Randolph= (1799-1807), regius professor of Greek and a trustee
+of the British Museum, was the author of many sermons and charges. One
+of his last works was a report of the progress of the National School
+Society. Translated to Bangor 1807, and to London 1809.
+
+=Charles Moss= (1807-1811) avoided translation, and died shortly in the
+palace at Cuddesden, and "leaving his splendid furniture for the use of
+his successors."
+
+=William Jackson= (1812-1815) was a prominent Oxford man, being regius
+professor of Greek and curator of the Clarendon Press.
+
+=Hon. Henry Legge= (1816-1827) was a son of the Earl of Dartmouth;
+he had been Dean of Windsor, and in 1817 became Warden of All Souls,
+retaining the bishopric.
+
+=Charles Lloyd= (1827-1829). Had he not died at the early age of
+forty-five, Lloyd would have played a great part in the stirring times
+that were in store for the Church. He was, says Mr. Gladstone, "a man
+of powerful talents, and of character both winning and decided." He was
+Student and Tutor, then Regius Professor of Divinity and Canon of Christ
+Church, and had Sir R. Peel among his pupils and constant friends. Lloyd
+warmly supported the Roman Catholic Relief Bill in 1829. He was the first
+to publish the Prayer Book with red lettered rubrics.
+
+=Hon. Richard Bagot= (1829-1845), translated to Bath and Wells. He
+graduated in 1803, and it is characteristic of his times that in 1804 he
+was fellow of All Souls, in 1806 rector of Leigh, and in 1807 canon of
+Windsor,--all within seven years of his matriculation at Christ Church.
+He was bishop at the time of the Oxford movement, and was reluctantly
+obliged to play a part in its history. He did not exactly please either
+side, but he behaved with great fairness and courtesy, as Newman bears
+witness in his _Apologia_. In 1845, being ruined in health by the worry
+of previous years, he was translated to Bath and Wells.
+
+=Samuel Wilberforce= (1845-1870), translated to Winchester. This famous
+bishop was the third son of William Wilberforce, the great slave
+emancipator. At the early age of forty he was made bishop of Oxford,
+and he administered the diocese with wonderful ability for a quarter of a
+century, guiding it through the most difficult period, when the Tractarian
+storm was at its height, without offending either party. His extraordinary
+tact and charm enabled him to perform a valuable work for the Church
+by binding the various sections together at a time when party-feeling
+ran high. He was the most accomplished preacher in the English Church,
+one of the fore-most parliamentary orators of his day; "the most witty
+and genial of companions, he was the favourite of social life, and
+was equally irresistible in the drawing room or on the platform." As a
+theologian he was the inferior of his brother the Archdeacon; he wrote,
+however, several books, of which the best remembered are "Agathos" and
+"Rocky Island." He was killed by a fall from his horse when riding with
+Lord Granville in 1873.
+
+=John Fielder Mackarness= (1870-1888) was recommended to the bishopric
+by Mr. Gladstone, having lost his seat in convocation through refusing to
+oppose the disestablishment of the Irish Church. He was a hard-working
+prelate of great courage and independence. When an attempt was made to
+force him to take proceedings against the rector of Clewer, he argued the
+case in person before the judges of the Queen's Bench, and at last won his
+case on appeal. On surrendering to the ecclesiastical commissioners the
+management of the Oxford bishopric estates, Dr. Mackarness paid them the
+sum of £1729, which he estimated that he had received in excess of his
+statutory income during the previous nine years. He had been made a fellow
+of Exeter College on taking his degree; he wrote several pamphlets, among
+them "A Plea for Toleration, in Answer to the 'No Popery' Cry, 1850." He
+resigned, owing to failing health, in 1888, and died in the next year.
+
+=William Stubbs=, the present bishop, was translated from Chester in
+1888, being already an Honorary Student of Christ Church. He is one of
+the leading historians of our time, and his Constitutional History has
+long been the standard work upon the subject.
+
+[Illustration: ARMS OF CHRIST CHURCH.]
+
+ * * * * *
+
+Printed by Neill and Co., Ltd., Edinburgh.
+
+
+
+
+FOOTNOTES
+
+
+[Footnote 1: S. _Skeletons_; B. _Bones_; P. _Drain-pipe_.]
+
+[Footnote 2: Mr. Park Harrison has collected some very interesting
+drawings from various Anglo-Saxon MSS., which afford striking parallels
+to the ornament on these and other capitals in the church. A reproduction
+of the drawing here referred to, and of others equally important, will
+be found in his "Pre-Norman Date."]
+
+[Footnote 3: St. Frideswide: Two sermons preached in the Cathedral Church
+of Christ in Oxford, by H.G. Liddell, Dean of Christ Church, pp. 21-24.]
+
+[Footnote 4: Mr. Rashdall's theory has, however, already been called
+in question by Mr. A.F. Leach, who (_National Review_, September 1896)
+asserts decisively that there were schools at Oxford even before Guimond's
+time, and that "Oxford is as much, there is every reason to believe, a
+natural growth from the schools and schoolmasters of St. Frideswide's as
+Paris from those of Notre Dame."]
+
+[Footnote 5: Prior Robert published an abridgment of Pliny, addressed
+"to the studious, and especially to those in cloisters and schools." He
+also published another work on _Jacob's Marriage_, which he said he had
+written when he was himself a scholar and "a regent master."]
+
+
+
+
+
+
+End of Project Gutenberg's The Cathedral Church of Oxford, by Percy Dearmer
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diff --git a/49581/49581-8.zip b/49581/49581-8.zip Binary files differnew file mode 100644 index 0000000..d916aa9 --- /dev/null +++ b/49581/49581-8.zip diff --git a/49581/49581-h.zip b/49581/49581-h.zip Binary files differnew file mode 100644 index 0000000..7f5116f --- /dev/null +++ b/49581/49581-h.zip diff --git a/49581/49581-h/49581-h.htm b/49581/49581-h/49581-h.htm new file mode 100644 index 0000000..c2e6763 --- /dev/null +++ b/49581/49581-h/49581-h.htm @@ -0,0 +1,6060 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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+<meta http-equiv="Content-Type"
+ content="text/html; charset=iso-8859-1" />
+<meta content="pg2html (binary v0.20)" name="generator" />
+<title>The Project Gutenberg eBook of
+ The Cathedral Church of Oxford; a description of its fabric and a brief history of the episcopal see,
+ by The Rev. Percy Dearmer, M.A.
+</title>
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+</head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's The Cathedral Church of Oxford, by Percy Dearmer
+
+This eBook is for the use of anyone anywhere in the United States and most
+other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms of
+the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you'll have
+to check the laws of the country where you are located before using this ebook.
+
+Title: The Cathedral Church of Oxford
+ A description of its fabric and a brief history of the episcopal see
+
+Author: Percy Dearmer
+
+Release Date: August 2, 2015 [EBook #49581]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRAL CHURCH OF OXFORD ***
+
+
+
+
+Produced by Jonathan Ingram, David Cortesi, David Garcia
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<p><span class="pagenum"><a id="page0" name="page0"></a><!--[unnumbered page]--></span></p>
+
+<div class="figure">
+<a name="image-0001"><!--IMG--></a>
+
+<a href="images/i-01.jpg">
+<img src="images/i-01-s.jpg" width="550" height="350"
+alt="CHRIST CHURCH, FROM THE EAST." /></a>
+<br />
+CHRIST CHURCH, FROM THE EAST.
+</div>
+
+<p><span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+THE CATHEDRAL CHURCH OF
+<br />
+OXFORD
+</h1>
+
+<p class="center">
+A DESCRIPTION OF ITS FABRIC
+<br />
+AND A BRIEF HISTORY OF THE
+<br />
+EPISCOPAL SEE
+</p>
+
+<p class="center">
+BY THE REV. PERCY DEARMER, M.A.
+</p>
+
+<p class="center">
+WITH THIRTY-FOUR ILLUSTRATIONS
+</p>
+
+<div class="figure">
+<a name="image-0002"><!--IMG--></a>
+
+<a href="images/i-02.png">
+<img src="images/i-02.png" width="272" height="311"
+alt="Shield" /></a>
+</div>
+
+<p class="center">
+LONDON: GEORGE BELL & SONS, 1899
+</p>
+
+<p><span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span></p>
+
+<p class="center">
+ <span class="sc">First Published, April, 1897.</span>
+<br />
+ <span class="sc">Second Edition, Revised, April, 1899.</span>
+</p>
+
+<p><span class="pagenum"><a id="pageiii" name="pageiii"></a>[iii]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ GENERAL PREFACE.
+</h2>
+
+<p>
+This series of monographs has been planned to supply visitors to the
+great English Cathedrals with accurate and well illustrated guide books
+at a popular price. The aim of each writer has been to produce a work
+compiled with sufficient knowledge and scholarship to be of value to the
+student of archæology and history, and yet not too technical in language
+for the use of an ordinary visitor or tourist.
+</p>
+<p>
+To specify all the authorities which have been made use of in each case
+would be difficult and tedious in this place. But amongst the general
+sources of information which have been almost invariably found useful
+are:—firstly, the great county histories, the value of which, especially
+in questions of genealogy and local records, is generally recognised;
+secondly, the numerous papers by experts which appear from time to time
+in the transactions of the antiquarian and archæological societies;
+thirdly, the important documents made accessible in the series issued by
+the Master of the Rolls: fourthly, the well-known works of Britton and
+Willis on the English Cathedrals; and lastly, the very excellent series
+of Handbooks, to the Cathedrals, originated by the late Mr. John Murray,
+to which the reader may in most cases be referred for fuller detail,
+especially in reference to the histories of the respective sees.
+</p>
+
+<p class="right">
+ GLEESON WHITE.
+<br />
+ E.F. STRANGE.
+<br />
+ <i>Editors of the Series.</i>
+</p>
+
+<p><span class="pagenum"><a id="pageiv" name="pageiv"></a>[iv]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ AUTHOR'S PREFACE.
+</h2>
+
+<p>
+For one who has learnt the best of what he knows within Christ Church
+walls it has been very pleasant to gather these notes of the Cathedral's
+history and architecture. Moreover, I am less remorseful than I might
+be at adding to the world's overcrowded library, because certain recent
+discoveries in the Cathedral have thrown the best of the old books out
+of date, and made it necessary for some one to weave together the older
+and the later knowledge. My indebtedness, therefore, is not only to
+former labourers in this field, but especially to the author of these
+discoveries, Mr J. Park Harrison, who roused my enthusiasm in the old
+days, and now has most generously helped me with his advice, and allowed
+me to incorporate in these chapters the substance of his own papers. To
+these pamphlets I would refer any who wish to go to the fountainhead for
+the account of the investigations, and especially I may mention two:
+"The Pre-Norman Date of the Choir and some of the Stone-work of Oxford
+Cathedral," and the "Account of the Discovery of the Remains of three
+Apses at Oxford Cathedral" (Oxford: Frowde, 24 and 23 pp.). I must also
+express my thanks for the kindness and help of Professor York Powell,
+and of Mr W. Francis, the senior verger, and to Messrs Carl Norman & Co.
+of Tunbridge Wells, Mr W. Giles, Mr Park Harrison, and Mr R. Phené
+Spiers, F.R.I.B.A., for the loan of and permission to reproduce various
+drawings and photographs.
+</p>
+
+<p class="right">
+ PERCY DEARMER.
+</p>
+
+<p><span class="pagenum"><a id="pagev" name="pagev"></a>[v]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CONTENTS.
+</h2>
+
+<table border="0" summary="Table of Contents">
+<tr><td> </td><td class="right"> <small>PAGE</small> </td></tr>
+
+<tr><td> History of the Cathedral </td><td class="right"> <a href="#page3">3</a> </td></tr>
+
+<tr><td> Description of the Exterior </td><td class="right"> <a href="#page27">27</a> </td></tr>
+<tr><td class="sub"> Spire and Tower </td><td class="right"> <a href="#page28">28</a> </td></tr>
+<tr><td class="sub"> On the North Side </td><td class="right"> <a href="#page32">32</a> </td></tr>
+<tr><td class="sub"> The Saxon Foundations </td><td class="right"> <a href="#page33">33</a> </td></tr>
+<tr><td class="sub"> Cloister </td><td class="right"> <a href="#page37">37</a> </td></tr>
+<tr><td class="sub"> Chapter House </td><td class="right"> <a href="#page39">39</a> </td></tr>
+<tr><td class="sub"> Bell Tower </td><td class="right"> <a href="#page43">43</a> </td></tr>
+<tr><td class="sub"> Tom Tower </td><td class="right"> <a href="#page44">44</a> </td></tr>
+<tr><td class="sub"> College Buildings </td><td class="right"> <a href="#page47">47</a> </td></tr>
+
+<tr><td> Description of the Interior </td><td class="right"> <a href="#page49">49</a> </td></tr>
+<tr><td class="sub"> Nave </td><td class="right"> <a href="#page51">51</a> </td></tr>
+<tr><td class="sub"> Monuments of the Nave </td><td class="right"> <a href="#page57">57</a> </td></tr>
+<tr><td class="sub"> Organ </td><td class="right"> <a href="#page58">58</a> </td></tr>
+<tr><td class="sub"> Pulpit </td><td class="right"> <a href="#page58">58</a> </td></tr>
+<tr><td class="sub"> Tower </td><td class="right"> <a href="#page58">58</a> </td></tr>
+<tr><td class="sub"> Aisles of Nave and Transepts </td><td class="right"> <a href="#page62">62</a> </td></tr>
+<tr><td class="sub"> Glass in Aisles </td><td class="right"> <a href="#page63">63</a> </td></tr>
+<tr><td class="sub"> North Transept </td><td class="right"> <a href="#page65">65</a> </td></tr>
+<tr><td class="sub"> Glass in Transepts </td><td class="right"> <a href="#page67">67</a> </td></tr>
+<tr><td class="sub"> South Transept </td><td class="right"> <a href="#page67">67</a> </td></tr>
+<tr><td class="sub"> St. Lucy's Chapel </td><td class="right"> <a href="#page70">70</a> </td></tr>
+<tr><td class="sub"> Monuments of Transept and Chapel </td><td class="right"> <a href="#page71">71</a> </td></tr>
+<tr><td class="sub"> Choir </td><td class="right"> <a href="#page72">72</a> </td></tr>
+<tr><td class="sub"> East End </td><td class="right"> <a href="#page78">78</a> </td></tr>
+<tr><td class="sub"> Reredos </td><td class="right"> <a href="#page79">79</a> </td></tr>
+<tr><td class="sub"> High Altar </td><td class="right"> <a href="#page80">80</a> </td></tr>
+<tr><td class="sub"> South Choir Aisle </td><td class="right"> <a href="#page81">81</a> </td></tr>
+<tr><td class="sub"> Monuments </td><td class="right"> <a href="#page81">81</a> </td></tr>
+<tr><td class="sub"> North Choir Aisle </td><td class="right"> <a href="#page83">83</a> </td></tr>
+<tr><td class="sub"> Shrine of St. Frideswide </td><td class="right"> <a href="#page84">84</a> </td></tr>
+<tr><td class="sub"> Lady Chapel </td><td class="right"> <a href="#page88">88</a> </td></tr>
+<tr><td class="sub"> "Watching Chamber" </td><td class="right"> <a href="#page89">89</a> </td></tr>
+<tr><td class="sub"> Monuments in Lady Chapel </td><td class="right"> <a href="#page91">91</a> </td></tr>
+<tr><td class="sub"> Glass in the Aisles </td><td class="right"> <a href="#page97">97</a> </td></tr>
+<tr><td class="sub"> Latin Chapel </td><td class="right"><a href="#page102">102</a> </td></tr>
+<tr><td class="sub"> Glass in Latin Chapel </td><td class="right"><a href="#page105">105</a> </td></tr>
+
+<tr><td> History of the Foundation </td><td class="right"><a href="#page109">109</a> </td></tr>
+<tr><td class="sub"> St. Frideswide </td><td class="right"><a href="#page109">109</a> </td></tr>
+<tr><td class="sub"> The Priory </td><td class="right"><a href="#page114">114</a> </td></tr>
+<tr><td class="sub"> College and Cathedral </td><td class="right"><a href="#page118">118</a> </td></tr>
+
+<tr><td> The Diocese of Oxford </td><td class="right"><a href="#page126">126</a> </td></tr>
+<tr><td class="sub"> Oseney </td><td class="right"><a href="#page126">126</a> </td></tr>
+<tr><td class="sub"> List of the Bishops </td><td class="right"><a href="#page128">128</a> </td></tr>
+</table>
+
+<p><span class="pagenum"><a id="pagevi" name="pagevi"></a>[vi]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ ILLUSTRATIONS.
+</h2>
+
+<table border="0" summary="List of Illustrations">
+<tr><td> </td><td class="right"> <small>PAGE</small></td></tr>
+<tr><td> Christ Church from the East </td><td class="right"> <a href="#image-0001"><i>Frontispiece</i></a></td></tr>
+<tr><td> Arms of the See </td><td class="right"> <a href="#image-0002"><i>Title</i></a></td></tr>
+<tr><td> The Roof of the Choir </td><td class="right"> <a href="#image-0003">2</a></td></tr>
+<tr><td> The Cathedral at the End of the Seventeenth Century </td><td class="right"> <a href="#image-0004">5</a></td></tr>
+<tr><td> Christ Church from the Garden of the Canon of the 2nd Stall, 1857 </td><td class="right"><a href="#image-0005">10</a></td></tr>
+<tr><td> Christ Church in the Eighteenth Century </td><td class="right"> <a href="#image-0006">11</a></td></tr>
+<tr><td> The Tower and Spire </td><td class="right"> <a href="#image-0007">29</a></td></tr>
+<tr><td> Early Saxon Arches </td><td class="right"> <a href="#image-0008">33</a></td></tr>
+<tr><td> Plan of recently excavated Saxon Arches </td><td class="right"> <a href="#image-0009">34</a></td></tr>
+<tr><td> Conjectural Plan of Early Saxon Church </td><td class="right"> <a href="#image-0010">35</a></td></tr>
+<tr><td> Doorway of Chapter-House </td><td class="right"> <a href="#image-0011">39</a></td></tr>
+<tr><td> Corbel in Chapter-House </td><td class="right"> <a href="#image-0012">40</a></td></tr>
+<tr><td> Boss in Chapter-House </td><td class="right"> <a href="#image-0013">41</a></td></tr>
+<tr><td> Choir, from the Old Cemetery </td><td class="right"> <a href="#image-0014">42</a></td></tr>
+<tr><td> Tom Tower </td><td class="right"> <a href="#image-0015">44</a></td></tr>
+<tr><td> Western Entrance and Bell Tower </td><td class="right"> <a href="#image-0016">45</a></td></tr>
+<tr><td> Plan </td><td class="right"> <a href="#image-0017">52</a></td></tr>
+<tr><td> Early English Moulding </td><td class="right"> <a href="#image-0018">54</a></td></tr>
+<tr><td> Nave and Choir, looking East </td><td class="right"> <a href="#image-0019">55</a></td></tr>
+<tr><td> Pulpit </td><td class="right"> <a href="#image-0020">58</a></td></tr>
+<tr><td> Choir and Nave, looking West </td><td class="right"> <a href="#image-0021">59</a></td></tr>
+<tr><td> From the North Transept </td><td class="right"> <a href="#image-0022">66</a></td></tr>
+<tr><td> Clerestory Window in the South Transept </td><td class="right"> <a href="#image-0023">69</a></td></tr>
+<tr><td> Third Capital of the Choir </td><td class="right"> <a href="#image-0024">72</a></td></tr>
+<tr><td> Capitals of the Choir </td><td class="right"> <a href="#image-0025">73</a></td></tr>
+<tr><td> Tracery of the Roof </td><td class="right"> <a href="#image-0026">77</a></td></tr>
+<tr><td> Lady Montacute's Tomb </td><td class="right"> <a href="#image-0027">91</a></td></tr>
+<tr><td> Ornament from a Tomb </td><td class="right"> <a href="#image-0028">95</a></td></tr>
+<tr><td> The "St. Cecilia" Window </td><td class="right"> <a href="#image-0029">99</a></td></tr>
+<tr><td> Window in the Latin Chapel </td><td class="right"> <a href="#image-0030">103</a></td></tr>
+<tr><td> Section of the Interior before the Restorations </td><td class="right"> <a href="#image-0031">107</a></td></tr>
+<tr><td> The Exterior in 1857 </td><td class="right"> <a href="#image-0032">113</a></td></tr>
+<tr><td> The Interior before the Restorations </td><td class="right"> <a href="#image-0033">123</a></td></tr>
+<tr><td> Arms of the College </td><td class="right"> <a href="#image-0034">136</a></td></tr>
+</table>
+
+<p><span class="pagenum"><a id="page1" name="page1"></a>[1]</span></p>
+
+<p><!--[Blank Page]--><br /></p>
+
+<p><span class="pagenum"><a id="page2" name="page2"></a>[2]</span></p>
+
+<div class="figure">
+<a name="image-0003"><!--IMG--></a>
+
+<a href="images/i-03.jpg">
+<img src="images/i-03-s.jpg" width="310" height="400"
+alt="THE ROOF OF THE NAVE.
+ (FROM A DRAWING BY R. PHENÉ SPIERS, F.R.I.B.A.)" /></a>
+<br />
+THE ROOF OF THE NAVE.<br />
+ (FROM A DRAWING BY R. PHENÉ SPIERS, F.R.I.B.A.)
+</div>
+
+<p><span class="pagenum"><a id="page3" name="page3"></a>[3]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CHAPTER I.
+<br />
+<small>
+ THE HISTORY OF THE BUILDING.
+</small>
+</h2>
+
+<p>
+The "Cathedral Church of Christ in Oxford" has had a somewhat unfortunate
+history. Built for the small monastery of St. Frideswide, with no thought
+of any ampler destination, it was in the sixteenth century raised to
+the rank of a cathedral, just after it had been reduced in size by the
+destruction of the bays of the nave, and sunk out of sight among a mass
+of college buildings. Nor was this all the indignity it suffered; for
+it had also to do duty as the chapel of the new academic foundation
+which Wolsey established, and very soon the cathedral was forgotten
+in the college chapel. So neglected was it that Britton wrote at the
+beginning of the present century—"It is very common for visitors,
+and even those of rather refined and critical minds, to leave Oxford
+without examining the building now under notice." A century earlier
+Browne Willis had been content to make the astounding observation:
+"'Tis truly no elegant structure."
+</p>
+<p>
+The first church on this site was that built by St. Frideswide, "The
+Lady," as she was afterwards called in Oxford, and her father Didan,
+about the year 727. The story of this saint, which no visitor to her
+church should omit to read, will be found in our chapter on the History
+of the Foundation.
+</p>
+<p>
+A contemporary of the Venerable Bede, she was one of those noble and
+devoted souls who (as Dr. Jessopp reminds us) made Anglo-Saxon monasticism
+the brightest spot in the history of
+
+<span class="pagenum"><a id="page4" name="page4"></a>[4]</span>
+
+ English community-life. The monks
+and nuns of that period were in fact missionaries, who spread the
+Christian faith among the half-civilised <i>pagani</i>, or country-folk;
+and, by the wise method of planting themselves in remote districts, and
+quietly living the gospel they preached, touched the hearts, and won
+the souls, of their rough neighbours. Thus, without the use of force,
+without even the exercise of royal authority, says Professor Freeman,
+the whole of England had, by the time of the birth of St. Frideswide
+(c. 700), accepted the Christian faith. But the religion of the country
+districts must have still been of a very untutored description; and
+St. Frideswide was one of those who spread in the South, just at the time
+when Mercia was the paramount power in England, the finer civilisation
+which had already established itself in the North, and produced kings
+like Edwin, saints like Aidan, and poets like Caedmon. Whatever may
+be the authority of the legends which gathered about her name, it is
+certain that she gave up her high estate, "devoted herself and all her
+worldly goods to the service of Christ and her poor brethren," refused
+the offer of a royal marriage, escaped the persecutions of her suitor,
+"and finally died in the odour of sanctity, blessed by the poor and
+ignorant people to whom she had devoted her troubled life."
+</p>
+<p>
+Of the place where she established the little church, part of which can
+still be seen in the walls of the cathedral, Dr. Liddell, the late Dean,
+thus writes:—
+</p>
+<p>
+"Meadows unbroken by human habitations or human cultivation, a river
+wandering through them as it listed, unbarred by locks, or weirs, or
+mills, the hills down to their margin clothed in primeval forest. The bank
+of gravel which still slopes down to what we call Christ Church Meadow,
+offered a dry and pleasant site; the river supplied fish for the inmates
+of the new convent; the Trill-mill stream bears testimony by its name
+to the fact that its water was in early times, perhaps the earliest,
+used to turn the wheel which ground their corn; the neighbouring forests
+supplied abundant wood for fuel, as well as game for food, and acorns
+for the swine; the rich meadows of the valley furnished pasture to
+the flocks and herds. In those days, no doubt, the existence of such a
+peaceful community exercised a humanising and softening influence over
+the rude thanes and their clansmen and serfs, who had as yet perhaps
+hardly heard the name of Christ."
+</p>
+
+<p><span class="pagenum"><a id="page5" name="page5"></a>[5]</span></p>
+
+<div class="figure">
+<a name="image-0004"><!--IMG--></a>
+
+<a href="images/i-04.jpg">
+<img src="images/i-04-s.jpg" width="505" height="350"
+alt="THE CATHEDRAL AT THE END OF THE SEVENTEENTH CENTURY (from an old engraving)." /></a>
+<br />
+THE CATHEDRAL AT THE END OF THE SEVENTEENTH CENTURY (<i>from an old engraving</i>).
+</div>
+
+<p><span class="pagenum"><a id="page6" name="page6"></a>[6]</span></p>
+
+<p><!--[Blank Page]--><br /></p>
+
+<p><span class="pagenum"><a id="page7" name="page7"></a>[7]</span></p>
+
+<p>
+Our next glimpse of the church is a terrible one. Despairing of beating
+back the Danes, Ethelred the Unready gave the mad and treacherous order
+for the Massacre of St. Brice's Day, 1002. "Urged by secret orders from
+the king," says Mr. J.R. Green, "the West Saxons rose on St. Brice's Day,
+and pitilessly massacred the Danes scattered defencelessly among them. The
+tower of St. Frideswide, in which those of Oxford had taken refuge, was
+burnt with them to the ground." This account is touched up by Mr. Andrew
+Lang with a little local colour:—"We are tempted to think of a low
+grey twilight above that wet land suddenly lit up with fire; of the tall
+towers of St. Frideswyde's Minster flaring like a torch across the night;
+of poplars waving in the same wind that drives the vapour and smoke of
+the holy place down on the Danes who have taken refuge there, and there
+stand at bay against the English and the people of the town." A finishing
+touch comes from the old chronicler, William of Malmesbury:—"Into the
+tower of St. Frideswyde they were driven, and as men could not drive
+them thence, the tower was fired, and they perished in the burning."
+</p>
+<p>
+This closes the first era in the history of the church: the old
+<i>ecclesiola</i> of Didan and his daughter was gutted by the fire, and its
+roofs and furniture destroyed. Indeed, until lately it was held that
+the whole building was of wood, and perished therefore with the tower
+and roof, no vestige of it remaining for later times. But the recent
+investigations of Mr. J. Park Harrison, an archaeologist of remarkable
+devotion and insight, have proved that the east wall of the eighth century
+church, with two of its primitive arches, still remains, a venerable relic
+of times past, as part of the wall of the cathedral; while the foundations
+of the three apses, into which the three low arches once led, have been
+discovered in the garden to the north-east of the church (see pp. <a href="#page33">33</a>,
+<a href="#page34">34</a>). So did Anthony à Wood, when in the seventeenth century he wrote of
+"the antientist buildings" as "on the east and north side of the church,"
+speak more truth than even he himself was aware.
+</p>
+<p>
+After the slaughter of St. Brice's Day, King Ethelred made a vow that
+he would rebuild St. Frideswide's church. And well did he keep it; if
+in 1004 he built the splendid church which forms the main part of the
+cathedral as we know it to-day, sparing the more sacred part of the rude
+old building, it may
+
+<span class="pagenum"><a id="page8" name="page8"></a>[8]</span>
+
+ be, because of the veneration in which everything
+connected with St. Frideswide was held. His charter contains the
+following sentence:—
+</p>
+<p>
+"In the year of our Lord 1004, in the 2nd indiction, and in the 25th year
+of my reign, according to the disposal of God's providence, I Ethelred
+ruling over the whole of Albion, have with liberty of charters by
+royal authority and for the love of the Almighty, established a certain
+monastery situated in the city which is called Oxoneford, where the body
+of St. Frideswide reposes."
+</p>
+<p>
+And here another question of the deepest architectural interest occurs.
+This church of Ethelred's was of a size and magnificence until lately
+considered not to have been attainable in England till many years after
+the Conquest. It was therefore taken for granted that the church was
+wholly rebuilt in the years 1160-1180, and that Ethelred's work was as
+entirely lost as Didan's was supposed to be. Dr. James Ingram, President
+of Trinity, had, it is true, written in the thirties to prove that the
+cathedral was Saxon, but, great authority as he was, he wrote at a time
+when architectural history was in its infancy; and at the restoration
+of 1869, Sir Gilbert Scott was content to write—"Dr. Ingram evinces
+great anxiety to prove that traces of his (Ethelred's) work still exist,
+but I need hardly say there is not a shadow of foundation for such a
+supposition." However, a greater authority than either of the preceding
+showed that the tide of knowledge was turning against the accepted view.
+Professor Freeman in his "History of Architecture" wrote that the
+cathedral might be "in the main portions of the fabric a monument of
+the later days of Saxon architecture," and that "the evidence between
+the conflicting statements which would assign it, some to the days of
+Æthelred II., others to those of Henry I., seems very evenly balanced;"
+in the former case, he said, "we have a complete minster of comparatively
+small size, but of the fullest cathedral type, belonging to the early
+part of the eleventh century." Mr. J.H. Parker, himself, who had been the
+chief authority for the theory that the Saxon architects built almost
+entirely in wood, at length changed his mind; and even went so far as
+to say, in the fourth edition of his "A.B.C. of Gothic Architecture,"
+that "the Saxons, at the date of the conquest, appear to have been more
+advanced in the fine arts, such as sculpture, than the Normans," that
+
+<span class="pagenum"><a id="page9" name="page9"></a>[9]</span>
+
+ "their work was more highly finished, had more ornament," and that their
+masonry was more finely jointed than that of the Normans.
+</p>
+<p>
+Following up these admissions, Mr. Park Harrison carried on the most
+thorough investigations, examining almost every stone in the building,
+investigating Saxon MSS., and travelling over England and Normandy
+for the purposes of comparison. As a result he succeeded in convincing
+Professor Freeman, Professor Westwood, and other experts in Anglo-Saxon
+archæology, that Ethelred's church was still in the main extant; and at
+this moment his theory has a good many supporters. Without committing
+ourselves irrevocably to Mr. Park Harrison's conclusions, some of which
+are naturally not so well established as others, we may, in the majority
+of cases, accept them, at least provisionally. Many allusions to them
+will occur in this book; and here, therefore, it is well to say that,
+ingenious and striking as they are, many high authorities are still
+unconvinced, and that we cannot venture to predict how much of them may
+be damaged or maintained by future research.
+</p>
+<p>
+In this place the following summary of the evidence will suffice:—
+</p>
+<p>
+1. There is no document or anything tending to show that the original
+fabric, as restored and enlarged by Ethelred, was ever rebuilt on a
+new plan.
+</p>
+<p>
+2. Several of the choir capitals differ essentially in their ornamentation
+from any others in the cathedral; but resemble very closely the ornamental
+work in illuminated MSS. of Ethelred's time. They should consequently
+belong to the church as enlarged by him in 1004 (p. <a href="#page72">72</a>).
+</p>
+<p>
+3. The junction of the eleventh century, or Ethelred's work with the
+later work, is clearly visible at the north and south-west corners
+of the choir; and the abaci, though resembling each other, are of
+different thickness. The ashlar work is different, and the courses are
+not continuous (p. <a href="#page61">61</a>).
+</p>
+<p>
+4. The manner in which the Norman vaulting shafts are inserted in the
+north choir aisle implies that vaulting was not contemplated in the
+original plan of the church, and that the aisle was built at a date when
+vaulting ribs were not in use (p. <a href="#page33">33</a>).
+</p>
+<p>
+5. The introduction of attached shafts in the tower piers shows that
+additions were made, about 1160, to earlier work with roll mouldings
+corresponding with those of the choir:
+
+<span class="pagenum"><a id="page10" name="page10"></a>[10]</span>
+
+ similar proofs of alteration are
+to be seen in the imposts of the tower and transept arches, which have
+been cut through to admit late Norman capitals (p. <a href="#page58">58</a>).
+</p>
+<p>
+6. There is also good evidence that the Norman Presbytery is not part of
+the original choir, or the earliest part of the church, as was assumed,
+but probably stands on the site of an apse which belonged to Ethelred's
+building (p. <a href="#page79">79</a>).
+</p>
+<p>
+7. The worn condition of the choir capitals can only be accounted for by
+the state of disrepair into which the church had fallen by the middle of
+the twelfth century (p. <a href="#page74">74</a>).
+</p>
+
+<div class="figure">
+<a name="image-0005"><!--IMG--></a>
+
+<a href="images/i-05.jpg">
+<img src="images/i-05-s.jpg" width="350" height="350"
+alt="CHRIST CHURCH FROM THE GARDEN OF THE CANON OF THE 2ND STALL, 1857." /></a>
+<br />
+CHRIST CHURCH FROM THE GARDEN OF THE CANON OF THE 2ND STALL, 1857.
+</div>
+
+<p>
+The reason is not far to seek for the unusual magnificence of Ethelred's
+plans. His brother-in-law was Richard II., Duke of Normandy, whose fame
+as an art-patron and church-builder was spread so far that, according to
+the Chronicles of
+
+<span class="pagenum"><a id="page11" name="page11"></a>[11]</span>
+
+<!--[Full-Page Illustration i-06.jpg moved down outside of paragraph]-->
+
+<span class="pagenum"><br /><a id="page12" name="page12"></a>[12]</span>
+
+<!--[Blank Page]-->
+
+<span class="pagenum"><br /><br /><a id="page13" name="page13"></a>[13]</span>
+
+ Fontenelle, "bishops and clergy, abbots and monks,"
+travelled from all parts, from Greece and Armenia, to visit him, and
+William of Jumièges speaks of him as producing a kind of renaissance
+in his country. It so happens that one bay remains in the abbey church
+of Fécamp of the original building commenced by Duke Richard in 1001,
+just before Ethelred began his operations; and the capitals in this bay
+are ornamented with the same curious twining foliage that is found in the
+choir at Oxford. It is more than likely, then, that the Saxon king sought
+assistance from the cultured court of Richard-le-bon; the Queen Emma may
+well have been anxious to have the church rebuilt on a scale that would
+accord with the monastic buildings of her own land; and so important was
+the work considered, that King Ethelred (as we learn from his charter)
+had contributions given him for carrying it on by his whole people.
+</p>
+
+<div class="figure">
+<a name="image-0006"><!--IMG--></a>
+
+<a href="images/i-06.jpg">
+<img src="images/i-06-s.jpg" width="460" height="350"
+alt="CHRIST CHURCH IN THE EIGHTEENTH CENTURY. " /></a>
+<br />
+CHRIST CHURCH IN THE EIGHTEENTH CENTURY.
+</div>
+
+<p>
+But more troubles were to follow, for Ethelred had yet to pay the
+penalty for the massacre of St. Brice's Day, and his "long reign of
+utter misgovernment" was interrupted in 1013, when the heathen Viking
+Sweyn drove him out of his kingdom to take refuge in Richard's court
+in Normandy. The exile of the king, and the triumph of the Danes,
+who besieged and took Oxford in the same year, must have interrupted
+the work there for a time; and a remarkable break of joint between the
+masonry of the choir and the south transept bears silent witness to the
+dislocation of the Anglo-Saxon rule (p. 61). When Sweyn died in 1014,
+Ethelred returned, and for three years, with the help of his noble son
+Edmund Ironside, held Canute in check. At this time the work at St.
+Frideswide's was probably resumed, the king being doubtless anxious
+to complete the fulfilment of his vow at a time when he sorely needed
+the divine assistance; and a certain difference in the character of the
+capitals and foliage in the transepts points to their having been built
+at this time, for they bear traces of oriental influence similar to that
+in the church at Bernay which Duke Richard was building in the year when
+Ethelred was with him in exile, and the eastern monks were flocking to
+his court in Normandy. But it is probable that, what with the strain of
+the terrible war, and the constant drain of the Danegelt, the work was
+never finished according to Ethelred's complete design, for he died in
+1016, and his son Edmund Ironside only reigned for seven months.
+</p>
+<p>
+<span class="pagenum"><a id="page14" name="page14"></a>[14]</span>
+</p>
+<p>
+Nor have we any record that anything further was done under Canute or
+Edward the Confessor. Though it is not at all improbable that Canute
+continued the work, for we know that he restored many monasteries which
+had been injured or destroyed by his father, being very fond of the
+monks; and that the Witenagemot met several times at Oxford during his
+reign. His marriage to Ethelred's widow Emma, also, placed him in the
+same relationship to the Norman court as Ethelred himself. The church
+must have been in use during this time; for we read that in the reign of
+Edward the Confessor troubles arose owing to the substitution of Regulars
+for the Secular Canons. Under King Harold the Seculars were restored,
+and, says Anthony Wood, "It was not long after this but that, whether
+by the negligence of the Seculars or the continuall disturbance of the
+expelled Regulars, it was almost utterly forsaken and relinqueshed,
+and the more especially because of that troublesome warre betweene
+King Harold and William the Conqueror,—a few persons all that while
+only remaining in it." In this ruinous state it proved a kind of white
+elephant that no one cared to possess; given first to Abingdon Abbey,
+and then to Roger, Bishop of Salisbury, it was at last handed over to
+Henry I., who made Guimond his chaplain Prior.
+</p>
+<p>
+Although the whole church has been sometimes attributed to Prior Guimond,
+it is probable that he was too much taken up with restoring order to
+devote himself to architecture. And, as there is no suggestion in history
+that Ethelred's church was destroyed, so there is no mention of any
+building by Guimond. William of Malmesbury, his contemporary, praises
+his piety and learning (<i>excellentis literaturæ et non aspernandæ
+religionis</i>), but is totally silent about architectural talents. Besides,
+the establishment was at that time too impoverished for anything of the
+kind, many of the lands and revenues having been alienated, as we learn
+from the Domesday Book. If Guimond built at all, he would have had enough
+to do, we may imagine, in adapting the tumble-down monastic buildings
+for their occupation by canons regular. Sir G.G. Scott attributes the
+Norman doorway into the chapter-house to him; and he may have begun
+the restoration by putting a roof on the old church; for the weathered
+condition of some of the choir capitals bears out the historians who
+tell us that in the eleventh century the place was become ruinous.
+</p>
+
+<p><span class="pagenum"><a id="page15" name="page15"></a>[15]</span></p>
+
+<p>
+Robert of Cricklade, called Canutus, another excellent man, was next
+prior. He ruled from 1141 to 1180. There was a copy of one of his works,
+says Dr. Ingram, in the library of Balliol College in Leland's time. In
+1158 Cricklade obtained a confirmation of the privileges of the priory
+from Pope Hadrian IV. (Nicholas Brakespear, the English pope) who wore
+the tiara from 1154 to 1159. It was probably at this time that the
+restoration of Ethelred's church was begun, for the monks would almost
+certainly not have undertaken such extensive works until their property
+was secured them.
+</p>
+<p>
+Robert of Cricklade did not build a new church, but it was probably he
+who restored Ethelred's church on the old plan, rebuilding those portions
+of the walls that required it, and inserting most of the later Norman
+work, especially the clerestory and presbytery. Much of the earlier work
+appears to have been imitated at this time, as is known to have been
+the case elsewhere when enlarging or rebuilding a church; and some of
+the carved work was used again. Cricklade appears, from architectural
+evidence, to have left most of the old pillars, but he rebuilt two of
+those in the nave, and reduced the girth of the rest.
+</p>
+<p>
+The restoration must have been pretty well finished by 1180, for in
+that year the relics of St. Frideswide were translated "from an obscure
+to a more noted place in the church," by the new prior Philip, who
+himself wrote a book, "<i>De Miraculis S. Frideswydæ</i>." The "obscure"
+place was doubtless the southernmost of the three early Saxon apses,
+recently discovered outside the east wall of the north choir aisle
+(see p. 37). So important a ceremony could not have taken place till
+the church was fit for the great company that assembled there; for the
+translation was regarded as an event of national interest,—King Henry
+II. possibly, and the Archbishop of Canterbury certainly, being present,
+with many other prelates and nobles. This occasion may have also been
+the inauguration of Oxford University, since seven years afterwards we
+come upon the first mention of regular students.
+</p>
+<p>
+Here is Wood's account of this the first translation:—
+</p>
+<p>
+"After they were meet, and injoyned fasting and prayers were past, as
+also those ceremonies that are used at such times was with all decency
+performed, then those bishops that were appointed, accompanied with
+Alexio, the pope's legat
+
+<span class="pagenum"><a id="page16" name="page16"></a>[16]</span>
+
+ for Scotland, went to the place where she was
+buried, and opening the sepulchre, took out with great devotion the
+remainder of her body that was left after it had rested there 480 yeares,
+and with all the sweet odours and spices imaginable to the great rejoycing
+of the multitude then present mingled them amongst her bones and laid them
+up in a rich gilt coffer made and consecrated for that purpose, and placed
+it on the north side of the quire, somewhat distant from the ground,
+and inclosed it with a partition from the sight hereafter of the vulgar."
+</p>
+<p>
+The fame of her miracles spread over all England, and multitudes came to
+be healed, many of whom went away whole and rejoicing.
+</p>
+<p>
+But the troubles of the Priory were not yet over. During the priorate
+of Philip in 1190, a great fire broke out in Oxford, which destroyed a
+large part of the city. St. Frideswide's did not escape, and, though the
+church itself does not seem to have suffered materially, it is probable
+that the monastic buildings were much injured, the chapter-house and
+cloisters among them; for the old Norman doorway has, through all the
+changes of seven centuries, borne the red marks of the fire, and bears
+them as unmistakably to-day.
+</p>
+<p>
+This mishap did not mark an era in the architecture of the church; for
+nothing can with certainty be pointed to as the work of the last decade
+of the twelfth century; nor indeed do we find that any important work
+was undertaken till, well into the thirteenth century, the spire was
+added. The monks seem to have patched up the ruined chapter-house as
+best they could, for it was not till about the middle of the thirteenth
+century that the present beautiful room was built. About this time the
+second bay of what is now the Latin Chapel was also added.
+</p>
+<p>
+It seems certain now that the Lady Chapel, though it was undoubtedly
+vaulted, and its pillars cut into Early English shafts, was not built for
+the first time at this period. Part of the wall between it and the Latin
+Chapel remains in all its primitive roughness, while there is no sign of
+a wall between it and the north choir aisle. Its east wall is even older,
+for it contains one of the eighth century arches already alluded to.
+</p>
+<p>
+In 1289, Robert de Ewelme being prior, the relics of St. Frideswide were
+again translated. "The old coffer," says the Oseney Chronicle, "of St.
+Fritheswyda was translated, and placed in a new and more precious one in
+the same church, and
+
+<span class="pagenum"><a id="page17" name="page17"></a>[17]</span>
+
+ near the place where the old one had stood." Its
+marble base has recently been discovered, and replaced in what seems
+to have been its old position. The beautiful northernmost chapel,
+called the Latin Chapel, was added in the fourteenth century, the
+single Early English bay being incorporated, and the north wall of the
+Lady Chapel further opened out, for this purpose. Some of the Norman
+windows were also altered to Decorated. The Norman windows at the east
+end were replaced by a large five-light window, which was spoilt in
+the seventeenth century, and ultimately removed by Sir Gilbert Scott.
+Decorated windows of three lights were also placed at the east ends of
+the choir aisles, and a four-light window in the Lady Chapel. These all
+went in the seventeenth century, but the beautiful window in St. Lucy's
+Chapel survived. All the fourteenth century work belongs to a rather
+late division of the Decorated style.
+</p>
+<p>
+Towards the end of the fifteenth century the Perpendicular style began
+to spread over the church. Besides the windows of the nave and north
+transept aisles, the clerestory of the choir was remodelled to carry the
+elaborate vaulting, which was probably also added in this century, and not
+by Wolsey as has been supposed, though the work may have been completed
+in his time. The similarity of the vaulting to that of the Divinity
+School in Oxford enables us to fix the date pretty accurately at 1480.
+</p>
+<p>
+Another characteristic feature of the church was made at this time,
+to wit, the fine chantrey tomb, called the Watching Chamber, but very
+probably the third and last "shrine" of the patron saint. The cloisters
+were also reconstructed, and, in order to make room for their eastern
+side, the western aisle of the south transept was destroyed.
+</p>
+<p>
+We are able to fix the date of the great north window of the north
+transept, and of the commencement of vaulting in its northern bay,
+because they were paid for out of a bequest of a monk, James Zouch,
+who died in 1503, and is buried under the window. One may conjecture
+that the whole of the church would have been vaulted in a style similar
+to that of the choir, if the dissolution of the priory had not come,
+and left this one bay as a pathetic little protest against the sweeping
+reconstructions of Cardinal Wolsey.
+</p>
+<p>
+Indeed Wolsey, who in 1524 created Christ Church as a
+
+<span class="pagenum"><a id="page18" name="page18"></a>[18]</span>
+
+ college, did
+nothing but harm to Christ Church as a church. It used to be thought
+that he had thrown the vault over the choir, and even that he had
+built the palpably early English spire!—an idea which throws a curious
+light upon the architectural knowledge of our grandfathers. But, alas
+for his reputation, the only work connected with the church that can
+with certainty be attributed to him is the destruction of one half
+of the nave. For, in order to build the great quadrangle now known as
+"Tom Quad," he demolished its three western bays, and was apparently only
+prevented from carting away the whole church by his sudden fall from the
+royal favour in 1529. His scheme for "Cardinal College," as Christ Church
+was at first called, was one of extreme magnificence; and he began—much
+to the amusement of Oxford—with the splendid kitchen, still in daily
+use. Tom Quad gives one some idea of the scale on which he formed his
+plans: it, however, has never been properly finished, as it is too large
+and too much inhabited to be fit to receive the cloister for which it was
+designed. The real cloisters are of much more modest dimensions. Wolsey
+destroyed one side of them in order to build the college Hall.
+</p>
+<p>
+In justice, however, to Wolsey it must be stated that he commenced to
+build a new chapel along the north side of Tom Quad, which, judging by
+the foundations that some draining operations in the canon's gardens have
+recently disclosed, would have rivalled the chapel of King's College,
+Cambridge, in size, and have been about 100 feet longer than the actual
+length of the cathedral. To this the Aubrey MSS. (written about 1670)
+refer:—"Ye foundations of that famous begun Chapel or Cathedral of
+Cardinal Wolsey which went towards the blue Boare in Oxford and pulled
+down by Dean Fell about 1671." Aubrey also mentions that the height
+of the walls of this chapel was seven feet at the time of Wolsey's
+disgrace. The west end ran in a line with the front of the octagonal
+turrets in St. Aldate's Street, and the walls reached nearly to Fell's
+passage into Peckwater.
+</p>
+<p>
+To the sixteenth century belong also the flat wooden roofs of the nave and
+transepts, and perhaps the concealment of the lantern story of the tower.
+</p>
+<p>
+The Reformation, apart from the usual destruction of altars, furniture,
+plate, and ornamental work generally, is chiefly remembered in the history
+of the church by the demolition of
+
+<span class="pagenum"><a id="page19" name="page19"></a>[19]</span>
+
+ St. Frideswide's shrine. Anthony à Wood
+says of the third shrine that, "being adored till the dissolution of the
+religious houses, it was then, 30 Henry VIII. [A.D. 1538], amongst others,
+taken down, and all the offerings conveyed into the King's Treasury." We
+give an account of the curious incidents connected with the demolition
+in our description of the shrine itself.
+</p>
+<p>
+An inventory taken in the last year of Henry VIII.'s reign is interesting
+for the glimpse it gives us of the rich ornaments which even then
+survived, and must have made so vast a difference in the appearance of
+the church. They were confiscated, no doubt, as being "monuments tending
+to idolatrie and popish or devill's service, crosses, censars, and such
+lyke fylthie stuffe," to quote the curious phrases used by Bishop Horne
+of the plate of Trinity College.
+</p>
+<p>
+There were eight altars in the aisles and body of the church, in
+addition to the high altar. The furniture then remaining of the high
+altar and choir was catalogued (only that the spelling was obscurer)
+as follows:—"Upon the high altar a here-cloth, 40s. <i>Item</i>, two
+altar-cloths, one of olde diaper, and the other of fine linen cloth.
+<i>Item</i>, a mass-book and a desk. <i>Item</i>, a great sacring bell. <i>Item</i>,
+4 high latten candlesticks. <i>Item</i>, a canopy with a pix of copper.
+<i>Item</i>, 4 desks with two cloths of old silk. <i>Item</i>, a pair of organs,
+with a turned chain to the same. <i>Item</i>, 2 forms. <i>Item</i>, a canopy over
+the Dean's head of old silk. <i>Item</i>, 15 antiphoners and 9 grayells."
+After some more books comes:—"<i>Item</i>, a foot-cloth for the high altar
+of old tapestry." All the hangings of the side altars are enumerated,
+besides their vestments, candlesticks, etc. Thus the south choir aisle
+had "4 hangings for above and beneath the altar, whereof two of white
+satin Bruges, and the other two of yellow and red," and two altar-cloths;
+St. Lucy's Chapel had "two altar-cloths of old diaper, two hangings for
+the altar for above and beneath, the one of old needle-work, and the other
+of buckram"; the four altars on the north of the choir were hung with
+"dornaxe," diaper, yellow and white baundkin.
+</p>
+<p>
+The description of some of the fourteen copes sounds very beautiful,
+for instance:—"2 copes of red silk, woven with sunbeams of gold;" "one
+cope of blue silk, woven with flower de luce, roses, and crowns of gold,
+and a whole suit to the same." There were also copes of purple and red,
+branched with gold,
+
+<span class="pagenum"><a id="page20" name="page20"></a>[20]</span>
+
+ of red and white flowers, bordered with clouds, of
+red and green, of velvet and baundkin, and chamlet; and many suits of
+vestments besides; and tunicles, albs, and amices for the choristers.
+</p>
+<p>
+The inventory also contains, among other items, heavy silver bowls and
+other vessels belonging to the "house plate," and the "church plate,"
+which we here give in the original spelling:—"A pixe of the ymage of
+God, gilte, weing 33 oz. <i>It<sup>m.</sup></i> a highe standing pixe w<sup>th</sup> a cover
+gilte, weing 23 oz. dim. <i>It<sup>m.</sup></i> a crosse w<sup>th</sup> Mary and John and a fote
+to the same gilte, weing 114 oz. <i>It<sup>m.</sup></i> a ship [incense-boat] and a
+spone gilte, weing 12 oz. dim. <i>It<sup>m.</sup></i> two bassings parcell gilte, weing
+92 oz. <i>It<sup>m.</sup></i> a halliwater [holy water] bokett, and a sprinkell, whitt
+syluer, weing 33 oz., 2 greatt sensors, and a litle sensor, whit syluer,
+weing 170 oz. <i>It<sup>m.</sup></i> two crowetts [cruets] of whit syluer, weing 8 oz.
+<i>It<sup>m.</sup></i> a little paxe gilte, weing 3 oz.; 4 chalesses, gilte, w<sup>th</sup>
+patentts, weing 95 oz. <i>It<sup>m.</sup></i> 3 chalesses w<sup>th</sup> patentt, whit syluer,
+weing 50 oz. <i>It<sup>m.</sup></i> a litle cros, parcell gilte, weing 51 oz. <i>It<sup>m.</sup></i> a
+crismatory gilte, not weighted. <i>It<sup>m.</sup></i> 2 gospells, plated w<sup>th</sup> syluer
+of thonesyde [the one side], not weighted. <i>It<sup>m.</sup></i> two maces for the
+preuelege, plated w<sup>th</sup> syluer vppon yeron [iron], not weighted. <i>It<sup>m.</sup></i>
+two virge roddes, plated w<sup>th</sup> syluer vppon yeron, not weighted; 4
+rectors staves, the haadds of syluer wherof two gilte, not weighted.
+<i>It<sup>m.</sup></i> two stavis for the crosse, plated with syluer, not weighted."
+</p>
+<p>
+When, in 1546, St. Frideswide's became the cathedral church of the four
+year old diocese of Oxford, the momentous change in its character left
+no mark upon its architecture. The great alterations in the fabric and
+fittings had either happened already or were yet to come.
+</p>
+<p>
+During the deanery of Brian Duppa in 1630, the unhappy church suffered
+a sweeping restoration, which well-nigh destroyed its ecclesiastical
+character altogether. As Dean Duppa was a cultured man himself, and wrote
+a life of Michael Angelo, his work was all the more disastrous,—a mere
+Philistine would have probably been content to let well alone. To begin
+with, he, "<i>being minded to adorn it</i>," says Wood, "did first take down
+all the old stalls in the choir, and in their places put up those that now
+are," those great ugly pews, that is, which Dean Liddell removed. Then,
+in laying down his new pavement, he removed many of the old monuments,
+"having most of them,"
+
+<span class="pagenum"><a id="page21" name="page21"></a>[21]</span>
+
+ continues the old antiquary, "Saxon inscriptions
+on them; which being looked upon by the dean and canons as old superfluous
+stuff, and unhandsome to be mixed with their new pavement, they did
+cause them to be thrown out of the church, as also those out of the
+cloister." The remaining monuments he moved to the aisles, having,
+with two exceptions, "duly deprived them of their brasses." Thus was a
+priceless record of the priory's history lost to us. Most of his work
+has during this century been undone; but one memorial of him remains,
+a valuable historical landmark, and full of the characteristics of its
+age—the Jonah window at the west of the north aisle of the nave.
+</p>
+<p>
+In order that the windows of the aisles might be "beautified with
+glass, admirably well performed by the exquisite hand of Abraham Ling,
+a Dutchman, an. 1634," Brian Duppa and his chapter altered the whilom
+Perpendicular windows, sawing away "the fine architecture or crustation of
+those windows," and changing them from three lights with tracery to two
+plain lights, the author of the "Anatomy of Melancholy" being the donor
+of part of the new glass. The priceless old glass, which had been set
+up by ancient priors of St. Frideswide's, and contained pictures of the
+life of "The Lady," besides the arms of many benefactors, was ruthlessly
+sacrificed. This act of vandalism has led to still more unfortunate
+reprisals in our own time; for Van Ling's old glass, which had great
+merits, was taken away at the last restoration, and replaced by some
+entirely uninteresting modern stuff (to say the least of it), while the
+tracery was remade into a respectable nineteenth century parody of the
+original Perpendicular.
+</p>
+<p>
+The amiable and terrible Duppa also ruined the Decorated windows of three
+lights which terminated the aisles of the choir by converting them into
+his favourite two-light windows; and the beautiful four-light window
+of the Lady Chapel was similarly treated. The great north transept
+window was likewise impoverished in its tracery; and at the end of the
+seventeenth century the great east window was reduced from five to three
+lights by the same curious and unaccountable perversion of taste. One
+more memorial of Dean Duppa defaced the cathedral down to our time. This
+was the strange arrangement of stone screens by which the eastern chapels
+were separated from the transepts, and the most romantic feature of the
+
+<span class="pagenum"><a id="page22" name="page22"></a>[22]</span>
+
+ church destroyed. They were particularly offensive, as they finished
+in a half-circle turned upwards, so that, with the Norman arch above,
+a complete circle was formed. However, the fine pulpit and organ-screen
+must be set down to the credit of this period.
+</p>
+<p>
+Dean Duppa's successors signalised themselves, as far as the cathedral
+is concerned, only by the erection of monuments, some gruesome, and all
+heavy. Their work for the college was more considerable, and we shall
+enumerate it in our chapter on the Exterior.
+</p>
+<p>
+A great deal of mischief was done to the painted glass during the Civil
+War, many of the windows being destroyed, and not one left quite perfect;
+but otherwise the church escaped pretty well. Indeed, in this orderly
+country a great deal more damage has been done by lawful authority than
+by popular riots.
+</p>
+<p>
+Up till Dean Liddell's time the cathedral was in as bad a state as most
+of the other cathedrals of England. A writer in the "Ecclesiologist"
+for February 1847 thus bewails its then condition:—
+</p>
+<p>
+"We now come to the present estate of the cathedral, which is more
+deplorable than can be imagined. It is really wonderful that the cathedral
+of an English diocese, and the chapel of one of our greatest colleges,
+should remain in a condition which would disgrace the meanest hamlet. In
+the first place, it will hardly be credited by those whose eyes have
+not witnessed the sacrilege, that a portion of the church is actually
+desecrated. In so vast a college the hire of a single room cannot be
+dispensed with, but the House of God must be defiled; a bay of the south
+transept and one of the adjoining chapels are blocked off to form a
+residence for the verger. On this subject we can hardly trust ourselves
+to speak.
+</p>
+<p>
+"The fittings up of the choir are of the most wretched and irreverent
+description. The stalls are of seventeenth century work, and by no
+means a favourable specimen: those of the dean and canons are marked
+by canopies. The episcopal throne is meanness itself, and can hardly be
+distinguished without a most diligent search: on the prayer-books nearest
+to it, and nowhere else, are inscribed the words 'Christ-church Chapel,'
+as if to warn the Bishop off the forbidden ground. Nearly the whole area
+of the choir between the stalls is filled with benches looking west,
+and in which kneeling is all but
+
+<span class="pagenum"><a id="page23" name="page23"></a>[23]</span>
+
+ impossible. These are occupied by the
+overgrown mass of undergraduates, and at the 'canons' prayers' partly by
+choristers. Further, that not an inch of available space may be lost, an
+arch on each side is blocked up by a gallery, which at surplice-prayers,
+when the students and commoners attend, is filled by the choir thus
+displaced. Finally, behind the stalls are some darksome dens, occupied
+by women, which greatly encumber the choir aisles. The screen [then
+blocking up the choir] is a cumbrous piece of work contemporary with
+the stalls, but of better character: it supports, of course, a vast
+and unsightly organ. The miserable appearance which is thus produced
+in this really noble chancel is almost indescribable. The whole seems
+so narrowed and confined; one feels pent in without the least scope for
+one's energies. Of the service performed within the degraded choir we can
+only trust ourselves to say that it is the most slovenly and irreverent
+that we have ever witnessed in any English cathedral."
+</p>
+<p>
+The stalls seem to have been particularly bad. The "Gentleman's
+Magazine" for 1856 says that "the choir aisles and the chapels were also
+excluded from view, and almost from any participation in the service,
+by the box-like framing, which rose to the height of eleven feet from
+the paving." Of course, all this had caused serious damage to the
+architecture: the pillars on the north and south side of the choir were,
+for instance, <i>squared</i>, and their bases cut away; thus mutilated they
+had been "encased with heavily moulded Italian framing intermixed with
+some remnants of Jacobean workmanship."
+</p>
+<p>
+But since the fifties the appearance of the cathedral has been completely
+changed. Dean Liddell began the restoration in 1856, when Mr. John Billing
+was employed to repair some parts of the walls that had become unsafe,
+and to remove the galleries and high pews. The work then done was only
+temporary; the reseating whereby decent accommodation was provided for
+the whole college was managed out of the old woodwork, not a plank being
+taken out or carried into the church; the organ was moved for the time
+into the south transept, so that the choir could be thrown open to the
+nave, and other work of a simple and necessary character carried through.
+</p>
+<p>
+In 1870, Dean Liddell employed Sir G. Gilbert Scott to carry on the
+great restoration, whereby very considerable changes were wrought in the
+fabric itself.
+</p>
+
+<p><span class="pagenum"><a id="page24" name="page24"></a>[24]</span></p>
+
+<p>
+On the whole, it has been real restoration, and not destruction: here
+and there one might have wished that the changes had been less sweeping,
+or that the renewed carved work had been left unattempted till such time
+as the dignity of labour in craftsmanship is recovered; but it remains
+one of the most judicious and successful works of restoration that this
+not impeccable age has produced. The difficulties to be encountered were
+very great, for the church had suffered unusually; a certain amount of
+rebuilding was therefore inevitable, and besides provision had to be
+made for the church as a college-chapel as well as a cathedral.
+</p>
+<p>
+The restoration was preceded by a report on the condition of the building,
+which Sir Gilbert Scott drew up in 1869. The following extract shows the
+"reparation" that was needed:—
+</p>
+<p>
+"It is fortunately the case that the main walls of the building do not
+show any symptoms of failure or of weakness. The external stone-work
+is very unequal in its state of preservation, some parts being very
+much decayed, while others have suffered in a very small degree. On the
+whole, however, there can be no doubt that the decay is very extensive,
+and even some parts which, at first sight, seem tolerably sound, are
+found on closer examination to be seriously decayed. The eastern parts
+are, as a rule, better preserved than those facing in other directions,
+though the southern aisle of the choir is also among the least decayed
+portions. The tower is generally very severely decayed, but the spire
+less so, though its lights are very much damaged. The reparation of this
+wide-spread decay is a work requiring much discrimination and judgment.
+Every stone which retains ancient work in an intelligible state should be
+carefully preserved, and only such parts renewed as have become shapeless
+from decay, or the retention of which would tend to future injury.
+</p>
+<p>
+"Internally, the stone-work generally needs little more than the careful
+brushing or washing off of the white-wash and the exposure of the original
+surfaces. This should be effected with extreme care and tenderness, so
+as not to efface in any degree the original tool-marks or to disturb
+any ancient wall-painting which may exist. The mutilations which the
+work has in some places suffered would of course be repaired, as well
+as any structural defects which may be brought to light."
+</p>
+<p>
+This proves that Gilbert Scott went to work with a full
+
+<span class="pagenum"><a id="page25" name="page25"></a>[25]</span>
+
+ sense of his
+responsibility, so far as the "reparation" was concerned. With regard
+to the "restoration," many complicated questions arose, but Scott
+generally threw his weight on the conservative side, respecting all the
+alterations which had been effected before "the extinction of our national
+architecture in the sixteenth century"; and, happily, respecting as well
+all the good work of a later date. Thus the organ-case and pulpit were
+spared. Duppa's work was mostly destroyed, his windows being rebuilt
+according to their former Perpendicular and Decorated designs, with the
+one interesting exception already mentioned. To make provision for the
+church's collegiate use, while rendering it at the same time suitable
+for diocesan purposes, an iron screen was carried round the nave as
+well as the choir, and the seats of the nave were set lengthways. This
+arrangement could not well have been bettered: the college is well
+accommodated without any blocking up of the church, and the choir is
+conveniently situated in the eastern bay of the nave. The organ at the
+same time was moved to the west end of the church, where a new bay was
+made; and thus, while an increased effect of length was given, a screen
+was provided for the college-chapel, without hiding any of the old work
+in the nave, and the choir was no longer hidden by the organ.
+</p>
+<p>
+The great Decorated east window, which had been spoilt in the seventeenth
+century, was, after much deliberation, removed; and, traces being found
+of a large circular window assumed to be Late Norman, the east end was
+rebuilt in accordance with the conjectured Norman design,—a bold venture,
+but a remarkably successful one. At the same time the two Norman windows
+at the sides of the presbytery were reopened.
+</p>
+<p>
+The bay of the south transept, which had been cut off, and used as a house
+for the verger, was recovered, and the present vestry built therein, in a
+style, right no doubt in general plan, but not very successful in detail.
+</p>
+<p>
+The vaulting of the cloister was completed, and, by the happy expedient of
+building a raised wooden vault in one part, the old chapter-house door was
+once more fully exposed to view. The division which had entirely spoilt
+the chapter-house itself was removed; as were also the stone screens which
+had cut off and defaced the beautiful cluster of north-eastern chapels.
+</p>
+<p>
+The opening of the lantern-story added greatly to the beauty of the
+interior, but it made it necessary to chime the bells
+
+<span class="pagenum"><a id="page26" name="page26"></a>[26]</span>
+
+ instead of ringing
+them; and in 1878 they were removed altogether, as their vibration was
+considered dangerous to the tower, and an admirably contrived belfry
+built in 1880 over the staircase of the Hall by Mr. Bodley. Scott also
+constructed the porch which opens into Tom Quad, and affords an entrance
+to the cathedral at once more dignified and convenient than before.
+</p>
+<p>
+Since Scott's time a good many further improvements have been effected,
+among which may be mentioned the reredos, the stained glass of Sir Edward
+Burne Jones, the fitting up of the Latin Chapel and recovery of the
+easter sepulchre therein, the recovery also of the marble base of the
+second shrine of St. Frideswide, and of the early Saxon arches hard by.
+</p>
+<p>
+At least it cannot be true now, as it seems to have been fifty years ago,
+that many persons, visiting Oxford to explore its antiquities, "actually
+go away without entering the cathedral church, or that undergraduates
+any longer pass an academical career, content to be aware possibly that
+Christ Church has its chapel, like other colleges."
+</p>
+
+<p><span class="pagenum"><a id="page27" name="page27"></a>[27]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CHAPTER II.
+<br />
+<small>
+ THE EXTERIOR.
+</small>
+</h2>
+
+<p>
+The peculiar position of Christ Church, as a cathedral which is
+three parts college chapel, is apparent to the most casual observer,
+who, passing by the college porter in the gateway of Tom Tower, finds
+himself in a great open quadrangle with a fine hall on one side, but
+no sign of a cathedral anywhere, except a spire which seems so far off
+that it might very well belong to some other college. He may well be
+struck by that doubtfulness as to any means of exit, which makes most
+of the colleges appear to the stranger as if they consisted of one
+quadrangle only. There really seems no way of getting to the cathedral,
+for the incipient cloisters of Tom Quad stretch in unbroken array round
+the four points of the compass; and no one could be expected to guess
+that the two rat-holes at one side of the eastern terrace stand for the
+west front of a great church. But so it is, and on Sundays a crowd of
+citizens mingle with the undergraduates in their curious open surplices,
+and drift across the Quad, past Mercury fountain, leaving no doubt in the
+mind of the traveller that this is a cathedral church, and he is as free
+of it as anybody else. There is, indeed, another entrance from the old
+cloister on the south side, which is public, though mainly convenient
+to those members of "The House" who dwell in the Old Library and Meadow
+Buildings; and a third entrance besides, which is, however, the private
+boon of the Professor of Pastoral Theology.
+</p>
+<p>
+It follows, therefore, that without describing the various college
+buildings, which are rather outside our province, we can say little about
+the exterior, except in matters of detail; for there is no close, and
+the cathedral is thus far from being common property that it is hidden
+in a rather intricate environment
+
+<span class="pagenum"><a id="page28" name="page28"></a>[28]</span>
+
+ of college buildings and private
+gardens. But the one feature which in part rises above its misfortunes
+is the spire.
+</p>
+<p>
+<b>The Spire.</b>—Among all the strange domes and steeples which give to the
+city of Oxford such a unique appearance, this spire of the cathedral
+is to the architectural eye not the least striking. Very humble in
+its bearing, it seems to put forward no claim to our attention, and may
+escape the notice of a hurried traveller; but it has more character and
+interest than the elaborate spire of the University Church itself. Its
+very modesty gives it a distinction; were it taller it would be but one
+among a hundred, but as it is there is no other in England at all like it
+in the quiet dignity of its low proportions. The first time one sees it
+one is most struck by its squat appearance; it seems almost to have been
+built as little more than a convenient stone capping for the tower; and,
+indeed, each time one returns to Oxford one is impressed afresh by this
+lowliness; so that one fancies for a moment that it may have subsided a
+little during one's absence. But it quickly resumes its old dignity—the
+kind of dignity that one sometimes notices in short people—and every day
+it seems to grow a little higher. Homely and simple, as befits the crown
+of a foundation which is called "The House," it wins an almost human place
+in the affections of those who live near it; and never was a spell so
+honestly cast, never a friend that bore so well the test of familiarity.
+</p>
+<p>
+And its low proportions are soon accounted for. It is one of the earliest
+spires (perhaps the very first) ever built in England. Thus it was an
+experiment in what must have appeared at the time a very hazardous style
+of building; and that which to us is low, to the men of the thirteenth
+century must have seemed dangerously lofty. It was a pioneer, and as such
+needed to be sturdy. We need not then regret that it is not like that of
+Salisbury; it gives the whole cluster of buildings a look of security,
+and it causes no anxiety to its guardians.
+</p>
+<p>
+"This spire," wrote Dr. Ingram in 1837, "certainly accords in character
+with some of the earliest specimens in Oxfordshire and Northamptonshire,
+measuring in height about two diameters of its base; and it is remarkable,
+that the small turrets at the angles of the north transept are made to
+terminate in pyramidal octagons, similar to those which surmount the
+angles of the tower. These are the simple prototypes of those exuberant
+
+<span class="pagenum"><a id="page29" name="page29"></a>[29]</span>
+
+<!-- Full Page Illustration 7 moved down outside of paragraph. -->
+
+<span class="pagenum"><br /><a id="page30" name="page30"></a>[30]</span>
+
+<!--[Blank Page]-->
+
+<span class="pagenum"><br /><br /><a id="page31" name="page31"></a>[31]</span>
+
+ pinnacles, niches, and tabernacles, enriched with crockets and finials,
+which so profusely embellish the spires and turrets of a later date.
+A singular specimen of this improved kind of turret is seen on the north
+side of the cathedral; beneath which is an elegant niche, containing a
+statue of St. Frideswide."
+</p>
+
+<div class="figure">
+<a name="image-0007"><!--IMG--></a>
+<a href="images/i-07.jpg">
+<img src="images/i-07-s.jpg" width="275" height="400"
+alt="THE TOWER AND SPIRE, FROM THE CLOISTERS." /></a>
+<br />
+THE TOWER AND SPIRE, FROM THE CLOISTERS.
+</div>
+
+<p>
+The lower story of the tower is Norman, or earlier, with later work
+added. The belfry-stage and the spire are early English. On each side
+of the lower story can be seen the line of the ancient high roof,
+destroyed in the Perpendicular period, to the great loss of the exterior
+effect, which Sir Gilbert Scott was anxious to restore. On either side
+of the roof-line is a plain window. At each angle a circular turret
+supports the tower, the turret being reduced in size at the belfry-stage
+where the Early English work commences, and ornamented with a tall and
+graceful arcade; an arcade being also carried all round the walls of the
+belfry-stage, and its central arches pierced for windows. Each turret
+finishes above the belfry-stage in a pinnacle. "These pinnacles," says
+Mr. R.J. King, "are modern; but are faithful, or, more truly, servile
+imitations of the ancient ones; of which not only the original features,
+but those resulting from the wear and tear of six centuries, have been
+too exactly copied."
+</p>
+<p>
+The spire itself is octagonal, with circular ribs at the angles; it is
+of the "broche" form, that is to say, it rises from the exterior of the
+tower walls, like most others of that period. Its eaves are supported by
+a corbel-table of pointed arches; and from its cardinal faces project
+the four spire lights of the same graceful character as the arcading
+of the belfry-stage. When the upper part of the spire was restored,
+the beautiful finial of foliage was for some unaccountable reason not
+reproduced. The old spire point was erected in one of the canon's gardens,
+where it rests in peace.
+</p>
+<p>
+The tower can best be seen from the cloister, the staircase window in
+the Library in Peckwater Quad, and the canon's garden on the north side.
+Of course, there are many distant points of view; but one from the path
+between the Broad Walk and Merton College gives a better idea of the
+cathedral as a whole than most.
+</p>
+<p>
+The tower can be ascended from the gallery in the south transept, but it
+should not be attempted by any but slim persons. The visitor makes his
+way along the clerestory and round
+
+<span class="pagenum"><a id="page32" name="page32"></a>[32]</span>
+
+ the lantern, which is the first stage
+of the tower. Having avoided the iron bars which threaten him at every
+turn, he will have to squeeze through an incredibly small doorway, and
+then climb up a dark staircase which takes him, not into the belfry,
+but into the spire. One can only peer into the lower part of the belfry
+from the shuttered windows on the outside; but as the interior of the
+spire is open to it, the whole, forming one queer-shaped room, can be
+seen therefrom. The bells have all gone, as they taxed the strength of
+the tower, having been originally cast for the larger tower of Oseney
+Abbey (see p. 43); they are now hung in the new bell-tower over the hall
+staircase. The belfry-stage can be considered octagonal from the interior,
+four very short extra sides being formed by the angular turrets, which
+are chamfered off on the inside. Above these are the squinches which
+support the spire. Round the arcade which contains the belfry windows
+runs a passage, made just like the clerestory passage of a church. The
+whole structure is remarkable for its careful and finished work, the
+very corbels just above the floor being heavily foliated, as if they
+were intended to be seen from below.
+</p>
+<p>
+The windows of the spire are interesting for the double plane of tracery
+which adds to the strength of the spire. The inner tracery resembles
+that without, with the difference that it has no transom. The transom,
+by the way, is a rare feature in the Early English period.
+</p>
+<p>
+The only exterior view of any extent is from the garden of the Professor
+of Pastoral Theology on the northern side of the cathedral. It seems
+unfortunate that so important a spot should be in private hands, and the
+public excluded; but still a visitor who desires to go into the garden
+can obtain permission by applying at the professor's house in Tom Quad.
+The garden is a pretty one, and the view of the homely-looking cathedral
+set in this quiet old-fashioned retreat is well worth taking the trouble
+to see. The Latin Chapel, which seems to stand right on the lawn,
+looks like some little village church, while the north transept seems
+inconceivably smaller than from the inside.
+</p>
+<p>
+From between the transept and the nave, near the house that is to say,
+there is an excellent view of the tower.
+</p>
+<p>
+Two remarkable square turrets flank the transept: they resemble those at
+the east end, and are nearly of the same date;
+
+<span class="pagenum"><a id="page33" name="page33"></a>[33]</span>
+
+ they are, however, capped
+by pinnacles like those on the tower, but somewhat earlier. At the angle
+of the transept aisle there is a smaller turret, early Perpendicular in
+style, with crockets on its spire, and in its west face a niche with a
+weather-worn statue of St. Frideswide. The flowing tracery of the four
+beautiful windows of the Latin Chapel is well seen from here; and the
+buttresses that support its wall should also be noticed.
+</p>
+
+<div class="figure">
+<a name="image-0008"><!--IMG--></a>
+
+<a href="images/i-08.jpg">
+<img src="images/i-08-s.jpg" width="575" height="300"
+alt="EARLY SAXON ARCHES." /></a>
+<br />
+EARLY SAXON ARCHES.
+</div>
+
+<p>
+<b>The Saxon Apses.</b>—In this garden can also be seen the site of the
+Saxon apses, discovered in 1887 by Mr. Park Harrison. The history
+of this discovery is an extremely interesting one. It was known that
+two small rag-stone arches existed at the east end of the Lady Chapel
+and north choir aisle, though blocked up and concealed by plastering
+inside the church. Their character and rude workmanship suggested that
+they formed part of the original church of the Holy Trinity, St. Mary,
+and All Saints, which was built C. 727; but there was some years ago
+a tradition among architects that nearly all Saxon churches were built
+of wood, and the presumption naturally was that the original church
+was entirely destroyed in the fire of 1002. However, it came gradually
+to be admitted, even by the late Mr. J.H. Parker, that Saxon churches
+were built of stone from the earliest times; it was further found to be
+implied by the charter of Ethelred that the old church had been of stone;
+for the charter states that,
+
+<span class="pagenum"><a id="page34" name="page34"></a>[34]</span>
+
+ when it was found necessary to dislodge the
+Danes by burning, the fire was thrown upon the wooden shingles of the
+roof. Another document supported this theory by stating that Ethelred
+"repaired and enlarged" the old building. Thus the presumption lately
+came to be that these arches, and the wall in which they stood, belonged
+to the church of 727.
+</p>
+<p>
+In opposition to this it was suggested that they were nothing more than
+barrow-holes made in the twelfth century to admit the Norman workmen.
+Mr. Harrison, however, was strongly opposed to this view, urging that no
+barrow-holes existed of such narrow dimensions as these doors, or in such
+an inconvenient place as the east wall of a chapel. In order to put his
+conviction to the test he asked that excavations should be made outside
+the east wall, to see if the doorways led into a crypt or "porticus,"
+since apses, used for interments, had been found of an equally early
+date at Winchester and Lyminge.
+</p>
+
+<div class="figure">
+<a name="image-0009"><!--IMG--></a>
+
+<a href="images/i-09.jpg">
+<img src="images/i-09-s.jpg" width="490" height="300"
+alt="PLAN OF RECENTLY EXCAVATED APSES." /></a>
+<br />
+PLAN ON RECENTLY EXCAVATED APSES.<a href="#note-1" name="noteref-1"><small> 1</small></a>
+</div>
+
+<p>
+This venture of faith was triumphantly rewarded by the discovery in 1887
+of the foundations of three apses, corresponding with these two arches,
+and with a third between them, of which traces were found shortly after.
+The first excavation in
+
+<span class="pagenum"><a id="page35" name="page35"></a>[35]</span>
+
+ the canon's garden took the form of a trench
+outside the southern arch, and led to the discovery of part of the
+foundation of an apse, which measured a quarter-circle. The rest of this
+foundation had been destroyed, evidently when the wall of the Norman
+presbytery was built (which, it is notable, is quite twelve inches
+thicker than the wall containing the arches); but it was evident that
+the archway in the wall must have stood in the centre of a perfect apse.
+Similar foundations were next laid bare opposite the northern arch. Then
+the earth was removed opposite the Norman pilaster buttress, which,
+standing midway between the two arches, led the investigators to suppose
+
+<span class="pagenum"><a id="page36" name="page36"></a>[36]</span>
+
+ that it hid a centre Saxon archway. Nothing was found at first but a small
+piece of concrete walling (2 feet by 1-1/2 feet) which it was at once seen
+might prove to be part of the north wall of the chancel of the ancient
+church, if a centre apse could be proved to have projected beyond the two
+side apses. Excavations were therefore commenced further east, with the
+result that the foundations of the central apse were discovered under
+a drive in the garden. The missing portion of this apse was accounted
+for by a main drain which had been cut across its inner side, and by
+a pit which had been made for the interment of bones found elsewhere
+in the Close. About the same time Mr. A.J. Evans, the Keeper of the
+Ashmolean Museum, found rag-stones by the side of the Norman buttress,
+which proved to be part of the central archway, a little wider and higher
+than the two side ones. It now became clear that this archway was really
+not a doorway at all but a small chancel-arch, the three arches being
+similar to those still used in the conservative churches of the East. It
+is a foot wider than the chancel-arch of the Saxon church at Bradford,
+Wilts, and two feet wider than the arch between the tower and chancel
+of Wotten Wawen church in Warwickshire, the jambs and arches of which
+were also built of rag-stone. Further evidence of the antiquity of this
+east wall is the fact that the sill of the south archway was found to
+be 2 feet 8 inches below the level of the pavement of the Norman church,
+as is shown in the elevation.
+</p>
+
+<div class="figure">
+<a name="image-0010"><!--IMG--></a>
+
+<a href="images/i-10.jpg">
+<img src="images/i-10-s.jpg" width="220" height="400"
+alt="CONJECTURAL PLAN OF EARLY SAXON CHURCH." /></a>
+<br />
+CONJECTURAL PLAN OF EARLY SAXON CHURCH.
+</div>
+
+<p>
+This Eastern plan of three apses was adopted about the same early period
+at Melbourne and Lindisfarn; and, as it was not long before the death of
+the great Archbishop Theodore that this arrangement came in, there is a
+great probability that he introduced it from his native country of Syria,
+where the churches were always constructed with three apses. The absence
+of any marks of juncture upon the exterior of the walls also inclines one
+to suspect that there was a passage from apse to apse behind the wall,
+as there always is in Eastern churches. The whole arrangement will be
+made abundantly clear from the above conjectural ground-plan of the
+ancient church, c. 740.
+</p>
+<p>
+There are indications that these three apses are not of precisely the
+same date, for the northernmost arch is the smallest of the three, and
+the apse is correspondingly smaller. It is therefore surmised that the
+southernmost apse belonged to the church of Didan, the father of St.
+Frideswide, and dedicated to
+
+<span class="pagenum"><a id="page37" name="page37"></a>[37]</span>
+
+ the Holy and Undivided Trinity, "without
+any more title and addition," while the other apses were the additions
+of Frideswide herself, when the church was adapted to the purposes of
+a convent, with the additional dedication to St. Mary and All Saints.
+This may be the reason why the chapel in a line with the central apse,
+and therefore on the site of the ancient nave, is still the Lady Chapel.
+</p>
+<p>
+Another important point rests upon the document which states that, when
+Ethelred II. enlarged and repaired the old building, the result was
+that the tomb of St. Frideswide, which before was on the south side of
+the church, thereupon stood in the middle. The tomb of St. Frideswide
+must therefore have been in the southernmost of these three apses (in
+a "chapel," as Wood says, on the south side of the convent church),
+and not, as some people have supposed, in the vault discovered under
+the tower during Scott's restoration. A significant corroboration of
+the old document is supplied by the fact that the Norman plinth, which
+was carried across the other two archways, breaks off at the arch which
+leads into the south apse. It would thus seem that access was, after
+the Norman restoration, still afforded into this chapel, and that St.
+Frideswide's relics remained there until the Translation of 1180, when
+they were moved "from an obscure to a more noted place in the church"
+on the completion of the Norman restoration.
+</p>
+<p>
+After the investigations had been completed, the earth was laid down
+again, but stones have been set in the drive to mark the site of the old
+foundations. Some charcoal and reddened stone which was found—evidently
+a relic of the fire of 1002—is now to be seen in the gallery over the
+vestry in the cathedral. In addition to this, the remains of a rough
+pavement were exposed in the north apse, and some square stones in the
+chord of the central apse, which seem to be part of the old altar. In
+addition to the numerous scattered bones that the workmen unearthed,
+two complete skeletons were found in the southern apse, and underneath
+the stone slabs upon which they lay another skeleton, that of a woman
+or a man of short stature, possibly that of Didan himself, or his wife
+Saffrida, who are both known to have been buried in the church.
+</p>
+<p>
+<b>The Cloister</b> now forms only three sides of a square, the western part
+having been destroyed by Wolsey in order to
+
+<span class="pagenum"><a id="page38" name="page38"></a>[38]</span>
+
+ make room for the hall
+staircase. Considerably inferior to those of Magdalen and New College,
+it is small and unpretentious: its tracery, of a humdrum Perpendicular
+type (mostly restored), and its vaulting, which is peculiar, point to
+the latter half of the fifteenth century as the time of its erection. Of
+the earlier cloister no trace remains, except the door and windows of
+the chapter-house. The north walk was converted into a muniment room,
+much to the defacement, one may imagine, of this part of the college;
+but it has now been restored, and a good imitation of the fine old lierne
+groined roof inserted, though funds have not been provided to finish the
+carving of the bosses. Mr. R.J. King points out that the panelling of
+the sides of the windows agrees very closely, even to the character of
+the cusps, with that introduced into the clerestory of the choir. The
+quadrangle of the cloister was the scene of Cranmer's degradation. In
+its area are the foundations of the lavatory, which was built about 1490.
+</p>
+<p>
+Above the arches of the cloister runs a story with latticed windows on
+the east and south side, which adds considerably to the picturesqueness
+of the whole. Indeed, as one stands on the steps leading to the hall,
+the ivy-grown cloister, in spite of its modest proportions, has a beauty
+of its own. The latticed windows give it an air of mystery, as if strange
+old rooms were concealed by them; and in fact on the south side there
+is a curious library of time-worn theological books, which is seldom
+entered, and hardly ever used: it belongs to the Regius Professor of
+Divinity. The windows on the east side hide nothing more romantic than
+a small lumber-room, cut up by the raising of the wooden roof beneath,
+and an undergraduate's bed-chamber.
+</p>
+<p>
+From the same position at the west of the cloister one can enjoy the
+best view of the tower and spire of the church. One is close enough
+to see all the detail, and yet from this angle nothing is lost of the
+general effect. On a moonlit evening the effect is particularly solemn
+and beautiful. From this point also should be noticed the difference in
+the masonry of the south transept. The lower story is entirely of rubble,
+while the upper story is partly of good ashlar work.
+</p>
+<p>
+On the south side of the cloister is the Old Library, as it is now called,
+which was formerly the refectory of the monastery, and is all that now
+remains of the conventual buildings. Its large Perpendicular windows,
+rising like a clerestory above it,
+
+<span class="pagenum"><a id="page39" name="page39"></a>[39]</span>
+
+ look on to the cloister, but they were
+spoilt on the inside by a staircase, when the building was turned into
+undergraduates' rooms. On the other side, facing the meadow buildings,
+there is a curious little oriel window, its lights now walled up, that
+once contained the pulpit whence the lessons were read during meals. The
+rest of the Perpendicular windows on this side are entirely gone, and
+the beauty of what was one of the best buildings in Oxford destroyed.
+An engraving of the Refectory in its original state is given in Skelton.
+</p>
+
+<div class="figure">
+<a name="image-0011"><!--IMG--></a>
+
+<a href="images/i-11.jpg">
+<img src="images/i-11-s.jpg" width="300" height="400"
+alt="DOORWAY OF CHAPTER-HOUSE." /></a>
+<br />
+DOORWAY OF CHAPTER-HOUSE.
+</div>
+
+<p>
+The roof, which formerly hid the upper part of the chapter-house door, has
+been removed, and, by a happy device, a wooden roof groined in the same
+way has been inserted at a higher level, thus giving the old doorway the
+benefit of its full proportions. This doorway has been attributed to Prior
+Guimond, and belongs mainly to the later Norman period, of which it is a
+fine example. The two inner divisions of the arch are richly ornamented
+with zigzag moulding; the two outer divisions rest on shafts, of which
+the pair on the north have sculptured, and the pair on the south plain
+cushion, capitals. On either side of the doorway is a round-headed window
+of two lights, plain without, but ornamented within with the same label
+as that which surrounds the outer arch of the doorway itself. An ancient
+painting can be made out on the north side of the northernmost of these
+windows; it was traced recently, and found to be the figure of a saint.
+</p>
+<p>
+<b>The Chapter-House</b> was rebuilt in the very best Early English period,
+of which it is an excellent example. It bears
+
+<span class="pagenum"><a id="page40" name="page40"></a>[40]</span>
+
+ some resemblance to the
+chapter-house at Chester, being especially remarkable for the purity of
+its style and the excellence of its detail. It would, indeed, be hard to
+find a better specimen of a mediæval chamber.
+</p>
+<p>
+As the whole effect of the room depends upon its proportions, it is hardly
+necessary to say that the extraordinary genius for making the worst of
+everything, which seemed at one time to take possession of the English
+people, inspired some one to build a wall right across the middle. This
+has, however, been removed, and the visitor has now nothing to complain
+of but a want of colour. The chapter-house has been used for divinity
+lectures since the Latin Chapel was restored to its original purpose;
+and the lower part of the walls is now hung with curtains, which help
+to destroy the coldness due to the destruction of the old painting
+and furniture.
+</p>
+
+<div class="figure">
+<a name="image-0012"><!--IMG--></a>
+
+<a href="images/i-12.jpg">
+<img src="images/i-12-s.jpg" width="245" height="300"
+alt="CORBEL IN CHAPTER-HOUSE." /></a>
+<br />
+CORBEL IN CHAPTER-HOUSE.
+</div>
+
+<p>
+The room is an oblong, divided into four bays, the vaulting of which
+springs from clustered shafts, supported on curiously carved corbels.
+Two of these corbels are in the form of monks' heads, very vividly
+conceived; they face each other, and are thought, from the vivacity
+of their expression, to be represented as carrying on a conversation
+together. The perfect taste of the rich carving on the bosses of the
+roof will also be noticed. One of them represents our Lady crowned,
+in the act of giving an apple to the Holy Child.
+</p>
+<p>
+But the most striking feature of the chapter-house is its east end. An
+arcade of five arches fills the entire space; of these the three central
+arches are pierced for windows, deeply recessed, and having a double set
+of shafts to support their arches, the inner shafts being clustered,
+and ornamented with dog-tooth moulding. Each light is crossed by a
+transom, with a later four-centred arch beneath. Foliage is introduced
+in the spandrels, and every capital in the room is richly foliated,
+nor could anything exceed the grace and finish of the carving. There
+are two windows of similar character on the south side of the room,
+and one on the north. There are also some pieces of
+
+<span class="pagenum"><a id="page41" name="page41"></a>[41]</span>
+
+ remarkably fine
+glass in these side windows, which one should be careful not to miss.
+The remains of painting on the groined ceiling are not likely to
+escape notice,—the figures of St. Peter and St. Paul can be easily
+distinguished.
+</p>
+
+<div class="figure">
+<a name="image-0013"><!--IMG--></a>
+
+<a href="images/i-13.jpg">
+<img src="images/i-13-s.jpg" width="365" height="350"
+alt="BOSS IN CHAPTER-HOUSE." /></a>
+<br />
+BOSS IN CHAPTER-HOUSE.
+</div>
+
+<p>
+A thirteenth century stone slab now rests in the chapter-house; it was
+brought here from Rewly Abbey, where it covered the tomb of Ela, wife of
+Thomas de Newburgh, Earl of Warwick, and daughter of William Longspée.
+In the east wall is preserved the foundation stone of Wolsey's College
+at Ipswich, the inscription on which runs,—"<i>Anno Christi 1528, et
+regni Henrici octavi, regis Angliae 20, mensis vero Junii 15, positum
+per Johannem epm. Lidensem</i>,"—John Holt being titular Bishop of Lydda,
+and probably a suffragan of Lincoln. The stone has no connection with
+Christ Church, beyond the fact that it commemorates another benefaction
+of Wolsey, and was presented to the House in 1789.
+</p>
+<p>
+A small staircase in the south wall leads up into the charming
+oak-panelled room, which is used by the chapter for meetings. In the
+window of the staircase will be noticed some initial letters and other
+devices in stained glass which are among the very finest of their kind.
+In the upper room itself, which looks pleasantly on to a garden, are
+some interesting pictures:—one of Henry VII.; another of the same
+king, younger, with his queen; Henry VIII.; Elizabeth; Mary; Samuel
+Fell, the father of Bishop Fell, and Dean of Christ Church himself;
+Busby, the terrible headmaster of Westminster School, also connected
+with this House; two portraits of the talented Dean Aldrich, and one
+of Peter Martyr, whose wife was so strangely made to share the grave
+with St. Frideswide. Peter Martyr had been himself an Augustinian prior:
+he adopted strong reforming views, and
+
+<span class="pagenum"><a id="page42" name="page42"></a>[42]</span>
+
+ was made Regius Professor of
+Divinity here in 1549. He lived near Tom Gate; but the undergraduates
+broke his windows, and he moved to the cloister, where he fortified
+his garden. According to Blunt, he gave up the professorship when the
+undergraduates annoyed him, but returned on being made a canon. In this
+chapter-room there is a good Elizabethan table, a curious old iron safe,
+and some Chippendale chairs.
+</p>
+
+<div class="figure">
+<a name="image-0014"><!--IMG--></a>
+
+<a href="images/i-14.jpg">
+<img src="images/i-14-s.jpg" width="440" height="350"
+alt="THE CHOIR, FROM THE OLD CEMETERY." /></a>
+<br />
+THE CHOIR, FROM THE OLD CEMETERY.
+</div>
+
+<p>
+A gateway in the cloister to the north of the chapter-house leads into
+the slype, which occupies the position usual in monastic buildings
+between the chapter-house and the transept. In this case the slype is a
+plain barrel-vaulted passage that takes up part of the transept itself,
+and forms the lower story of the choir-vestry (as it now is) within the
+church. It leads into the old cemetery, whence a good view is obtained
+of St. Lucy's chapel, the east end, and the chapter-house. In the garden
+are the tombs of Philip Pusey, son of Dr. Pusey, and Edith Liddell,
+who is commemorated in St. Catherine's window. The
+
+<span class="pagenum"><a id="page43" name="page43"></a>[43]</span>
+
+ round-headed doorway,
+now blocked up, should also be noticed: it may be one of the doorways of
+Ethelred's church, and is in any case the only ancient one left.
+</p>
+<p>
+The east end was restored in 1871 by Gilbert Scott, in accordance with the
+late Norman design, of which fragments, left when the Decorated window
+was inserted, still remained in the wall; but how far exactly it follows
+the original no one appears to know.
+</p>
+<p>
+An elaborate wheel-window occupies the upper part of the chancel gable;
+above it is a blind arcade of transitional pointed arches, and below are
+two round-headed windows. The square turrets at the angles are ornamented
+with arcading in three stories: the upper is on a level with the pointed
+arcading of the main wall, and similar in style; the middle carries on
+the line of the wheel-window, and consists of two round arches on each
+turret; the lower, on a level with the two round-headed windows, is made
+up of three round arches, which, by intersecting, form four pointed
+arches. The whole, in spite of its being (with the exception of the
+turrets) a restoration, gives one a good idea of transitional work on a
+large scale. In plan it is still Romanesque, in detail it is Early Gothic.
+</p>
+<p>
+<b>The Bell Tower</b>, which stands above the hall-staircase, is really only
+a stone case built by Mr. Bodley to hide the wooden structure which
+actually contains the bells. The tower, as it now stands, is incomplete,
+Mr. Bodley having intended a lofty and intricate wooden superstructure to
+rest upon it. The authorities, however, were afraid of its dwarfing the
+spire and Tom Tower, and consequently left the structure in its present
+state, much against the opinion, as we understand, of the architect, whose
+completed design can be seen in the common-room, and is so magnificently
+picturesque, that one cannot help hoping that the authorities will see
+their way to erecting it. After all, if every one in the past had been
+afraid of overtopping the cathedral, Oxford would never have become the
+"Sweet city of her dreaming spires" that we know The cathedral can hold
+its own, and so can Tom Tower; for neither makes any pretensions to
+loftiness. The original hall-tower seems to have stood on the same spot
+before the space was cleared for the erection of Dean Fell's staircase.
+</p>
+<p>
+The bells themselves are, with Great Tom, the only relics left of the
+glorious Abbey of Oseney. They were considered
+
+<span class="pagenum"><a id="page44" name="page44"></a>[44]</span>
+
+ the finest in England,
+and were after their removal to the cathedral made famous again as
+"The merry Christ Church bells" of Dean Aldrich's catch. Their names are
+contained in the following line, which professes to be a hexameter—
+</p>
+
+<div class="poem">
+<div class="stanza">
+ <p class="i2"><i>Hautclerc, Douce, Clement, Austin, Marie, Gabriel et John.</i></p>
+</div>
+</div>
+
+<div class="figure">
+<a name="image-0015"><!--IMG--></a>
+
+<a href="images/i-15.jpg">
+<img src="images/i-15-s.jpg" width="350" height="350"
+alt="TOM TOWER." /></a>
+<br />
+TOM TOWER.
+</div>
+
+<p>
+<b>Tom Tower</b>, over the entrance to Tom Quad from St. Aldate's, is one
+of the characteristic features of the city. The lower story was built
+by Wolsey, but the cupola which gives it so uncommon an appearance was
+added by Sir Christopher Wren in 1682. On the side facing St. Aldate's
+is a statue of the great Cardinal, in a very dramatic attitude, and on
+the quadrangle face a statue of Queen Anne, placed there by her minister
+Harley, with this inscription,—<i>Annae Principi Optimae Secretarius
+ipsius principalis Robertus Harley hac in sede posuit</i>
+
+<span class="pagenum"><a id="page45" name="page45"></a>[45]</span>
+
+<!-- Full page illustration 16 moved down to outside of paragraph -->
+
+<span class="pagenum"><br /><a id="page46" name="page46"></a>[46]</span>
+
+<!--[Blank Page]-->
+
+<span class="pagenum"><br /><br /><a id="page47" name="page47"></a>[47]</span>
+
+ <i>quod illam coleret
+et hanc amaret</i>. The vault of the archway under Tom Tower is decorated
+with the arms of those who helped towards the completion of the
+quadrangle. "Tom," the great bell which gives its name to the quadrangle,
+and its orders to the whole University, came, with the cathedral bells,
+from Oseney Abbey; and twenty shillings were paid in 1545 for the
+conveyance of Tom and his satellites from the Abbey to Christ Church.
+It weighed 17,000 pounds, and bore the inscription,—<i>In Thomae laude
+resono Bim Bom sine fraude</i>; but it was recast in 1680, and its present
+inscription is <i>Magnus Thomas Clusius Oxoniensis renatus Apr. 8, 1680</i>.
+It will have to be recast again some day, for it is sadly out of tune;
+its note ought to be B flat, but is not, and the bell itself is cracked.
+</p>
+
+<div class="figure">
+<a name="image-0016"><!--IMG--></a>
+<a href="images/i-16.jpg">
+<img src="images/i-16-s.jpg" width="525" height="350"
+alt="THE WESTERN ENTRANCE AND BELL TOWER, FROM TOM QUAD." /></a>
+<br />
+THE WESTERN ENTRANCE AND BELL TOWER, FROM TOM QUAD.
+</div>
+
+<p>
+Perhaps the other college buildings are sufficiently connected with
+the history of the cathedral to allow of our mentioning them. For
+Wolsey built the kitchen, which is a remarkably fine specimen of the
+peculiar architecture necessitated for such a building, and also the
+magnificent hall, the finest perhaps in England, and interesting to
+us also as containing the portraits of many of the men referred to in
+this book. Wolsey also built three sides of Tom Quad. Though the bases
+of the buttresses for its cloister invite the enterprising builder, the
+Quad is probably best left as it is; for a projecting cloister is not
+anything the architectural success that a cloister is which forms the
+ground story of a building continued over it, and the Quad is besides
+so large as to be unmanageable in the matter of cloisters. The fountain
+in the middle is called "Mercury," because Dr. Anthony Radcliffe set up
+a statue there of the nimble god in 1695. Frank Buckland, by the way,
+about five years before his death, put into Mercury several golden
+carp; there was also added an <i>Aurea Tinca</i> from Austria, a superb
+creature, popularly called "The Dean." The surface of the Quad was in
+1665 lowered three feet, so as to give a greater appearance of height
+to the surrounding buildings. Bishop John Fell finished the quadrangle,
+and his father, Dean Samuel Fell, built the vaulted staircase of the Hall
+(1640), which is one of the instances of the curious survival of Gothic
+in Oxford, that home of "lost causes," which need never have been lost,
+and of "impossible ideals," which ought to be made possible. Late as it
+is, and open to the structural criticism of all Perpendicular work,
+
+<span class="pagenum"><a id="page48" name="page48"></a>[48]</span>
+
+ it is
+most deservedly admired. The staircase itself must not be laid to Fell's
+charge; it is the work of the James Wyatt. Dean Aldrich built Peckwater
+Quad, which is a decent work of its kind, too grim and gloomy to be as
+attractive as All Saints Church, and dreadfully disfigured by the strange
+tendency to moulder away that besets Headington stone, from which Oxford
+as a whole has suffered so much.
+</p>
+<p>
+The Library in Peckwater Quad was begun in 1716 (designed by Dr. G.
+Clerke), and finished in 1761, the original intention having been to leave
+an open piazza beneath it; but its columns were connected, in the end,
+by a wall. It contains a few first-rate pictures (including an exquisite
+Francescà) among a great many palpable shams, and a collection of
+drawings mainly by fifteenth and sixteenth century artists, which are said
+to have given Ruskin his first enthusiasm for Italian art, when he was
+an undergraduate at the House. Wyatt was the architect of Canterbury Gate.
+</p>
+<p>
+Dean Liddell built the Meadow Buildings nearly thirty years ago;
+the architect was Mr. T. Deane. They are as bad as the other college
+buildings in Oxford of the same period.
+</p>
+
+<p><span class="pagenum"><a id="page49" name="page49"></a>[49]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CHAPTER III.
+<br />
+<small>
+ THE INTERIOR.
+</small>
+</h2>
+
+<p>
+The cathedral is best entered through the handsome porch in Tom Quad which
+was cut by Mr. Bodley through one of the canonical houses; in order,
+perhaps, to announce that the old <i>régime</i> had passed away, and the
+time at last arrived when "the teachers of theology no longer dwell on
+the ruins of the church they should protect," as a writer fifty years
+back had half-despairingly foretold. This porch is a happy compromise
+between the old heart-breaking descent into a half-ruined nave, and
+the rather impossible scheme of continuing the church into the middle
+of the Quad. The former spoilt the cathedral, the latter would have
+spoilt the college; but by the present arrangement the church serves
+very creditably for both its purposes, and one may well spend a day
+there without remembering what Wolsey did to the nave.
+</p>
+<p>
+On entering the cathedral itself the visitor finds himself in a kind of
+narthex which is in fact the ante-chapel of a college chapel. Before him
+is the organ-screen, the entrance under which is veiled by a curtain at
+service time; on either side he has a glimpse of the aisles. The effect
+is peculiar, but not unpleasant, although the ante-chapel is a bare bit
+of modern restoration, wisely left unsculptured, and unrelieved except
+for some monuments, of which one may gratefully say that they are best
+where they are. But passing under the screen, all is changed. We find
+ourselves in one of the most charming and distinctive interiors of a
+country of interesting churches. The curious and happy arrangement of
+the great pillars and triforium, the variety and originality of the
+sculptured capitals, the rich pendent vaulting of the choir, and the
+touch of mystery in the further chapels, all combine to give to this
+
+<span class="pagenum"><a id="page50" name="page50"></a>[50]</span>
+
+ creation of a long and chequered history an attraction peculiarly its
+own.
+</p>
+<p>
+Yet the same bluntness of aspect which impresses one in the spire is
+the leading characteristic of the interior also. Only in this case the
+effect is not part of the original plan, but is due to the destruction
+by Wolsey of the three Western bays. Things must have seemed far worse
+before the new western bay added twenty feet to the nave, and brought
+the church right back to the cloister around Tom Quad, for though it
+only serves as an ante-chapel, it yet helps considerably to break the
+enclosed appearance, which must have been almost oppressive before.
+</p>
+<p>
+As it is, Christ Church is the smallest of our cathedrals; for even with
+the new ante-chapel it measures but 175 feet in length. Instead of being
+of the usual cruciform plan, it is now almost square,—in fact, the length
+from the reredos to the organ-screen is 132 feet, while the breadth across
+from the Latin Chapel to St. Lucy's Chapel is 108 feet. The church is
+made up of the shortened nave with its two aisles, and ante-chapel, the
+central tower, the north transept with its one aisle, the south transept,
+and the eastern half of the church, which itself contains no less than
+six divisions,—the choir, with its two aisles, the Lady Chapel on the
+north, and the Latin Chapel (or St. Catherine's) on the north again of
+that, while on the south is the small chapel of St. Lucy.
+</p>
+<p>
+If the unusual appearance of the cathedral is partly due to Wolsey's
+destruction, it is partly due also to its being used as a college
+chapel, and partly to the fact that in general plan, and to some extent
+in detail, it is Ethelred's design, commenced seventy years before the
+great developments of Norman architecture began. Ethelred himself probably
+only completed the choir and adjacent parts, and even there the work was
+very much altered in late Norman times; while the nave itself seems to
+be principally Norman (though built in imitation of Ethelred's work),
+with the exception of the pillars, which must be earlier than the Norman
+restoration, and may be of Saxon date, though we have no documentary
+clue as to what happened from the reign of Canute to that of Henry I.,
+except that the church was, during the latter part of the time, in a
+very bad way.
+</p>
+<p>
+The following are Mr. Park Harrison's conclusions as to the
+
+<span class="pagenum"><a id="page51" name="page51"></a>[51]</span>
+
+ general plan
+of the church, which he set before the British Archæological Association
+in 1892:—"The design of the building is clearly derived from the original
+pre-Norman church. The uniformity of plan throughout affords a remarkable
+instance of the way in which early church-builders imitated previous
+work, the process being, at Oxford, slow enough to make stages in the
+construction, that must have occupied instead of thirty years, as stated
+in the explanatory cards suspended in the cathedral, and quoted in some
+of the guide-books, at least 160. There were three changes in the profiles
+of the bases, and three in the abaci, all before the years 1170 or 1180."
+</p>
+<p>
+Thus the cathedral is a most important evidence of the high state of
+civilisation at which our Anglo-Saxon forefathers gradually arrived
+after the landing of St. Augustine. It is some satisfaction to our
+national pride to discover that they did not owe their culture to the
+Norman settlement, nor worship in wooden sheds before the arrival of
+the Conqueror, as was till recently supposed; but that the people who
+produced poets like Caedmon, artists like Dunstan, and scholars like
+Alfred and Bede, were also able to build churches worthy of such great
+names. More will be said about their workmanship when we come to discuss
+the capitals in the choir, but here we may refer the reader to a drawing
+in Mr. Harrison's pamphlet, "The Pre-Norman Date," of the apse of a church
+from the "Dunstan" MS., which shows at what elaborate architecture the
+Anglo-Saxons had arrived by the year 1000, and illustrates the curious
+foliage found on the cathedral capitals.
+</p>
+<p>
+<b>The Nave</b> was probably completed during the priorate of Robert of
+Cricklade (c. 1160-1180), the restoration being begun shortly after
+1158, when the Pope's charter was secured. The clerestory, which is
+transitional, may therefore have been still unfinished at the time of
+his death.
+</p>
+<p>
+The remarkable arrangement of the triforium is characteristic of all the
+four main divisions of the church. From the large pillars spring circular
+arches worked with heavy round mouldings. <i>Underneath</i> these arches,
+not above them, is the triforium which is a blind arcade of two arches
+set in the tympanum beneath the main arch. The reason why there is this
+space under the main arch is because corbels in the form of half-capitals
+are set on the further side of the great pillars, a good
+
+<span class="pagenum"><a id="page52" name="page52"></a>[52]</span>
+
+<!-- Full pagg illustration 17 moved down to outside of paragraph -->
+
+<span class="pagenum"><br /><a id="page53" name="page53"></a>[53]</span>
+
+ way below the
+true capitals, to support the vaulting of the aisles. In this way, says
+Scott, "the pillars and arches have been divided, as it were, into two
+halves in their thickness, the half facing the aisle retaining its natural
+height and proportions, but that facing the central space being so raised
+as to embrace the triforium stage, the openings of which appear between
+the two ranges of arches; the clerestory ranging above." Of course, by
+this arrangement, the pillars avoid the low and stumpy proportions they
+would otherwise have, and the general effect of height in the nave (which
+is actually only 41 feet 6 inches) is considerably increased; for, were
+the triforium in the usual place above the main arches, the main pillars
+would not come any higher than the lower half-capitals. The arrangement
+is very unusual in England; though it is found in Italian Gothic, and
+even in Renaissance work in that country, as in St. Petronio, Bologna.
+It occurs in the transept of Romsey Abbey, in the choir at Jedburgh,
+in Dunstable Priory, and in Tewkesbury Abbey. That it existed in Saxon
+times is proved by a drawing in Cædmon's Paraphrase (c. 1000) in the
+Bodleian (<i>c.f.</i> "The Pre-Norman Date"). Dr. Ingram, who wrote in 1830,
+thought that this arrangement was made in order to raise the height of
+the building in the twelfth century, the triforium being the clerestory
+of the old Saxon church peeping out under the later work. And though
+his zeal was not according to knowledge (he thought the chapter-house
+doorway was Saxon), yet there is a possibility that this theory of his
+may have some truth in it.
+</p>
+
+<div class="figure">
+<a name="image-0017"><!--IMG--></a>
+<a href="images/i-17.jpg">
+<img src="images/i-17-s.jpg" width="385" height="400"
+alt="CHRISTCHURCH, OXFORD. PLAN." /></a>
+<br />
+CHRISTCHURCH, OXFORD. PLAN.
+</div>
+
+<p>
+Until lately, the church was thought to belong altogether to Prior
+Guimond's time. Sir Gilbert Scott fixed the date of the rather heavily
+carved capital over Bishop Berkeley's monument at 1170-80, owing to its
+close resemblance to certain capitals at Canterbury Cathedral of this
+period. The others seem to be of earlier date than this, and possibly of
+Ethelred's time. Strange as they are, however, they do not suggest a Saxon
+origin so strongly as do those of the choir. They are unique in design,
+and have neither the massiveness of Norman, nor the crisp severity of
+Early English work. The light, graceful, and rather fantastic foliage of
+the three eastern capitals on the south side—almost like iron-work—will
+be noticed. The third capital on the north side bears some resemblance
+to two of those in the choir.
+</p>
+
+<p><span class="pagenum"><a id="page54" name="page54"></a>[54]</span></p>
+
+<p>
+The pillars of the nave also present problems of some difficulty. They
+are alternately circular and octagonal, and the masonry of six of them
+points with something like certainty to a date considerably earlier than
+the twelfth century restoration. In the four western pillars the stones
+are a good deal smaller than those in the two octagonal ones of the next
+bay: this makes it highly probable that they are of earlier date than
+the octagonal pillars, which are certainly Norman of the period of the
+restoration c. 1160. Mr. Harrison believes there is also considerable
+evidence that the two cylindrical pillars were reduced in girth in order
+to make them of the same size as the octagonal pillars then introduced;
+for the lower half-capitals project nine inches on either side beyond
+the pillars, while in those of the choir, which are unreduced, their
+projection is only five. There is also reason to suppose that the other
+pair of octagonal pillars, those by the organ-screen, were cut out of
+older ones at the same time.
+</p>
+
+<div class="figure">
+<a name="image-0018"><!--IMG--></a>
+
+<a href="images/i-18.jpg">
+<img src="images/i-18-s.jpg" width="400" height="325"
+alt="EARLY ENGLISH MOULDING." /></a>
+<br />
+EARLY ENGLISH MOULDING.
+</div>
+
+<p>
+The clerestory windows are transitional, as is proved among other things
+by their being pointed, for purely æsthetic reasons, and not (as in the
+case of the north and south tower-arches) from any structural necessity.
+Each window has a smaller blind arch on either side of it, making a
+triple opening within to a single window in the wall; and the shafts of
+this triple opening are made to carry small attached shafts which bear
+the arches above. The capitals of the larger and lower shafts spread in
+an unusual manner, having to support a mass of walling.
+</p>
+<p>
+<b>The Roof</b> is a fine example of sixteenth century woodwork, and doubtless
+replaced a simpler Norman roof of wood; but the brackets which support it
+were added later to the Norman shafts, in order to carry a Perpendicular
+vault of stone, which was never carried out. It is divided into small
+panels, whose ornament, though rich, is rather mechanical.
+</p>
+<p>
+The nave and choir are used as the College Chapel of Christ Church. In
+the returned stalls by the organ-screen sit the two censors; most of the
+undergraduates occupy the benches of the nave (which are modern woodwork
+carved by Chapman after
+
+<span class="pagenum"><a id="page55" name="page55"></a>[55]</span>
+
+<!-- Full page illustration moved down to outside of paragraph -->
+
+<span class="pagenum"><br /><a id="page56" name="page56"></a>[56]</span>
+
+<!--[Blank Page]-->
+
+<span class="pagenum"><br /><br /><a id="page57" name="page57"></a>[57]</span>
+
+ Sir G.G. Scott's designs), as far as the raised
+seats where the choir sits; the central benches under the tower are
+reserved for the freshmen; while the dean, canons, students (<i>i.e.</i>,
+fellows), and graduates fill the stalls of the choir, the other seats
+of the choir being occupied by the Scholars. The public use the aisles,
+transepts, and chapels on Sundays, but on weekdays are free of the nave
+for the two special cathedral services.
+</p>
+
+<div class="figure">
+<a name="image-0019"><!--IMG--></a>
+<a href="images/i-19.jpg">
+<img src="images/i-19-s.jpg" width="270" height="400"
+alt="NAVE AND CHOIR, LOOKING EAST (from a photograph by Carl Norman & Co.)." /></a>
+<br />
+NAVE AND CHOIR, LOOKING EAST (<i>from a photograph by Carl Norman & Co.</i>).
+</div>
+
+<p>
+<b>Monuments of the Nave.</b>—Berkeley's monument is attached to one of
+the north pillars, which it entirely defaces. <i>George Berkeley</i> was
+Bishop of Cloyne, and died in 1753, during a visit to Oxford; he was as
+good as he was famous, and his monument is as large as it is ugly. The
+epitaph, though not altogether untrue, and doubtless well meant, has the
+unfortunate effect of prepossessing the reader against its subject,—<i>Si
+Christianus fueris, si amans patriae, utroque nomine gloriari potes
+Berkleium vixisse</i>. Beneath is inscribed the quotation from Pope,—
+</p>
+
+<p class="quote">
+ "To Berkeley every virtue under heaven."
+</p>
+
+<p>
+On the pier by the pulpit the talented <i>Dean Aldrich</i> is commemorated by
+a bust, which shows him to have had a very good face, and bears by way
+of further adornment a winged skull that is quite unnecessarily hideous.
+Aldrich has been already referred to: he was the architect of Peckwater
+and All Saints, the composer of many well-known anthems and services,
+the author of the once standard "Oxford Logic," and "a most universal
+scholar." He succeeded Massey, the Roman Catholic dean, who had to "make
+off and retire across the seas" in 1689. Browne Willis says of Aldrich
+that "as he spent his Days in Celibacy, so he appropriated his Income
+to Hospitality and Generosity, and, like Bishop Fell, always encouraged
+learning; as a celebrated Author tells us, 'to the utmost of his Power,
+being one of the greatest then in England, if we consider him as a
+Christian, or a Gentleman,' to which give me leave to add that he always
+had the Interest of his College at heart; of which I may experimentally
+say, he was an excellent Governor." He was very modest, and desired to be
+buried without any memorial, a wish which was at first complied with by
+his "thrifty nephew." Sunk into a pillar opposite is a curious old brass,
+to the memory of John Walrond, student, who died young in 1602.
+</p>
+<p>
+A marble slab on the pavement in the midst of the nave commemorates
+
+<span class="pagenum"><a id="page58" name="page58"></a>[58]</span>
+
+ <i>Dr. Pusey</i>, who was canon of Christ Church, in virtue of his Hebrew
+Professorship, and lies buried here. The Latin inscription mentions also
+his wife and daughter, and of him it speaks as "Professor of the Hebrew
+tongue, and Canon of this church (<i>aedis</i>), who in the peace and pity of
+Jesus fell asleep, September 16th, 1882, being 82 years and 24 days old."
+</p>
+<p>
+<b>The Organ</b> stands on a fine Jacobean screen, dating from Duppa's
+time (c. 1635); it was removed here from before the choir during
+the restoration. The outer casing belonged to a former organ built by
+Father Schmidt in 1680. The present instrument was built by Willis &
+Son in 1884. It has four manuals and pedals, thirty-nine speaking stops,
+nine couplers, ten pneumatic pistons, six composition pedals, and other
+accessory movements. It has a very fine tone, and is well placed for
+sound. Its external appearance is much improved by the pretty green
+<i>appliqué</i> curtain which now hangs in front of the organist's seat.
+</p>
+
+<div class="figure">
+<a name="image-0020"><!--IMG--></a>
+<a href="images/i-20.jpg">
+<img src="images/i-20-s.jpg" width="215" height="400"
+alt="PULPIT." /></a>
+<br />
+PULPIT.
+</div>
+
+<p>
+<b>The Pulpit.</b>—Christ Church is fortunate in possessing an old oak pulpit,
+escaping thus the garish ventures in marble which have been disastrous
+to so many other cathedrals. This pulpit is Jacobean (c. 1635). It is a
+remarkable piece of workmanship, elaborately carved, and well designed:
+the grotesques on the panels should be especially noticed, as well as the
+light elevated canopy, surmounted by a pelican, which was at one time
+transferred to the episcopal throne, and has recently been restored to
+its original use.
+</p>
+<p>
+<b>The Tower</b> is not square, the nave and choir sides being wider than
+those of the transepts. For this practical reason (and not because of
+the transitional character of the work, though transitional it is)
+the north and south arches are pointed, while the east and west are
+round-headed. The tower arches seem originally to have sprung from the
+imposts ornamented with trefoil leaves which can still be seen, though
+they were cut
+
+<span class="pagenum"><a id="page59" name="page59"></a>[59]</span>
+
+<!-- Full page illustration 21 moved down to outside of paragraph -->
+
+<span class="pagenum"><br /><a id="page60" name="page60"></a>[60]</span>
+
+<!-- [Blank Page] -->
+
+<span class="pagenum"><br /><br /><a id="page61" name="page61"></a>[61]</span>
+
+ through when the present capitals were introduced at the
+time of the Norman restoration. The Norman shafts and capitals were
+attached to the older and ruder piers. Round these piers are the shafts
+of very firm and graceful proportions, their capitals decorated with
+foliage. The lower parts of the vaulting shafts of the great piers are cut
+off and finished with a narrow beading, which shows that the ritual choir
+originally stood here, and did not correspond with the structural choir.
+</p>
+
+<div class="figure">
+<a name="image-0021"><!--IMG--></a>
+<a href="images/i-21.jpg">
+<img src="images/i-21-s.jpg" width="285" height="400"
+alt="CHOIR AND NAVE, LOOKING WEST." /></a>
+<br />
+CHOIR AND NAVE, LOOKING WEST.
+</div>
+
+<p>
+The lantern, which had been blocked up, was reopened at the time of the
+recent improvements, and adds considerably to the appearance of the
+church. Its first stage is ornamented with an arcade of stout Norman
+shafts, whose capitals are carved with a breadth and simplicity well
+suited to the height at which they stand: the arcade is bounded above
+and below by a heavy round string course. The upper stage has another
+arcade, of four large round arches on each side, the corner ones pierced
+as windows. Above is an early sixteenth century roof: it is divided
+into square panels, in most of which marks of the old ornaments (in
+the form of Maltese crosses like those of the nave roof) can be clearly
+discerned. At the springing of the main arches Fifteenth Century corbels
+have been inserted. In the south-east pier of the tower occurs the break
+in the masonry which marks, it is thought, the cessation of the building
+operations when Ethelred was driven out of England by Sweyn. It can be
+clearly seen from the south choir aisle. The tooling of the masonry half
+way up the tower has also been found to be marked with the cross lines,
+which distinguish Saxon from Norman mason's work.
+</p>
+<p>
+During Mr. Billing's restoration in 1856 a remarkable crypt was opened
+three feet beneath the paving of the choir between the north and
+south piers of the tower. This crypt, which was covered up again after
+investigation, was 7 feet long by 5 feet 6 inches, and just high enough
+for a man to stand upright; its walls were of stone, and contained
+aumbries or lockers at each end. There were also slight remains of
+indented crosses on the western side, and at the east enough was missing
+to suggest a doorway. The entrance to this chamber may have been through
+a trap-door, or by a passage leading into the east side. It was clearly
+not intended for sepulture, as its length was from north to south; and
+the absence of passages giving convenient access on each side seems to
+prove that it was not intended
+
+<span class="pagenum"><a id="page62" name="page62"></a>[62]</span>
+
+ for the exhibition of relics. The most
+likely theory is that it was used as a secret chamber to contain the
+University chest, which was called the Frideswide chest, because it was
+kept in a secure place in this church, its keys being in the hands of
+certain canons by appointment of the chancellor. If this seems a very
+public place for a secret chamber, it must be remembered that originally
+it was immediately under the rood-loft, and therefore admitted of a
+trap-door being concealed; though the resting-place of the chest may not
+have been kept very secret for all we know. This crypt was probably made
+in Norman times, and is unique of its kind.
+</p>
+<p>
+<b>The Aisles of the Nave and Transepts</b> show the progress which was made
+at the end of the twelfth century in vaulting: Mr. Ruskin says of the
+work here that it is "bad and rude enough, but the best we could do
+with our own wits, and no French help." Vaulting originally began with
+square ribs, after wards the ribs became plain half-rounds, and later
+were moulded Here we find good specimens of the development of all three
+stages. In the choir aisles the vaulting arches are partly square and
+the ribs on the groins half-round, of a heavy character. These ribs were
+inserted at a later period, as is sufficiently clear from the awkward
+way they are fitted to corbels at the side of the capitals which carry
+the vault. In the west aisle of the north transept the vaulting is the
+same, but lighter in character; and there are no corbels, though the
+fitting is still awkward. In the north aisle of the nave the vaulting is
+pointed but still with plain half-round ribs, a little lighter than in
+the transept-aisles. But in the south aisle of the nave, as the builders
+got on with their work to the westward, their style underwent a further
+development, and a pear-shaped moulding with a fillet along the edge
+proclaims that the Early English period had begun. With the completion of
+this aisle they seemed to have become bolder; for the vaulting shafts in
+the transepts with their unmistakable Norman capitals, and the solitary
+ribbed stones resting on those of the south transept, prove that they
+intended to go beyond the practice of Norman architects and throw a
+vault across the wider span of the transepts themselves. Perhaps they
+immediately afterwards discovered that the task was beyond them: at all
+events the vaulting shafts were left as they are, and the transepts have
+never been vaulted.
+</p>
+<p>
+The windows of the nave and transept aisles are uniformly
+
+<span class="pagenum"><a id="page63" name="page63"></a>[63]</span>
+
+ uninteresting.
+They were originally plain Norman lights, then Perpendicular, then
+seventeenth century Gothic, and finally "restored" by Scott, in
+imitation of the Perpendicular work. The windows of Dean Duppa,
+which they replaced, were certainly not beautiful in their tracery,
+as may be seen by that at the west end of the north nave aisle, which
+only the delightful Dutch glass of Van Ling redeems,—but they at least
+had some character. In the south nave aisle an attempt has been made to
+hark further back by the introduction of a window in Norman style; but
+fortunately this has not been persevered with. Only one of the original
+Romanesque windows remains, by which to judge the effect contemplated
+by the first architects; it is that containing Bishop King's portrait.
+</p>
+<p>
+<b>Glass in the Aisles.</b>—The glass in the restored Perpendicular windows
+of the nave aisles (by Clayton and Bell) is very unsatisfactory both
+in colour and design. Of that in the round-headed window of the south
+aisle of the nave by an Irish artist (O'Connor) one can only say that
+it was better conceived than executed. Over the door that leads into
+the cloister is a half-window by Mr. Wailes.
+</p>
+<p>
+The "Faith, Hope, and Charity" window next to this (namely, at the west
+end of the aisle) was Sir Edward Burne Jones' second essay here in this
+craft. If his first, that in St. Catherine's, the Latin Chapel, was a
+wonderful success, this one is a not unpleasant failure, but a failure
+none the less. None of the figures are very graceful; the firing seems to
+have gone wrong in the most important places, especially in the faces,
+which are coarse and expressionless, though one cannot help admiring
+the fortitude of Charity in carrying the bulky infant who presents his
+vast back to the spectator. The colour is strong, and free from the
+miserable timidity of the work in the Perpendicular windows,—for the
+whole thing is of course a work of art (and not of commerce), though an
+unsuccessful one,—still it fails to harmonise. The window as a whole,
+however, is saved by the beautiful foliage which forms the background,
+and by the four slender figures in the tracery.
+</p>
+<p>
+Others have admired it more. Here, for instance, is an appreciative
+description from the columns of "The Builder" for April 1888:—"The figure
+of Hope has a greyish-blue drapery, varied in tint, and diapered with
+the pattern of a flower in stain. The scarf floating round the figure
+is sky-blue in tone
+
+<span class="pagenum"><a id="page64" name="page64"></a>[64]</span>
+
+ and lighter than the dress. The figure of Charity has
+a ruby over-mantle, with a white dress underneath; while the figure
+of Faith has a blue dress beautifully and richly diapered, the upper
+portion with a sumptuous Venetian design familiar on the brocades of
+the sixteenth century, and the lower portion with a sprig of foliage.
+The tone of the backgrounds is a rich, warm green, and is very carefully
+painted with foliage, and the contrast yielded by the pale blue of the
+drapery, and the rich, warm green of the background in the two outside
+windows, is most harmonious and striking. The detail in this window is
+very elaborate, and every part of it bears traces of care and thought."
+</p>
+<p>
+In a corner of this window is an inscription,—<i>In Memoriam Edwardi
+Denison hujusce Aedis commensalis Curâ amicorum, A.D. 1870.</i> Edward
+Denison, nephew of the Speaker, and son of the Bishop of Salisbury, was
+the pioneer of those who have since founded the numerous settlements
+in the neglected parts of London. At a period of acute distress he
+convinced himself that no good could be done by sending money from
+the West End unless educated people could be found who would give up
+their lives to making friends with the poor. Accordingly he took the
+novel step of going to live in the East End; there he founded a club,
+and lived apart from the brilliant society to which he was accustomed.
+Besides teaching and organising, he studied carefully the social
+conditions of his neighbours, and many of the methods now universally
+practised date from his experience. Shortly after he had been elected
+M.P. for Newark he died, at the early age of twenty-nine, and there was
+"hardly a home within his district that had not some memory left of the
+love and tenderness of his personal charity."
+</p>
+<p>
+In the west end of the north aisle of the nave is the last remaining
+relic of the glass which the Dutchman Van Ling painted in Dean Duppa's
+time. The rest, which filled the aisle, was removed about twenty-five
+years since, on the ground that it made the church too dark. There are
+various opinions about this window, which represents Jonah sitting under
+his gourd, and the town of Nineveh in the distance. We must confess to
+a great admiration for it; the foliage is fine and rich, and if it is a
+little over-strong in its green, that only makes it more characteristic
+of its age. And, however that may be, there cannot be two opinions as to
+beauty of the town in the background,
+
+<span class="pagenum"><a id="page65" name="page65"></a>[65]</span>
+
+ which reminds one irresistibly of
+Dürer; and, with its rich brown houses, bluish roofs, touches of greenery,
+and fair purple hills beyond, makes the right-hand light of the window
+a picture of which one never wearies. The whole is leaded in rectangular
+panes, like Bishop King's window.
+</p>
+<p>
+<b>Monuments of the Nave Aisles.</b>—In the south aisle there are two
+monuments of interest; that of <i>Corbet</i> (1688) for the characteristic
+decoration of cupids and wreath work; that of <i>Pococke</i> for further
+reasons. Edward Pococke (1604-1691), whose bust was moved here from the
+north aisle by Scott, is represented with pointed beard and wearing the
+old tufted college cap. He was the great Arabic scholar of his day;
+the first text in Hebrew characters printed at Oxford was published
+by him, and his 420 oriental MSS. were bought by the University. Yet
+he was condemned, under the Commonwealth, by the Berkshire "Committee
+of Scandalous Ministers," on the ground of "insufficiency," his real
+offence being that he had used part of the Prayer Book in the public
+service. There are two portraits of him in the Bodleian, representing
+him with light hair and dark eyes; and a fig-tree which he planted still
+flourishes on the south side of the Professor of Hebrew's house. A
+striking biography of him has come down to us in a sentence—"His life
+appeared to me one constant calm."
+</p>
+<p>
+<b>The North Transept</b> has the unnoticeable peculiarity, that it turns
+slightly westward. This is because the choir (into which it is built at
+right angles) turns a little to the north, to symbolise, it is said,
+the droop of our Lord's head upon the cross. The western aisle of this
+transept still remains; the eastern aisle has been lost in the chapels,
+of which it now forms the respective western bays.
+</p>
+<p>
+The north bay of this transept bears the marks in its clerestory of
+late Perpendicular restoration; the carved heads on the string-course
+above the arch afford an interesting comparison with the Norman heads
+above the capitals, and are vigorous sketches of contemporary life. The
+capitals in this transept and those in the north aisle of the nave are
+strong and varied. The wooden roof of both the transepts was made in the
+early sixteenth century, earlier than that of the nave.
+</p>
+<p>
+The tracery of the great north window had been altered and made ugly by
+the seventeenth century restorers; it was accordingly restored back to
+its original design by Sir Gilbert Scott.
+</p>
+
+<p><span class="pagenum"><a id="page66" name="page66"></a>[66]</span></p>
+
+<p>
+Under this north window is a panelled tomb belonging to Henry VII.'s
+time. It is attributed to <i>James Zouch</i>, a monk of the priory, who
+died in 1503. In his will, dated October 16, 1503, and preserved in
+the Prerogative Office in London, he directs that he shall be interred
+under the window of the north transept, and a tomb be erected for him
+in the midst of the same window. He also bequeathed £30 to the convent
+for vaulting that part of the church, in consideration of his being
+there buried.
+</p>
+<p>
+On each of the shields in the quatrefoil compartments of the tomb is an
+inkhorn and pen-case, indicating, it is said, that the monk was a notary
+or scribe by profession, though Dr. Ingram speaks of "the pen-case and
+inkhorn of Zouch" as an heraldic blazonry.
+</p>
+
+<div class="figure">
+<a name="image-0022"><!--IMG--></a>
+<a href="images/i-22.jpg">
+<img src="images/i-22-s.jpg" width="290" height="400"
+alt="FROM THE NORTH TRANSEPT." /></a>
+<br />
+FROM THE NORTH TRANSEPT.
+</div>
+
+<p>
+In the north transept aisle there are curious thin, wavy scrolls of
+brasses, commemorating "Leonardus Hutten," and hard by are two pleasant
+kneeling figures also in brasses.
+</p>
+<p>
+Some of the monuments that disfigured the church have fortunately been
+removed; of these is Chantrey's great sitting figure of Cyril Jackson,
+which took up most of the north transept, but is now removed to the
+Library. Of these sequestrated monuments some have been placed in the
+ante-chapel; among them are the large and simple memorial of Bishop Fell,
+and those of Dean Gaisford (d. 1855) and Bishop Lloyd (d. 1829).
+</p>
+<p>
+One cannot but admire the spirit which has caused so many brasses to be
+set up in recent years to deceased members of the House; and yet it has
+become an abuse which calls for
+
+<span class="pagenum"><a id="page67" name="page67"></a>[67]</span>
+
+ serious protest. It is now so much a
+precedent that every member of the foundation should have a brass set up
+to his memory at his death, that the tribute is become mechanical, and
+indeed it would now be a marked slight if any don should die without a
+memorial brass being erected. At this rate the cathedral will in a few
+generations be entirely defaced unless the tradition be interrupted. As
+it is, the brasses are all the reverse of beautiful; and, after a period
+of lacquered obtrusiveness, they become leprous, and afterwards black.
+A modern brass, indeed, defaces a wall as much as a modern tablet. Surely
+some more beautiful form of memorial could be devised. The cathedral is
+in need of many things, of colour, and hangings, and furniture. Could
+not those tributes of respect take in the future this more honourable
+form? Then, when an inscription is necessary, the enamelled tablet, with
+its endless possibilities of jewel-like colour, might be used in place
+of brass or marble. Something has already been done by the erection of
+the beautiful eastern windows, and the cathedral has been fortunate in
+escaping an eruption of episcopal tombs; but latterly there has been
+an epidemic of brasses, which makes one fear that the artist's work is
+being forgotten in the temptation to set off an epitaph with a display
+of Latinity.
+</p>
+<p>
+<b>Glass in the Transepts.</b>—The great window of the north transept is by
+Clayton and Bell. Mr. Tyrwhitt says of it that it "glows with all the
+fires which a fervid fancy can bestow upon the inwards of the Dragon."
+</p>
+<p>
+The glaring glass in the clerestory of the north and south transepts is
+by Henri and Alfred Gérente (1854), artists famous in their day. It was
+originally in the great east window (now destroyed), and must have thrown
+the members of the House into a stupor when in that prominent position. As
+it is, the clerestory windows are a very inappropriate place for colour,
+violent enough to "scare a chameleon"; though the glass was evidently put
+there as the least conspicuous position. It might now be taken out and
+buried, on the chance that time and the earth may have a mellowing effect.
+</p>
+<p>
+The half-window above the vestry in the south transept is filled with
+glass, coloured to look as if it were old, by Clayton and Bell, and given
+in memory of Dr. Liddon.
+</p>
+<p>
+<b>The South Transept</b> was originally on the same plan as the north, but
+its aisles have disappeared: that on the west to
+
+<span class="pagenum"><a id="page68" name="page68"></a>[68]</span>
+
+ make room for the
+cloister; while that on the east is now represented by the chapel of
+St. Lucy. Its appearance has also been much altered by the division of
+its southern bay into two stories, which reduces its length, since the
+lower story is the slype or passage that leads from the cloister to the
+cemetery, and is
+
+<!-- Full page illustration 23 moved down to outside of paragraph -->
+
+<span class="pagenum"><a id="page69" name="page69"></a>[69]</span>
+
+ therefore to all intents and purposes outside the
+church. The upper story is reached by steps from the transept floor.
+The whole of this curious structure, which has the appearance of a small
+house built into the transept, is a modern restoration, its immediate
+predecessor having been literally a house where dwelt the verger and his
+family. In earlier times, however, there had been some kind of erection
+here, which was used as a sacristy, and of this traces were found by
+Gilbert Scott which led to the present restoration. As these traces,
+however, consisted principally of some fragments of a staircase, the
+present Early English restoration is only conjectural. On the whole it is
+tolerable, though the heavy and unnecessary central buttress one may well
+suppose not to be part of the old design. Why the slope of this buttress,
+which stands in the middle of the transept, should be so stoutly protected
+against the weather, it is hard to imagine. The carving on the tympanum
+over the door that leads into the slype is stiff and repulsive. Just
+to the right of this door is a holy water stoup, very simply cut into
+the pillar, which proves that this entrance from the slype was usual in
+old times, when the monastic buildings lay on that side of the church;
+at present, however, the door is commonly kept locked.
+</p>
+
+<div class="figure">
+<a name="image-0023"><!--IMG--></a>
+<a href="images/i-23.jpg">
+<img src="images/i-23-s.jpg" width="240" height="400"
+alt="SAXON CLERESTORY WINDOW IN SOUTH TRANSEPT (from a drawing by J. Park Harrison)." /></a>
+<br />
+SAXON CLERESTORY WINDOW IN SOUTH TRANSEPT (<i>from a drawing by J. Park Harrison</i>).
+</div>
+
+<p>
+The chamber above the slype, representing the old sacristy, is now used
+as a vestry. It is reached from the transept, and a staircase in it leads
+to the gallery above, whence in all probability a door led straight into
+the dormitory of the monastery. A similar arrangement to this existed
+at Bristol, which was also an Augustinian house; and there are traces
+of a door in the wall of Canon Sanday's house which further substantiate
+the conjecture. Some direct access to the church from the dormitory was
+a great convenience in the days when matins was said in the middle of
+the night.
+</p>
+<p>
+The gallery is now used as a kind of museum for any odd fragments that
+are discovered in the precincts. Among them is the quaintly carved base
+of a Norman cross, which before the Reformation stood, together with a
+pulpit, at the west end of the nave, near the place now occupied by the
+fountain. The subjects represented are the Fall, Abraham's Sacrifice,
+the Giving of the Law.
+</p>
+<p>
+The open triforium directly over the Lyttleton monument in this transept
+is an important relic of the second Saxon church,
+
+<span class="pagenum"><a id="page70" name="page70"></a>[70]</span>
+
+ and a good instance of
+the slight things which sometimes turn the scales in antiquarian disputes.
+Professor Willis had in 1840 pronounced (as against Dr. Ingram, whose
+pet theory it was that the triforium was the clerestory of Ethelred's
+church) that the triforium must be of Norman design, because no grooves
+could be found for the insertion of glass in the shafts, as would be the
+case if it were Saxon.
+</p>
+<p>
+Mr. Harrison accordingly, in December 1891, made a close examination of
+the shaft and small arches in the open triforium which had struck him
+as of Saxon character, with the result that the grooves for glass were
+discovered to exist beyond a doubt, but so neatly stopped with mortar as
+previously to have escaped notice. They can be clearly discerned inside
+the arches, by anyone with good sight, from the floor of the church. The
+base of the shaft which carries these arches is equally decisive, for it
+is "pudding shaped," entirely different from the other bases, and most
+unmistakably Saxon: it also can be seen from the floor, but is worth an
+inspection from the gallery over the choir-vestry, whence there is also
+an impressive view of the church. With this exception, the triforia and
+clerestories of the transepts are similar to those of the nave, though
+Saxon tooling has been found on the wall, and there is a break in some
+of the masonry on the angle shaft near the vestry door, which possesses
+a Saxon base. The principal arches of the clerestories are not pointed,
+which proves that the transepts were rebuilt earlier than the nave. Two
+corbels on the east side of the transept mark the site of a musicians'
+gallery which once projected beyond the triforium.
+</p>
+<p>
+<b>St. Lucy's Chapel</b> in the second bay of the old south transept aisle was
+used as a vestry in the days when the transept was devoted to domestic
+purposes. It must have ruined the effect of this part of the church,
+and formed an extremely inconvenient vestry. Now the chapel is used, not
+very appropriately, as a baptistery; it contains a font, well designed
+and carved, which was executed in 1882. It is Norman or earlier, with
+the exception of the eastern wall, which was rebuilt in order to hold the
+present beautiful window. This window is of an uncommon type; the three
+lights, less than half the height of the tracery above them, commence
+considerably below the spring of the arch. The tracery, which reminds one
+of that in Dorchester Abbey, a few miles away, is flamboyant in character,
+
+<span class="pagenum"><a id="page71" name="page71"></a>[71]</span>
+
+ suggesting the form which the decadence of Gothic architecture took in
+France; only in this case it is a decadence that is vigorous as well as
+graceful.
+</p>
+<p>
+The chapel recalls the time when King Charles held his court in Christ
+Church, at the time of the Civil War, many cavalier knights being buried
+here.
+</p>
+<p>
+<b>Monuments of the South Transept and Chapel.</b>—There are the tombs of
+several prominent royalists in the transept as well as in St. Lucy's
+little chapel, most of which might well be spared were it not for their
+historic interest. That of Viscount Grandison, for instance, consists of
+an urn on a pedestal, altogether huge and hideous; yet Grandison was a
+brave and doubtless a graceful cavalier, who died in Oxford of wounds
+received in the attack on Bristol in 1643. Another ugly, big monument
+is that of Sir E. Littleton, keeper of the Great Seal, who took up arms
+"for the royal majesty, during the execrable siege of this city." Sir
+John Smith is also buried here: he "redeemed the banner royal" at the
+battle of Edgehill, was knighted on the field by the King, and died of
+his wounds in 1644, at the early age of twenty-eight.
+</p>
+<p>
+A very odd monument is that to Viscount Brouncker, who died in 1645,
+having been chamberlain to the young Charles, then Prince of Wales. A
+smartly dressed gentleman and his wife are represented seated in
+meditative attitudes, each with an elbow on the table, while between
+their two elbows is propped a skull.
+</p>
+<p>
+In the tracery of St. Lucy's chapel is to be found the finest old glass
+in the cathedral. It belongs to the year 1330, or thereabouts, and
+enables one to imagine what the church must have looked like when glass
+of this magnificent description abounded, and hangings and altar-pieces
+and wall-paintings, hardly less rich, filled every conspicuous position.
+In the uppermost compartment of the tracery is a figure of our Lord seated
+in glory; below there are angels with censers, and next two Augustinian
+monks in blue and white robes, kneeling with outstretched arms; then come
+coats of arms, and various grotesque beasts, all most richly coloured
+in ruby and blue and green and gold. Below, in the principal spaces,
+are (1) St. Martin on horseback giving his coat to the beggar; (2) the
+martyrdom of St. Thomas à Becket: St. Thomas' head has been knocked
+out by some fanatic, and replaced with white
+
+<span class="pagenum"><a id="page72" name="page72"></a>[72]</span>
+
+ glass; the armour and shields
+of the knights should be noticed; (3) St. Augustine, who holds a pastoral
+staff, is teaching his monks and others. In the next four spaces are:—The
+head of a king; St. Cuthbert, carrying the head of St. Oswald, and wearing
+a green chasuble; St. Blaise, in a mulberry-coloured chasuble; the head
+of a queen. The glass in the three main lights was destroyed, and then
+replaced by some of seventeenth century work, but this too is now gone,
+all except a portion of the upper part, which shows that the design was
+architectural in character, and the colour that of fog-smitten stone-work.
+</p>
+
+<div class="figure">
+<a name="image-0024"><!--IMG--></a>
+<a href="images/i-24.jpg">
+<img src="images/i-24-s.jpg" width="365" height="350"
+alt="THIRD CAPITAL OF CHOIR." /></a>
+<br />
+THIRD CAPITAL OF CHOIR.
+</div>
+
+<p>
+<b>The Choir</b> is in four bays with a presbytery; it is in the same style
+as the rest of the church, with the exception of the Perpendicular
+alterations in the upper part. It was formerly filled with heavy,
+ugly woodwork, and half way up all the pillars may be traced the modern
+stone-work which had to be inserted when the stalls and panelling that had
+encased the pillars were removed. Not a wreck of the old wood remains, and
+the choir is now seated with walnut-wood stalls by Farmer and Brindley,
+
+<span class="pagenum"><a id="page73" name="page73"></a>[73]</span>
+
+<!-- Full page illustration 35 moved down to outside of paragraph -->
+
+<span class="pagenum"><br /><a id="page74" name="page74"></a>[74]</span>
+
+ along which runs a light iron screen, very carefully wrought by Skidmore
+of Birmingham in 1871. It is copied from Queen Eleanor's tomb in
+Westminster Abbey. The pavement relaid in 1871 contains representations of
+the cardinal virtues, copied from the church of the Knights of St. John at
+Malta. Yet there were original artists to be found twenty-five years ago!
+</p>
+
+<div class="figure">
+<a name="image-0025"><!--IMG--></a>
+<a href="images/i-25.jpg">
+<img src="images/i-25-s.jpg" width="280" height="450"
+alt="CAPITALS OF THE CHOIR (from a drawing by J. Park Harrison)." /></a>
+<br />
+CAPITALS OF THE CHOIR (<i>from a drawing by J. Park Harrison</i>).
+</div>
+
+<p>
+The pillars of the choir are larger than those of the nave, which appear
+to have been reduced in girth (see p. 54). They are (according to the
+theory of p. <a href="#page9">9</a>) part of Ethelred's church, dating from the first decade of
+the eleventh century; but their bases belong to the Norman restoration,
+and were probably put in by Cricklade. The triforium is also Late Norman,
+here as throughout the church, with the single exception of the one
+window in the south transept.
+</p>
+<p>
+It is in the capitals of the choir that the most striking evidence of
+Saxon work in the church is said to lie. Thus they are of remarkable
+interest, besides being very fine specimens of stone-carving. If the
+visitor sits in a stall in the middle of the south side of the choir
+he will have the three most important capitals before him, and can study
+them at leisure. One striking feature common to them all is that they bear
+very evident traces of having been worn by the weather. It has been found
+by Mr. Drinkwater that the stone of which they are made is too durable
+to have been affected by the atmosphere while under cover; which would
+prove that they must have been in their present position exposed to the
+driving rains from the south, during the long period when the church was
+in ruins, that is to say, before the restoration of the twelfth century.
+</p>
+<p>
+Another significant feature which these three capitals have in common,
+not only with each other but with all the others in the choir, is that
+their abaci are extremely thick, just twice as thick as those in the
+transepts and nave; and thick abaci are a mark of early work.
+</p>
+<p>
+Their ornamentation is remarkable, partly Saxon and partly Oriental in
+character, and said to be unlike Norman work. Sir Gilbert Scott himself
+noticed the latter characteristic of these and other capitals in the
+church. "The foliated ornament," he wrote, "assumes a noble character,
+evidently evincing a study of the ancient Greek, which was effected
+through a Byzantine medium." We have already seen, in the History of the
+Cathedral, how this Byzantine influence is to be accounted for by
+
+<span class="pagenum"><a id="page75" name="page75"></a>[75]</span>
+
+ the
+fact that Greek clergy flocked to the court of Ethelred's brother-in-law
+Richard; and further, it must be noted that many illuminated MSS. of
+Saxon date show that Greek ornament was admired and studied at the time.
+Professor Westwood, in his "<i>Lapidarium</i>," points out that in Saxon art
+the designs of stone-carving are so completely identical with those in
+the MSS. as to lead us to suppose that the artists of the illuminated
+drawings were also the designers of the architecture. So much is this
+the case that, "the age of a particular MS. being ascertained, we are
+able approximately to determine also the age of the carving." Professor
+Westwood was, in fact, among the first to be convinced of the Saxon
+origin of the capitals we are discussing.
+</p>
+<p>
+It is worth while to give a few illustrations of this very important
+point. The first capital from the tower on the north side of the choir is
+ornamented with that curious <i>spuma</i> or wave-shaped work which has just
+the dip and swing of a wave of the sea as it curls over before breaking.
+</p>
+<p>
+In a Psalter of the beginning of the eleventh century (B.M. Har. 2904)
+is to be found precisely the same vivid conventionalism.<a href="#note-2" name="noteref-2"><small> 2</small></a>
+</p>
+<p>
+The second capital is the most curious one in the church, and is also
+the most strikingly Saxon, the stalks issuing from pipes or tubes being
+as characteristic almost of Saxon as interlaced work is of Celtic art.
+</p>
+<p>
+Standing immediately under this capital, one is able clearly to
+discern the faces on the corner volutes, which have each a crown of
+leaves like one found in the famous tenth century "Dunstan" MS. in the
+British Museum. One of these faces is that of a man, very heavy and
+stupid-looking; the other that of a comely woman. It is hardly fanciful
+to suppose that they are portraits of the blundering Ethelred and his
+wife Emma.
+</p>
+<p>
+The third capital is decorated with some branching work hardly less
+curious, and above it is a head wearing the unbifurcated mitre, which
+dropped out of use in the eleventh century. Of the three capitals on the
+south side of the choir, which do
+
+<span class="pagenum"><a id="page76" name="page76"></a>[76]</span>
+
+ not bear the same signs of weathering,
+one has branching work, and the other two reworked leafage, such as is
+found also in one on the north side of the nave.
+</p>
+<p>
+As for the triforium and the rest of the work of the choir, it was all
+so much restored in the twelfth century that one cannot find in it any
+sign of pre-Norman work.
+</p>
+<p>
+The pendent ceiling is one of the most striking features of the cathedral,
+and is worth careful study. Ferguson considers this work to be the
+most satisfactory attempt ever made to surmount the great difficulty
+presented in all fan-tracery by the awkward, flat, central space which
+is left in each bay by the four cones of the vault. At Gloucester,
+King's College Chapel, Cambridge, Henry VII.'s Chapel, Westminster, and
+other places, various attempts were made to deceive the eye, and hide
+the unmanageable space; in Henry VII.'s Chapel the well-known pendants
+were boldly introduced with this object. None were wholly satisfactory,
+but, says Fergusson:—
+</p>
+<p>
+"Strange as it may appear from its date, the most satisfactory roof of
+this class is that erected by Cardinal Wolsey in the beginning of the
+sixteenth century [this is a mistake, the roof having been built some
+time before] over the choir of Oxford Cathedral. In this instance the
+pendants are thrust so far forward, and made so important, that the
+central part of the roof is practically quadripartite. The remaining
+difficulty was obviated by abandoning the circular, horizontal outline
+of true fan-tracery, and adopting a polygonal form instead. As the whole
+is done in a constructive manner and with appropriate detail, this roof,
+except in size, is one of the best and most remarkable ever executed."
+</p>
+<p>
+Fan-tracery is a peculiarly English feature, and was invented, according
+to Fergusson, in order to get rid of the endless repetition of inverted
+pyramids which earlier vaulting produced. He therefore considers it an
+improvement on the vaulting of the early English and Decorated periods;
+and, as he thinks the ceiling of Christ Church Cathedral to be the best
+example of fan-tracery, he comes near to pronouncing it the finest in
+the world.
+</p>
+<p>
+It certainly must strike every observer as possessing exceptional
+beauty. At once rich and light, it yet accords wonderfully with the
+homely Norman work that it crowns, and gives a happy finish to the most
+important part of the cathedral.
+
+<span class="pagenum"><a id="page77" name="page77"></a>[77]</span>
+
+ Even the lantern pendants seem more
+graceful than is usually the case with those strange architectural
+solecisms. Mr. Ruskin calls the ceiling "true Tudor grotesque, inventively
+constructive, delicately carved, summing the builder's skill in the
+fifteenth century."
+</p>
+
+<div class="figure">
+<a name="image-0026"><!--IMG--></a>
+
+<a href="images/i-26.jpg">
+<img src="images/i-26-s.jpg" width="310" height="400"
+alt="TRACERY OF THE CHOIR CEILING, SHOWING TRANSEPT CLERESTORY BEFORE THE RESTORATION." /></a>
+<br />
+TRACERY OF THE CHOIR CEILING, SHOWING TRANSEPT CLERESTORY BEFORE THE RESTORATION.
+</div>
+
+<p>
+The ceiling is certainly too early in design to have been built by Wolsey,
+as was supposed. But there are traces in the work which have led some
+antiquaries to suppose that, though begun about 1480, its western bay
+may not have been finished till the Cardinal's time, or even till the
+end of Henry's reign. The head on the large corbel over the Dean's stall
+certainly
+
+<span class="pagenum"><a id="page78" name="page78"></a>[78]</span>
+
+ wears a Tudor crown, and is bearded. This would lead one to
+suppose it to be a likeness of Henry VIII.: furthermore, the face is broad
+but emaciated, with the beard straggling; and we learn from historians
+that the King did let his beard grow longer at the end of his life,
+when he was worn and ill, and expressed more penitence for his many
+misdeeds than he is generally given credit for. The woman's head on the
+corbel opposite, also wearing a Tudor crown, would probably be the last
+of his wives, Katherine Parr. The face wears the happy expression of
+one delivered from great anxiety.
+</p>
+<p>
+In the arched space nearly above these heads are four canopied figures:
+on the north, St. Peter with his keys, and St. Mary Magdalen (suggestive
+of Wolsey's own college in Oxford); on the south St. Luke, over his bull
+(possibly because of the connection of St. Frideswide's with the healing
+art), and St. Catherine, holding the remains of a sword in her right hand,
+and retaining a fragment of the wheel in her left. St. Katherine will be
+found in the same attitude in a painted window of the Latin Chapel. The
+central bosses of the roof are interesting. Over the altar is the head of
+our Lord, surrounded by an aureole, the beard twisted into three points:
+in the next bay is the Madonna and Child, and next a graceful figure,
+identified as St. Frideswide by the curious sceptre with heavy foliage
+at the end, which she is again represented with in the middle window
+of the Latin Chapel. An angel is on either side of this figure. In the
+next bay is an archbishop (Augustine?) with his cross; and on the last
+a bishop (perhaps Birinus), holding his pastoral staff and supported by
+two figures which may be chaplains or acolytes.
+</p>
+<p>
+The clerestory of the choir was converted into Perpendicular at the
+time when the roof was vaulted. The old walls were simply covered with
+panelling, and the old windows enlarged into Perpendicular ones.
+</p>
+<p>
+<b>The East End</b>, now one of the most characteristic features of the
+cathedral, is the work of Sir G. Gilbert Scott, and is supposed to be a
+reproduction of the original twelfth century design: for enough fragments
+of the old work were said to remain on the walls to leave no doubt as to
+its original plan. Of course the detail has the usual machine-made look
+of modern carving; but it is something to have recovered the original
+effect, especially as the Decorated window which it has
+
+<span class="pagenum"><a id="page79" name="page79"></a>[79]</span>
+
+ replaced had been
+spoilt in the seventeenth century, when it was altered from its original
+five lights to three. The design, says Mr. J.H. Parker, is very rare in
+England, and not common anywhere. It consists of a large wheel-window,
+with an intersecting arcade under it, and <i>two</i> round-headed windows
+below: the wheel-window is set in a large round arch that seems to rest
+on two stout pillars. This round window is an imitation of an old one in
+Canterbury Cathedral. The arcade has a truer and less mechanical look than
+most of the restored work. The whole effect of the East End is excellent;
+dignified and varied, it has something of that refined homeliness which
+is so strong a characteristic of the cathedral. The stained glass in the
+windows by Clayton and Bell is not at all unpleasing when seen from a
+distance. It is in character with the stone-work, and only just fails
+to be really fine in colour. Dr. Liddon and Sir John Mowbray were the
+donors of the glass.
+</p>
+<p>
+It was formerly thought that the Norman presbytery was part of the
+original choir, and therefore presumably the earliest portion of the
+church; but Mr. Harrison gives the following technical reasons for
+holding that it was an addition to an older building with an apse, built
+by Ethelred:—
+</p>
+<p>
+1. The arches of the two side windows cut through string courses
+which run eastwards on both sides of the presbytery, being, in fact,
+continuations of the abaci proper of the half-capitals at that end
+of the choir. 2. If the east windows were designed from fragments of
+previously existing Norman ones, these cannot have been of the same date
+as the choir arches. The mouldings are later, and the old bases of the
+windows still in the east wall are clearly of transitional character,
+differing essentially from those belonging to corner shafts in the east
+aisles of the transepts. 3. The east walls of the choir aisles, which
+had been heightened to carry the vaulting, abut against and cover the
+jambs of the two side windows of the presbytery on the outside, a thing
+which could not have happened had the presbytery and choir aisles formed
+part of the same design.
+</p>
+<p>
+<b>The Reredos</b>, an anonymous gift, erected in 1881 in red Dumfries
+sandstone, is a pleasant contrast to the chilly erections which now
+deface so many of our cathedrals. It has been said to be "perhaps the
+most exquisite piece of modern workmanship in Oxford," though this would
+not necessarily be
+
+<span class="pagenum"><a id="page80" name="page80"></a>[80]</span>
+
+ very high praise. But, though a little too small for
+</p>
+<p>
+its position, a little wanting in breadth and overstrained in detail, it
+is a sound and sincere piece of work. Nor can we agree with the criticism
+which says that nothing can make it look like part of the structure, for
+this is the fault of the structure in its present condition; when the old
+colouring is revived, the reredos will certainly not be too rich for it,
+and there is plenty of late Gothic in the choir to harmonise with its
+carving. Mr. Bodley designed it, and Mr. Brindley was the sculptor of
+the figures. They are of marble (rosso antico), and are excellent both
+in feeling and execution. The central panel represents the Crucifixion,
+with Our Lady and St. John at the foot of the cross, and Jerusalem in
+the background. In the niches on the left are St. Michael in armour, and
+St. Stephen in a dalmatic; on the right, St. Augustine, in cope and mitre,
+and a very feminine looking St. Gabriel. Above the niches are carved and
+gilt shields bearing the emblems of the Passion. The warm effect of the
+whole is heightened by two handsome, green curtains on either side. The
+inscription, under the crucifix is <i>Per crucem tuam libera nos Domine</i>.
+</p>
+<p>
+<b>The High Altar</b>, of cedar wood, is less successful. Its eight clumsy
+legs, which are the only part visible, are covered with unpleasant,
+geometrical carving, most inappropriately accentuated by gilding: the
+result is that an impression of some strange, many-legged insect fastens
+on one in entering the church, and is hard to dislodge. One could wish
+that the altar were panelled, or frontals used to cover the legs.
+</p>
+<p>
+The two silver-gilt candlesticks are extremely fine examples of
+seventeenth century plate; they are rather squat in shape, with large
+bases richly embossed. The alms-dish which stands over the credence
+is also silver-gilt of the same date, magnificently embossed. These
+were given at the Restoration, and bear the date 1661-2. The chalices,
+patens, and flagons have been made to match them in more recent times.
+The altar books are good specimens of binding in velvet and precious
+metal. They were given in 1638 by Canon Henry King. On the fly-leaf of
+each book is a curious inscription in Latin, of which the following is
+a translation:—"Bequeathed to the Church of Christ, Oxford. A brand
+snatched from the burning, 1647, by the zealous care of R. Gardiner,
+Canon of Ch. Ch., but displaced from his rightful position by the greed
+of his
+
+<span class="pagenum"><a id="page81" name="page81"></a>[81]</span>
+
+ times." These books were in use when Charles I. worshipped in the
+cathedral during the civil war.
+</p>
+<p>
+The lectern, of ancient, pale brass enriched with filigree work, and
+garnished with amethyst, cornelian, and agate stones, is the gift of two
+former censors of the House, the Rev. T. Vere Bayne and the Rev. H.L.
+Thompson. The stem, surmounted by a globe and a good conventional eagle,
+bears the figures of St. Frideswide, Cardinal Wolsey, and Bishop King.
+At the base are three lions bearing the arms of the Priory, the College,
+and the University. The bible bears the date 1674. A beautifully
+illuminated lectionary on vellum, a relic of Cardinal Wolsey, and used
+by him in this church, can be seen in the Christ Church library.
+</p>
+<p>
+The Bishop's Throne (in Italian walnut) is a not very inspired work
+of Messrs. Farmer and Brindley. It was put up as a memorial to Bishop
+Wilberforce, at a cost of £1000, and has a medallion of the Bishop with
+mitre and pastoral staff at the back.
+</p>
+<p>
+<b>The South Choir Aisle</b> is of an earlier period than the nave and transept
+aisles, the walls being, it is thought, of Ethelred's time. A stone
+bench runs along its south side, adding to its bright and pleasant
+appearance. The southern windows were rebuilt by Scott in Norman
+style of a different character to the window containing Bishop King's
+portrait which has its original capitals and bases. The corbels which
+carry the vault are carved into heads of men and baboons: the vaulting
+ribs have been unmistakably fitted on to the earlier Norman work. The
+Decorated east window, which, owing to the Burne Jones glass, is such
+a prominent feature of the cathedral, is restored, but there is a good
+deal of the original ball-flower moulding around it. At the side is a
+late Perpendicular piscina, with bold, square flowers cut on the jambs;
+and on the pillars opposite there are traces of paintings, which must
+have been very bright-coloured once, and would very likely be so still,
+had it not been for Brian Duppa's wood-work.
+</p>
+<p>
+<b>Monuments.</b>—There is an old brass on the wall, near the eastern end,
+to Stephen Pence, who died in 1587. Near this is a not very pleasing
+life-size medallion of Prince Leopold in statuary marble set in Sicilian
+marble; it was sculptured by Mr. T. Williamson of Esher. The bronze
+tablet, with the
+
+<span class="pagenum"><a id="page82" name="page82"></a>[82]</span>
+
+ portrait in relief of Dr. Mackarness, the late Bishop,
+is very much better both in colour and design. Further west another
+medallion in statuary marble, set in giallo antico, commemorates Sarah
+Acland, the wife of Sir Henry Acland, who is an Honorary Student of
+the House, and was for many years Regius Professor of Medicine in the
+University; the Sarah Acland Home for Nurses keeps her pious memory fresh
+in Oxford.
+</p>
+<p>
+The late Tudor monument to the first Bishop of Oxford, <i>Robert King</i>, has
+been removed from its former place under his window to the bay between the
+aisle and St. Lucy's Chapel, where it now forms a sort of small screen
+to the little chapel. Bishop King died in 1557; his tomb is recessed,
+canopied, and covered with shallow panel-work in minute divisions, but
+without any effigy, sculptured or incised. Though it is among the last
+works of the mediæval school of monumental architecture, it is still
+graceful and restrained; and indeed a great contrast to the new style
+of monument which came in a few years later. <i>Inscription:—Hic jacet
+Robertus King sacre theologie Professor et primus Ep'us Oxon. qui obiit
+quarto die Decembris Anno (Domini M.D. LVII)</i>.
+</p>
+<p>
+Crossing to the north side of the choir, one reaches the beautiful
+cluster of chapels which add so much to the grace of the cathedral,
+relieving it of any grimness of aspect which its unbroken array of
+massive columns might otherwise have produced, and by their unaffected
+dissimilarity enhancing at once its historical interest and its visible
+charm. Here the eye wanders among pillars and arches which branch away
+in so many directions that the grandest churches can scarcely give more
+thoroughly the idea of infinity. And here one stands on the site of St.
+Frideswide's first little church, with the very arches that she had
+built for her, still standing in all their primitive simplicity. These
+three aisles, and the south aisle on the opposite side of the choir, are
+indeed eloquent of the unpretentious, lasting work that brave women have
+done for humanity: the latter has become, through its window, sacred to
+the memory of St. Catherine, whose own Latin Chapel is now for the same
+reason inseparably connected with St. Frideswide. St. Cecilia looks down
+upon the aisle next the choir, and the chapel of Our Lady is separated
+from it only by the monument of the Saxon maiden, while St. Lucy has
+given her name to the fifth and smallest of these eastern chapels. Thus
+
+<span class="pagenum"><a id="page83" name="page83"></a>[83]</span>
+
+ has this great society of learned men taken pleasure in doing honour to
+the good women of Christendom.
+</p>
+<p>
+<b>The North Choir Aisle</b> and the two aisles which adjoin it were lengthened
+one bay by the gradual inclusion of the eastern aisle of the transept.
+A heavy pier has been left with no attempt at decoration on the transept
+side but with a cluster of shafts on the side facing east; and the next
+pier to the north has been similarly treated. It will be noticed that the
+arches over these western bays of the north choir aisle and Lady Chapel,
+being the arches of the old transept aisle, are extremely massive;
+unlike anything else in the church, except the one remaining arch, is
+the corresponding south transept aisle (now St. Lucy's Chapel): these
+are therefore thought to be unrestored parts of Ethelred's works. The
+fact that Norman vaulting shafts have evidently been inserted into the
+pier walls of the aisles point also to the conclusion that the aisle
+was erected at a date when vaulting shafts were not in use.
+</p>
+<p>
+At the east end there is a small arch, extremely rough, its ragstone
+voussoirs patched in one part with a block of modern stone. A similar
+arch is to be seen in the wall of the next (Lady) Chapel, and between
+these two are traces of another. These three arches led to one of the
+most interesting architectural discoveries of recent years; and one can
+hardly look at them unmoved, remembering that they form part of the
+original church which was built by St. Frideswide and her father. They
+were indeed the three "chancel arches" (if one may use the expression)
+which led into the three apses, the discovery of which we have described
+in our chapter on the exterior of the cathedral.
+</p>
+<p>
+It was not till 1888 that the plaster was removed from the walls, and
+these arches exposed to view. It was then obvious that they had been
+part of a permanent church, and not merely temporary doorways for the
+convenience of Norman masons. Rough as they seem, to the expert they
+bear marks of care and repair, of having been, in fact, preserved as a
+specially venerated part of the church. As an instance of this, Mr. Park
+Harrison points out that one of the supporting stones is quite two feet
+long (longer than any other in the cathedral), and has Norman tooling
+upon it. It can scarcely be doubted, he says, that this was introduced
+to support the springing-stones of the arch, for there are clear signs
+that there had been some settlement.
+
+<span class="pagenum"><a id="page84" name="page84"></a>[84]</span>
+
+ The head of the archways, too,
+had been plastered. In both archways there is an impost (a projection,
+that is, from which the arch springs), and this impost is continued
+through the thickness of the wall. It will be noticed that the jambs of
+these arches go more than two feet below the level of the floor, which
+is another sign of their early date. Within the apse that was reached
+through the southernmost archway lay the body of St. Frideswide in its
+first resting-place, and for long this part seems to have been held in
+special veneration, until the first translation in 1180, when the relics
+of "The Lady" were moved into a more noted place in the church, and this
+apse doubtless abandoned like the other two. Somewhere here the relics
+were then placed (as they lie to-day in the ground beneath this chapel),
+but the first monument has been lost. Of the second monument, which also
+was lost but is found again, it is now the place to speak. But, first,
+it may be well to explain that what is usually called the shrine of St.
+Frideswide is really the marble monument, or base, upon which the shrine
+itself formerly rested. In the Middle Ages, relics (with the two English
+exceptions of Westminster and St. Albans) were preserved in a shrine,
+usually of metal, which was enclosed in a coffer or <i>feretrum</i>.
+</p>
+<p>
+<b>The Shrine of St. Frideswide.</b>—Foremost in historical interest,
+as well as in actual beauty, are the remains of the marble monument
+which have recently been put together and set up in the easternmost
+arch between the Lady Chapel and the north choir aisle. The coffer
+or shrine, which was made for the translation in 1289 (its base being
+therefore the most ancient monument in the cathedral), was knocked to
+pieces at the Reformation (1538), and, being of wood, must have entirely
+perished. But gradually, and from different places, fragments of the base
+were brought together: first, several pieces of delicately carved marble
+were discovered in the sides of a square well in the yard south-west of
+the cathedral; then a part of the plinth on the south side was found to
+be in use as a step, luckily with the carved portion turned inwards;
+next, a spandrel was detected by Mr. Francis, the head verger, in the
+wall of the cemetery; and last of all a piece of the plinth was found
+in a wall in Tom Quad. Though some portions are still wanting, it is
+not impossible that more may yet be found.
+</p>
+
+<p><span class="pagenum"><a id="page85" name="page85"></a>[85]</span></p>
+
+<p>
+As the monument stands now, it cannot, of course, impress one as it
+would have done in its perfect state, with the rich superstructure
+crowning it: especially as the restored shafts are merely square
+stone supports of the clumsiest description, so studiously careful
+has the restorer been not to confuse them with the original work. One
+cannot but applaud this conscientious spirit (would, indeed, that it
+had been adopted earlier!), but at the same time the modern supports
+have been made quite unnecessarily hideous. Still, though the base
+of St. Frideswide's shrine is only a collection of fragments, these
+fragments are of remarkable beauty and interest. It is of Forest marble,
+measuring seven feet by three and a half; and consists of an arcade of
+two richly cusped arches at the sides and one at each end. On the top
+of this was fixed the <i>feretrum</i>, containing the jewelled casket that
+held the relics themselves. The spandrels are filled with wonderfully
+carved foliage, unusually naturalistic, and preserving still the traces
+of colour and gilding to remind one of its former glories. The plants
+have been identified by Mr. Druce of High Street, the well-known Oxford
+botanist. On the south side there is maple in the central spandrel,
+with a wreath of what is probably crow's-foot in a boss below: the two
+side spandrels contain columbine and the greater celandine. On the north
+side the foliage is mostly oak, with acorns and numerous empty cups;
+sycamore and ivy filling the adjoining spandrels. At the east end one
+of the spandrels contains vine leaves and grapes, the other fig-leaves,
+but without the fruit; the cusp under the vine has a leaf which may be
+that of hog-leaf. At the west end there is hawthorn and bryony. The choice
+of all this foliage was doubtless made for symbolical reasons, referring
+first to St. Frideswide's life in the oak woods near Abingdon, and next
+to her care for the sick and suffering at Thornberrie (now Binsey). And
+in this connection it is pleasant to think that the sculptor, with tender
+fancy, chose plants which were famous for their healing virtue.
+</p>
+<p>
+The foliage at the angles takes the form of pastoral staves; and the
+intermediate spandrels at the sides have women's heads carved in the
+centre. The plinth, which has been set on a chamfered base and step of
+white stone, is ornamented with a series of quatrefoils, containing the
+head of a bishop at the north-west corner, and the heads of queens on
+the south
+
+<span class="pagenum"><a id="page86" name="page86"></a>[86]</span>
+
+ side. Foliage, instead of a head, occupies the centre and end
+panels on the sides; and very delicate foliage is worked on a little
+roll moulding extant at two of the angles.
+</p>
+<p>
+Here is an account of the destruction of the shrine, and the treatment
+of its relics, in the words of Dean Liddell<a href="#note-3" name="noteref-3"><small> 3</small></a>:—
+</p>
+<p>
+"It is a strange story. It is well known that, before the Reformation,
+the Church of St. Frideswide and her shrine enjoyed a high reputation as
+a place of sanctity. Privileges were conceded to it by royal authority.
+Miracles were believed to be wrought by a virtue attaching to it; pilgrims
+from all parts resorted to it,—among the number we find the name of
+Queen Catherine of Aragon, whose visit to the shrine shows the veneration
+in which it was held. Twice a year the Vice-Chancellor and principal
+members of the University visited the church in solemn procession,
+being considered (as we are told) the 'Mother Church of University and
+town,—there to pray, preach, and offer oblations at her shrine.'
+</p>
+<p>
+"These practices and privileges not unnaturally seemed to the zealous
+Reformers of those times to call for summary interference. The old
+superstitions, which certainly gave rise to many abuses, must, they
+thought, be abated at once; nothing but strong measures would avail to
+withdraw the minds of the people, nurtured as they were in absolute belief
+in these superstitions, from belief in them. Accordingly, we cannot be
+surprised to find that this famous shrine was doomed to destruction,
+and was actually destroyed. When this happened it is not easy to
+determine,—probably in the time of Henry VIII. The fragments were used
+either at the time, or not long afterwards, to form part of the walls
+of a common well; and there we found them. The reliques of the Saint,
+however, were rescued by some zealous votaries, and carefully preserved
+in hope of better times. Meantime Catherine (the wife of Peter Martyr,
+a foreign Protestant theologian of high repute, who had been appointed
+Regius Professor of Theology here) died, and was buried near the place
+lately occupied by the shrine. Over her grave sermons were preached,
+contrasting the pious zeal of the German Protestant with the superstitious
+practices that had tarnished the simplicity of the Saxon Saint. Then
+came another change. The Roman Church under Mary Tudor
+
+<span class="pagenum"><a id="page87" name="page87"></a>[87]</span>
+
+ recovered a brief
+supremacy. The body of Peter Martyr's wife was (one regrets to learn),
+by order of Cardinal Pole, contemptuously cast out of the church, and
+the remains of St. Frideswide, preserved, as I have said, by the piety
+of her devotees, were restored to their former resting-place. But it
+does not appear that any attempt was made to restore the shrine. Party
+zeal still prevailed. Angry contests continued between the adherents of
+the two parties even after the accession of Elizabeth.
+</p>
+<p>
+"In consequence, the Queen, soon after her accession, ordered Parker,
+Archbishop of Canterbury, and Grindal, Bishop of London, to look into
+this and other matters in dispute between the adherents of the Roman
+Church and those of the Reformed Faith; and these eminent ecclesiastics
+commissioned the authorities of this House to remove the scandal that
+had been caused by the inhuman treatment of Catherine Martyr's body. The
+matter was conducted by James Calfhill, lately appointed to a stall in
+this church, and then acting as sub-dean. In a letter to Bishop Grindal
+he gives an account of the ceremony that took place. He was resolved, if
+we may judge from his action, not to give a triumph to either party. On
+Jan. 11th, 1561, O.S., the bones of the Protestant Catherine and the
+Catholic St. Frideswide were put together, so intermingled that they
+could not be distinguished, and then placed together in the same tomb.
+This solution of the difficulty could not have been displeasing to the
+great Queen, who had been consistently endeavouring rather to win over
+her opponents by conciliation than to crush them by persecution. We may
+well suppose that she approved of the act of our Dean and Chapter. Death
+is the great reconciler; enmities should, at all events, be buried with
+the dead."
+</p>
+<p>
+Calfhill, the sub-dean, wrote two epigrams on the burial of Catherine
+Martyr with St. Frideswide. The first ends thus: <i>Ergo facessant hinc
+rabida impietas, inde superstitio</i>; the other thus: <i>Nunc coeant pietas
+atque superstitio</i>. Perhaps these apparently contradictory sentiments
+led Isaac Disraeli (in his account of this curious transaction, which
+he selects in his "Amenities of Literature" as an illustration of the
+mutability of time) to remark that Calfhill "seems to have been at once a
+Catholic and a Reformer." Sanders the Jesuit was indignant at the "impious
+epithet," which he says was added, <i>hic jacet religio cum superstitione</i>;
+"although," says old Fuller, "the words
+
+<span class="pagenum"><a id="page88" name="page88"></a>[88]</span>
+
+ being capable of a favourable
+sense on his side, he need not have been so angry."
+</p>
+<p>
+The exact spot where the bones of The Lady now rest is supposed to be
+marked by a brass on the floor of the Lady Chapel, lately placed there by
+Canon Bright. But we can only be certain that, somewhere in this part of
+the church, "the married nun and the virgin saint," to use Froude's words,
+"were buried together, and the dust of the two still remains under the
+pavement inextricably blended."
+</p>
+<p>
+<b>The Lady Chapel</b>, which is the aisle next to the north choir aisle, is
+sometimes called "the Dormitory," because many of the canons are buried
+here: the word being a literal translation of the Greek <i>coemeterium</i>
+(sleeping-place), applied to the catacombs of Rome. It was enlarged,
+with the Early English pillars and vaulting of the period, in the
+thirteenth century. The shafts are filleted, and the capitals carved
+in the characteristic curling foliage. It owes its position possibly
+to the original dedication of the eighth century church; though the
+Elder Lady Chapel of Bristol Cathedral, another Augustinian house, is
+similarly situated. Its eastern wall proves that it must have already
+existed long before the thirteenth century. The most casual observer
+will also be struck by the ingenuous clumsiness with which it has been
+patched together. There is a fine Decorated four-centred window at the
+East End, restored to its present condition from the mean two-light
+window that the seventeenth century had made of it: underneath, at the
+side of the blocked-up Saxon doorway, is a once richly coloured piscina,
+the outer moulding much damaged. The roof and arches of the second bay
+from the east bears many traces of colouring, which show among other
+things that the capitals were all painted green alike, the abaci red,
+and the ribs of the vault and arches red, green, and perhaps other
+colours. The figures of angels can be made out on the roof, a swinging
+censer being particularly clear. A glance from here at the high altar
+makes one realise how much more bright and strong the old colour was,
+and is indeed even now, than the modern. This decoration proves that in
+the second bay stood something of particular importance. It is generally
+agreed now that this was not the shrine of St. Frideswide but the altar
+of Our Lady, for shrines were placed behind and not before the altars.
+Such an arrangement would leave the eastern bay of the chapel free for
+the
+
+<span class="pagenum"><a id="page89" name="page89"></a>[89]</span>
+
+ two shrines, the large one (commonly called the "Watching Chamber")
+and the small one recently discovered and placed opposite to it under
+the south-east arch. The fact that this arch is also coloured, and is
+the only other part which is thus treated, goes to prove that the small
+shrine did originally stand where it now is. Another sign is that the
+pillar nearest to the east end of it has been cut away, evidently to
+allow of a free passage round the shrine.
+</p>
+<p>
+The Lady Chapel is divided from the Latin Chapel by four arches. Of
+these the first, being part of the original transept aisle, is very
+plain and massive, without mouldings and of one order; it springs from
+a square pier with shafts at the corners, and has an extremely broad
+soffit. It is almost beyond doubt part of Ethelred's church, and proves
+that the transept was finished early. The second arch is Early English,
+cut irregularly through the wall, which bears traces of a round arch
+above it. The first of the four arches which separate this chapel from
+the north choir aisle is similar to the one just described. The rest are
+very obtuse; for the two eastern bays of the Lady Chapel are two feet
+wider than the others, perhaps in order to increase the accommodation
+for worshippers at the shrine of St. Frideswide.
+</p>
+<p>
+<b>The "Watching Chamber."</b>—Next in interest to the "shrine," and far more
+imposing in appearance, is the large tomb or watching chamber under the
+easternmost arch between the Lady Chapel and the Latin Chapel. Its real
+nature is still a matter of dispute: some maintaining it to have been
+used as a chantry chapel for the welfare of those who were buried below;
+others that it served as a "watching chamber" to protect the gold and
+jewels which hung about the shrine of St. Frideswide. But there is much
+likelihood that is was built for the new shrine of St. Frideswide, when
+the growing taste for elaboration in architecture tired of the comparative
+simplicity of the old one. If this be the case, the "watching chamber"
+would be in reality the third and last monument of St. Frideswide, the
+second being that already described, while of the first (that made for
+the Translation of 1180) no trace remains. The <i>feretrum</i> would have been
+removed from its position on the second monument, and placed within the
+little wooden chapel of the chamber.
+</p>
+<p>
+Most elaborately carved and crocketed, the "watching
+
+<span class="pagenum"><a id="page90" name="page90"></a>[90]</span>
+
+ chamber" is a
+beautiful example of full-blown Perpendicular workmanship; "most lovely
+English work, both of heart and hand," according to Mr. Ruskin. It
+consists of four stories, the two lower, in stone, forming an altar tomb
+and canopy, and the two upper in wood. A door from the Latin Chapel
+leads one up a small and well-worn stone staircase into the interior of
+the little upper chapel, which is now a rough wooden room. Its extreme
+roughness suggests that it was once panelled and otherwise adorned,
+while there are marks at its east end, which may be the site of an altar,
+or of the <i>feretrum</i> itself.
+</p>
+<p>
+The "watching chamber" belongs to the turn of the fifteenth century, and
+may have been erected in 1500, under the patronage of Archbishop Morton,
+the inventor of "Morton's fork," who died in that year, having been
+Chancellor of the University, and a great benefactor of it. The stone
+altar-tomb is of rather earlier date than the wooden superstructure, and
+bears the matrices of two brasses, from which one can make out enough of
+the horned head-dress of the female figure to settle the costume as one
+that remained in fashion till about 1480.
+</p>
+<p>
+In 1889 Mr. Park Harrison explored the interior of the tomb which forms
+the lower portion of the "watching chamber." Entrance was effected by the
+removal of two steps of the staircase which leads into the Latin Chapel,
+and the whole space beneath the stone slab was found to be packed with
+carved stones and rubble. The pretty battlemented coping, which is now
+happily placed on the sill behind the altar of the Latin Chapel, was
+thus found; and also a pillar piscina of Norman date, and a fine Early
+English piscina, with two trefoiled arches, divided by a slender shaft
+with foliated cap, and profusely enriched with the tooth ornament. This
+latter find can now be seen lying on the slab itself.
+</p>
+<p>
+By an accident it was discovered that what seemed to be the floor of
+this tomb was really the ceiling of a vault beneath. The pavement was
+opened in the Latin Chapel just outside the tomb, and steps were found
+which led to the vault through a flat four-centred doorway. In the vault
+was a single oak coffin, widest at the head and tapering in a straight
+line to the foot, like the stone coffins of an earlier period. It was
+apparently of fifteenth century date, and contained a body closely
+swathed in cerecloth; but after the coffin was opened the dust within
+the cerecloth rapidly subsided. The body was pronounced
+
+<span class="pagenum"><a id="page91" name="page91"></a>[91]</span>
+
+ by experts to be
+that of a woman about five feet six inches in height, and was probably
+that of the lady in the mitred head-dress whose brass can be traced on
+the altar-tomb.
+</p>
+
+<div class="figure">
+<a name="image-0027"><!--IMG--></a>
+<a href="images/i-27.jpg">
+<img src="images/i-27-s.jpg" width="520" height="300"
+alt="LADY MONTACUTE'S TOMB." /></a>
+<br />
+LADY MONTACUTE'S TOMB.
+</div>
+
+<p>
+<b>Monuments in the Lady Chapel.</b>—In the bay of the west of the "watching
+chamber" is the tomb of <i>Elizabeth, Lady Montacute</i>, who gave to the
+Priory the large field now known as the Christ Church Meadow, in order to
+maintain two priests for her chantry in the Lady Chapel. There seems to
+be no ground for the statement that she built the Latin Chapel; in her
+foundation-deed she expressly directs the masses and other offices to be
+said "within the chapel of the Blessed Mary," and, so far from her bequest
+proving sufficient to build a new chapel, it was soon found inadequate
+for the maintenance of the two chantry priests. Lady Montacute was the
+daughter of Sir Peter de Montfort, and was married first to William de
+Montacute, by whom she had four sons and six daughters, and afterwards
+to Thomas de Furnival. Her monument consists of a high tomb, the sides of
+which are divided into three panelled compartments. In these compartments
+are little statuettes of her children, and her own effigy rests on the
+top; at the head and foot of the tomb are quatrefoiled compartments
+containing sacred symbols and figures. It is very beautiful, and of
+great interest as showing many specimens of the costume of the period;
+but one can hardly imagine what its splendour must have been when the
+rich hues, with
+
+<span class="pagenum"><a id="page92" name="page92"></a>[92]</span>
+
+ which it is painted in every part, were fresh. The colours
+mentioned in the following learned description by Mr M.H. Bloxham
+have long tended to monochrome, and the hand of the mutilator has been
+unusually painstaking and systematic.
+</p>
+<p>
+"The head of the effigy reposes on a double cushion, and is supported on
+each side by a small figure of an angel in an alb; these albs are loose,
+and not girded round the waist. The heads of these figures are defaced,
+and they are otherwise much mutilated. She is represented with her neck
+bare, her hair disposed and confined on each side, the face within a
+jewelled caul of network; over the forehead is worn a veil, and over this
+is a rich cap or plaited head-dress with nébulé folds, with a tippet
+attached to it and falling down behind. Her body-dress consists of a robe
+or sleeveless gown, fastened in front downwards to below the waist by a
+row of ornamented buttons. The full skirts of the gown are tastefully
+disposed, but not so much so as we sometimes find on effigies of the
+fourteenth century. The gown is of a red colour, flowered with yellow
+and green, and at each side of the waist is an opening, within which is
+disclosed the inner vest, of which the close-fitting sleeves of the arms,
+extending to the wrists, form part; this is painted of a different colour
+and in a different pattern to the gown. This was probably the corset worn
+beneath the open super-tunic. The gown is flounced at the skirts by a
+broad white border, and round the side openings, and along the border
+of the top of the gown, is a rich border of leaves. The hands, which
+are bare, are joined on the breast in a devotional attitude. Over the
+gown or super-tunic is worn the mantle, fastened together in front
+of the breast by a large and rich lozenge-shaped morse, raised in
+high relief. The mantle, of a buff colour, is covered all over with
+rondeaux or roundels connected together by small bands, whilst in the
+intermediate spaces are <i>fleur de lis</i>: all these are of raised work,
+and deserve minute examination. They are apparently not executed by means
+of the chisel, but formed in some hard paste or composition [<i>gesso</i>]
+laid upon the sculptured stone and impressed with a stamp. The feet of
+the effigy appear from beneath the skirts of the gown in black shoes,
+and rest against a dog."
+</p>
+<p>
+Of the statuettes on each side of Lady Montacute's tomb, which are each
+a foot and a half high, Mr Bloxham says:—
+</p>
+<p>
+"The first and easternmost of these, on the north side, is the
+
+<span class="pagenum"><a id="page93" name="page93"></a>[93]</span>
+
+ most
+puzzling and difficult of all to describe, as regards the costume,
+and the more so from the mutilated state in which it now appears. It is
+that of a male, who is habited in a red cloak, the borders of which are
+jagged. This is buttoned in front to the waist by lozenge-shaped morses,
+and may have been the garment called the Courtepye, and discloses a short
+white tunic or vest, plaited in vertical folds, with a bawdrick round
+the body at the hips."
+</p>
+<p>
+"Next to this is the effigy in relief of an abbess, in a long loose white
+gown or robe, a black mantle over, connected in front of the breast by
+a chain, with a tippet of the same colour. The head has been destroyed,
+but remains of the plaited wimple which covered the neck in front are
+visible, as also of the white veil on each shoulder. The pastoral staff
+appears on the left side, but the crook is gone.
+</p>
+<p>
+"Two daughters of Lady Montacute were in succession Abbess of Barking,
+in Essex, and so, next to the last figure is another abbess similarly
+dressed, with the exception that the left sleeve of the gown, which is
+large and wide, is seen, as well as the close sleeve of the inner robe.
+Sculptured figures of abbesses, especially of this period, are extremely
+rare.
+</p>
+<p>
+"The next figure is that of a female, in a green high-bodied gown or
+robe, with small pocket-holes in front and sleeves reaching only to the
+elbows. The fifth figure is also that of a female, in a white robe or
+gown, with close sleeves, close fitting to the waist, where it is belted
+round by a narrow girdle, and thence falls in loose folds to the feet;
+over this is a black mantle. There are also indications of a plaited
+wimple about the neck, but the head of this, as of the other effigies,
+has been destroyed.
+</p>
+<p>
+"On the south side, the easternmost figure, of which the mere torso
+remains, is that of a male in a doublet, jagged at the skirts,
+and buttoned down in front from, the neck to the skirts, with close
+sleeves buttoned from the elbows to the wrists,—<i>manicae botonatae</i>,
+with a bawdrick, round the hips, and buckled on the right side. From the
+bawdrick on the left side the gipciere is suspended. This much mutilated
+effigy presents a good specimen of the early doublet.
+</p>
+<p>
+"Next to it is the figure of a male, in a long red coat or gown, the
+<i>toga talaris</i>, with a cloak over, buttoned in front downwards from the
+neck as far as the third button, from
+
+<span class="pagenum"><a id="page94" name="page94"></a>[94]</span>
+
+ whence it is open to the skirts.
+This dress, in the phrase of the fourteenth century, would be described
+as <i>cota et cloca</i>. In the right hand is held a purse.
+</p>
+<p>
+"Next to this is the figure of a Bishop, intended possibly to represent
+Simon, Bishop of Ely, 1337-1344, one of the sons of Lady Montacute. He
+appears in his episcopal vestments, a white alb, with the apparel in
+front of the skirt, a black dalmatica fringed and open at the sides,
+and a chocolate-coloured chesible, with orfreys round the border and
+disposed in front pall-wise. The parures or apparels of the amice give
+it a stiff and collar-like appearance. The head of this effigy has been
+destroyed, and the outline of the mitre is only visible. The pastoral
+staff has been destroyed, with the exception of the pointed ferrule with
+which it was shod. It was, however, held by the left hand. The maniple
+is suspended from the left arm, but no traces of the stole are visible.
+In more than one instance we may notice on episcopal effigies the absence
+of either the tunic or dalmatica, and sometimes of the stole.
+</p>
+<p>
+"The fourth figure is that of a lady in a gown or robe buttoned down in
+front from the breast to the waist, and with sleeves reaching only to
+the elbows, from whence depend long white liripipes or false hanging
+sleeves; small pocket holes are visible in front. From beneath this
+gown or super-tunic the loose skirts of the under robe, of which also
+the close-fitting sleeves are visible, appear. Behind this figure are the
+remains of a mantle. The fifth and last figure is also that of a female in
+a gown or super-tunic, close-fitting, and buttoned in front to the waist."
+</p>
+<p>
+The quatrefoiled compartments at the ends of the tomb are particularly
+good: they contain,—at the head, the Blessed Virgin and Child, between
+a winged figure at a desk and an eagle, which are the symbols of St.
+Matthew and St. John the Evangelist,—at the foot, the symbols of SS.
+Mark and Luke, and between them a woman in gown and mantle with long
+flowing hair, probably St. Mary Magdalene. The shields in the panels are
+blazoned with the arms of Montacute, Furnival, and Montfort.
+</p>
+<p>
+On a pillar near Lady Montacute's tomb there are two brasses; one bearing
+a graceful kneeling figure of <i>Johañ, Bishop filii Geo. Bishop</i>, who
+died March 23rd, 1588; the other of Thomas Thornton, who died August
+17th, 1613.
+</p>
+<p>
+The next tomb to the west of Lady Montacute is that of a
+
+<span class="pagenum"><a id="page95" name="page95"></a>[95]</span>
+
+ Prior, supposed
+to be <i>Alexander de Sutton</i>, prior from 1294 to 1316. It used to be
+called Guimond's tomb, and Prior Philip's, but it cannot, of course,
+be of their time: for the beautiful canopy, supported by Purbeck shafts
+with vine-leaf capitals, and powdered with ball-flower without, and
+groined within, as well as the figure beneath it, are Decorated, and
+belong to the reign of Edward I., about a hundred and fifty years later
+than Guimond's death in 1141. There were formerly figures at the angles,
+of which one on the north-west remains with a little of its original
+colour. The effigy, also of Purbeck marble, is thus described by Mr.
+M.H. Bloxham:—"The head of the effigy, which is bare and tonsured, with
+flowing locks by the sides of the face, reposes on a double cushion. The
+Prior is represented vested, with the amice about his neck with the
+apparel; in the alb, the apparels of which appear at the skirt in front
+and round the close-fitting sleeves at the wrists; with the stole, and
+dalmatica or tunic—which, it is somewhat difficult to say: these two
+latter are not sculptured, but merely painted on the effigy, and are
+only apparent on a careful examination; over these is worn the chesible.
+This vestment is very rich, and ornamented with orfreys round the borders,
+over the shoulders, and straight down in front. Hanging down from the
+left arm is the maniple. The boots are pointed at the toes, and the
+feet rest against a lion. There is no indication of the pastoral staff;
+the hands are joined on the breast." Another proof of its fourteenth
+century date is that the face is close-shaven: had it been an effigy of
+the twelfth century the face would have been bearded.
+</p>
+
+<div class="figure">
+<a name="image-0028"><!--IMG--></a>
+<a href="images/i-28.jpg">
+<img src="images/i-28-s.jpg" width="525" height="200"
+alt="ORNAMENT FROM A TOMB IN CHRIST CHURCH." /></a>
+<br />
+ORNAMENT FROM A TOMB IN CHRIST CHURCH.
+</div>
+
+<p>
+West of this is the tomb of <i>Sir George Nowers</i> (de Nodariis),
+
+<span class="pagenum"><a id="page96" name="page96"></a>[96]</span>
+
+ who died
+in 1425. His effigy gives one a good idea of the armour of his time—or
+rather of a period slightly before his death. Mr. Bloxham, who devoted
+special attention to these three monuments, thus describes the armour:—
+</p>
+<p>
+"On the head is a conical basinet attached by a lace down the sides of the
+face to a camail or tippet of mail, which covers the head and shoulders,
+epaulières, rere, and vambraces, and coudes incase the shoulders, arms,
+and elbows, and on the hands are gauntlets of plate. The body-armour
+is covered with an emblazoned jupon, with an ornamental border of
+leaves, and round this, about the hips, is a rich horizontally disposed
+bawdrick. Beneath the jupon, which is charged with the bearing—three
+garbs Or—is seen the skirt or apron of mail. The thighs, knees, legs,
+and feet are incased in and protected by cuisses, genouillères, jambs,
+and sollerets, the latter composed of movable lamina; or plates, and
+rounded at the toes. The feet of this effigy rest against a collared dog,
+and the head reposes on a tilting helm, surmounted by a bull's head as
+a crest." On a scutcheon at the head of the tomb are the knight's arms:
+they are—a fess between three garbs, impaling a chevron between three
+greyhounds.
+</p>
+<p>
+On the pier at the foot of Sir George Nowers' tomb is fixed the remarkably
+characteristic monument of <i>Robert Burton</i>, the famous author of "The
+Anatomy of Melancholy," who died in 1639, having been Student of Christ
+Church for forty years, and also Vicar of St. Thomas', Oxford. His bust is
+coloured, and surrounded by an oval frame; it should be a good likeness,
+and one fancies that the face is drenched in melancholy.
+</p>
+<p>
+On the frame are two medallions with a sphere, and a curious calculation
+of his nativity, composed by himself, and placed here by his brother
+William, the historian of Leicestershire. The inscription, written by
+himself, is:—
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4"> <i>Paucis notus, paucioribus ignotus</i></p>
+<p class="i16"> <i>Hic jacet</i></p>
+<p class="i12"> <i>Democritus Junior</i></p>
+<p class="i8"> <i>Cui vitam dedit et mortem</i></p>
+<p class="i16"> <i>Melancholia.</i></p>
+</div>
+</div>
+
+<p>
+At the south side of the Montacute tomb there is a stone in the floor with
+a large cross upon it, and an inscription in Lombardic characters of which
+these words can be made out:—
+
+<span class="pagenum"><a id="page97" name="page97"></a>[97]</span>
+
+ <i>Johan: de: col ... v. le: gist: id: Dieu
+... Merci. Pour: lame: prier: dis: jours: de: pardon: aver: amen</i>.
+</p>
+<p>
+In the north aisle of the choir a stone commemorates <i>Andreas de Soltre
+quondam rector Ecclesiae de Kalleyn</i>; and a brass, James Coorthoppe,
+Canon of Christ Church 1546, and Dean of Peterborough till his death in
+1557. On the floor of this aisle there is also a small brass with the
+figure of a youth, with the Courtenay arms, and this inscription:—<i>Hic
+jacet Edvardus Courtenay, filius Hugonis Courtenay, filii Comitis Devomæ,
+cujus animæ propicietur Deus</i>. This Hugh Courtenay, the father of the
+lad, must have been either Hugh second Earl of Devon, or his son Hugh,
+surnamed <i>le Fitz</i>, one of the heroes of Crécy.
+</p>
+<p>
+<b>Glass in the Aisles.</b>—The three lovely east windows of the aisles and
+Lady Chapel were designed by Sir Edward Burne-Jones and executed by Mr.
+William Morris. The only possible criticism is that made by Mr. Ruskin,
+who once said that they were beautiful pictures, but were they windows?
+They are perhaps open to the objection, but a comparison of them with the
+Reynolds windows in New College Chapel, which are flagrant offenders in
+this way, makes one feel that the objection is purely formal, and that
+these are true windows, adding colour and interest to the old cathedral
+in a perfectly legitimate way. One is naturally prejudiced against large
+figures pictorially treated, because of the atrocities of the Munich
+school, but these were made, not at Munich but at Merton, by the most
+accomplished craftsman of the century.
+</p>
+<p>
+The first window, that in the Lady Chapel, was erected in memory of
+Frederick Vyner, an undergraduate of the House, who was murdered by
+brigands at Marathon in 1870. The figures represent Samuel the Prophet,
+David, King of Israel, John the Evangelist, and Timothy the Bishop. In
+the panels beneath are, Eli instructing the young Samuel, David slaying
+Goliath, St. John at the last supper, and Timothy as a little boy learning
+from his mother. The legends are:—(1) <i>Loquere Domine, quia audit servus
+tuus</i>, and in the panel <i>Prope est Dominus quibus invocantibus eum</i>; (2)
+<i>Deus, Deus, meus, ad te de luce vigilo</i>, and <i>Tua est Domine victoria</i>;
+(3) <i>Qui recubit in coena super pectus ejus</i>, and <i>Quis nos separabit
+a charitate Christi</i>; (4) <i>Dabit tibi Dominus in omnibus intellectum</i>,
+and <i>Statuit super petram pedes meos</i>.
+</p>
+
+<p><span class="pagenum"><a id="page98" name="page98"></a>[98]</span></p>
+
+<p>
+At the end of the north choir aisle is the St. Cecilia window, presented
+in honour of the patroness of music by Dr. Corfe, a former organist,
+in 1873. In the centre light the saint is represented playing her regal
+or small hand-organ; two angels holding other musical instruments, with
+palms in their hands, stand by her. The drapery is wrought in white glass,
+the angels have pale blue wings, and the flesh tints matted over with red
+tell warm against the drapery. In the lower panels are three scenes from
+her life: "Here St. Cecilia teaches her husband," "Here an angel of the
+Lord teaches St. Cecilia," "Here St. Cecilia wins a heavenly crown;" the
+saint's figure in this last panel is most touchingly drawn. These lower
+panels are richer in colour than the rest, and a greater variety of tints
+is introduced; but the colours are so delicate, and so skilfully blended,
+that they fall in most harmoniously with the main parts of the window.
+As the neighbouring window just described is full of the robust strength
+of manhood, so this one, in colour as well as in design, is graceful,
+delicate, and feminine. Probably it will lead to the north choir aisle
+being known by the name of St. Cecilia, whose art has certainly many
+votaries in Oxford. Mr. Malcolm Bell, in his monograph on Burne-Jones,
+gives the following description of the St. Cecilia window:—
+</p>
+<p>
+"A still more beautiful instance of the use of simple figures with
+complicated draperies is found in the lovely St. Cecilia window, executed
+in 1874-5, a companion to the 'St. Catherine,' executed in 1878, in
+Christ Church Cathedral at Oxford, in which, moreover, it is enhanced
+by the soberness of the colouring, which, with the exception of a few
+touches of stronger hues in the lower panels, is green, and white, and
+gold, symbolic of the lily of heaven, into which mediæval commentators
+tortured the meaning of her name. The saint herself stands in the middle,
+with attendant angels on either side, bearing the palm of martyrdom,
+who hush their harmony while she plays. Below the left-hand angel,
+St. Cecilia, seated on her bed, reads to her husband Valirian the lesson
+of chastity. In the centre the angel brings to them the miraculous proof
+of the justification of her faith which he demanded from her:
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4"> "Valirian goth home, and ſint Cecilie<!--sint=saint, with long-s--></p>
+<p class="i4"> Withinne his chaumbre with an aungel stonde,</p>
+<p class="i4"> This aungel had of roses and of lillie</p>
+<p class="i4"> Corounes two, the which he bar in honde.</p>
+</div>
+</div>
+
+<p><span class="pagenum"><a id="page99" name="page99"></a>[99]</span></p>
+
+<div class="figure">
+<a name="image-0029"><!--IMG--></a>
+<a href="images/i-29.jpg">
+<img src="images/i-29-s.jpg" width="305" height="400"
+alt="THE 'ST. CECILIA' WINDOW, BY SIR EDWARD BURNE-JONES." /></a>
+<br />
+THE 'ST. CECILIA' WINDOW, BY SIR EDWARD BURNE-JONES.
+</div>
+
+<p><span class="pagenum"><a id="page100" name="page100"></a>[100]</span></p>
+
+<p><!-- [Blank Page] --><br /></p>
+
+<p><span class="pagenum"><a id="page101" name="page101"></a>[101]</span></p>
+
+<p>
+"The lilies, symbolical of virgin purity; the roses, of victory over
+death. In the third, the executioner holds her by one hand as she
+kneels on the floor of her bath-room, which is seen in the background,
+the steam still rising in it after the ineffectual attempt to roast her
+to death. With his sword raised he is about to strike the first of the
+three blows which failed to cut off her head.
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4"> "And for ther was that tyme an ordinaunce</p>
+<p class="i4"> That no man sholde do man such penaunce</p>
+<p class="i4"> The ferthe stroke to smyten, softe or sore</p>
+<p class="i4"> This tormentour durste do no more."</p>
+</div>
+</div>
+
+<p>
+At the end of the south choir aisle is the third figure window of
+Burne-Jones. It is dedicated to St. Catherine, and is in memory of Edith
+Liddell, a daughter of the late Dean, "who, having been scarcely five days
+betrothed, seized by a sudden attack of illness, rendered her spirit to
+God, June 26th, 1876." St. Catherine, crowned, is the central figure:
+she is painted in the likeness of Edith Liddell. On the right is the
+Angel of Suffering and Submission, with mutilated hands, the wheel of
+torture and flames beneath; on the left is the Angel of Deliverance,
+crushing the wheel of torture and scattering the flames. The draperies
+are white, the wings of the angels are a pale blue, and the curtains
+hanging at the back of the figures of a rich greenish blue, while
+the detailed background is cut out of violet-coloured glass, a daring
+but thoroughly successful arrangement. In the tracery above are angels
+playing triumphant music. The whole is as beautifully executed as it is
+finely conceived. In the three lower panels are scenes from the life and
+death of the saint:—(1) She disputes with philosophers, pleading for her
+fellow Christians, and demonstrating <i>avec force syllogismes</i> the truth of
+Christianity, and the falsity of paganism. This little panel has as large
+an effect as if it were a fresco covering half a wall. (2) Her dream,
+in which she is led through a wilderness by the blessed Virgin into the
+presence of our Lord, who is seated amid a concourse of cherubim. The
+way in which the cherubim are cut out of tones of ruby, full of depth,
+and without a suspicion of crudeness, should be noticed, and compared
+with the treatment of ruby glass elsewhere. This is perhaps the most
+beautifully drawn picture of all; and the figure of St. Mary is something
+
+<span class="pagenum"><a id="page102" name="page102"></a>[102]</span>
+
+ not to be forgotten. (3) St. Catherine is laid in the tomb by angels.
+The inscriptions are:—<i>Agnus reget illos, et deducet eos ad vitae fontes
+aquarum, et absterget Deus omnem lachrymam ab oculis eorum. Timor Domini
+ipsa est sapientia. Beati mundo corde quoniam Deum videbunt. Cum dederit
+dilectis suis somnum.</i>
+</p>
+<p>
+The two first windows in the wall of the south choir aisle, in memory of
+Dr. Jelf, Canon from 1830-1871, are by Hardman. Next is a most interesting
+glass painting of Bishop King, last abbot of Oseney, and first Bishop of
+Oxford, which is perhaps from the hand of Van Ling. This window, with
+some others, was taken down during the Civil War, buried for safety by
+a member of the family, and put up again at the Restoration. The Bishop
+is represented standing vested in a jewelled cope of cloth of gold,
+and mitre, a pastoral staff in his gloved hand. In the background, among
+the trees, is a picture of Oseney Abbey in its already ruined condition
+(c. 1630), drawn without much feeling for its architecture, but of great
+value as almost the only picture of the place we possess. The western
+tower was the first home of what are now the Christ Church bells. Three
+coats of arms (being those of the Bishop, impaled with the abbey of
+Oseney and the see of Oxford) complete the richness of what is a very
+good example of seventeenth century <i>painted</i> glass, in the strict sense
+of the word.
+</p>
+<p>
+It is to be regretted that some of the glass, which formerly was seen by
+everybody in the cathedral, has been removed to the chapter-house, where
+it is seen by few: among the glass thus removed the lovely I.H.C. should
+not be missed.
+</p>
+<p>
+<b>The Latin Chapel</b> (St. Catherine's, or the Divinity Chapel, St. Catherine
+being the patroness of students in theology) was built on to the rest
+in two parts, the walls of the Lady Chapel being cut into arches, and
+duly fitted with shafts. The first bay from the west is, like that of
+the Lady Chapel, part of the transept aisle; the second bay was built
+in the thirteenth century, so as to form a chapel like that of St. Lucy
+on the south side of the church; the third and fourth were added in
+the fourteenth century, and make now one large chapel, very secluded
+and self-contained, a kind of <i>hortus inclusus</i> that has an attraction
+peculiarly its own, and dwells pleasantly in the memory of every one who
+sees it. It is that supremely excellent thing, a church within a church,
+
+<span class="pagenum"><a id="page103" name="page103"></a>[103]</span>
+
+ without which no cathedral can be what its builders intended it to be;
+nor any religious building fulfil that instinctive desire of men for an
+inner place, where they can find their way to the inner places of their
+own hearts. In such a home of recollectedness, doubly guarded against the
+dogging world without, is "rest without languor and recreation without
+excitement"; in such a place one is "never less alone than when alone";
+and the fine sympathy with the needs of workaday humanity, which led
+mediæval architects to build such sanctuaries as this chapel here, or
+the Lady Chapel of so many churches, had led men in far earlier ages to
+find room even within the travelling tabernacle of a wandering tribe for
+a holy place and a holy of holies. Such being the case, it was like the
+crude instincts of the "dark ages of architecture" to choose this very
+chapel as most suitable for a lecture-hall—out of all the lofty rooms
+in the spacious college. Quite lately this practice has been dropped,
+and the Latin Chapel restored to something of its ancient sanctity,
+though a good deal remains to be done in a place where there is not as
+yet even a chair to proclaim a <i>siste viator</i>.
+</p>
+
+<div class="figure">
+<a name="image-0030"><!--IMG--></a>
+<a href="images/i-30.jpg">
+<img src="images/i-30-s.jpg" width="380" height="350"
+alt="WINDOW IN THE LATIN CHAPEL." /></a>
+<br />
+WINDOW IN THE LATIN CHAPEL.
+</div>
+
+<p>
+The Decorated vaulting was built when the chapel was enlarged in
+the fourteenth century. The foliage of its bosses is very beautiful;
+the water-lilies especially of the third boss, so suggestive of Oxford
+streams, and the roses a little further east, are a happy combination of
+naturalistic treatment with decorative restraint. It will be noticed that
+the vaulting does not run true in the third bay, the Decorated work there
+having been somewhat awkwardly joined to the Early English of the second
+bay. That part of the old wall which forms the pier at the juncture has
+been left in a strangely rough condition; the builder having seemingly
+given up the problem of fitting the vaults to the unequal spaces of
+the bays, and left the pier as a simple bit of old wall, without even
+a moulding to mark its juncture with the vault.
+</p>
+<p>
+A prominent feature in the Latin Chapel is the old oak stalling, which
+a second inspection proves to be patchwork.
+
+<span class="pagenum"><a id="page104" name="page104"></a>[104]</span>
+
+ The returned stalls at the
+west end probably belonged to the choir of the conventual church, and
+in that case would have been fitted in here when Dean Duppa "adorned"
+the choir by destroying the old wood-work. Near to these is some of
+the work prepared for Cardinal Wolsey's new chapel. The poppy-heads are
+good specimens of wood-carving, and contain a monogram I.H.S., a heart
+in a crown of thorns, a cardinal's hat, and other devices. The pulpit,
+with its delicate canopy, an excellent specimen of seventeenth century
+wood-work, was formerly the Vice-Chancellor's seat in another part of the
+church, occupied by him during university sermons. It was then used by
+the Regius Professor of Divinity for his lectures, but since the altar
+was restored six years ago, the chapel has been no longer used as a
+lecture room. At the time when it was refitted, a handsome ogival arch
+was found in the wall near the north end of the altar: the moulding is
+deeply recessed, and once the arch terminated in what must have been an
+ornate finial. The top of this finial has been cut down to a level with
+the window ledge, and the face of the moulding hacked off to make the wall
+flat for the panelling, which has now been removed. It was probably the
+"Easter Sepulchre," where the Host was deposited on Good Friday, but it
+may have been the tomb of the founder of the chapel. The curious break
+in the masonry at the back has not been yet explained.
+</p>
+<p>
+The wall behind the altar is pleasantly hung with Morris velvet. The
+altar itself was the high altar before the restoration of 1870. In 1890
+new legs were made for it out of the old organ screen, and it was placed
+in its present position.
+</p>
+<p>
+The eastern window (inserted as a memorial to Dr. Bull) is a pathetic
+instance of the corrupt following of Mr. Ruskin, which also inflicted
+upon Christ Church the gaunt Meadow Buildings. It is, of course, really
+as unlike Mr. Ruskin's well-loved Venetian work as anything can possibly
+be: as heavy as that is light, as clumsy as that is graceful, it is ugly
+and cold and dead; but it represents a genuine enthusiasm of the fifties,
+and commands our respect as an honest though mistaken effort, a landmark
+in the history of the architectural revival. It also illustrates a truth
+which one is apt sometimes to forget,—that it is easy to appreciate
+beauty, and very hard to create it.
+</p>
+<p>
+Fortunately it is nearly lost sight of in the splendid Burne-Jones
+
+<span class="pagenum"><a id="page105" name="page105"></a>[105]</span>
+
+ glass
+which fills it, and represents another side of the artistic revival not
+less important than the architectural.
+</p>
+<p>
+<b>Glass in Latin Chapel.</b>—The beautiful windows at the side are filled
+with fine fourteenth century glass, which was replaced after a long period
+of exile by Dean Liddell. In the middle of each light is a figure in
+canopy work, the rest of the light being covered with "quarries,"—that
+is, diamond-shaped pieces of glass with leaves and flowers lightly
+burnt upon them. The spaces in the tracery are ornamented with curious
+medallions, and the borders with various beasts, as in St. Lucy's Chapel,
+monkeys among them. The Courtenay Arms—Three Torteaux—suggest that the
+family may have contributed towards building the chapel. Beginning at
+the west, the first window contains a St. Catherine in the first light,
+next a Madonna and holy Child (the blue pattern at the back of these
+figures should be noticed); next a figure of St. Frideswide, or her
+mother Saffrida.
+</p>
+<p>
+The second window contains the figure of an archbishop, holding a cross
+curiously blended into a crooked pastoral staff; angels are on either
+side.
+</p>
+<p>
+The next has St. Frideswide in the centre, with St. Margaret and St.
+Catherine at her side. The patroness holds the curiously foliated sceptre
+which has led to the identification of her figure in the choir boss,
+and Catherine handles her wheel and sword in the same way as her statue
+over the dean's stall in the choir. The last window on this side is by
+Clayton and Bell, and a particularly feeble one.
+</p>
+<p>
+The St. Frideswide window at the east end of the Latin Chapel was designed
+by Sir E. Burne-Jones and executed by Messrs. Powell of the Whitefriars
+Glass Works, the firm which is now making the glass for the mosaics
+at St. Paul's. "Burne-Jones, an Oxford undergraduate, destined for
+the Church, but gifted with high powers of romantic design, sought out
+Rossetti towards June 1856, and showed him some drawings. Rossetti told
+him at once that he ought to be, and must be, an artist, and he became
+one." In the next year Rossetti drew the attention of the Powells to the
+young artist, and they had the penetration to recognise his worth and to
+employ him. But though this is one of the first windows that Burne-Jones
+ever designed, it is one of his best. Better suited (as many think)
+to the purpose of a window, at all events in this
+
+<span class="pagenum"><a id="page106" name="page106"></a>[106]</span>
+
+ enclosed chapel, than
+the freer method of the other glass, it carries on the best traditions
+of the craft, in its infinite variety of gem-like colour and complexity
+of detail; while it attains a degree of perfection in pictorial effect
+and figure-drawing which was impossible during the great era of mediæval
+glass-painting. The death of the saint, with its lovely effect of light
+through the latticed window, for instance, and the picture of her in the
+pig-sty, would be perfect as finished pictures, and yet do not for an
+instant outstep the convention which is necessary for their function as
+part of a window. The fact that the subjects are a little crowded is not
+the artist's fault. Mr. Woodward, the architect to whom the commission
+was due, made an unlucky mistake about the measurements, being in very
+ill-health at the time, and indeed on the point of death. Mr. Burne-Jones'
+cartoon had therefore to undergo a mechanical reduction which has
+slightly affected the clearness of the designs. The colour is, in spite
+(or rather because) of its radiant variety, not so immediately attractive
+to everyone as that of the other Burne-Jones windows; but when one has
+sat down for five or ten minutes and deciphered the various scenes, its
+unapproachable beauty becomes apparent, and each succeeding visit deepens
+the impression of the splendour and poetry of this incomparable work.
+</p>
+<p>
+The scenes depicted are, by the artist's own account, as follows:—
+</p>
+
+<p class="center">
+<i>First Light.</i>
+</p>
+
+<ul>
+<li> St. Frideswide and her companions brought up by St. Cecilia and St. Catherine. </li>
+<li> St. Frideswide founds her first convent. </li>
+<li> A messenger from the King of Mercia demands her in marriage. </li>
+<li> The King comes to take her by force, and the first convent is broken up. </li>
+</ul>
+
+<p class="center">
+<i>Second Light.</i>
+</p>
+
+<ul>
+<li> Flight of St. Frideswide to Abingdon. </li>
+<li> The King of Mercia and his soldiers in pursuit, </li>
+<li> The Flight continued. </li>
+<li> The Pursuit continued. </li>
+<li> St. Frideswide takes refuge in a pig-sty. </li>
+</ul>
+
+<p class="center">
+<i>Third Light.</i>
+</p>
+
+<ul>
+<li> Flight of St. Frideswide to Binsey. </li>
+<li> The King of Mercia in pursuit. </li>
+<li> St. Frideswide founds a new convent at Binsey. </li>
+<li> Her merciful deeds. </li>
+</ul>
+
+<p><span class="pagenum"><a id="page107" name="page107"></a>[107]</span></p>
+
+<!-- Full page illustration 31 moved down outside of grouped list -->
+
+<p><span class="pagenum"><br /><a id="page108" name="page108"></a>[108]</span></p>
+
+<p class="center">
+<i>Fourth Light.</i>
+</p>
+
+<ul>
+<li> Return of St. Frideswide to Oxford. </li>
+<li> The Siege of Oxford by the King of Mercia. </li>
+<li> The Siege continued. </li>
+<li> The King struck blind. </li>
+<li> The Death of St. Frideswide. </li>
+</ul>
+
+<p>
+In the tracery above are the trees of life and of knowledge, and a ship
+of souls convoyed by angels.
+</p>
+
+<div class="figure">
+<a name="image-0031"><!--IMG--></a>
+<a href="images/i-31.jpg">
+<img src="images/i-31-s.jpg" width="315" height="400"
+alt="SECTION OF TOWER, WITH A COMPARTMENT OF BAY AND CHOIR, BEFORE THE RESTORATIONS (Britton)." /></a>
+<br />
+SECTION OF TOWER, WITH A COMPARTMENT OF BAY AND CHOIR, BEFORE THE RESTORATIONS (<i>Britton</i>).
+</div>
+
+<p>
+This east window was purchased with money left by Dr. Bull (1853), to whom
+there is a monument against the western wall. There are also brasses
+to the eminent Dr. Mozley (Regius Professor of Divinity till 1878),
+Dr. Ogilvie (1873), Dr. Shirley (1866), Dr Barnes (1859), Archdeacon
+Clerke (1877).
+</p>
+
+<p><span class="pagenum"><a id="page109" name="page109"></a>[109]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CHAPTER IV.
+<br />
+<small>
+ HISTORY OF THE FOUNDATION.
+</small>
+</h2>
+
+<p>
+St. Frideswide (Fritheswithe, "The Bond of Peace"), foundress and patron
+saint of the church, lived early in the eighth century, when Ethelbald
+was King of Mercia. Her father Didan was probably the under-king of the
+little town of Oxford, which was then a frontier city of Mercia. In
+spite of the legendary atmosphere that has gathered about her memory,
+there is no reason to doubt the main facts of her life; indeed, the best
+modern authorities endorse them.
+</p>
+<p>
+Here is her story, told in the delightful words of Anthony a Wood, who
+wrote towards the end of the seventeenth century:—
+</p>
+<p>
+"About the year of our Lord 727, as authors say, lived in the city of
+Oxford a prince (or as Malmesbury hath, a king) named Didan, one of
+incomparable honesty and virtues, who, by his wife Safrid, of a Saxon
+family, had an only daughter called Frideswyde, born at this place, and
+by her parents brought up in all manner of honest and liberal breeding,
+befitting her descent." Then is described her early piety, her refusal
+of marriage, and her refusal also to be a nun. The narrative continues:—
+</p>
+<p>
+"And furthermore, with great zeale, she added that seeing he had large
+possessions and inheritances and that she was like to enjoy most of them
+after his discease, he could not doe better than bestowe them upon some
+religious fabrick wherein she and her spirituall sisters (votaresses also)
+might spend their dayes in prayers and singing of psalmes and hymmes to
+God. To which the father giving an attentive eare and considering withall
+that his issue was like to be discontinued, took upon him a resolution
+to performe the same that soe he might leave
+
+<span class="pagenum"><a id="page110" name="page110"></a>[110]</span>
+
+ his child in a comfortable
+manner and then dye in peace. Wherfore, not long after, the good old man
+built a church within the præcincts (as 'tis said) of the city of Oxon,
+and dedicated it to the honour of the Holy Trinity, the Virgin Mary
+and All Saints, and soe committed it wholy to the use of his daughter
+Frideswyde purposely to exercise her devotion therin."
+</p>
+<p>
+Then is told how Frideswide afterwards took the veil, inducing "12 virgins
+of noble extract to follow her"; how her father "erected other ædifices
+adjoyning to the church to serve as lodging rooms for the said virgins,"
+settled lands upon the Nunnery, and died. The central story of her life
+next follows:—
+</p>
+<p>
+"Frideswyde, continuing most constant in her strict course of life,
+was not only reputed famous for that particular, but also for those
+excellent parts that nature had endowed her withall; insomuch that
+both being conjoined in one body, was accounted the flower of all these
+parts. Which being quickly rumoured in other countryes, gave occasion to
+a young spritely prince, named Algar, king of Leycester, to become her
+adorer in way of marriage. Which she by his proxies and others of his
+wellwishers understanding, triumphed soe highly in her virginity, that
+she with an open profession utterly despised both him and his princely
+bed; neither left the least incouragement for him to proceed in this his
+designe. The king having such a sudden repulse, and supposing it to be
+a flashy resolution, encited him the more to goe forward; and sometimes
+considering her beauty, then her incomparable qualities, and both obscured
+under a minchon's hood, could not but attempt once more. Which, though
+he performed with all the intreaties and gifts imaginable, did not in
+the least disjoynt her purpose, but rather occasioned her to trample
+upon his accostments and with a coy deportment despise his offers. All
+it seemes was in vaine: nothing to be heard but nays: nothing to be
+received but foyles: nothing but what if pursued, usher him to dispaire:
+and the like. What shall we imagine this yong amoretto now to doe! Noe
+place is able to containe him, nobody please his curious fancy but deare
+Frideswyde! Noe note now but '<i>hei mihi, quod nullis</i>,' etc.!
+</p>
+<p>
+"To remedy this, therefore, and attaine his cure, he considered very
+well from the præmises could not be compassed
+
+<span class="pagenum"><a id="page111" name="page111"></a>[111]</span>
+
+ unless it was by a forced
+stealth. These were his last thoughts; and this he was resolved to
+prosecute.
+</p>
+<p>
+"Wherefore, immediately summoning some of his faithfull servants, sent
+them as embassadours to prefer (under pretence) his last desires for
+marriage, with full power, if like to prosper, to complete it. With this
+speciall and soveiraign caution, if she did not concede, to watch their
+opportunity and carry her away by force."
+</p>
+<p>
+Then follows the account of the visit of the ambassadors, their threats
+of force, and the Saint's undaunted reply. The story proceeds:—
+</p>
+<p>
+"Well, the night is spent in consultation, and at the dawning of the
+day they sallied from their lodgings and made their appearance towards
+the Nunnery, where clambering the fences of the house and by degrees
+approching her private lodging promised to themselves nothing but surety
+of their prize. But alas! their purposes came short. What shall we think
+the event of this designe? Why! their hopes were utterly frustrated. For
+shee, either by the noise they made at their entrance or else (as 'tis
+said in another place) by the instinct of some good spirit, awakened and
+suddenly arose to see what was the matter. And immediately discovering
+who they were and their intent for what they came, and finding it in
+vaine to make an escape from them by flight being soe closely beseiged,
+she (as the best remidy) straightway prostrated her selfe flatt on her
+face and fervently prayed to the almighty that he would præserve her
+from the violence of those wicked persons that were now ready to take
+her away, that he would show some speciall token of reveng upon them for
+this their bold attempt. Wherefore the embassadors (as 'tis delivered)
+were miraculously struck blind, and like mad men ran headlong yelling
+about the city."
+</p>
+<p>
+The townsmen were much amazed at this strange sight, and this the cheifest
+of them went straightway to her and—"Upon falling upon their knees,
+humbly desired her to grant those simple and impertinent people their
+sights, promising withall that, as sone as they were perfected, would
+see them out of towne and enjoyne them noe more to returne. Hereupon she
+commanded them to be brought to her; and after fervent prayers in their
+behalfe, were as wonderfully restored to their eyes againe, as before
+they were deprived of them."
+</p>
+<p>
+On the ambassadors' return to Algar, he was filled with
+
+<span class="pagenum"><a id="page112" name="page112"></a>[112]</span>
+
+ rage against
+"that witch, hagge, and fury Frideswyde," and planned vengeance:—"The
+king then gathering a force and intending for Oxon, breathed out nothing
+but fire and sword to this place. But the night before he came hither,
+there was an angel (as the story goes) appeared to Frideswyde in a dreame,
+saying to her these words: '<i>Ignoras, O Virgo</i>,' &c.: 'thou art as yet
+ignorant, O virgin, what will befall you tomorrow: for King Algar with
+his assistants intend to sett upon you and if it be possible will satisfy
+his lust upon you and leave you a miserable creature. But doe not feare:
+there is a safe place provided for you; and he for this his attempt
+shall be struck blind and never recover his sight. Arise therefore,
+and make hast to the way that leads to the river Thames, where you
+shall find a ship boat ready provided for you and one in it to convey
+you away in safety.' After this was pronounced Frideswyde awakened;
+and, suddenly arising from her couch, took two of her sisters the nunns
+named Katherine and Cicely; and walked to the place appointed her by the
+angell in her dreame. Where according to his admonitions, she found a
+boat by the river's side and in it the appearance of a yong man with a
+beautiful countenance and clothed in white: who, mitigating their feare
+with pleasant speech, placed them in the boat, in which, the space of
+one hour, shee and her sisters arrived neare the towne called Benton
+[Bampton or Bensington], ten miles and above distant from Oxon.
+</p>
+<p>
+"Where after their landing, followed a path adjoyning, which conveyed
+them into a vast and dismall wood. And wandring therin too and fro, met
+at length with a kind of hovell or shelter purposely erected to harbour
+swine and other cattell in times of cold and wett weather; and there
+taking up a resolution to fix, crossed themselves and retired therin.
+Which place being quickly overgrowen with ivy and other sprouts, they
+continued therin a long time, being in fasting and prayers, and utterly
+unknown to the inhabitants therabouts."
+</p>
+<p>
+Algar in the meanwhile had gone to Oxford, found Frideswide flown, and
+in the midst of his fury been smitten with blindness. After living three
+years in close retirement in the Benton wood, Frideswide, to comfort the
+nuns whom she had left, came by boat to Binsey near Oxford, and there
+lived for some time. Soon after she came back into Oxford, and spent her
+days in the service of the people, working in especial many miracles of
+
+<span class="pagenum"><a id="page113" name="page113"></a>[113]</span>
+
+ healing. The Cottonian MS. relates her first miracle as happening at
+"Bentonia," when St. Frideswide cured a blind girl of seven through
+virtue of the water wherein the saint had washed her hands. Shortly
+after she helped a young man (<i>infortunatus juvenis</i>) named Alward, who,
+while cutting wood on a Sunday (<i>parvi pendens diem Resurrectionis
+Dominicæ</i>), found his hand fixed to the handle of his axe, so that he
+could not let it go. A beautiful story is told about her entry into
+Oxford; that a leper met her, and begged her to kiss him, which, after
+making the sign of the cross, she did, and he was healed of his leprosy.
+</p>
+
+<div class="figure">
+<a name="image-0032"><!--IMG--></a>
+<a href="images/i-32.jpg">
+<img src="images/i-32-s.jpg" width="325" height="350"
+alt="THE EXTERIOR IN 1857." /></a>
+<br />
+THE EXTERIOR IN 1857.
+</div>
+
+<p>
+Of her last sojourn in Oxford, William of Malmesbury says:—"In that
+place, therefore, this maiden, having gained the triumph of her virginity,
+established a convent, and when her days were over and her Spouse called
+her, she there died."
+</p>
+
+<p><span class="pagenum"><a id="page114" name="page114"></a>[114]</span></p>
+
+<p>
+"Some time," says Dugdale, "after the glorious death of St. Frideswide,
+the nuns having been taken away, Secular Canons were introduced." We
+cannot fix the date when the community of nuns which the saint had
+founded was thus removed, but the passage which follows in Dugdale makes
+it clear that the seculars were in possession in 1004, when Ethelred II.
+rebuilt the church. It seems strange that the nuns, for whom Frideswide
+had suffered so much and laboured so successfully, should have been thus
+early made to give place to a chapter of married priests; but early
+it must have been, for by the middle of the tenth century Dunstan was
+busy suppressing the seculars, and enforcing everywhere the stricter
+monastic rule. Nor did the nuns ever come back; for, when the Secular
+Canons had finally disappeared, by the time of the Norman Conquest,
+the priory, after being for a long time in ruins, was made over, first
+to the great Benedictine monastery of Abingdon, of which it became a
+"cell" or dependency, shortly afterwards to the warlike Roger, Bishop of
+Salisbury, "but only for the profits issuing from their lands, which he,
+after its restoration, returned again with great reluctancy"; and it was
+finally restored under Henry I. (IIII) as a house of the Canons Regular
+of St. Augustine, an order holding a position midway between monks and
+secular canons, in whose hands it continued henceforward.
+</p>
+<p>
+Guimond was the first prior, and a curious story is told by several old
+writers as to the manner whereby he won the king's favour:—
+</p>
+<p>
+"On Rogation Sunday (30th April 1122), when the king was at mass and
+Guymundus performing divine service before him, did when he came to that
+parcell of the prophet, 'it did not rain upon the earth for the space
+of III. years and six months,' read thus, 'it did not rain upon the
+earth one, one, one years six months.' Which the king observing, and all
+the clerks marvelling and laughing at, did when mass was ended reprove
+him for it, and furthermore asked him the reason why he read after that
+manner. Guymund smilingly answered, 'Because you, my liege, are used to
+bestow your bishopricks and other church benefices to them that read so;
+and therefore be it known to you, henceforth I will serve no other master
+but Christ my King and Sovereign, who knoweth as well how to confer
+temporal as eternal benefits upon his servants that always obey him.'"
+</p>
+
+<p><span class="pagenum"><a id="page115" name="page115"></a>[115]</span></p>
+
+<p>
+By the eleventh century important national meetings were held in
+Oxford, as when in 1020, Cnut being then king, the English and Danes
+were reconciled, and both nations agreed to observe the laws of Edgar.
+But no king ventured to visit the city, for, after the failure of Algar,
+there was a tradition that boded misfortune to any king who entered
+within the city walls. Henry III. was the first to defy it by coming to
+worship at the shrine of St. Frideswide in 1264; but his example was
+an unfortunate one, for within six weeks Nemesis came in the Battle
+of Lewes. Edward I. was less daring than his father, for in 1275, when
+he reached the gates of Oxford, he turned his horse about, and sought
+a lodging outside the town. Later in his reign, however, he made the
+venture, and destroyed the superstition.
+</p>
+<p>
+St. Frideswide's Priory did not, according to the latest authority on
+mediæval universities, Mr. Rashdall, create Oxford University,<a href="#note-4" name="noteref-4"><small> 4</small></a> but
+reasons of convenience of access and other like matter-of-fact causes;
+for, if the University had needed only a religious house round which to
+cluster, the neighbouring monastery of Abingdon was far larger and more
+suitable. Yet there is great probability that the first germs of the
+University were produced by the Priory. It is said, indeed, that the
+Mercian kings built inns or halls in the neighbourhood of the convent,
+but we may suspect this as a legendary statement not more substantiable
+than the story of King Alfred's founding University College, since the
+first actual notice of "Oxeneford" does not occur till 912. But it is
+much more certain that, during the wise rule of Guimond (1122-1141),
+the first Regular Prior, and of Robert of Cricklade,<a href="#note-5" name="noteref-5"><small> 5</small></a> his successor,
+there was a school connected with the convent, as indeed was the case
+with most convents, and probably with St. Frideswide's itself before
+Guimond's time. This school stood near
+
+<span class="pagenum"><a id="page116" name="page116"></a>[116]</span>
+
+ the west end of the church, about
+the middle of what is now Tom Quad. Writing of the arrival of Vacarius,
+in King Stephen's reign, Mr. J.R. Green says:—"We know nothing of the
+causes which drew students and teachers within the walls of Oxford.
+It is possible that here, as elsewhere, the new teacher had quickened
+older educational foundations, and that the cloisters of Osney and
+St. Frideswide already possessed schools which burst into a larger life
+under the impulse of Vacarius."
+</p>
+<p>
+The Priory was also one of the centres of university life in its early
+days, occupying perhaps in some sort the position held by St. Mary's at
+the present day. From the time of the Translation of St. Frideswide,
+the chancellor and scholars of the University used to go in Mid-Lent
+and on Ascension Day "in a general procession to her church, as the
+mother-church of the University and town, there to pray, preach, and
+offer oblations to her shrine." The Civil Law School belonged to St.
+Frideswide's as well as St. Patrick's Schools, and some others situated
+near to School Street. Among the Halls that the Priors possessed, Brend
+Hall was in 1438 made over to Lincoln College; Urban Hall and Bekes Inn
+were bought by Bishop Fox to procure a site for Corpus Christi College.
+</p>
+<p>
+Yet St. Frideswide's does not seem to have been so great a power in
+educational matters as its position would have warranted. In fact,
+most of the other orders were ahead of the Augustinian Regulars in
+this matter, for we do not hear of their doing anything much until the
+fifteenth century, when St. Mary's College near Northgate Street was
+an Augustinian establishment. It was the new orders, the Black Friars
+(Dominicans) and the Grey Friars (Franciscans), who did so much for the
+educational advance of Oxford. The Franciscan schoolmen, especially,
+gave the University a European reputation, for Roger Bacon, Duns Scotus,
+and William Occam were trained by them. Cardinal Wolsey, though he did
+much harm to St. Frideswide's church, did at least make the place a great
+educational centre.
+</p>
+<p>
+In one indirect way we find that the Priory helped to attend to the
+scholars' interests in the thirteenth century. "Owing to the general
+poverty," says Mr. Boase, "charitable people founded <i>chests</i>, from which
+loans might be made to poor scholars. Grostête began the system in 1240
+by issuing an ordinance
+
+<span class="pagenum"><a id="page117" name="page117"></a>[117]</span>
+
+ regulating St. Frideswide's Chest, which received
+the fines paid by citizens; and we hear on the whole of about two dozen of
+these charitable funds, amounting in all to nearly 2000 marks. The money
+was lent out on security of books, plate, or other property, and it was,
+in fact, a pawnbroking business which charged no interest." The money
+accruing to the University was placed in a chest at St. Frideswide's,
+when the borrower was required to deposit some pledge—a book or a cup,
+or a piece of clothing. Pledges not redeemed within a year were sold
+by public auction. As time went on, private bequests were added to the
+Frideswide chest, to the great relief, no doubt, of the scholars, who
+were as poor as could be.
+</p>
+<p>
+The Fair of St. Frideswide was another useful institution connected with
+the Priory, for in early days the fairs not only afforded much innocent
+amusement, but they also served to mark the seasons of the year, and
+were of great practical value in the domestic economy of the people. St.
+Frideswide's Fair lasted for seven days, and during that time the keys
+of the city passed from the mayor to the prior, and the town courts were
+closed in favour of the Piepowder Court, held by the steward of the
+Priory for the redress of all disorders committed during the fair. By
+Stuart times the Fair had fallen almost to nothing, but its memory is
+still kept up by the annual cakestall in St. Aldate's.
+</p>
+<p>
+One of the strongest Jewries in England existed in Oxford, so the
+chest was a useful form of charity in the days when Jews were the only
+money-lenders, and it was found necessary to pass a law preventing the
+Hebrews of Oxford from charging over 43 per cent, on loans to scholars.
+In 1268 St. Frideswide's provided a curious proof of the strong protection
+which the Jews enjoyed till their expulsion from England for four
+centuries in 1290.
+</p>
+<p>
+"The feud between the Priory and the Jewry went on for a century more,
+till it culminated in a daring act of fanaticism on Ascension Day 1268.
+As the usual procession of scholars and citizens returned from St.
+Frideswide's, a Jew suddenly burst from the group of his friends in front
+of the synagogue, and snatching the crucifix from its bearer, trod it
+underfoot. But even in presence of such an outrage, the terror of the
+Crown shielded the Jewry from any burst of popular indignation. The king
+condemned the Jews of Oxford to make a heavy
+
+<span class="pagenum"><a id="page118" name="page118"></a>[118]</span>
+
+ silver crucifix for the
+University to carry in the processions, and to erect a cross of marble
+on the spot where the crime was committed; but even this was in part
+remitted, and a less offensive place was allotted for the cross in
+an open plot by Merton College." The event which had opened the feud
+between the Priory and the Jews happened about 1185, when Prior Phillip
+complained of a certain <i>Deus-eum-crescat</i> (Gedaliah), son of Mossey,
+who stood at his door as the procession of St. Frideswide passed by,
+and mocked at her miracles, no one daring to meddle with him.
+</p>
+<p>
+An instance of the widespread fame of the shrine of St. Frideswide, and
+the veneration in which it was held even shortly before its destruction,
+is given in Wood's "Annals." In 1518, "Queen Katherine being desirous to
+come to Oxford, was attended in her journey by the Cardinal [Wolsey]:
+and being entered within the limits, was received by the scholars
+with all demonstrations of love and joy. After she had received their
+curtesies, she retired to St. Frideswydd Monastery to do her devotions
+to the sacred reliques of that Virgin Saint, being the chief occasion,
+it seems, that brought her hither."
+</p>
+<p>
+But the great change was rapidly approaching. It had indeed been
+foreshadowed nearly a century and a half before, as when, for instance,
+on Ascension Day 1382, Wyclif's disciple Nicholas Hereford, preaching
+in the churchyard of St. Frideswide's, made a violent attack on the
+Mendicant Friars, and boldly asserted his sympathy with Wyclif.
+</p>
+<p>
+The suppression of the Priory in 1524 was not, however, a Protestant
+act; for Wolsey obtained a bull from Pope Clement VII., authorising him,
+with the royal consent, to suppress the Priory of St. Frideswide, and to
+transfer the canons to other houses of the Augustinian order, so that
+their dwelling and revenues might be assigned to the proposed college of
+secular clerks. Wolsey had magnificent ideas about education,—"indeed,"
+says Fuller, "nothing mean could enter into this man's mind"; he was bent
+on founding institutions which should surpass even those of William of
+Wykeham and William Waynflete; and he saw that monasticism had fallen
+into disrepute, with no prospect of restoration to public favour. He
+adopted, therefore, the hitherto exceptional method of suppressing
+certain priories, in order that he might endow with their revenues his
+new foundation of Cardinal College, as it was first
+
+<span class="pagenum"><a id="page119" name="page119"></a>[119]</span>
+
+ styled. Henry VIII.
+readily assented to the scheme, and his minister was thus enabled to
+dissolve the oldest religious establishment within the walls of Oxford,
+and to dispose of its income of "almost £300 a year." Dr. John Barton,
+the last Prior of St. Frideswide's, was elected to be Abbot of the
+neighbouring monastery of Oseney, just as (a little later) Bishop King,
+the last Abbot of Oseney, was made first Bishop of Oxford.
+</p>
+<p>
+There was much popular opposition to Wolsey's act in suppressing
+St. Frideswide's, and (by a second Papal Bull) certain other monasteries.
+Hall, a chronicler unfriendly to Wolsey, averred that "the poor wretches"
+ejected from the monasteries received scarcely any compensation.
+Complaints such as these drew from Wolsey this earnest and redundant
+contradiction:—
+</p>
+<p>
+"Almighty God I take to my record, I have not meant, intended, or gone
+about, ne also have willed mine officers, to do anything concerning the
+said suppressions, but under such form and manner as is and hath largely
+been to the full satisfaction, recompense, and joyous contentation of
+any person which hath had, or could pretend to have, right or interest
+in the same, in such wise that many of them, giving thanks and laud to
+God for the good chance succeeded unto them, would for nothing, if they
+might, return or be restored and put again in their former state, as your
+Highness shall abundantly and largely perceive at my next repairing unto
+the same.
+</p>
+<p>
+"Verily, sir, I would be loth to be noted that I should intend such a
+virtuous foundation for the increase of your Highness' merit, profit of
+your subjects, the advancement of good learning, and for the weale of my
+poor soul, to be established or acquired <i>ex rapinis</i>."
+</p>
+<p>
+It was indeed, says Mr. Maxwell Lyte, part of Wolsey's "grand and
+statesmanlike scheme of establishing episcopal sees in some of the larger
+monasteries, and annexing thereto smaller monasteries to provide greater
+revenues." The graduates of Oxford were very grateful, and promised to
+remember him in their prayers to the end of time; but great fear came
+over the monks. His proceedings, says Fuller quaintly but truly, "made
+all the forest of religious foundations in England to shake, justly
+fearing the king would finish to fell the oaks, seeing the Cardinal
+began to cut the underwood."
+</p>
+<p>
+Thus was Cardinal College founded. Its magnificence
+
+<span class="pagenum"><a id="page120" name="page120"></a>[120]</span>
+
+ certainly made a great
+impression upon Englishmen, as is shown by the fact that it is the only
+existing college mentioned by Shakespeare. In <i>Henry VIII.</i> Wolsey is
+praised for his new foundation:—
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i12"> "though unfinished, yet so famous,</p>
+<p class="i4"> So excellent in art, and yet so rising,</p>
+<p class="i4"> That Christendom shall ever speak his virtue."</p>
+</div>
+</div>
+
+<p>
+But all Wolsey's great buildings, and projects still greater, were stopped
+by his sudden fall in 1529. Three years afterwards "bluff Harry broke into
+the spence," and, placidly transferring the whole credit of the idea to
+himself, refounded Cardinal College with the title "King Henry VIII. his
+College." Then he suppressed his own foundation, and, on Nov. 4th,
+1546, reconstituted it, adopting the novel and economical expedient
+of combining a cathedral with an academic college. The new style was
+<i>Ecclesia Christi Cathedralis Oxon ex fundatione Regis Henrici octavi</i>;
+so St. Frideswide's church, which had for seven years been the chapel of
+Cardinal College, and of King Henry's College for thirteen years, became
+at length the Cathedral Church of Christ in Oxford, and also the chapel of
+the college now at length called Christ Church, and presided over by the
+Dean of the cathedral. Ever since, the ancient church has had a two-fold
+character as cathedral church and college chapel; and "as the Dean of
+Christ Church is always present, and the Bishop of Oxford very seldom,
+academic usages and appearances rather prevail over the ecclesiastical,
+in a way that may have been the reverse of satisfactory to more than
+one occupant of the see of Oxford."
+</p>
+<p>
+Wolsey had contemplated establishing a hundred canons; but Henry
+reduced the number at a stroke to twelve, and then to eight; later
+they were further reduced to six, which is the present number. Besides
+the canons, dean, and bishop, Henry's foundation included eight petty
+canons or chaplains, a gospeller and a postiller or bible-clerk, eight
+singing clerks, eight choristers and their master, a schoolmaster and an
+usher, an organist, sixty scholars or students, and forty "children,"
+corresponding no doubt to the scholars of later days. Soon after,
+however, the whole scholastic part of the establishment was replaced
+by one hundred students, who (with the one "outcomer" of the Thurston
+foundation) are still nightly tolled
+
+<span class="pagenum"><a id="page121" name="page121"></a>[121]</span>
+
+ by the hundred and one strokes of
+great Tom, this being the signal for college-gates to be closed all over
+Oxford.
+</p>
+<p>
+Such was the arrangement of the new establishment, which, as the name of
+<i>Ecclesia Christi</i> was replaced by <i>Ædes Christi</i>, came to be called,
+according to the double use of the word <i>æedes</i>, both Christ <i>Church</i>
+and the <i>House</i>. The history of the see of Oxford, which was first set
+up at Oseney in 1542, will be found in another chapter.
+</p>
+<p>
+Curiously enough, the suppression of the monasteries, and the new vigorous
+religious movement, did not benefit the University, in spite of the
+addition of Wolsey's great college; on the contrary, the Reformation
+nearly emptied the University, which had already lost much of its old
+activity during the intellectual stagnation of the fifteenth century,
+so that, in Edward VI.'s reign, washerwomen took to hanging out their
+clothes in the schools. Most of the halls disappeared for ever, and from
+that time Oxford passed out of the hands of the poor man, Christ Church
+as the royal college becoming the special home of the gilded youth. The
+first functions of the House seem indeed to have been mainly ornamental:
+Henry VIII. was entertained there, public declamations were given before
+the University under Edward VI., Cranmer was unfrocked in the cloister
+under Mary. In Queen Elizabeth's reign, as well as in the seventeenth
+century, Christ Church Hall was used for the performance of plays,
+as when in 1583 <i>Dido</i> was acted, and "there was a pleasant sight of
+hunters, with a full cry of a kennel of hounds, and Mercury and his
+descending and ascending from and to a high place. The tempest also,
+wherein it rained small comfits, rose-water, and snew artificial snow,
+was very strange to the beholders."
+</p>
+<p>
+The Deans in Elizabeth's time were undistinguished. There was Martiall,
+who was appointed by Mary, and deprived in 1559 for his religion, "which
+though he had two or three times changed, yet having made himself Enemies
+by his indiscreet Carriage, he was obliged to go into Yorkshire"; and
+there was Sampson, who was "so professed an enemy of the ceremonies of
+the Church of England," and of organs and vestments, that he was removed
+by Archbishop Parker, 1565. But there was no one else of much note till
+Brian Duppa was installed in 1629. This staunch old man left Christ
+Church in 1641 for the Bishopric of Salisbury, after having "adorned" the
+
+<span class="pagenum"><a id="page122" name="page122"></a>[122]</span>
+
+ cathedral, with the mixed results we have witnessed. He was extremely
+generous and unselfish; and he stuck to the king through his evil days,
+even sharing his imprisonment in Carisbrooke Castle, where he is thought
+materially to have assisted in writing the "<i>Eikon Basilike</i>." Duppa,
+Mr. Wakeman tells us, "amid many dangers had boldly found means to carry
+on the torch of apostolic grace, even amid the proscriptions of Cromwell."
+</p>
+<p>
+During the troubles of the Civil War, Christ Church came in for its share
+of the work: in 1642 a University regiment of Cavaliers was drilled in
+Tom Quad, and of the hundred and one students of the House twenty became
+officers in the king's army. After Edgehill, Charles I. occupied Oxford,
+and kept his court with Prince Charles in Christ Church. On February 3rd,
+1644, the king appointed a thanksgiving to be made at evensong for the
+taking of Cirencester by Prince Rupert the day before. The doctors were
+then in their red robes, the officers and men in laced buff coats and
+polished breastplates. "But there was no new Form of Thanksgiving said,
+save only that Form for the victory of Edgehill, and a very solemn anthem,
+with this several times repeated therein—'Thou shalt set a Crown of
+pure gold upon his Head, and upon his Head shall his Crown flourish.'"
+</p>
+<p>
+In 1646 Oxford was taken by the Roundheads, and in 1648, at the visitation
+of the Parliamentary officers (the Dean, Samuel Fell, being in custody),
+Mrs. Fell, with some other ladies, and her children, refused to walk
+out of the Deanery, and had to be carried out with her companions, and
+"deposited in the quadrangle in feminine protest against extrusion." Dean
+Samuel Fell, who had finished Duppa's wood and glass work in the
+cathedral, and built the fine staircase into the hall, died heartbroken
+on February 1st, 1648, "the Day he was acquainted with the murder
+of his Royal Master King Charles I.": he was buried at Sunningwell,
+near Abingdon, with this inscription of touching brevity—<i>Depositum
+S.F. Februar.</i> 1648.
+</p>
+<p>
+The use of the Latin version of the Prayer Book, and the English version
+as well, had ceased three months before; but it was kept up in a house
+in Merton Street by three Christ Church men, one of whom was the Dean's
+son, John Fell, afterwards himself to become Dean and Bishop of Oxford.
+The intruding Dean and Chapter seem to have behaved
+
+<span class="pagenum"><a id="page123" name="page123"></a>[123]</span>
+
+ villainously; for,
+in an account given by the Chapter of 1670, it is stated that the entire
+revenues of the College had been exhausted by the intruders, all the
+unfinished work on the north side of Tom Quad demolished, and the
+timbers actually
+
+<span class="pagenum"><a id="page124" name="page124"></a>[124]</span>
+
+ sawn down from the walls and roof to be used as firewood.
+Almost every part of the College was damaged in this way, and the huge
+expense of making the destruction good had to be borne by the new Chapter
+after the Restoration.
+</p>
+
+<div class="figure">
+<a name="image-0033"><!--IMG--></a>
+
+<a href="images/i-33.jpg">
+<img src="images/i-33-s.jpg" width="320" height="400"
+alt="THE INTERIOR BEFORE THE RESTORATIONS." /></a>
+<br />
+THE INTERIOR BEFORE THE RESTORATIONS.
+</div>
+
+<p>
+Samuel Fell's first Puritan successor in the Deanery was Reynolds,
+a Presbyterian who, in two years (1650), was turned out "to make
+room," says Browne Willis, "for that noted, canting, Independent,
+Time-serving Hypocrite John Owen." This Owen was himself turned out in
+1659, and "retired among the Dissenters at London, and there ended his
+Days (preaching up Sedition in Conventicles)." He was buried in Bunhill
+Fields, with a portentously long epitaph, whereof one sentence may
+suffice as a specimen—<i>In illâ viribus plusquam <span class="sc">Herculeis</span>, Serpentibus
+tribus, <span class="sc">Arminio</span>, <span class="sc">Socino</span>, <span class="sc">Cano</span>, venenosa strinxit guttura</i>.
+</p>
+<p>
+Reynolds was restored by the Presbyterians in 1659, but them deserting,
+he became Bishop of Norwich, and was succeeded at Christ Church in
+1660 by Morley, who, in the same year, became a Bishop, and afterwards
+succeeded the tough old Duppa in the see of Winchester, 1662. John Fell,
+who had seen so much trouble in his father's old house, was next installed
+therein, in 1660. His biography will be found among the bishops.
+</p>
+<p>
+James II. made Massey, an ex-Presbyterian convert to the Roman Church,
+Dean of Christ Church, and the Holy Communion was celebrated according
+to the Roman use every day in the House. When the king visited Oxford in
+1687, he was lodged in the Deanery, and a chapel fitted up for his use.
+He summoned the fellows of Magdalen, who had refused to admit Bishop
+Parker as their president, into Christ Church Hall, and said:—"Is this
+your Church of England loyalty? Get you gone. Know that I, your King,
+will be obeyed. Go and admit the Bishop of Oxon. Let those who refuse
+look to it. They shall feel the whole weight of my hand." They refused,
+and twenty-five of them were expelled. James, by-the-way, touched for
+the King's Evil in the cathedral about the same time.
+</p>
+<p>
+Aldrich, the versatile, followed in the Deanery, nothing being said of
+Massey in the letters patent which installed him as direct successor to
+John Fell. We have alluded to him more than once in this book, and his
+monument in the nave is mentioned in its place.
+</p>
+
+<p><span class="pagenum"><a id="page125" name="page125"></a>[125]</span></p>
+
+<p>
+After Aldrich came Francis Atterbury in 1711, who in 1713 left Oxford
+to combine the rather dissimilar functions of Bishop of Rochester and
+Dean of Westminster. He found his way into the Tower of London in 1722,
+being convicted of correspondence with the Pretender.
+</p>
+<p>
+By the eighteenth century Oxford had sunk into a state of torpor, from
+which it began to recover in 1807, when the first honour schools were
+founded; though from 1783 Dean Cyril Jackson had been doing a great work
+in the restoration of order and efficiency at the House. Christ Church
+thus bore an honourable part in the revival of learning, and gradually
+developed from a rich man's plesaunce into a home of learning: the names
+of Ruskin, Gladstone, and Pusey are typical of the great men in different
+walks of life that have belonged to the cathedral college in our own
+era. Dean Gaisford more than half a century ago did much to help on the
+progress; and the long rule of his successor, Dean Liddell (1855-91),
+familiar to every schoolboy through his famous lexicon, covered a period
+of immense change both in the cathedral and in the college. Dr. Liddell
+died January 18th, 1898. His successor is Dr. Francis Paget, one of
+the writers in "<i>Lux Mundi</i>," and the author of some well-known volumes
+of addresses.
+</p>
+<p>
+Fifty years ago it was said that Christ Church was the only cathedral
+in Christendom where there were neither services nor sermons for the
+people of the diocese. But the new life, which has since then wrought
+such great changes in university, cathedral, and diocese alike, has left
+Christ Church, if still the smallest, yet not the least important of the
+great centres of ecclesiastical activity.
+</p>
+
+<p><span class="pagenum"><a id="page126" name="page126"></a>[126]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ CHAPTER V.
+<br />
+<small>
+ THE DIOCESE OF OXFORD.
+</small>
+</h2>
+
+<p>
+Down to our own time, Oxford remained one of the new dioceses of the
+English Church, having been set up by Henry VIII. by way of compensation
+for his confiscation of the monastic properties. Before 1542 Oxford
+belonged to the enormous diocese of Lincoln; but in that year the new see
+was created, and Robert King, the last Abbot of Oseney, was made first
+Bishop of Oseney, and the Bishop's stool set up in his magnificent abbey
+church of St. Mary.
+</p>
+<p>
+This Abbey of Oseney, which had been founded by Robert D'Oilgi in 1129,
+and rebuilt in 1247, was, like St. Frideswide's, a house of Augustinian
+Canons, but far larger. It was, indeed, one of the finest abbeys in
+England, its principal cloister being as large as Tom Quad, and its
+church no less than 352 feet by 100, with double aisles, and twenty-four
+altars. Gardens and courts, and comely outbuildings, ran along the side
+of the river; in every corner a busy life went on among the orieled
+windows and high-pitched roofs, within the fretted cloister, the schools
+and libraries, the refectory, and the kitchen, whither a conduit brought
+the water from the river side. A great gate looked on to the high road;
+and the abbot's lodgings were so spacious that six men could walk abreast
+up the steps which led into his hall. Yet others were not forgotten;
+besides the guest-house, there was a building reserved for poor clerks.
+</p>
+<p>
+But Henry's mania for destruction could not let the Abbey stand. In 1546
+he moved the see to St. Frideswide's, reconstituting the old Priory,
+which Wolsey had turned into a college, as both college and cathedral.
+The doom of Oseney was pronounced, and in that year the demolition began.
+</p>
+<p>
+In 1566 Agar's map represents Oseney Abbey as still standing,
+
+<span class="pagenum"><a id="page127" name="page127"></a>[127]</span>
+
+ but
+roofless; in 1644 a good deal remained, but Charles I. used the greater
+part to complete the fortifications of Oxford against the Cromwellians;
+in 1718 the abbot's chamber and the great stone staircase were all that
+was left. In Dr. Johnson's time a few ruins could still be seen, of which
+the great man said (at a time when such sentiments were uncommon)—"Sir,
+to look upon them fills me with indignation." At the present day the
+remains are almost invisible; they consist of a portion of a building
+attached to the mill, a fragment of the foundations of the gateway at the
+end of the same building, a small portion of the wall near the great gate,
+a few loose fragments of masonry, and some encaustic tiles. Bishop King's
+window in the cathedral gives one a vague reminder of its former aspect;
+and only the bells, which were transferred to Christ Church, remain
+intact. Thus perished the first cathedral church of the see of Oxford.
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4"> Of it there now remains no memory</p>
+<p class="i4"> Nor any little monument to see;</p>
+<p class="i4"> By which the traveller that fares that way,</p>
+<p class="i4"> That once she was may warned be to say.</p>
+</div>
+</div>
+
+<p>
+Apart from questions of vandalism, the destruction of this the first
+cathedral of Oxford was an egregious piece of waste and folly. Such places
+have been only too much needed by the University—indeed the need was
+felt a few years after the destruction—and vast sums have been spent
+in the erection of immeasurably inferior buildings. If Oseney Abbey,
+with its crowd of beautiful outbuildings along the water side, had been
+converted into a college, it would have been of immense use, and every
+other college now extant insignificant compared with it. Of all the
+headstrong and wanton actions of an irreverent age, the destruction of
+Oseney was one of the most wicked; and, as the train moves into Oxford
+railway station, the stranger may remember that the present approach
+to the old city is only so hideous because the glorious old abbey has
+given place to a collection of gasholders, coal-heaps, railway-sidings,
+modern tombstones, and obscene jerry-buildings.
+</p>
+<p>
+The diocese of Oxford now includes the deaneries of Aston, Burcester,
+Chipping-Norton, Cuddesden, Deddington, Dorchester (Oxon), Henley, Witney,
+Woodstock, and Oxford City, together with the counties of Berks and Bucks.
+</p>
+
+<p><span class="pagenum"><a id="page128" name="page128"></a>[128]</span></p>
+
+<p>
+<b>Robert King</b> (1542-1557), the first Bishop of Oseney and of Oxford,
+and the last Abbot of Oseney and of Thame, began life as a Cistercian
+monk. On the conversion of his abbey into a cathedral, he continued, as
+bishop of the new see, to preside; but he had already, seven years before,
+been raised to the episcopate, as suffragan of Lincoln, under the title
+(conferred by the Pope) of Bishop of Rheon in the province of Athens. He
+seems to have taken the Reformation pretty easily, passing through all
+the changes under King Henry, King Edward, and Queen Mary. He died at
+an advanced age in 1557, and was buried in Christ Church Cathedral. He
+left considerable riches to his nephew Phillip King, "which it seems,"
+says Fuller, "was quickly consumed, so that John King, Bishop of London
+(son of Phillip), used to say he believed there was a fate in abbey
+money no less than in abbey land, which seldom proved fortunate, or of
+continuance to the owners." He is supposed to have built "Bishop King's
+House" in Rose Place.
+</p>
+<p>
+After Queen Elizabeth had kept the see vacant for ten years, <b>Hugh Curwen</b>
+(1567-1568), a "moderate papist," according to Fuller, who had been made
+Archbishop of Dublin by Queen Mary, and now wished to end his days in
+peace, was translated to Oxford. "Very decrepid, broken with old age and
+many state affairs," he died next year. Whereupon Elizabeth kept the see
+vacant for twenty-one years more, "out of pure devotion to the leases,
+as some writers say."
+</p>
+<p>
+<b>John Underhill</b> (1589), Rector of Lincoln College, and one of Queen
+Elizabeth's chaplains, was next appointed, "being persuaded," says Willis,
+"on certain considerations, to accept it in the way of a better." But
+it proved "very much out of his way; for ere the first-fruits were payed
+he died in great discontent and poverty about the beginning of May 1592."
+</p>
+<p>
+Again Elizabeth, who had already taken away some of the best estates
+from the bishopric, kept it in her hands the third time (1592-1604):
+"who," says Willis, "constituting no bishop forty-one years of her
+forty-four, disposed of its income to her courtiers as she thought fit,
+giving whatever they had a mind to ask; though, as some writers remark,
+it proved miserably fatal to them, particularly to her great favourite
+the Earl of Essex."
+</p>
+<p>
+With <b>John Bridges</b> (1604-1618) commences the unbroken
+
+<span class="pagenum"><a id="page129" name="page129"></a>[129]</span>
+
+ succession of
+Bishops of Oxford. It is suggested by Fuller in his "Worthies" that "the
+cause that church was so long a widow was the want of a competent estate
+to prefer her"; but at this time, Elizabeth being dead, the endowment
+of the see had been increased; and henceforward occupants for it were
+found. Bridges is known to history mainly from his name appearing at the
+head of the title-page of the first two Marprelate tracts. He was then,
+1587, Dean of Sarum, and had written a temperate reply to the Puritan
+pamphleteers who were pouring violent abuse upon Episcopacy. Martin
+Marprelate seized upon his book, "A Defence of the Government Established
+in the Church of England," and headed the "Epistle" and the "Epitome"
+with, "Oh read over D. John Bridges, for it is a worthy worke." He was
+a good Bishop.
+</p>
+<p>
+<b>John Howson</b> (1619-1628) was a great controversialist of the time, his
+four sermons against the Pope's supremacy having, according to Fuller,
+"made him famous to all posterity." He was one of the original members
+of Chelsea College, an institution founded by James I. "to afford
+divines leisure and other conveniences to spend their time wholly in
+controversy." Mercifully this terrible design soon gave way, and Chelsea
+College became Chelsea Hospital. Bishop Howson was translated to Durham
+in 1628, where he died at the age of ninety-five.
+</p>
+<p>
+<b>Richard Corbet</b> (1628-1632) was "a distinguished wit in an age of wits,
+and a liberal man amongst a race of intolerant partizans." But perhaps
+his liberality (which did not prevent him, by-the-way, from carrying out
+the Laudian discipline with a high hand) was due to his own easy way
+of living: for he and his chaplain were wont to lock themselves in the
+wine-cellar and be merry. He seems to have been a genial, kind, generous,
+and spirited prelate; sincere and affectionate in private life, he was,
+says Gilchrist, "correct, eloquent, and ingenious as a poet." At least
+he was a man of character. From 1632 to 1635 he was Bishop of Norwich.
+</p>
+<p>
+<b>John Bancroft</b> (1632-1641), Master of University College, and nephew of
+the Archbishop of Canterbury of that name, was a great benefactor to the
+see. Being a single man he
+
+<span class="pagenum"><a id="page130" name="page130"></a>[130]</span>
+
+ devoted his money to this purpose; and besides
+many financial acquisitions, he built an episcopal palace at Cuddesden
+at the suggestion of Archbishop Laud. This palace, the first since the
+time of Edward VI., was finished in 1634, and burnt down ten years later
+by Colonel Legg, to prevent its becoming useful to the parliamentary
+forces. It lay in ruins till the time of Bishop Fell.
+</p>
+<p>
+<b>Robert Skinner</b> (1641-1663) was translated from Bristol. He was
+imprisoned in the Tower by the Puritan party, and remained in obscurity
+during the Commonwealth; but he was one of the few who continued to
+ordain. At the Restoration, being then over seventy, he was translated
+to Worcester.
+</p>
+<p>
+<b>William Paul</b> (1663) and <b>Walter Blandford</b> (1665) did nothing memorable.
+</p>
+<p>
+<b>Hon. Nathaniel Crewe</b> (1671-1674) entered into holy orders in 1664; in
+the short space of five years he was Dean of Chichester, and two years
+after that Bishop of Oxford. He was an ambitious and restless man: in
+1673 he had the boldness to perform the marriage ceremony between the
+Duke of York and Mary of Este, in defiance of the House of Commons. As
+a reward for this act, the Duke procured him the see of Durham, whither
+he was translated in 1674. At the Revolution, as a consequence of his
+political intrigues, he was excepted from the general pardon, and obliged
+to fly to Holland. But he afterwards made his peace; and, on the death
+of his elder brother, becoming Lord Crewe, he was the first man to be
+summoned to Parliament both as baron and bishop. He lived on till 1722.
+</p>
+<p>
+<b>Hon. Henry Compton</b> (1674-1675), son of the Earl of Northampton, who died
+fighting by the king at Hopton Heath in 1644, was after the Restoration
+a cornet in the army before he took orders. He was conspicuous throughout
+his long life for his efforts to reconcile the dissenters with the Church
+of England, and for his opposition to Rome; he was the first to sign the
+declaration for the Prince of Orange on William's arrival in London. But
+at Oxford he was a bird of passage, being translated to London in 1675.
+</p>
+
+<p><span class="pagenum"><a id="page131" name="page131"></a>[131]</span></p>
+
+<p>
+<b>John Fell</b> (1676-1686), the best known, and also the best of the Bishops
+of Oxford, was well-fitted to restore the traditions of the place; for
+his father Samuel Fell was Dean of Christ Church from 1637-1649, and had
+been elected student of the House as far back as 1601: thus John Fell must
+have had an intimate knowledge of the traditions of Christ Church as far
+back as the third interregnum of Elizabeth. A strong royalist, Fell kept
+in seclusion till the Restoration, when, in 1660, he was made Dean. He
+at once commenced to restore both the discipline and the buildings of
+the College. On his appointment to the Bishopric, he was permitted to
+retain the Deanery as well, in order "that he might better carry on his
+noble designs, which were so many that they contributed to wear him quite
+out and shorten his life." He employed Sir Christopher Wren to build
+Tom Tower, and finished the north side of Tom Quadrangle; he also built
+a new episcopal palace upon the ruins of the old one at Cuddesden. He
+founded ten exhibitions, and caused the University Theatre to be erected,
+and the Printing Press to be "advanced to a glory superior to any place
+in Christendom." He showed exemplary care in governing his diocese, and
+established daily prayers at St. Martin's (as the principal city church
+of Oxford) at eight in the morning and eight at night. His most important
+book is the "Life of Dr. Henry Hammond," 1660; he also wrote several
+theological books, edited St. Cyprian's works, and produced a well-known
+edition of the New Testament. He died in 1686, "having by a most pious
+unspotted single life left behind him an everlasting character," and was
+buried in the cathedral, where, in the ante-chapel, there is a monument
+to him. There is also a beautiful statue of him over the archway that
+leads past the deanery into Peckwater Quadrangle, by Mr. Bodley.
+</p>
+<p>
+Anthony à Wood records of him that he was "the most zealous man of his
+time for the Church of England." Still John Fell had his weak points,
+as this same Anthony Wood had cause to know. For it so happened that
+Wood had mentioned Hobbes, the redoubtable author of the "Leviathan,"
+in terms of great admiration, in his History and Antiquities of the
+University. Wood was himself a strong high-churchman, with (it had been
+said) a weakness for popery; in praising Hobbes he therefore acted with a
+generosity and fairness beyond his age. Fell, however, was not so liberal;
+he considered Hobbes no
+
+<span class="pagenum"><a id="page132" name="page132"></a>[132]</span>
+
+ better than an atheist or a deist, and when one
+Peers was employed by Wood to translate his book into Latin, Fell got on
+the right side of the man, and made him alter all Wood's praises of Hobbes
+to expressions of abuse. The author of the "Leviathan," meeting the King
+in Pall Mall, got leave to reply, and hit the Bishop rather hard. Fell
+retorted with an answer that contained the famous description of Hobbes as
+<i>irritabile illud et vanissimum Malmesburiense animal</i>. Wood, of course,
+was furious, and the wretched Peers suffered at the hands of the muscular
+old Antiquary, so that "as Peers alway cometh off with a bloody nose or
+a black eye, he was a long time afraid to goe anywhere where he might
+chance to meet his too powerful adversary, for fear of another drubbing."
+</p>
+<p>
+<b>Samuel Parker</b> (1686-1687) was a typical specimen, of the place-hunter
+of the period. He was brought up a strict Puritan at Northampton, and,
+coming to Wadham College in 1656, when the Puritans were in power,
+he distinguished himself as "one of the most godly young men in the
+University," and was under the tuition of a rigid Presbyterian. Shortly
+after the Restoration, however, he changed his mind, and in 1663 he took
+orders, becoming "a zealous advocate of the Church of England." By 1686,
+however, he was the creature of James II., and was forced by that monarch
+upon Magdalen College, Oxford, as its President, in 1687, in the place
+of the lawful President, John Hough. At the installation only two of the
+Magdalen Fellows attended; the porter threw down his keys, the butler
+had to be dismissed because he would not scratch Hough's name from the
+buttery list, no blacksmith even could be found in Oxford to force the
+lock of the President's lodgings; and the whole University, which had
+suffered so much for the Stuarts, was alienated at last. Parker himself
+died very soon after, in the lodgings that he had unlawfully occupied. He
+lies buried in the ante-chapel of Magdalen, but no monument marks his
+grave. Antony Wood intimates that he would have become a Papist, but
+for his wife, who was unwilling to be parted from him; and he certainty
+wrote in defence of transubstantiation. Still, Parker, according to
+Mr. W.H. Hutton (<i>Social England</i>, iv. 421), was by no means a despicable
+man. As a philosopher in his <i>Disputationes de Deo</i>, and <i>Censure of the</i>
+
+<span class="pagenum"><a id="page133" name="page133"></a>[133]</span>
+
+<i> Platonick Philosophie</i>, as a satirist in his <i>Discourse of Ecclesiastical
+Polity</i>, and an ecclesiastical historian, he is eminent. "But most of all
+is he commended to modern thinkers by his little tract containing reasons
+for the abolition of the Test Act."
+</p>
+<p>
+<b>Timothy Hall</b> (1688-1690), another of James II.'s creatures, was also
+originally a Nonconformist, but afterwards, "getting nothing," says
+Willis, "for his loss of a small living in Middlesex, he complied."
+Being a very obscure and inconsiderable person, and on no account for
+learning, no one took any notice of him. At the Revolution he fled from
+Oxford, and died "miserably poor at Hackney near London, and was buried
+in the church there without any memorial."
+</p>
+<p>
+<b>John Hough</b> (1690-1699), the President of Magdalen whom King James
+had ejected, was the next bishop. He retained the Presidency during
+his episcopate. In 1699 he was translated to Lichfield, thence in 1717
+to Worcester, where he died in 1743. He was, says Macaulay, "a man of
+eminent virtue and prudence, who, having borne persecution with fortitude
+and prosperity with meekness, having risen to high honours, and having
+modestly declined honours higher still, died in extreme old age, yet
+in full vigour of mind," fifty-six years after the eventful struggle
+with James.
+</p>
+<p>
+<b>William Talbot</b> (1669-1715), father of Lord Chancellor Talbot, was
+translated to Salisbury in 1715, and to Durham in 1721.
+</p>
+<p>
+<b>John Potter</b> (1715-1737), son of a linen-draper in Wakefield, wrote a
+well-known book on the "Antiquities of Greece." He was "a learned and
+exemplary divine, but of a character by no means amiable, being strongly
+tinctured with a kind of haughtiness and severity of manners." He became
+Archbishop of Canterbury in 1737.
+</p>
+<p>
+<b>Thomas Secker</b> (1737-1758) came of dissenting parents, but was persuaded
+by the great Bishop Butler to abandon the study of medicine and to take
+orders in the Church. He was an estimable and able person, and in 1758
+became Archbishop
+
+<span class="pagenum"><a id="page134" name="page134"></a>[134]</span>
+
+ of Canterbury. His portrait by Sir Joshua Reynolds
+is at Lambeth.
+</p>
+<p>
+<b>John Hume</b> (1758-1766), Bishop of Bristol 1756: translated to Salisbury
+1766.
+</p>
+<p>
+<b>Robert Lowth</b> (1766-1777) was the author of a variety of works, including
+a "Life of William of Wykeham," and a "Short Introduction to English
+Grammar." His controversy with Warburton, and the "Letters" to which
+it gave rise, are well known. Of his "Isaiah" Philip Skelton said that
+"Lowth on the Prophecies of Isaiah is the best book in the world, next to
+the Bible." He was moved to London 1777, and he refused the Archbishopric
+of Canterbury.
+</p>
+<p>
+<b>John Butler</b> (1777-1788) was a popular preacher and political
+pamphleteer; in reward apparently for his efforts in the latter function,
+Lord North advanced him to see of Oxford, though he was not a university
+man. Translated to Hereford 1788.
+</p>
+<p>
+<b>Edward Smallwell</b> (1788-1799), St. David's 1783. The first bishop since
+Dr. Fell to remain faithful to the diocese.
+</p>
+<p>
+<b>John Randolph</b> (1799-1807), regius professor of Greek and a trustee
+of the British Museum, was the author of many sermons and charges. One
+of his last works was a report of the progress of the National School
+Society. Translated to Bangor 1807, and to London 1809.
+</p>
+<p>
+<b>Charles Moss</b> (1807-1811) avoided translation, and died shortly in the
+palace at Cuddesden, and "leaving his splendid furniture for the use of
+his successors."
+</p>
+<p>
+<b>William Jackson</b> (1812-1815) was a prominent Oxford man, being regius
+professor of Greek and curator of the Clarendon Press.
+</p>
+<p>
+<b>Hon. Henry Legge</b> (1816-1827) was a son of the Earl of Dartmouth;
+he had been Dean of Windsor, and in 1817 became Warden of All Souls,
+retaining the bishopric.
+</p>
+
+<p><span class="pagenum"><a id="page135" name="page135"></a>[135]</span></p>
+
+<p>
+<b>Charles Lloyd</b> (1827-1829). Had he not died at the early age of
+forty-five, Lloyd would have played a great part in the stirring times
+that were in store for the Church. He was, says Mr. Gladstone, "a man
+of powerful talents, and of character both winning and decided." He was
+Student and Tutor, then Regius Professor of Divinity and Canon of Christ
+Church, and had Sir R. Peel among his pupils and constant friends. Lloyd
+warmly supported the Roman Catholic Relief Bill in 1829. He was the first
+to publish the Prayer Book with red lettered rubrics.
+</p>
+<p>
+<b>Hon. Richard Bagot</b> (1829-1845), translated to Bath and Wells. He
+graduated in 1803, and it is characteristic of his times that in 1804 he
+was fellow of All Souls, in 1806 rector of Leigh, and in 1807 canon of
+Windsor,—all within seven years of his matriculation at Christ Church.
+He was bishop at the time of the Oxford movement, and was reluctantly
+obliged to play a part in its history. He did not exactly please either
+side, but he behaved with great fairness and courtesy, as Newman bears
+witness in his <i>Apologia</i>. In 1845, being ruined in health by the worry
+of previous years, he was translated to Bath and Wells.
+</p>
+<p>
+<b>Samuel Wilberforce</b> (1845-1870), translated to Winchester. This famous
+bishop was the third son of William Wilberforce, the great slave
+emancipator. At the early age of forty he was made bishop of Oxford,
+and he administered the diocese with wonderful ability for a quarter of a
+century, guiding it through the most difficult period, when the Tractarian
+storm was at its height, without offending either party. His extraordinary
+tact and charm enabled him to perform a valuable work for the Church
+by binding the various sections together at a time when party-feeling
+ran high. He was the most accomplished preacher in the English Church,
+one of the fore-most parliamentary orators of his day; "the most witty
+and genial of companions, he was the favourite of social life, and
+was equally irresistible in the drawing room or on the platform." As a
+theologian he was the inferior of his brother the Archdeacon; he wrote,
+however, several books, of which the best remembered are "Agathos" and
+"Rocky Island." He was killed by a fall from his horse when riding with
+Lord Granville in 1873.
+</p>
+<p>
+<b>John Fielder Mackarness</b> (1870-1888) was recommended
+
+<span class="pagenum"><a id="page136" name="page136"></a>[136]</span>
+
+ to the bishopric
+by Mr. Gladstone, having lost his seat in convocation through refusing to
+oppose the disestablishment of the Irish Church. He was a hard-working
+prelate of great courage and independence. When an attempt was made to
+force him to take proceedings against the rector of Clewer, he argued the
+case in person before the judges of the Queen's Bench, and at last won his
+case on appeal. On surrendering to the ecclesiastical commissioners the
+management of the Oxford bishopric estates, Dr. Mackarness paid them the
+sum of £1729, which he estimated that he had received in excess of his
+statutory income during the previous nine years. He had been made a fellow
+of Exeter College on taking his degree; he wrote several pamphlets, among
+them "A Plea for Toleration, in Answer to the 'No Popery' Cry, 1850." He
+resigned, owing to failing health, in 1888, and died in the next year.
+</p>
+<p>
+<b>William Stubbs</b>, the present bishop, was translated from Chester in
+1888, being already an Honorary Student of Christ Church. He is one of
+the leading historians of our time, and his Constitutional History has
+long been the standard work upon the subject.
+</p>
+
+<div class="figure">
+<a name="image-0034"><!--IMG--></a>
+
+<a href="images/i-34.jpg">
+<img src="images/i-34-s.jpg" width="280" height="300"
+alt="ARMS OF CHRIST CHURCH." /></a>
+<br />
+ARMS OF CHRIST CHURCH.
+</div>
+
+<hr />
+
+<p class="center">
+<span class="sc">Printed by Neill and Co., Ltd., Edinburgh.</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+ FOOTNOTES
+</h2>
+
+<p class="foot">
+<a name="note-1"><!--Note--></a>
+1 (<a href="#noteref-1"><small>return</small></a>)<br />
+S. <i>Skeletons</i>; B. <i>Bones</i>; P. <i>Drain-pipe</i>.
+</p>
+
+<p class="foot">
+<a name="note-2"><!--Note--></a>
+2 (<a href="#noteref-2"><small>return</small></a>)<br />
+Mr. Park Harrison has collected some very interesting
+drawings from various Anglo-Saxon MSS., which afford striking parallels
+to the ornament on these and other capitals in the church. A reproduction
+of the drawing here referred to, and of others equally important, will
+be found in his "Pre-Norman Date."
+</p>
+
+<p class="foot">
+<a name="note-3"><!--Note--></a>
+3 (<a href="#noteref-3"><small>return</small></a>)<br />
+St. Frideswide: Two sermons preached in the Cathedral Church
+of Christ in Oxford, by H.G. Liddell, Dean of Christ Church, pp. 21-24.
+</p>
+
+<p class="foot">
+<a name="note-4"><!--Note--></a>
+4 (<a href="#noteref-4"><small>return</small></a>)<br />
+Mr. Rashdall's theory has, however, already been called
+in question by Mr. A.F. Leach, who (<i>National Review</i>, September 1896)
+asserts decisively that there were schools at Oxford even before Guimond's
+time, and that "Oxford is as much, there is every reason to believe, a
+natural growth from the schools and schoolmasters of St. Frideswide's as
+Paris from those of Notre Dame."
+</p>
+
+<p class="foot">
+<a name="note-5"><!--Note--></a>
+5 (<a href="#noteref-5"><small>return</small></a>)<br />
+Prior Robert published an abridgment of Pliny, addressed
+"to the studious, and especially to those in cloisters and schools." He
+also published another work on <i>Jacob's Marriage</i>, which he said he had
+written when he was himself a scholar and "a regent master."
+</p>
+
+<div class="covernote">
+<hr />
+
+<p>
+<b>Transcriber's Note:</b> The cover image for this work has been created from
+the title page of the original printed text and is placed in the public domain.
+</p>
+</div>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Cathedral Church of Oxford, by Percy Dearmer
+
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