288 feet long, and 33 feet wide, being, it is said, the largest in the kingdom. One other building belonging to the University remains, which must not be passed unnoticed, the University Galleries. This is the last building of importance that has been erected in Oxford, and the most important that has been erected there for many years. Sir Robert Taylor and Dr. Randolph bequeathed sums of money, the one "for erecting a proper edifice, and for establishing a foundation for the teaching and improving the European languages" -the other for erecting galleries for the reception of the Pomfret Statues belonging to the University, "and for paintings, engravings, and other curiosities, which may occasionally be left to that learned body." It being found difficult to procure ground suitable for these two buildings, the authorities determined to unite them in one; and C. R. Cockerell, Esq., R.A., was the architect appointed to carry out the intentions of the founders. The result is certainly a very magnificent edifice-vast in size, substantial in character, ornate in the details; but though very picturesque in effect, perhaps wanting something in impressiveness as a whole. To us, at least, the parts have an unconnected appearance. The fault, if it exist, may arise from the difficulty of uniting in one design objects so different as galleries of art and lecture-rooms for modern languages, and moulding it so as that while the parts are appropriate, the whole shall preserve unity and dignity of character. The central building is about 150 feet long, and has a tetrastyle Corinthian portico rising above the building itself to a level with the wings. The wings, which project about 70 feet beyond the centre, have Ionic columns, and very large arched windows, which cut through the entablaturea feature not unusual in Mr. Cockerell's works. The east wing is the Taylor building; the west, the Ran

dolph building. The front of the Taylor building in St. Giles's-street, has an unusual richness and piquancy of character from the capitals of the four columns being surmounted by statues of France, Germany, Italy, and Spain-the nations whose languages are taught in the institution. (Cut, No. 3.) Internally, the rooms seem well adapted for their several purposes. Visitors will, of course, only be attracted by the Galleries. They consist of galleries for ancient and modern sculpture; and for paintings, drawings, and engravings. Already they contain many noble specimens of art. In ancient sculpture, there is the Pomfret collection, which, though of but meagre interest compared with those in the British Museum, is yet of considerable value. It is, however, to be regretted that many of the statues were grievously injured by one Guelfi, an Italian, who was employed by the father of Earl Pomfret, when they came into his possession, to restore them. Guelfi mistook the original intent of every statue he operated on, and spoiled nearly all. The modern sculpture includes the "munificent gift," as the University well termed it, of the original models of the entire series of Sir Francis Chantrey's busts, the greater part of his monumental figures, and also his studies from the antique, which his widow presented to the University, "on condition that a permanent place be assigned to them in the Western Sculpture Gallery . . . it being understood that, if removed, the whole collection, under the name of the Chantrey Collection, shall always be kept together.' It is not easy to overrate the value of this collection. Probably no sculptor ever equalled Chantrey in the execution of a bust. Almost invariably he seized the most characteristic expression, and he always represented the features with fidelity, and in a masterly breadth of style. His chisel perpetuated, as is well known, a large

The front of the college in St. Aldate's has a striking effect, both from its architectural excellences and its great extent its length being about 400 feet. In the centre is a lofty entrance-tower, the famous Tom Gateway; which, though begun at the foundation of the college, was only completed in 1682, under the direction of Sir Christopher Wren-to whom other parts of the college also owe some ornaments of a kind not very consistent with the original buildings. The gateway is named the Tom from the cupola containing the great bell of that name, whose sonorous voice is so well known to all Oxonians. It was brought from Oseney Abbey, and weighs some 17,000 pounds. Every night, at ten minutes past nine, Tom tolls 101 times, that being the number of students on the foundation; and at the sound the gates of most of the colleges are closed. Christ Church men have been used to regard their Tom as the very prince of bells; but we perceive in Parker's New Hand-Book its fame is assailed; it does not ring, so it is said, a perfect B flat, as it ought; but as our ears are not sufficiently sharp to note the dissonance, we must be content to leave the matter to the visitor's own judgment. The quadrangle into which the gateway leads is the largest in Oxford, being 264 feet by 261; and though not quite so large as that of Trinity at Cambridge, nor perhaps quite so magnificent in its appearance, is yet a most noble one. This quad.' (as Oxford men familiarly term their quadrangles) was a part of the original design of Wolsey, and may serve to show the scale on which he proposed to work. In its present state it dates only from about 1668, the original quadrangle having been in a good measure destroyed during the Commonwealth period by the Puritan dean and chapter, who were accustomed to tear down the woodwork of the old house for fuel!

On the south side of the quadrangle is the Hall; the entrance to which is of remarkable beauty. The visitor will not fail to notice the very characteristic statue of the cardinal over the door; nor, as he enters the passage, the handsome groined roof, with its single supporting pillar. The Hall itself is the noblest in Oxford, and one of the finest refectories in England. Its proportions are ample, and the fittings commensurate with its size and the wealth of the institution. It is 115 feet long, 40 wide, and 50 high. The open roof is of carved oak, profusely decorated with the arms of Henry and Wolsey, and has richly-carved pendants. The large fireplaces have also elaborate carvings, and the noble bay-window at the south end has a carved canopy. The sides of the room are hung with a splendid series of portraits, one hundred and twenty in number, mostly the work of inent artists, and representing the most distinguished men who have been on the college foundation. Even on ordinary occasions, the noble Hall, at the dinner-hour, filled with the robed host of doctors and students-the arrangements so redolent of the old feudal times

bachelors at the side-tables, and under-graduates occupying all the lower end-is a sight worth seeing. But Christ Church being the official residence of the sovereign when at Oxford, this Hall has at times displayed a far more splendid appearance. At such times a similar system of arranging the tables is adopted, with, of course, a suitable attention to the different ranks of the parties; and those who have witnessed the spectacle describe it as no less impressive than singular.

When it was the custom to exhibit plays before the sovereign, on visiting the universities, this was the place Oxford selected for their performances; and some of the exhibitions must have been not a little curious. Elizabeth was entertained here in 1566, with a Latin comedy of Marcus Geminus, a Latin tragedy of Progne, and an English comedy founded on Chaucer's 'Palamon and Arcite.' Progne did not please her majesty. The scaffold on which Palamon and Arcite was to be acted, unfortunately gave way, whereby three persons were killed: a second part, however, was afterwards acted, to the great contentment of the queen, who edified her courtiers after the performance by a critical disquisition on the play and the players, who were all students of the University. The boy who represented Emilia, the only female character in the piece, she especially praised, for so handsomely showing her as "a virgin of uncorrupted purity and unblemished simplicity," and presented him with a gift of eight guineas. It is recorded, too, that "a cry of hounds belonging to Theseus "having been counterfeited in the quadrangle during the performance, the students were seized with a sudden transport; whereat her majesty cried out, "O excellent! these boys, in very troth, are ready to leap out of the windows to follow the hounds." At another visit which she made twenty years later, she was hardly so well pleased either with the performances in this Hall, or her general entertainment in the University.

When James I., with his queen, visited Oxford in 1605, he was entertained with plays in plenty; but they were little to his taste in comparison with the scholastic disputations, which afforded him vast delight. The college stage-managers were, indeed, not at all successful on the occasion, though they now, for the first time, exhibited scenery, and, moreover, called in the aid of Inigo Jones, in the contrivance of the devices. The first play was a pastoral, called 'Alba;' and in it five rustics appeared, who were so scantily dressed as to shock the delicacy of the queen and her maids of honour; and even the king was moved to wrath by the exhibition. At the next play, which was in Latin, and called 'Vertumnia,' his majesty went fast asleep. The third play was the 'Ajax' of Sophocles; and this time "the king was very weary before he came thither, but much more wearied by it, and spoke many words of dislike." Charles I. also witnessed some plays in this Hall. At a play which was exhibited here for the entertainment of Prince Alasco, in 1583, the

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learned men brewed a storm, that, as old Wood says, was very strange to the beholders." The piece was the tragedy of 'Dido;' and in the tempest which drove Æneas and Dido into the cave," it rained small comfits, and rose-water, and snew artificial snow (of sugar)!” Before leaving the Hall, the visitor must carefully look along the portraits. They are the productions of nearly all the leading portrait-painters who have practised in England from Holbein to Sir Martin Archer Shee. Holbein has the Cardinal and Henry VIII. Vandyke has Bishop Corbet, and a couple Lely has several. There is a fine portrait of John Locke, by Kneller. Hogarth has one of Bishop Hooper. Several are by Sir Joshua Reynolds: one of them, that of Archbishop Markham, being reckoned among his best works. Lawrence has a good portrait of Canning; and many others, by old and new masters, may well claim attention as works of art; while there are few out of the whole number that do not possess interest on account of the men they represent.

more.

From the Hall visitors are led by a natural transition to the Kitchen, which it may not be amiss perhaps just to look into, as a specimen of a genuine old English kitchen; and also to catch an idea of the economy of a college cuisine. This is the oldest part of the building, Wolsey having commenced the erection of his college by first constructing the kitchen-a circumstance which gave some exercise to the wits of that day. Strangers look with admiration on a huge gridiron that is moved upon wheels, and that was used for cooking large joints or whole animals upon before jacks and ranges were invented, or meat was cut up into the little snips it is now-a-days. Upon it a whole bullock might have been broiled, over a primitive hearth, as easily as a steak at one of the kitchenranges of these degenerate times.

On leaving the kitchen you need not turn aside to the Chaplain's Quadrangle, but proceed across the Large Quadrangle to Peckwater Quadrangle, the south side of which is the Library, one of the finest in the University. Originally this building was intended to stand upon high columns; but before its completion it was found that the space below could not be spared, and it was accordingly finished as it now appears. The ground-floor is chiefly occupied by the Guise collection of pictures: a collection of considerable value, as containing a good many specimens of the very early inasters, whose works are rather scarce in this country. There are also some examples of the later and more famous Italian masters. Many of the pictures are, indeed, of more than doubtful genuineness; but the collection, if it were arranged in a place where the pictures could be better seen, would attract much more attention than it now obtains. There are also in this room several capital busts, by Rysbrach, Roubiliac, Bacon, and Chantrey. On the staircase leading to the library is a statue of Locke, by Roubiliac. The upper room, the Library, is a noble room, 140 feet long, 30 wide, and 37 high; the wainscot, pillars, and presses are of oak; the ceiling is richly ornamented

in stucco; about the room a number of antique statues and busts are arranged so as to increase the general effect; and the whole has a very appropriate scholastic air. The Peckwater Quadrangle is a specimen of the skill of an amateur architect, Dean Aldrich, of whose practical ability several other proofs may be seen in Oxford. Canterbury Quadrangle, which adjoins the Peckwater on the east, was erected in 1775 and following years, under the superintendence of Wyatt. It is Doric in style, and has a substantial look, but suffers by comparison with the more picturesque Gothic which abounds in this city. It received its name from being built on the site of Canterbury Hall; a lapsed foundation of which Wiclif was at one time warden, and Sir Thomas More a student. The court in which are the Grammar-school and the Anatomical Theatre, Fell's Buildings, the Cloisters, and other buildings belonging to this magnificent institution, we may pass by, and proceed to its Chapel - the Cathedral of Oxford

As a cathedral, Oxford is inferior to most, both in size and splendour. It is cruciform, and has a spire springing from the intersection of the arms of the cross. The extreme length is 154 feet; the breadth is 102 feet. It is of different ages, and consequently exhibits considerable diversity of style. The oldest parts are Norman, and belonged to the church of St. Frideswide's Priory, which, according to Dr. Ingram, was consecrated in 1180. Wolsey pulled down 50 feet of the nave, and otherwise altered and adapted it to the use of his college. The additions and alterations that have been made to the original church at different periods, although destructive of all uniformity, have perhaps tended to increase the picturesqueness of parts, and afford curious examples of the progressive changes in taste in English ecclesiastical architecture. The Norman choir is especially deserving of notice from the peculiar double arches; and the singular effect produced by the elaborate groined roof with its carved pendants, the additions of Wolsey, which contrast strangely with the massive simplicity of the Norman work below. The body of the choir is sadly lumbered up with the seats and stalls necessary for the large body of collegians, and the windows lack the storied glass that should shed a dim religious light; but the appearance during the performance of divine service is both impressive and remarkable from the numerous band of robed students who crowd the entire area. is only equalled by the chapel of Trinity at Cambridge. We have hinted that there are no old stained-glass windows: only a few fragments, in fact, remain to attest the ancient opulence. Christ Church was an especial sufferer from the ruthless zeal of the Puritans. And this, too, as Wood records, through the violence of one of its own canons, Henry Wilkinson, who was the Parliamentary visitor, and who, when the statues, pictures, crosses, and painted windows were taken down, was so far from having them laid up and preserved, that he furiously stamped upon many parts of, and utterly defaced them." The few painted

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