setting of fan vaulting and tall, gracefully moulded shafts.

The splendid oaken screen across the choir, dividing the chapel into almost equal portions, was put up in 1536, at the same time as nearly the whole of the stalls. It is rather startling to see the monogram of Henry VIII. and Anne Boleyn, entwined with true lovers' knots, on this wonderful piece of Renaissance woodwork, for in 1536, the date of the screen, Anne, charged with unfaithfulness, went to the scaffold. How was it, we wonder, that these initials were never removed? The screen also reminds us of the changes in architecture and religion which had swept over England between the laying of the foundation stone and the completion of the internal fittings, for, not only had the Gothic order come to its greatest perfection in this building, and then its whole traditions been abandoned and a reversion to classic forms taken place, but the very religion for which the chapel had been built had been swept away by the Reformation.

The Tudor rose and portcullis frequently repeated within and without the chapel constantly remind us of the important part Henry VII. played in the creation of one of the chiefest flowers of the Gothic order and the architectural triumph of Cambridge.

TRINITY COLLEGE.—Oxford does not possess so large a foundation as Trinity College, and the spaciousness of the great court impresses the stranger as something altogether exceptional in collegiate buildings, but, like the British Constitution, this largest of the colleges only assumed its present appearance after many changes, including the disruptive one brought about by Henry VIII. In that masterful manner of his the destroyer of monasticism, having determined to establish a new college in Cambridge, dissolved not only King's Hall and Michael House, two of the earliest foundations, but seven small university hostels as well. The two old colleges were obliged to surrender their charters as well as their buildings; the lane separating them was closed, and then, with considerable revenues obtained from suppressed monasteries, Henry proceeded to found his great college dedicated to the Trinity.

There is something in the broad and spacious atmosphere of the Great Court suggestive of the change from the narrow and cramped thought of pre-Reformation times to the age when a healthy expansion of ideas was coming like a fresh breeze upon the mists which had obscured men's visions. But even as the Reformation did not at once sweep away all traces of monasticism, so Henry's new college retained for a considerable time certain of the buildings of the two old foundations which were afterwards demolished or rebuilt to fit in with the scheme of a great open court. Thus it was not until the mastership of Thomas Nevile that King Edward's gate tower was reconstructed in its present position west of the chapel. On this gate, beneath the somewhat disfiguring clock, is the statue of Edward III., regarded as a work of the period of Edward IV.

Shortly before Henry made such drastic changes, King's Hall had been enlarged and had built itself a fine gateway of red brick with stone dressings, and this was made the chief entrance to the college. The upper part and the statue of Henry VIII. on the outer face were added by Nevile between 1593 and 1615, but otherwise, the gateway is nearly a whole century earlier.

It is interesting to read the founder's words in regard to the aims of his new college, for in them we seem to feel his wish to establish an institution capable in some measure of filling the gap caused by the suppression of so many homes of learning in England. Trinity was to be established for "the development and perpetuation of religion" and for "the cultivation of wholesome study in all departments of learning, knowledge of languages, the education of youth in piety, virtue, self-restraint and knowledge; charity towards the poor, and relief of the afflicted and distressed."

To the right on entering the great gateway is the chapel, a late Tudor building begun by Queen Mary and finished by her sister Elizabeth about the year 1567. The exterior is quite mediaeval, and all the internal woodwork, including the great baldachino of gilded oak, the stalls and the organ screen dividing the chapel into two, dates from the beginning of the eighteenth century. In the ante-chapel the memory of some of the college's most distinguished sons is perpetuated in white marble. Among them we see Macaulay and Newton, whose rooms were between the great gate and the chapel, Tennyson, Whewell—the master who built the courts bearing his name, was active in revising the college statutes, and died in 1866—Newton, Bacon, Wordsworth and others.

On the west side of the court, beginning at the northern end, we find ourselves in front of the Lodge, which is the residence of the Master of the College. The public are unable to see the fine interior with its beautiful dining- and drawing-rooms and the interesting collection of college portraits hanging there, but they can see the famous oriel window built in 1843 with a contribution of £1,000 from Alexander Beresford-Hope. This sum, however, even with £250 from Whewell, who had just been elected to the mastership, did not cover the cost, and the fellows had to make up the deficit. It was suggested that Whewell might have contributed more had not his wife dissuaded him, and a fellow wrote a parody of "The House that Jack Built" which culminated in this verse:

     This is the architect who is rather a muff,
     Who bamboozled those seniors that cut up so rough,
     When they saw the inscription, or rather the puff,
     Placed by the master so rude and so gruff,
     Who married the maid so Tory and tough,
     And lived in the house that Hope built.

The Latin inscription, omitting any reference to the part the fellows took in building the oriel, may still be read on the window.

In the centre of this side of the court is a doorway approached by a flight of steps, and, from the passage to which this leads, we enter the Hall. It was built in the first decade of the seventeenth century, and the screen over the entrance with the musicians' gallery behind belongs to that period.

[Illustration: THE ENTRANCE GATEWAY OF TRINITY COLLEGE. Trinity was expanded by Henry III from the "great college" built by Edward III. The gateway dates from about 1535.]

Unfortunately, the panelling along the sides has replaced the old woodwork in recent times. This beautiful refectory resembles in many ways the Middle Temple Hall in London. The measurements are similar, it has bay windows projecting at either end of the high table, a minstrels' gallery at the opposite end, and well into the last century was heated by a great charcoal brazier in the centre. The fumes found their way into every corner of the hall before reaching their outlet in the lantern. Among the numerous portraits on the walls there are several of famous men. Among them we find Dryden, Vaughan, Thompson (by Herkomer), the Duke of Gloucester (by Sir Joshua Reynolds), Coke (the great lawyer), Thackeray, Tennyson (by G.F. Watts), Cowley and Bentley. On the other side of the entrance passage are the kitchens with the combination rooms above, where more notable portraits hang. The remainder of the court is composed of living-rooms broken by the Queen's Gate, a fine tower built in 1597 facing King Edward's Gate. It has a statue of Elizabeth in a niche and the arms of Nevile and Archbishop Whitgift.

Nevile's Court is approached by the passage giving entrance to the hall. The eastern half was built when Nevile was master between 1593 and 1615, and the library designed by Sir Christopher Wren occupies the river frontage. To the casual observer this building is a comparatively commonplace one, built in