The Charm of Oxford Part 6
shines afar. And the kitchen, a perfect cube in shape, is worthy of the hall which it feeds, and is, perhaps, more appreciated by many of Oxford's visitors; for the taste for meringues is more common than that for masterpieces of portraiture. The report to Wolsey, in 1526, by his agent, the Warden of New College, is still true; the kitchen is "substantially and goodly done, in such manner as no two of the best colleges in Oxford have rooms so goodly and convenient."
The approach to the hall, seen in Plate XVIII, is later than Wolsey's work, but is fully worthy of him. The beautiful fan tracery, which hardly suffers by being compared with Henry VII's Chapel at Westminster, was put up, extraordinary as it may seem, in the middle of the seventeenth century, by the elder Dean Fell; all we know of its origin is that it was the work of "Smith, an artificer of London," surely the most modest architect who ever designed a masterpiece. The staircase itself is later, the work of the notorious Wyatt, who for once meddled with a great building without spoiling it.
The history of Christ Church is very largely the history of the University of Oxford. It is still our wealthiest and largest foundation, although the disproportion between it and other colleges is by no means so great as it once was; and, thanks to its having been ruled by a series of famous and energetic deans, its periods of inglorious inactivity have been fewer than those of most other colleges. The roll of deans contains such names as those of John Owen, the most famous of Puritan preachers, John Fell, theologian and founder of the greatness of the Oxford Press, Henry Aldrich, universally accomplished as scholar, logician, musician, architect, Francis Atterbury, Jacobite and plotter, Cyril Jackson, who ruled Christ Church with a rod of iron, and who ranks first among the creators of nineteenth-century Oxford, Thomas Gaisford and Henry George Liddell, great Greek scholars. It seems that a college gains something by having its head appointed from outside; the Dean at Christ Church is appointed by the Crown.
The importance of Christ Church is especially seen in its hall, through its collection of portraits. It is not only that this is superior to that of any one other college; it may well be doubted if the combined efforts of all the colleges could produce a collection equal to that of Christ Church in artistic merit, or superior to it in historical importance. The prime ministers of England, of whom Christ Church claims twelve (nine of them in the last century), are represented among others by George Grenville, the unfortunate author of the Stamp Act, George Canning, who called "the New World into existence to redress the balance of the Old," and W. E. Gladstone; among the eight Christ Church men who have been Governor-Generals of India, the Marquess Wellesley stands out pre-eminent; Christ Church has sent five archbishops to Canterbury and nine to York; there is a portrait in the hall of Wake, the most famous of the holders of the See of Canterbury. Lord Mansfield's picture worthily represents the learning and impartiality of the English Bench. But even more interesting than any of those already mentioned are the portraits of John Locke, who was philosopher enough to forgive Christ Church for obeying James II and expelling him, of William Penn, presented, as was fitting, by the American state that bears his name, of John Wesley and of Dr. Pusey, whose names will be for ever a.s.sociated with the two greatest of Oxford's religious movements. And it may well be hoped that C. L. Dodgson ("Lewis Carroll") will delight children for many generations to come, as he has delighted those of the last half- century, by his Alice and her "Adventures."
An interest, rather historical than personal, attaches to the group portrait that occupies a position of honour over the fireplace; it represents the three Oxford divines--John Fell (already mentioned), Dolben, who later was Archbishop of York, and Allestree, afterwards Provost of Eton, who braved the penal law against churchmen by reading the forbidden Church Service daily all through the time of the Commonwealth.
Nowhere, so much as in Christ Church, is the poet's description of Oxford appropriate; her students may:
"Stand, in many an ancient hall, Where England's greatest deck the wall, Prelate and Statesman, prince and poet; Who hath an ear, let him hear them call."
[Plate XIX. Christ Church : The Hall Interior]
CHRIST CHURCH (3) "TOM" TOWER
"Those twins of learning, which he raised in you, Ipswich and Oxford, one of which fell with him; The other, though unfinished, yet so famous, So excellent in art, and still so rising, That Christendom shall ever speak his virtue."
SHAKESPEARE, /Henry VIII/.
Oxford is described by Matthew Amold as,
"Beautiful city, with her dreaming spires,"
yet it is for her towers, especially, that she is famous. Glorious as St. Mary's is, it certainly does not surpa.s.s Magdalen Tower; and it may well be doubted whether the genius of Wren has not excelled both Magdalen and St. Mary's in "Tom" Tower. Gothic purists, of course, do not like it. There is a well-authenticated story of a really great architect who, in the early days of the twentieth century, was asked to submit a scheme for its repair; after long delay he sent in a plan for an entirely new tower on correct Gothic lines, because (as he wrote) no one would wish to preserve "so anomalous a structure" as Tom Tower. The world, however, does not agree with the minute critics; it is easy to find fault with the details of "Tom," but in proportion, in dignity, in suitability to his position, the greatest qualities that can be required in any building, "Tom" is pre-eminent.
This is the more to be wondered at, as the tower was erected a century and a half after the great gateway which it crowns.
The genius of Wolsey had planned a magnificent front, but only a little more than half of it was completed when Henry VIII ended the career of his greatest servant, and altered the plans of the most glorious college in Europe. It was not till the period just before the Civil War that the northern part of the front of Christ Church was built by the elder Dean Fell, and the work was only completed when his son, the famous Dr. Fell, doomed to eternal notoriety by the well-known rhymes about his mysterious unpopularity, employed Wren to build the gate tower. Yet the whole presents one harmonious design, worthy of the most famous of Oxford founders and of the greatest of British architects. It is fitting that it should be Wolsey's statue which adorns the gate--a statue given by stout old Jonathan Trelawny, one of the Seven Bishops, whose name is perpetuated by the refrain of Hawker's spirited ballad, which deceived even Macaulay as to its authenticity:
"And must Trelawny die?
Then thirty thousand Cornish men Will know the reason why."
Tom Tower appeals to Oxford men through more than one of their senses; it is a most conspicuous object in every view; and in it is hung the famous bell, "Great Tom," the fourth largest bell in England, weighing over seven tons. This once belonged to Osney Abbey, when it was dedicated to St. Thomas of Canterbury, and bore the legend:
"In Thomae laude resono Bim Bom sine fraude."
It was transplanted to Christ Church in the reign of Queen Mary, and at the time it was proposed to rechristen it "Pulcra Maria," in honour at once of the Queen and of the Blessed Virgin; but the old name prevailed. Every night but one, from May 29, 1684, until the Great War silenced him, Tom has sounded out, after 9 p.m., his 101 strokes, as a signal that all should be within their college walls; the number is the number of the members of the foundation of Christ Church in 1684, when the tower was finished. During the war Tom was forbidden to sound, along with all other Oxford bells and clocks, for might not his mighty voice have guided some zeppelin or German aeroplane to pour down destruction on Oxford? Few things brought home more to Oxford the meaning of the Armistice than hearing Tom once more on the night of November 11, 1918.
[Plate XX. Christ Church: "Tom" Tower]
A patriotic tradition claims for Tom the honour of having inspired Milton's lines in "Il Penseroso":
"Hear the far-off curfew sound Over some wide-watered, sh.o.r.e, Swinging slow with sullen roar."
But it is difficult to believe this; Milton's connection with Oxford does not get nearer than Forest Hill, and blow the west wind as hard as it would, it could scarcely make Tom's voice reach so far. And the "wide-watered sh.o.r.e" is only appropriate to Oxford in flood time, the very last season when a poet would wish to remember it.
The view in Plate XX of the tower is taken from the front of Pembroke, and must have been often admired by Oxford's devoted son, Samuel Johnson, when, as a poor scholar of Pembroke, "he was generally to be seen (says his friend. Bishop Percy) lounging at the college gate, with a circle of young students round him, whom he was entertaining with his wit and keeping from their studies."
ST. JOHN'S COLLEGE
[Plate XXI. St. John's College : Garden Front]
"An English home--gray twilight poured On dewy pastures, dewy trees, Softer than sleep, all things in order stored, The haunt of ancient Peace."
TENNYSON, Palace of Art.
St. John's shares with Trinity and Hertford the distinction of having been twice founded. As the Cistercian College of St. Bernard, it owed its origin to Archbishop Chichele, the founder of All Souls', and it continued to exist for a century as a monastic inst.i.tution. At the Reformation it was swept away with other monastic foundations by the greed of Henry VIII, but it was almost immediately refounded, in the reign of Mary, by Sir Thomas White, one of the greatest of London's Lord Mayors. In all these respects it has an exact parallel in Trinity, which had existed as a Benedictine foundation, being then called "Durham College," and which was refounded, in the same dark period of English History, by another eminent Londoner, Sir Thomas Pope. It is characteristic of England and of the English Reformation that men, who were undoubtedly in sympathy with the old form of the Faith, yet gave their wealth and their labours to found inst.i.tutions which were to serve English religion and English learning under the new order of things.
For the first generation after the Founder, St. John's was torn by the quarrels between those who wished to undo the work of the Reformation altogether, and those who wished to carry it further and to destroy the continuity of English Church tradition. The final triumph of the Anglican "Via Media" was the work, above all others, of William Laud, who came up as scholar to St. John's in 1590, and who, for most of the half century that followed, was the predominant influence in the life of the University. First in his own college and then in Oxford generally, he secured the triumph of his views on religious doctrine and order. Of these, it is not the place to speak here, nor yet of Laud's services to Oxford as the restorer of discipline, the endower and encourager of learning, the organizer of academic life, whose statutes were to govern Oxford for more than two centuries; but it is indisputable that Laud takes one of the highest places on the roll of benefactors, both to the University as a whole and to his own college.
It was fitting that one who did so much for St. John's should leave his mark on its buildings; the inner quadrangle was largely built by him, and it owes to him its most characteristic features, the two cla.s.sic colonnades on its east and west sides, and the lovely garden front, one of the three most beautiful things in Oxford: the north- east corner of this is shown in Plate XXI.
Laud's building work was done between 1631 and 1635, and in 1636 Charles I and his Queen visited Oxford and were entertained in the newly-finished college. Much bad verse was written on this event, two lines of which as a specimen may be quoted from the quaintly-named poem, "Parna.s.sus Biceps":
"Was I not blessed with Charles and Mary's name, Names wherein dwells all music? 'Tis the same."
The part of the entertainment to royalty on which the Archbishop specially prided himself was the play of The Hospital of Lovers, which was performed entirely by St. John's men, without "borrowing any one actor." Laud goes on to observe that, when the Queen borrowed the dresses and the scenery, and had it played over again by her players at Hampton Court, it was universally acknowledged that the professionals did not come up to the amateurs--a truly surprising and somewhat incredible verdict. St. John's, however, was always strong in dramatic ability; Shirley, the last great representative of the Elizabethan tradition, was a student there, and the library has the rare distinction of having possessed longest the same copy of the works of Shakespeare; it still has the second folio, presented in 1638, by one of the fellows. St. John's connection with the lighter side of literature has lasted to our own day; the most famous of Oxford parodies is still the Oxford Spectator, which has not been surpa.s.sed by any of its many imitators in the last half century.
Other colleges, however, might challenge the supremacy of St. John's in the humours of literature.. In the richness and beauty of its garden it stands unrivalled, whether quant.i.ty or quality be the basis of comparison. It is not only that before the east front, seen in Plate XXI, stretches the largest garden in Oxford; thanks to the skill and the care of the present garden-master, the Rev. H. J.
Bidder, this shows from month to month, as the pageant of summer goes on, what wealth of colour and variety of bloom the English climate can produce. It may be said to be laid out on Bacon's rule: "There ought to be gardens for all months in the year, in which severally things of beauty may be then in season"; only for "year" we naturally must read "academic year." If Bacon is right, that a garden is the "purest of human pleasures," then, indeed, St. John's should be the Oxford paradise.
WADHAM COLLEGE (1) THE BUILDINGS
"Here did Wren make himself a student home, Or e'er he made a name that England loves; I wonder if this straying shadow moves, Adown the wall, as then he saw it roam."
A. UPSON.
[Plate XXII. Wadham College : The Chapel from the Garden]
The buildings of Wadham College have been p.r.o.nounced by some good judges to be the most beautiful in Oxford. This is not, however, the usual opinion, nor is it my own, though, perhaps, it might be accepted if modified into the statement that Wadham is the most complete and perfect example of the ordinary type of college. However that may be, there are three points as to these buildings which are indisputable, and which are also most interesting to any lover of English architecture. They are: (1) Wadham is less altered than any other college in Oxford.
(2) It is the finest ill.u.s.tration of the fact that the Gothic style survived in Oxford when it was being rapidly superseded elsewhere.
(3) No building in Oxford (very few buildings anywhere) owe their effect so completely to their simplicity and their absence of adornment.
These three points must be ill.u.s.trated in detail.
Wadham is the youngest college in Oxford, for all those that have been founded since are refoundations of older inst.i.tutions (but, as its first stone was laid in 1610, it has a respectable antiquity); yet the Front Quad is completely unaltered in design, and of the actual stonework, hardly any has had to be renewed. Could the Foundress return to life, she would find the college, which was to her as a son, completely familiar.