Highways and Byways in Cambridge and Ely Part 6

TYPE | TYPE Elijah going up into Heaven. | Moses and the Israelites receiving | the Law at Pentecost.

| ANt.i.tYPE | ANt.i.tYPE Christ going up into Heaven. | Mary and the Disciples receiving | the Holy Spirit at Pentecost.

Elijah is deliberately turning round in his golden chariot of fire to cast down his ample ruby mantle upon Elisha. Moses is taking the Tables of the Law from the hand of G.o.d.

The subjects of the three windows between the screen and the south door are all from the lives of St. Peter and St. Paul, and nearly all from the Acts of the Apostles, from which also all the texts are taken. Accordingly the place of the usual prophetic Messengers is, in these windows, taken by figures of St. Luke (all identical), habited in the costume worn by a Doctor of Medicine in the sixteenth century.

The series of type and ant.i.type is dropped in these windows, and no strict chronological order is observed in the sequence of the subjects. Probably some have been misplaced, either originally or at one of the various releadings to which they have necessarily been subjected. Every century brings fresh need for this operation.

The subjects in the first window are:

Peter and the Apostles entering | Peter and John bound and the Temple. | scourged.

| Peter and John healing the lame | The Death of Ananias.

man in the Beautiful Gate. |

The design of the last scene is directly copied from Raphael's well-known cartoon.

The second window gives:

The Conversion of St. Paul. | St. Paul at Damascus and his | escape in a basket.

| St. Paul adored at Lystra. | St. Paul stoned at Lystra.

The third window is also Pauline:

St. Paul giving a farewell blessing |St. Paul before the Chief Captain at before embarkation. | Jerusalem.

| St. Paul exorcising the demoniac at |St. Paul before Caesar at Rome.

Philippi.

The first of these scenes is interesting. The text (Acts, xvi. 2) connects it with St. Paul's departure from Troas on his first voyage to Europe. But the subject seems to be the touching scene at Miletus (Acts, xx) on his final departure for Jerusalem. The s.h.i.+p here, whence the boat is rowing to fetch him, should be noticed, as it is a fine and accurate specimen of sixteenth century naval architecture. Observe the lateen yard on the mizen mast. The man who drew that s.h.i.+p, unlike most artists, knew his ropes, they are all in their right places. In the last scene note the startled and awed expression on Nero's almost obliterated face, also his Imperial crown.

We have now almost completed our round of the Chapel, and are again at the south door by which we entered. Only two more windows remain, and in these we return to the typical treatment of Our Lady's life. That over the south door has, by accident (as it appears), been more shattered and defaced than any other in the Chapel. It is arranged thus:

TYPE | TYPE The death of Tobit. | The burial of Jacob.

| ANt.i.tYPE | ANt.i.tYPE The death of Mary. | The burial of Mary.

Mary is dying with the full rites of the Church. St. Peter sprinkles her with holy water, while St. John places in her hand a lighted "trindall" (three candles twisted together). The prayer book and cross are borne by other Apostles. Her bier is covered by a white pall with gold cross, and two severed hands may (with difficulty) be seen clinging to it. This refers to the legend that a certain Jew who sought to overthrow the bier was thus miraculously dismembered, and did not recover his hands till he penitently besought her to restore them.

Finally the south-west window completes the wondrous series:

TYPE | TYPE The Translation of Enoch. | Bathsheba enthroned by her son | Solomon.

| (_I. Kings_, ii., 19.) | ANt.i.tYPE | ANt.i.tYPE The a.s.sumption of Mary. | Mary crowned by her Son Jesus.

The west window remained unglazed, for some unknown reason, till as late as 1879, when there arose a benefactor, Mr. Francis Stacey, a Fellow of the College, who has left this n.o.ble memorial of his generosity. The gla.s.s is by Messrs. Clayton and Bell, and the subject, as is usual in west windows, is the _Last Judgment_. The heraldic devices in the tracery are not those found in the older windows, but comprise (in order) the Tudor Portcullis,[20] the Plantagenet Rose, and the s.h.i.+elds of King's College, Eton College, Cambridge University, King Henry VI., King Henry VII., King Henry VIII., Queen Victoria, and Stacey. There are also the s.h.i.+elds of the See of Lincoln, whose Bishop is _ex officio_ Visitor of the College, impaling Wordsworth (then Bishop), and of Okes (then Provost of the College).

[Footnote 20: The Portcullis was adopted by Henry the Seventh as the Tudor badge, to signify that his claim to the throne was double (through his mother, Lady Margaret, as well as his wife), even as a portcullis doubled the defensibility of a castle gate.]

The gla.s.s of King's College Chapel by no means exhausts the interest of the building. The next point to be observed is the great organ screen, erected during the brief ascendancy of the miserable Ann Boleyn, whose initials are carved upon it. On either side of the door-way, within, are emblazoned the twin s.h.i.+elds of King's and Eton; differing only in that the former bears three red roses, the latter three white lilies (not fleurs-de-lys) on the sable ground beneath the chief, with its lion of England and fleur-de-lys of France on their respective red and blue. The organ itself was not put up till 1606, but the nondescript Renaissance dragons supporting it show that the case must have been in hand more than half a century earlier. They are for all the world like Raphael's wonderful creations in the Vatican. The great trumpeting angels on the top of the organ are eighteenth century work. Originally much smaller angels stood there, which in the seventeenth century were replaced by pinnacles. The doors of the screen belong to the Laudian revival, and bear the arms of Charles the First. The west door of the Chapel is of the same period, but the north and south doors are the original ones.

The Choir stalls date from Henry the Eighth, but the elaborate coats of arms carved over each were not added till 1633, and the canopies not till 1675. The magnificent bra.s.s lectern was given by Provost Hacombleyn, at the opening of the chapel; but the present altar is a very modern addition, having been only put up in the twentieth century. It stands, as directed by the Founder, no fewer than 16 feet from the eastern wall. The wood-work of the sanctuary walls is not even yet (1910) fully completed. It is of Renaissance character, as is also the altar. The lighting of the Chapel, it should be said, is still, happily, done only with candles; and, on a winter afternoon, their twinkling points of fire, in endless range, amid the vasty gloom, give an impression of mysterious solemnity to be obtained nowhere else.

Beautiful as the Chapel is, it would, had the designs of the Founder been carried out, have been yet more beautiful. His Will expressly deprecates that "superfluitie of too gret curious werkes of entaille and besy moulding" which the ante-chapel now exhibits in the elaborate series of Royal coats of arms beneath every window. They are beautifully carved, it is true, and we may note that the att.i.tudes of the supporters (the Tudor dragon and greyhound) are in no two cases identical. But the whole effect is somewhat to weary the eye. So also do the perpetual roses and portcullises with which the walls are bestudded. One of the former, however, deserves special notice, as in it is framed one of the very few mediaeval images of Our Lady which has weathered the storm of the Reformation. It is to be found at the southern corner of the west wall, and is what is known as a _Rosa Solis_. The inner petals are sun-rays, and in the midst is the "Woman clothed with the sun." (The White Rose of York is also sometimes represented in the windows as a sun-rose, the sun being also a Yorkist badge, but in this the rays are external to the flower.)

The walls, then, would have been less ornate, and more truly beautiful for the absence of profuse ornament, had the Founder's design been carried out. And we can see that even the exquisite roof was meant to be yet more lovely than as it now enraptures the eye. If we look at one of the soaring pilasters and follow up its lines, we shall see that each of the flutings is prolonged in a rib of the fan vaulting.

No, not quite each. There is one member which has no such prolongation, but ends meaninglessly at the capital. And this tells us that the pilasters were designed to carry not a fan but a _liern_ vaulting; so called because it appears to be a mesh of intertwined ivy (_lierre_) binding the fabric together. And beautiful as a fan roof is, a liern roof is capable of expressing harmonies of proportion yet more delicate and soul-satisfying. How subtle and exalted these harmonies would have been here we shall best learn if we have the good fortune to gain admission to the range of small side-chapels which flank the fane on either hand, nestling between the mighty b.u.t.tresses.

For in these, while the more western have the fan roof, the eastern and earlier built show liern vaulting of the most delicious character.

These side-chapels were intended each to have an altar, at which the Priest to whom it was a.s.signed should say his own Ma.s.s daily, while all should meet later before the High Altar to a.s.sist at the Collegiate Ma.s.s. They are now used for various subsidiary purposes connected with the services. One contains the heating apparatus, another the hydraulic bellows of the organ, while many are mere lumber-rooms. These last are those ab.u.t.ting on the Choir, which have no opening into the Nave, such as those adjoining the ante-chapel possess. Through the gratings we may note some stained gla.s.s of an entirely different character from that in the Chapel windows. It is, in fact, of the previous (Fifteenth) Century, and thus older than the Chapel itself. From what earlier building it has been transferred is uncertain. Tradition, for some unknown reason, a.s.signs it to Ramsey Abbey; but it seems more reasonable to suppose that it came from the old church of St. John Zachary hard by, when that was pulled down to make room for the College, and its fragments, as excavation has shown, utilised for levelling the site.

In one of the southern side-chapels will be found a verger, from whom it is well worth while to obtain access to the roof of the Chapel.

This is reached by a wide spiral stairway in the north-western turret.

Our first goal is a small door (the key of which should be specially asked for) leading into a narrow loop-holed pa.s.sage, from which we can scramble into the s.p.a.ce between the two roofs of the Chapel. We are here on the top of the fan vaulting which we have so much admired from below, and can note with what wondrous skill its huge stones are dovetailed into one another with the round keystone boss in the centre of each span. Above, and only just above, our heads are the mighty beams of Spanish chestnut composing the upper roof, the long vista being lighted by a small grated window at either end.

Returning to the staircase it does not take many steps more to bring us to the roof proper, with its open-work parapets and long leaden slope. This should be climbed to get the full benefit of the view, and those gifted with steadiness of head and sureness of foot will do well to make their way along the ridge from end to end, for each has its own beauties to show. To the West we see below us the great lawn, and the court of Clare, and the river, and the delicious verdure of the Backs, amid which rise the red walls of the Ladies' College at Newnham, and the adjoining Anglican foundation of Selwyn; while beyond is the open country, bounded by the low chalk upland stretching from Madingley Hill on the North to Barrington Hill on the South. The spire, so conspicuous on the summit of this range, is that of Hardwicke Church. To the South we can distinguish the places already described, (the little gla.s.s dome of the Fitzwilliam Museum, and the graceful spire of Our Lady's Church, being conspicuous objects,) and, beyond, the distant range of the East-Anglian Heights from the furthest north-east to the furthest south-west, that form the watershed of the wide valley of the Cam. To the East, the tower of the University Church, Great St. Mary's, raises its turrets almost to the level of our feet, and we look down on a maze of Cambridge house-roofs bright with the variegated tiling which is their special and beautiful characteristic. Beyond them the near promontory of the Gog Magog Hills juts out from the East-Anglian Heights on which lies Newmarket. To the North come College after College, Clare, Trinity Hall, Caius, Trinity, St. John's, Magdalene; while the University Library and the Senate House lie nearer still. Due north, across these, and across the wide-flung plain beyond them, the plain of the Southern Fenland, we can, if the day be clear, discern on the far horizon the shadowy towers of Ely Cathedral, fifteen miles away as the crow flies.

CHAPTER IV

Spiked gates.--Old King's.--=University Library=, Origin, Growth, Codex Bezae.--=Trinity Hall=, Colours, Library.--=Clare College=, "Poison Cup," Court, Bridge, Avenue.--The Backs, Sirdar Bonfire, College Gardens.--=Trinity College=, Michaelhouse, King's Hall, Henry the Eighth, Boat-clubs, Avenue, College Livings, Bridge, Library, Byron, Nevile's Court, Cloisters, Echo, "Freshman's Pillar," Prince Edward, Royal Ball, Goodhart, b.u.t.tery, College Plate, Grace-cup, Kitchen, Hall, Combination Room, Marquis of Granby, Tutors, Old Court, Fountain, Gate Towers, Clock, Lodge, Chapel, Newton, Organ, Bentley, Windows, Macaulay.

On leaving King's Chapel we should give a glance to the marked line of demarcation between the whitish stone of which the lower courses are built and that employed in the upper.[21] It is of historical interest as showing how far the work had progressed before the long break caused by the Founder's death. Then, pa.s.sing round the West Front, and noting the exquisitely delicate tracery of the canopies over the empty niches on either side of the door (wherein the two saints Mary and Nicolas to whom the building is dedicated were destined to stand) we leave the College by the iron gate on the North.

[Footnote 21: The former is from Huddleston in Yorks.h.i.+re, the latter from Weldon in Northamptons.h.i.+re.]

The formidable chevaux-de-frise which crown this gate are supposed at once to figure and to emphasise the danger run by such presumptuous students as dare to contemplate illicit exit from or entrance into the College during prohibited hours. It has already been said that between 10 p.m. and 7 a.m. no undergraduate resident in College may leave its precincts, and no outsider may enter, under divers pains and penalties. Every College supplements this moral pressure by more or less effectual and awe-inspiring physical barriers. None however are more fearsome to see, and less effective in fact, than these. For not only can the College be entered or left with comparative ease by way of the Backs, but even this ghastly array of spikes is not unscalable to those who know the trick of it. Tennyson, as will be remembered, has referred to this exploit in his "Princess."

Pa.s.sing beneath them we find ourselves again in that same ancient street of Cambridge, here again now a wholly Academic byway, by which we entered King's. But though we have left the College behind us we have not yet quite got clear of its a.s.sociations. The fine modern Gothic pile to our right embeds, as we see, an ancient gateway. For more than three and a half centuries this was the entrance to the one small Court which alone represented the magnificent design of Henry the Sixth for his Royal Foundation. Not till the nineteenth century dawned were the students moved to the other side of the Chapel. The old precincts were then mostly destroyed, and the site made over to the University Library; for the growth of that magnificent inst.i.tution has long taxed to the utmost all the accommodation that can be provided for it.

The mediaeval Library of the University was a collection of ma.n.u.scripts, requiring only one small room. Of its eighteen book-cases, eight were devoted to Theology, four to Law, and one apiece to Cla.s.sics, Mathematics, Medicine, Logic, Moral Philosophy, and Scholasticism. This original Library was utterly swept away at the Reformation: Dr. Perne of Peterhouse, when Vice-Chancellor in the reign of Edward the Sixth, thus signalising his new-born zeal for Protestantism. A few years later, however, we find him amongst the first founders of the present Library, which now ranks third amongst the great Libraries of England; that of the British Museum standing first, and the Bodleian Library at Oxford second. All three are ent.i.tled to a free copy of every book published in the kingdom; so that their growth is now-a-days portentously rapid. One of the most striking features in this Library is the tableful of new books, scores in number, which is cleared every Friday.

This rapid growth however is modern. The one ancient room sufficed for the Library, till George the First rewarded the Whig loyalty of the University by a gift of 30,000 volumes.[22] The expansion thus begun has continued with accelerated speed. One by one the various ancient "Schools" which, with the old Library room, formed a small quadrangle, have been absorbed by its growth; until now the whole block belongs to it, as well as the old site of King's College, the main edifice on which, known as "c.o.c.kerell's Building," was erected 1837, where the College Hall once stood.

[Footnote 22: This gift called forth a satirical epigram from Oxford; where the prevalent Toryism was made the pretext for quartering a regiment of cavalry in the city to suppress Jacobite demonstrations:

"King George, observing with judicious eyes The state of both his Universities, To Oxford sent a troop of horse;--and why?

That Learned Body wanted Loyalty.

To Cambridge books he sent; as well discerning How much that Loyal Body wanted Learning."