Strange, that a period at which the light of the Gospel, after an interval of many centuries in partial obscuration, once more shone forth upon us in unclouded lustre, should have also been marked by the rise of a barbarous and fanatical spirit, which, accounting the exquisite works of art, wherewith the piety and liberality of our ancestors had adorned the temples of the Most High, only as so many reliques of superstition, would gladly have involved them in one common and total destruction! Among the principal alterations which the Chapel has received, were those effected in the year 1635, when it was newly stalled, wainscotted, paved with black and white marble, furnished with a new organ, a screen, and new painted windows. Some of the last mentioned were destroyed not long after by the Parliament soldiers, who, in the true spirit of fanatical Vandalism, laid the windows flat on the ground, and then, by jumping on them, reduced them to shivers. In the year 1740, a screen and pannelling, both Grecian, the latter of which conceals the formerly beautiful eastern wall, were put up. In 1793, a new roof, by Wyatt, after the antique, was erected. Each side of the choir exhibits a range of windows, five in number, filled with representations, in claro obscuro, of the Apostles, Fathers, Saints, &c. Of these, eight were removed from the antechapel, in the year 1741, and two new ones, one on each side next to the altar, added by Price junior. In the great western window is a representation, also in claro obscuro, of the Last Judg ment, executed after a design of Christopher Schwartz. This was restored in 1794, by Egginton, from the damaged state in which it had K lain ever since the high wind in 1703. Of the two paintings over the altar, the upper one was executed by Fuller; and that beneath it, as is generally allowed, by Moralez, a Spanish artist of great celebrity during the sixteenth century, and usually styled, by way of eminence, El Divino. To the former of these, which represents the last judgment, the general opinion seems to have been more unfavourable than is consistent with strict justice; the latter has obtained its due meed of praise, and is well known through the medium of Sherwin's fine engraving. It is a representation of Christ bearing the cross, and was brought from Vigo by the last Duke of Ormond. It was presented to the College by Mr. William Freman, of Hamels in Hertfordshire. To this gentleman the College is also in part indebted for the fine toned organ, on which, twice every day, namely, at ten, and between three and four o'clock, the choral service of the Chapel is accompanied. The ante-chapel is lighted by eight windows, containing finely executed portraits of St. John the Baptist, St. Mary Magdalen, Kings Henry III. and VI. Bishops Wykeham, Waynflete, and Fox, and Cardinal Wolsey. In addition to these, the ante-chapel windows also contain representations of our Saviour's Baptism, and of the Ado d The former organ was taken down, during the Usurpation, as an engine of superstition; and, by Cromwell's order, for his own amusement, set up in the great gallery at Hampton Court. At the Restoration it was replaced in the Chapel, where it remained, till superseded by the present instrument; on which it migrated to the church of Tewkesbury, in Gloucestershire, where it is said still to remain. Mr. Freman also contributed to the music of the College steeple, by a present of two additional bells to the former peal of eight. On Sundays and Holydays, however, morning service begins at eight o'clock. ration at the Sepulchre; besides numerous coats of arms, and other ornamental appendages. The two fine columns which support the roof of the ante-chapel will scarcely escape the notice of even the most careless observer; besides which, the room possesses another source, a melancholy source, of attraction, in its numerous monuments. Of these many are well sculptured; but our limits will permit us to particularize only one, by Stone, to the memory of two sons of the brave and loyal Sir Thomas Lyttelton. These young gentlemen, both of whom were students of this College, were bathing in the river Cherwell: one of them was in danger of drowning, and cried out; the other flew to save him, but perished with him in the attempt. Returning into the great quadrangle, we find, on its northern side, a passage leading into a court, at the opposite extremity of which stands the pile called the New Building. This forms one side of an intended new quadrangle, in completion of which (and who that venerates antiquity will hear it without a sigh !) the demolition of three sides of the fine old cloistered quadrangle, is said to have been contemplated. Towards this design a building fund is understood to have been long accumulating; but we venture to hope that it will find another destination: as Mr. Chalmers justly remarks, "the opening to the east and west present "picturesque scenes of such striking beauty, that "taste at least will be amply gratified by finish"ing the ends of the present new building, and f For this tomb, Stone, who was an artist of high repute in those days, received 30%. The frightful porch by which the beautiful southern front of St. Mary's church is so lamentably disfigured, was also the work of Stone. "taking down the north side of the old qua"drangles." The pile of new building here referred to extends to the length of three hundred feet, forming a handsome elevation of three stories. The front rests upon a piazza, the roof of which is tastefully wrought in stucco. The rooms, which are disposed in three lofty ranges, are nearly uniform in size, and are appropriated almost wholly to the accommodation of the Fellows. The only other buildings attached to the College that yet remain to be noticed consist of some rooms on the east of the Hall, and of what is termed the Chaplain's courth, on the southern side of which stands the noble TowER, that forms so conspicuously beautiful an object on entering Oxford by the London road, and so greatly ennobles every distant prospect of the city. For a union of real solidity with great lightness of appearance, this structure yields to few of the many elegant towers, erected by English architects, previously to the commencement of the sixteenth century. It is divided into four stories; in each side of the lower three of which is a pleasingly simple pointed window. In each face of the upper story are two lofty windows of more elaborate workmanship. Above these the Tower displays much ornamental sculpture, and is crowned by an open wrought battlement. From the angles of the Tower project slender turrets of an octagonal form, which, being carried up a considerable g History of the Colleges and Halls, p. 209. h On the fifth of August, 1719, a fire broke out in the Demies' Common-Room, in this part of the College. It was discovered about two in the morning, and was fortunately got under without doing any farther damage than burning the compass of a room in three stories, height above the parapet, terminate in richly crocketted pinnacles, between each of which is inserted another pinnacle of equal height, but of more delicate proportions. Tradition ascribes the erection of this fine Tower to Cardinal Wolsey, who, in his 23d year, was Bursar of the College. The PLEASURE-GROUNDS belonging to Magdalen College constitute one of its most agreeable appendages. They acquire also a peculiar interest from the feelings with which, as we wander among their shady recesses, we call to memory the names iAt the hour of five on the morning of May-day, the choristers of the College assemble on the top of this tower, and sing the following Hymn : Hymnus Eucharisticus Deo Tri-uni. Te Deum Patrum colimus, Tu, qui non dedignatus es Actus in crucem factus es Per Te, Salvator unice, Tri-une Deus, hominum This is done in lieu of a requiem, which, before the Reformation, was performed in the same place for the soul of Henry VII. The rectory of Slimbridge, in Gloucestershire, is charged with an annual payment of ten pounds for the performance of this-service. |