in breadth, and is supported by two staff-moulded pillars, of conspicuous beauty. The choir is 100 feet long, 35 broad, and 65 high, and was paved with black and white marble in the year 1636. At the west end of the choir is an organ-loft, richly adorned with Gothic allusions, in attention to the general character of the building. An opening through this loft judiciously allows a perspective view of the great painted window in the ante-chapel, unquestionably one of the finest that ever was executed. The east end is worked into canopied niches, fifty in number, and each adorned with pinnacles and tracery of the richest description. The fashion of these nearly resembles that of the ancient ornaments of the high altar; for when the late improvements were effected under the direction of Wyatt, a part of the old wall, containing some fragmentary niches, was discovered; and the architect laudably endeavoured to revive the original builder's design. The communion-table is of dove-coloured marble; and the face of the wall immediately above it is adorned with five small compartments of marble sculpture in alto relievo, by Westmacott, representing the Salutation of the Virgin Mary; the Nativity; the taking down from the Cross; the Resurrection and the Ascension. The whole of these are eminently fine; but, perhaps, the Descent from the Cross is most conspicuous for merit. Every limb of the crucified Saviour is affectingly dead; and female grief does, indeed, appear piercingly beautiful in the blended grace and misery described in the figure of Mary. An attitude so swelling and energetic, yet so entirely devoid of theatrical parade, has seldom been witnessed in the performances of a modern sculptor.

The painted windows afford a prominent feature to the captivating splendour of the chapel; and these are the more interest ing

N 4

The ground-colour of the ancient niches was a deep blue, and the edges were richly gilt. The effect of the altar-piece must have been superlatively grand when each of these niches was occupied by a statue of delicate, marble, or, perhaps, of precious metal!

ing, as they enable the spectator to form a comparative analysis of four different styles of execution.

The windows of the ante-chapel (with the exception of the large one on the west) are probably coeval with the completion of the building, and were preserved in 1550, according to Wood, by the adroitness of the chief officers of the college, who assured the visitors that their finances were too low "to set up new, but promised that they would when they were in a capacity." These windows contain representations of patriarchs, saints, and martyrs, nearly all ill-drawn, and the colouring destitute of relief. Many of the tints are vivid, and, occasionally, a graceful line occurs; but the total want of a due distribution of light and shade prevents their attaining any resemblance of pictorial beauty.

The windows on the north side of the choir were executed by Mr. Peckitt, of York, and are filled with representations of the Saviour, the Virgin Mary, and twelve Apostles, together with various characters recorded in the Old Testament. The colouring is gaudy rather than vivid, and the execution of the whole is lamentably inferior to that of the windows on the opposite side of the chapel, which are by a Flemish artist, and after designs, according to popular report, from the school of Rubens. In cach window are eight figures of saints, martyrs, &c. with various symbolical allusions. The drawing of these is in many instances masterly, and the expression full of spirit. The colours are unusually rich and brilliant. The glass of these windows, when removed from Flanders, was procured by Price the younger, of whom they were purchased by the members of New College. By Price they were repaired, and fitted to their present stations, in 1740.

But the great west window, for beauty of design, for exquisite disposition of light and shade, and for fascinating influence of general effect, far excels every other effort of painting on glass in the University. This splendid work was begun about the year 1776, from finished cartoons by Sir Joshua Reynolds, and was

executed

executed by Jervais. The lower range is divided into seven compartments, about twelve feet high, and three feet wide, in each of which is placed an allegorical figure, the whole seven Temperrepresenting the Cardinal and Christian Virtues.

ance, moderate even in water, which she is pouring from a larger vessel into a smaller. Fortitude, a fine figure, replete with expression, her hand resting on a broken column, which is erect, though in fragments. Faith, firmly fixed on both feet, and bearing a cross. Charity occupies the central compartment, and is allegorized, as usual, by a female figure in the act of taking children to her shelter. This is a lovely group. The maternal attitude is beneficence itself; and the suppliant fondness of the children is irresistibly engaging. Hope, glancing towards heaven, and scarcely touching the earth through eagerness of anticipation. Perhaps this figure has less strength of expression than either of those before noticed. Justice, finely described as looking through the shade which her own arm casts over her face. A steelyard is substituted for the usual accompanimeut of scales. This is, probably, a more picturesque appendage, but is ordinarily used for such vulgar purposes that it seems to detract from the dignity of the allegory. Prudence, on her right arm an arrow joined with a remora, the emblems of speed and deliberation.

Although these allegorical figures unavoidably arrest the attention, the chief efforts of the artist are displayed in the upper compartment of the window. The size of this division is not less than eighteen feet in height, and ten in width. The subject represented is the Nativity of Jesus, and, in many respects, a finer combination was never produced by the accurate judgment and refined taste of Reynolds. In observance of the Notte of Corregio, he has taken for his light the emanation supposed to proceed from the body of the infant Saviour-a plan happily adapted to the character of painting on glass. The composition principally consists of thirteen figures. Among these a group of angels, newly descended to the stable, and kneeling round the

babe,

babe, is exceedingly fine. The cherub-face placed close to the infant is one of the loveliest ever imagined by Sir Joshua, and is rendered, by the skilful use of transparency, all but alive. In the clouds above is introduced an angel, pondering over the mys tery of redemption through the cross; and, at no great distance, is written on a scroll, the original Greek of the text, "Mysteries which the angels themselves desire to look into." Among the shepherds who are approaching to offer devotions, are inserted portraits of the two artists, Sir Joshua Reynolds, and Mr. Jervais. The colouring of this fine window is temperate, though rich, and the whole approximates more nearly to Nature than any effort of glass-painting before the time of Jervais.

In a recess near the altar is preserved the crosier of the founder. This venerable relic of sacerdotal pomp is composed of silver, highly gilt and enamelled. Instead of the Holy Lamb is intro

duced the figure of Wykeham, kneeling.

The Hall is one of the most spacious rooms in the University; and was, early in the sixteenth century, lined with wainscotting, a part of which is curiously carved. The windows are ornamented with arms and devices; and over the screen is placed a fine picture, by one of the Caracci, of the Shepherd's homage to Christ, immediately subsequent to the Nativity. The drawing of this piece is admirably correct, and the female figures abound with grace and beauty. This valuable painting was presented to the society by the Earl of Radnor, and was kept in the chapel till the late alterations rendered its removal necessary. The hall, likewise, contains several portraits, among which is one of the founder.

The Library consists of two rooms, one on the second, and the other on the third story. The first contains books of divinity; and the upper room (the interior of which has been lately rebuilt by Wyatt) is dedicated to works of miscellaneous literature. The contributors to this library have been numerous, and the collection is extremely valuable.

The gardens are extensive, and are now laid out with much

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taste.

taste. The whole of these, including a bowling-green, and attached temple, or summer pleasure-honse, is inclosed by the citywall, which is preserved in a state of high repair. The garden. is separated from the modern court by a handsome iron palisade, 130 feet in length, which originally belonged to the Duke of Chandos' magnificent palace at Canons. When Charles 1. prepared to defend Oxford against the parliamentary army, New College was selected as a garrison; and, in 1651, it was fortified by Colonel Draper on the side of Cromwell. On these occasions the cloisters and tower were used as magazines for ammunition, and the buildings were considerably injured in many parts.

The following are a few of the eminent persons who have been educated in this college: Chichele, Archbishop of Canterbury, who paid honour to the memory of Wykeham, by imitating his beneficent example. We have already mentioned the chief events of Chichele's life, in our account of the foundation of All Souls' College. Thomas Beckington, Bishop of Bath and Wells. John Russel, Bishop of Lincoln, first perpetual chancellor of the University. William Warham, Archbishop of Canterbury, one of the ablest and best men of his time, and the patron of Erasmus. The learned and truly excellent Bishop Lowth. Among students of other ranks perhaps the following are some of the most interesting names: Grocyn, deserving of lasting gratitude as one of the revivers of learning. Sir Henry Sidney, the father of Sir Philip, a man of more useful qualities than his far-famed son. The learned, but ill-fated, Thomas Lydiat. The society of New College erected a monument over his grave, and have placed a cenotaph to his honour in the cloister. Dr. Bruno Ryves, writer of the first newspaper published in England. Somerville and Pitt, the poets; and the Rev. Joseph Spence, well known as an elegant miscellaneous writer.

The present members of the society are a warden, seventy fellows, ten chaplains, three clerks, and sixteen choristers. In regard to two fellowships, a preference is given to the founder's

kindred,