in progress. It was built under the direction of the illustrious Wykeham, the favourite of Edward III. He rose from the humblest origin, to fill the highest offices in church and state. His architectural genius shed a lustre around the age in which he lived. He was a wit and a courtier, as well as an architect, which no doubt contributed to raise him to his elevation; certainly it saved him on one occasion from the severe displeasure of his royal master. When he had finished the castle, he wrote the famous inscription, "Hoc fecit Wykeham;" respecting which an old Latin historian* tells the following story:-"The courtiers represented to the king that the architect had arrogated to himself all the glory of the palace; but when the king, greatly incensed, charged Wykeham with the crime, he, not with a sorrowful and affrighted countenance, but with great composure and good humour, replied, the man was either ignorant of grammar, or a malicious calumniator, who founded a criminal charge upon a mere inversion of grammatical cases. 'Neither, serene prince,' he added, 'did I make this castle, but this castle made me all I am; that is, it has placed me in your majesty's favour, and raised me from a humble condition to the highest fortune' which reply, so facetious and worthy of Wykeham (for it was a true specimen of learning, readiness, and wit), not only removed the displeasure of the king, but raised him greatly in his estimation."

Of the general appearance of Edward III.'s castle, some idea may be formed from a consideration of the style of architecture which prevailed in the fourteenth century, combined with such

* "Historica Descriptio Vita Wicam," quoted by Bayle in loco " Wicam."

historical statements regarding this noble edifice as antiquarian research has brought to light. At that period a considerable change took place in the construction of baronial residences. While regard was had to defence, more attention was paid to effect. The solidity of the fortress was united with somewhat of the beauty and grandeur of the palace. Buildings designed for the comfort of the lord and his family, formed a more prominent feature in the general plan. The solidity of the keep and the strength of the outworks were no longer the sole consideration. The grouping of towers variously shaped, those flanking the gateway being generally the most conspicuous for lofty proportions, formed a characteristic distinction. The loophole gave place to the glazed window, and even to the elegant oriel; while the machicolation, at once defensive and ornamental, crowned the gateways. The improved character of the architecture of the period is not only a sign of increasing taste, but an indication of the more settled and peaceful state of society. The noble could turn his thoughts to the decoration of his residence, because he was no longer compelled by the prevalence of war and misrule, to confine his thoughts to selfprotection.

Before the time of Edward III., Windsor Castle did not extend to the east much beyond the round tower; the buildings forming the quadrangle were his additions. They formed a third and upper ward. On the southern and eastern sides they presented an aspect of defence. A ditch ran along their base, guarded by curtain walls, blank and unbroken save by the gateways and loopholes of the towers. The north side, before

Queen Elizabeth added the present fine terrace, probably presented the same appearance. The apartments were lighted from the inner courts; and hence several smaller courts, known as the Brick Court, Kitchen Court, and Horn Court, were introduced on the north side, which had a double range of buildings. Of the external appearance of Edward's castle no remains have been spared but the Norman gateway and the old towers on the western walls, which were permitted to retain their original character. The square outlines of the towers in general seem to have been relieved by lofty and picturesque turrets, most of which disappeared under the modernising ravages of the reign of Charles II. Two interesting relics of the interior of Edward's castle may be still seen in the groined vaulting which forms the basement to the Devil's Tower, and that which runs for a considerable distance along the north side of the quadrangle, under the guard chamber of St. George's Hall. The hall was restored by George IV., somewhat in its primitive style. The architect, Sir Jeffry Wyatville, adopted the original form of the windows; but the roof at first was of open timbers, the main rib being a four-centred arch, springing from an embattled cornice, and the space between the arch and the rafters being richly ornamented with open foliated panelling. The wall at the upper end, above the springing of the arch, was also richly panelled, in a style which might have seemed at first to be of a later date; but the English perpendicular architecture was gaining ground before these buildings were completed.

A chair of great antiquity, belonging, perhaps, to the time of the founder, remained till within a few years in St. George's

Hall; when, through some strange neglect, it was suffered to be removed, and is now, I am informed, in the possession of the Marquis of Salisbury. Chairs were, at that period, often richly painted and gilded; in illustration of which we find in the wardrobe book of Edward I., an entry of £1 19s. 7d. to Walter the painter, for a step to the foot of the new chair, in which the stone of Scotland was placed, near the altar, before the shrine of St. Edward, at Westminster; and to the carpenters and painters, for painting the said step, and for gold and colours to paint it with also, a case for its covering.

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This seems the proper place to mention that Edward III. took down the old chapel, and erected another more spacious. Writs were issued, as in the case of the castle, empowering the master of the works to impress artificers, and convey them to Windsor, and to arrest and imprison them summarily in case of refusal. He also erected houses adjoining for the accommodation of the custos, or dean and canons. Geoffry Chaucer, the great poet, was appointed clerk of the works to the chapel, in the year 1390, and empowered to imitate his predecessors in pressing workmen. He was allowed a payment of two shillings a day for his own services. At that time the chapel, which had been erected but forty years, was described to be in a ruinous condition, and its unsafe state was the cause of its being rebuilt by Edward IV.,—a fact which has led some architects to conjecture that there must have been some very great settlement in the foundation of the structure.

The reader's attention must now be directed to the institution of the Order of the Garter, an event so intimately connected with

the history of Windsor in the fourteenth century. Orders of knighthood are of ancient date, and the indefatigable Ashmole has given a laborious disquisition on the various kinds, both religious and military. He describes the Knights of the Holy Sepulchre, of St. John the Baptist, of the Order of St. Lazarus, and others, to the number of forty-six, of the religious class, and also specifies their various insignia; and then he adds a catalogue of the military class, beginning with the far-famed Knights of the Round Table, for which the worthy antiquarian entertained the highest veneration, and enters upon minute particulars relative to forty-five other orders. No wonder he thus expatiates on the theme, for he observes, that," in the dignity, honour, and renown of knighthood is included somewhat of magnificence, more excellent than nobility itself, which, mounting the royal throne, becomes the assertor of civil nobility, and sits as judge at the tribunal therefore."

The institute of the Garter sprang from the spirit of chivalry, which appeared in its greatest splendour in the fourteenth century. That spirit was a strange mixture of valour, superstition, and gallantry. War was the grand business of the knight, and for the sake of its honours the pursuits of peace were scorned: and habits of even ferocious warfare were not deemed inconsistent with his vaunted profession. Religion, whose genius was sadly mistaken, was made to impart her sanction to a life of violence and bloodshed, and the sword and the cross were strangely coupled; while gallantry animated the bosom of the holy soldier, and "God and the ladies" was his favourite watchword. "His mistress," says Godwin, "was the deity he adored,