A SHORT ACCOUNT OF KING'S COLLEGE CHAPEL _LONDON AGENTS_ SIMPKIN, MARSHALL, HAMILTON, KENT & CO. LTD. [Illustration: OUTSIDE] A SHORT ACCOUNT OF KING'S COLLEGE CHAPEL BY W. P. LITTLECHILD (CHAPEL CLERK) _SECOND EDITION_ _With Illustrations_ =CAMBRIDGE:= W. HEFFER & SONS LTD. 1921 Preface to Second Edition THE success which has attended this little work from its firstappearance, and the approval with which it has been received prompts meto issue a second and revised edition. Regret has been expressed by some, that I omitted to give a descriptionof all the windows, and that there were no illustrations in the firstedition. This I have endeavoured to remedy by giving the subjects of allthe windows (with here and there a special note) and inserting somepictures of the Chapel both inside and out, also the arms and supporters(a dragon and greyhound) of Henry VII, crowned rose and portcullis, fromthe walls of the ante-chapel and the initials H. A. From the screen. I am indebted to Messrs. Sir Isaac Pitman and Sons Ltd. , 1 Amen Corner, London, for the loan of the blocks of the former, which appeared in thelate Sir William St. John Hope's book _Heraldry for Craftsmen andDesigners_. The latter, together with three photographs of the Chapel, were specially taken for me by Mr. A. Broom. I wish also to thank theProvost of Eton, Dr. M. R. James, for permission to use some part of hisdescription of the windows. I am also indebted to Mr. J. Palmer Clarkfor leave to reproduce the photograph of the ship in the window on thesouth side. I am also grateful to Mr. Benham and Dr. Mann for theirassistance in compiling the lists of Provosts and Organists. I haveagain to thank Sir G. W. Prothero, Honorary Fellow of the College, forreading through the manuscript and proofs of both editions and for hisvaluable suggestions. In conclusion, I would ask for the kind indulgenceof my readers for any errors that may be discovered in this little book, and shall be glad to have them pointed out to me. W. P. L. CAMBRIDGE, ST. JAMES' DAY, _July 25, 1921. _ Illustrations OUTSIDE _Frontispiece_ PAGE LOOKING EAST FROM PROVOST STALL _face_ 4 THE SCREEN FROM WEST END 8 SHIP WINDOW 11 H. A. FROM THE SCREEN 27 ARMS OF HENRY VII. 35 ROSE AND PORTCULLIS 35 (Badges of Henry VII. ) The Foundation IN the year 1441 Henry VI[1] founded King's College for a Rector andtwelve scholars. He remodelled his plan in 1443, and styled hisfoundation the College of St. Mary and St. Nicholas. [2] It was toconsist of a Provost, seventy Fellows, or Scholars, together withChaplains, Lay Clerks, and Choristers. The court was originally on thenorth side of the present chapel opposite Clare College, and was thehome of many generations of Kingsmen until about 1825. In 1829 thiscourt was sold to the University, and the buildings thereon weredemolished to make way for an extension of the University Library; butthe old entrance gateway was happily spared and incorporated with thenew Library building, and stands there, as a "venerable and beautifulspecimen of architecture, " at the present day. On St. James' Day, July 25th, 1446, the King laid the foundation stoneof the chapel, and so began a building which, as a distinguished memberof the college (Lord Orford) said, would "alone be sufficient to ennobleany age. " It has been classed with the chapel of Henry VII atWestminster and Saint George's collegiate church at Windsor, as one of"the three great royal chapels of the Tudor age"; but there is noedifice, except Eton College Chapel, which forms in any way a fairsubject of comparison with that of King's College. The _style_ is rich perpendicular, marking the point where the lastGothic meets the early Renaissance. Nicholas Close has commonly beenconsidered to be the architect. He was a man of Flemish family, and fora few years held the cure of the parish of St. John Zachary, whichchurch stood on the west side of Milne Street, and probably so close toit that the high altar of the church was on ground afterwards enclosedwithin the western bays of the Ante-Chapel. Close, in 1450, wasappointed to the See of Carlisle, and in 1452 transferred to Lichfield. He certainly received from the King the grant of a coat of arms for hisservices, but it might fairly be said that John Langton, Master ofPembroke College, and Chancellor of the University, who also had thetitle of "Surveyor, " a term generally admitted to be synonymous witharchitect, has an equally strong claim. But Mr. G. G. Scott, in hisessay on English Church Architecture, says "the man who really shouldhave had the credit of conceiving this great work was the master-mason, Reginald Ely, appointed by a patent of Henry VI to press masons, carpenters, and other workers. " According to Mr. Scott's view, "Closeand his successors did the work which in modern days would be done, though less efficiently, by a building committee. But they wereecclesiastics, not architects; it is the master-mason, not the moredignified 'surveyor, ' to whom the honour of planning the building shouldbe attributed. " Royal Benefactors [Illustration: LOOKING EAST FROM PROVOST STALL] BESIDES the founder, whose misfortunes hindered the completion of hiswork, four successive kings aided in its erection. When Henry was takenprisoner at St. Albans in 1455, the Earls of Salisbury and Warwickpromised to supply funds for the college buildings. For a time they kepttheir word, and some part of the £1, 000 a year promised by Henry fromthe Duchy of Lancaster continued to be paid; but the defeat of the Kingat the battle of Towton in 1461 and the subsequent overthrow of theLancaster dynasty checked progress. "After a long time spent in hidingin secret places, wherein for safety's sake he was forced to keep close, he was found and taken, brought as a traitor and criminal to London, andimprisoned in the Tower, and eventually suffered a violent death. He wasburied at Chertsey Abbey, but his body was afterwards removed to WindsorCastle. "[3] Still, the idea was there, and it remained for a latergeneration only to imitate and complete. In 1483, just before EdwardIV's death, we find that nearly £1, 300 had been spent on the chapel, about £1, 100 given by the King, and £100 by Thomas Rotherham, Archbishopof York, Lord Chancellor of England, formerly a Fellow of the College, but it is not stated how the deficit was met. Richard III, on hisaccession, resumed the work with great vigour. Between May and December, 1484, about £750 was spent, nearly all of which was provided by theking. It is stated that in the year 1506 sufficient progress had been made inthe building to admit of the performance of divine service, at whichHenry VII and his mother, Margaret Countess of Richmond, Foundress ofSt. John's and Christ's Colleges, who were on a visit to Cambridge, werepresent; and it is said that John Fisher, President of Queens' College, Bishop of Rochester, took part as chief celebrant. Professor Willis, in_The Architectural History of the University of Cambridge_, takesexception to this statement. He is of opinion that, as the Screen andStall work was not finished until 1536, and as the old Chapel[4] did notfall down until 1537 (in fact it was used on the eve of the day onwhich it fell), it is unlikely that the new chapel was used for serviceuntil that time. He further quotes Dr. Caius to strengthen this view. Henry VII, who has been credited with an excessive tendency toaccumulate treasure, was, next to the Founder, much the largestcontributor. A short time before his death in 1509[5], moved perhaps toemulate the liberal example of his pious mother, he gave £5, 000 to thecollege, with instructions to his executors to finish the building. Maywe not also think that Richard Fox, Founder of Corpus Christi College, Oxford, Bishop of Winchester from 1500 to 1528, who was Henry VII'sconstant adviser, Privy Seal, and one of his executors, had something todo with this mark of Henry's generosity and favour? This sum of £5, 000was probably all spent by the beginning of 1512, when the King'sexecutors made over to the Provost and scholars, in 1511-12, a secondsum of £5, 000. Thus in 1515, in the 7th year of King Henry VIII's reign, the stoneworkof the chapel was completed; it had cost, in the present value of money, about £160, 000. The stone used in the construction is of differentkinds. The white magnesian limestone from Huddlestone in Yorkshire isthat which was chiefly used in the lifetime of the Founder. The lowerpart of the walls was built of this; the upper part was built with stonebrought from Clipsham in Rutlandshire in 1477. A third kind, from Weldonin Northamptonshire, was used for the vaulting of the choir andante-chapel, executed in 1512 and the following years. The north andsouth porches were vaulted with a magnesian limestone, more yellow incolour, from the Yorkshire quarry of Hampole. The outside measurement of the chapel from turret to turret is 310 feet, the said turrets being 146 feet high. The four westernmost buttresses onthe south and five on the north side are ornamented with heraldicdevices, crowns, roses, and portcullises, while on the set-offsseparating the stages are dragons, greyhounds, and antelopes bearingshields. [Illustration: THE SCREEN FROM WEST END] Inside, the chapel is 289 feet long, 40 feet wide from pier to pier, and 80 feet high from the floor to the central point of the stone vault. The _tracery_ of the roof is a fine specimen of the fan-vault which israrely to be found in Continental architecture, but is the peculiarglory of the English style. It can truly be said that stone seems, bythe cunning labour of the chisel, to have been robbed of its weight anddensity and suspended aloft as if by magic, while the fretted roof isachieved with the wonderful minuteness and airy security of a cobweb. Similar roofs appear in Bath Abbey (the architect of which was Dr. Oliver King, a member of King's), in St. George's Chapel, Windsor, inHenry VII's Chapel at Westminster, in Sherborne Minster, and in theambulatory of the choir of Peterborough; but the earliest example ofthis kind of vaulting is the cloister of Gloucester (1381-1412), ofwhich the late Dean Spence speaks in the following lines: "Old Gloucester's peerless cloister, once the haunt Of mitred Abbot and of monk in cowl. Above we see the long fan-traceried arch; Beneath are letter'd stones and human dust. " The same words can be applied to this chapel, for here we have the longfan-traceried arch, and beneath are stones and human dust, for manymembers of King's and others are buried within its walls. FOOTNOTES: [1] Henry was born at Windsor in the year 1421. When Henry V wasinformed that Catherine had borne him an heir he asked: Where was theboy born? At Windsor was the reply. Turning to his Chamberlain, he gavevoice to the following prophetic utterance: "I Henry born at Monmouth, Shall small time reign, and much get; But Henry of Windsor shall long reign and loose all. But as God will, so be it. " [2] The preamble to the charter granted by Henry in January 1441, andconfirmed by Act of Parliament in February of the same year, astranslated, reads as follows:-- "To the honour of Almighty God, in whose hand are the hearts of Kings; of the most blessed and immaculate Virgin Mary, mother of Christ; and also of the glorious Confessor and Bishop Nicholas, Patron of my intended College, on whose festival we first saw the light. " [3] In the College Library may be seen a small piece of silk in whichhis bones were wrapped, and which was taken from the coffin by the lateSir W. H. St. John Hope in the presence of Dr. M. R. James, when it wasopened on the 4th November, 1910. [4] The accounts show that a chapel existed from the beginning, and thatit stood between the south side of the old court and the north side ofthe present Chapel. It consisted of a chancel, nave, and ante-chapel, and had a door at the west end, and east and west windows. It was richlyfitted up; and numerous allusions to plate, hangings, relics, servicebooks, vestments, choristers and large and small organs, show that theservices were performed with full attention to the ritual of the day. [5] He was buried in his chapel at Westminster beside that of his wife, Elizabeth of York. Lord Bacon says "He lieth at Westminster in one ofthe stateliest and daintiest monuments of Europe both for the chapel andthe sepulchre. So that he dwelleth more richly dead in the monument ofhis tomb than he did alive in Richmond or in any of his palaces. " Work of Freemasons IT may be that some of my readers are members of the Masonic body. Mr. John Proctor Carter, sometime Fellow of King's and Eton, in writing ahistory of the chapel, published in 1867, writes thus: "So many learnedauthors have been at fault when they have ventured into the obscuritywhich envelops the history of the Freemasons, by a gang of whom thischapel, in common with, at all events, a large number of mediaevalbuildings were erected, that to say a word upon the subject may seempresumptuous. The theory of a traditional science, confined entirely tothe members of a secret society that had ramified over the whole ofcivilised Europe, and to whom developments in architecture were due, hasbeen pushed to extremity by some writers. By a natural reaction othershave been led to discredit altogether the existence of such a society, and to consider the masonic fraternity merely as one of the varioustrade corporations or guilds whose relics have descended to our own day. But apart from the argument drawn from universal belief, there isprobably sufficient evidence to show that the Freemasons weredistinguished to some extent from other guilds, partly by the possessionof peculiar secrets, and partly by their religious character. They seemto have been as it were the knight-errants of architecture, and to havetravelled from city to city and country to country in the exercise ofwhat they must have deemed a half sacred profession. " Ample proof has been adduced that Henry VI was not only a Mason himself(having been admitted a member of the fraternity in 1450), but did agood deal for the craft; and Freemasonry has much to thank him for. In ahistory of Westminster Abbey, written by the late Dean Farrar, is to befound the following: "Even the geometrical designs which lie at the baseof its ground plan are combinations of the triangle, the circle, and theoval. " Masons' marks are to be found in various places on the walls inchapel. The Windows [Illustration: SHIP WINDOW] AS I have previously mentioned, the building was begun in 1446, but, owing to the long Civil Wars, it dragged on until 1515; and it was inthat year that a contract was entered into with one Barnard Flower, toglaze the windows "with good, clene, sure, and perfyte glass, accordingto the old and new lawe, " or, as we should put it, the Old and NewTestament. Barnard Flower died between July 25, 1517, the date of hiswill, and August 14, 1517, the date when the will was proved, havingcompleted only four windows, one of which is generally believed to bethat over the north door, while a second faces the organ on the sameside. He describes himself as "Barnard Floure, the Kinges glasyer ofEngland, dwelling within the precynt of Saint Martin hospitale, in theBurgh of Southwark, in the county of Surrey. " In 1526 two contractswere entered into with other firms to complete the rest of the windows, which was done in 1531. Among the names of those who entered into thelast contract were two Flemings. Windows of a similar kind, althoughsmaller, are to be found at Fairford in Gloucestershire; these date fromabout 1490. The windows of the Chapel contain the finest series in the world ofpictures in glass on a large scale. The tracery is filled with heraldicdevices. At the top of the centre light are the Royal Arms as borne byHenry VII, and the rest of the badges are Roses, Crowns, Portcullises, Hawthorn bushes and Fleur-de-lys, being all appropriate to Henry VII. There are also the initials H. E. (Henry VII and Elizabeth of York) andH. K. For Henry VIII and Katherine of Aragon as Prince and Princess ofWales. These badges run all round the side windows. In each side windowthere are four subjects, two side lights above and two below the transomor crossbar, while in the centre light are four figures, men and angelsalternately, "Messengers, " as they are called, because they hold scrollsor tablets (in Latin) descriptive of the pictures at the sides. All theside windows, except the easternmost window on the south side, arecarried out in a similar manner. In most cases the two lower pictures illustrate two scenes in the NewTestament, and the two upper ones give types of these scenes drawn fromthe Old Testament or elsewhere. There are exceptions to thisarrangement, as, for instance, the first two windows on the north sideand in those illustrating the Acts of the Apostles. The main _subjects of the windows_ are the life of the Virgin Mary andthe life of Christ. The scenes begin with the Birth of the Virgin, inthe westernmost window on the north side, and proceed through theprincipal events of our Lord's life to the Crucifixion in the eastwindow. This is followed on the south side by the following events asrecorded in the Gospels, of which the last depicted is the Ascension inthe one opposite the organ. Next comes the history of the Apostles asrecorded in the Acts, while the legendary history of the Virgin occupiesthe last two windows. [6] The following diagram may be of use in helping my readers to decipherthe windows on the north and south sides. [Illustration: -------------- | | F | | | | o | | | | u | | | 1 | r | 2 | | | | | | | M | | | | e | | | | s | | -------------- | | s | | | | e | | | | n | | | 3 | g | 4 | | | e | | | | r | | | | s | | -------------] FOOTNOTE: [6] The side windows are 49 feet in height from the base to the point ofthe arch, and 16 feet in width. THE SUBJECTS OF THE WINDOWS ARE AS FOLLOWS: NORTH SIDE WINDOW I. (WESTERNMOST. ) 1. The offering of Joachim and 2. Joachim is bidden by an Angel to Anna rejected by the High return to Jerusalem, where he Priest. Would meet his wife at the Golden Gate of the Temple. 3. Joachim and Anna at the 4. Birth of the Virgin. Golden Gate of the Temple. WINDOW II. 1. Presentation of a Golden 2. Marriage of Tobias and Sara. Table (found by fishermen entangled in their nets) in the Temple of the Sun. 3. Presentation of the Virgin 4. Marriage of Joseph and Mary. In the Temple. At the bottom of each picture in this window there is a smallcompartment containing a half-length figure of a man or angel bearing alegend. WINDOW III. 1. The Temptation of Eve. 2. Moses and the Burning Bush. 3. The Annunciation. 4. The Nativity. [A] [A] Joseph, Mary, and a number of little angels adore the Child. Throughan opening in the background are seen the Angels appearing to theShepherds. WINDOW IV. 1. The Circumcision of Isaac 2. The visit of the Queen of Sheba to by Abraham. Solomon. 3. The Circumcision of Christ. 4. The Adoration of the Magi. [B] [B] The Virgin and Child on right: the Star above. Just above the Virginin the picture the head of an Ox and an Ass may be seen. WINDOW V. 1. The Purification of Women 2. Jacob's Flight from Esau. [C] under the Law. 3. The Presentation of Christ 4. The Flight into Egypt. In the Temple. [D] [C] In the background on right Rebecca is seen bringing Jacob to Isaacto be blessed. [D] Simeon is a conspicuous figure. WINDOW VI. 1. The Golden Calf on a Ruby 2. The Massacre of the Seed Royal by Pillar. Athaliah. 3. The Idols of Egypt 4. The Massacre of the Innocents. Falling. [E] [E] At the bottom are the figures 15017, generally read as a date(1517). WINDOW VII. 1. Naaman Washing in Jordan. 2. Jacob tempts Esau to sell his birthright. 3. The Baptism of Christ. 4. The Temptation of Christ. [F] [F] Below in front the devil (represented as an old man) tempts Christto turn stones into bread. Above on left the two are seen on the highmountain: on right they stand on the pinnacle of the temple. WINDOW VIII. 1. Elisha raises the 2. The Triumph of David. [G] Shumanite's Son. 3. The raising of Lazarus. 4. The entry into Jerusalem. [H] [G] David enters on left balancing the huge head of Goliath on the pointof a sword. On right are the women with musical instruments. [H] A man in a tree cuts down branches: others spread garments. WINDOW IX. 1. The Fall of Manna. 2. The Fall of the Rebel Angels. 3. The Last Supper. [I] 4. The Agony in the Garden. [J] [I] Christ on left stands and gives the sop to Judas, who bends over thetable from right. He is red-haired. [J] A cup is shown at the left upper corner, and an angel is representedas coming down to comfort our Lord. The disciples are shown asleep atthe bottom of the picture. WINDOW X. 1. Cain killing Abel. 2. Shemei cursing David. 3. The Betrayal. [K] 4. Christ mocked and blind-folded. [L] [K] Judas kisses Christ. Peter attacks Malchus. [L] Annas and other Jews look on from above. WINDOW XI. 1. Jeremiah imprisoned. 2. Noah mocked by Ham. 3. Christ before Annas. 4. Christ before Herod. WINDOW XII. 1. Job tormented. 2. Solomon crowned. 3. The Scourging of Christ. 4. Christ crowned with thorns. WINDOW XIII. The _East Window_ is quite different. For one thing it is much larger, and has nine vertical divisions instead of five. Here, in the tracery, in addition to other heraldic badges, is the "Dragon of the greatPendragonship, " holding a banner with the arms of Henry VII. Also thereis seen the ostrich feather of the Prince of Wales with the motto "IchDien. "[7] In this window there are no Messengers with inscriptions; only sixscenes from the Passion beginning at the bottom left hand corner, andeach occupying three lights instead of two. In the first three lightsbelow the transom is the Ecce Homo; in the centre three, Pilate washinghis hands, the final moment in the trial. Our Lord is represented in thecentre light with his back to the spectator. In the three on the rightis Christ bearing the Cross. Here is shown Saint Veronica kneeling andoffering to our Lord a handkerchief to wipe his face. The legend goes onto say that, when he returned it to her, his face was impressed upon it;and it is now one of the four great relics preserved in the piers of thedome of St. Peter's at Rome. Above the transom, the left three lights contain the Nailing to theCross. In the centre three is Christ crucified between the thieves. Atthe base of the Cross may be seen our Lord's robe on the ground, and twofigures kneeling upon it and pointing down to pieces of paper or dice, ascene depicting the fulfilment of the prophecy: "They parted my garmentsamong them and upon my vesture they did cast lots. " In the right threelights the body of Christ is taken down from the Cross. SOUTH SIDE WINDOW XIV. The Brazen Serpent, after a picture by Rubens, now in the NationalGallery. [M] 3. Naomi and her 4. The Virgin and other Holy Women Daughters-in-Law. Lamenting over the body of Christ. [M] There was originally only half a window here. The lower half wasintended to have a building (which was in part begun) abutting on it. This building was removed in 1827, and the lower part of the windowopened up. The old glass was moved down to the lower lights in 1841, andin 1845 the glass which now occupies the upper main lights inserted byHedgeland. The only thing that can be said in its favour is its vividcolours. WINDOW XV. 1. Joseph cast into the pit by 2. Israel going out of Egypt. His brethren. 3. Burial of Christ. 4. The Harrowing of Hell. WINDOW XVI. 1. Jonah vomited up by the 2. Tobias returning to his Mother. Whale. [N] 3. The Resurrection of 4. Christ appearing to his Mother Christ. At prayer. [N] This subject is often asked about. The whale is represented as agreat green monster with a large black patch for the open mouth. Jonahis shown in a recumbent position on the ground. At the back is part of aship, while in the extreme background may be seen Ninevah. WINDOW XVII. 1. Reuben at the pit, he finds 2. Darius visiting the lions' den it empty, and Joseph gone. Finds Daniel alive. 3. The three Marys at the 4. Christ, with a spade, appears to Sepulchre, which they find Mary Magdalene in the garden. [O] empty. [O] Mary Magdalene is also seen alone in the background, looking intothe Sepulchre. WINDOW XVIII. 1. The Angel Raphael meets 2. Habakuk feeding Daniel in the Tobias. Lions' den. 3. Christ meets the two 4. The Supper at Emmaus. Disciples on the way to Emmaus. WINDOW XIX. 1. The Return of the Prodigal 2. The meeting of Jacob and Joseph. Son. [P] 3. The Incredulity of St. 4. Christ appearing to the Apostles Thomas. _without_ Thomas. [Q] [P] In the upper part of the left hand light is depicted the killing ofthe fatted calf. [Q] This subject and its type ought to precede numbers 1 and 3. WINDOW XX. 1. Elijah carried up to 2. Moses receives the Tables of Law. Heaven. [R] 3. The Ascension of Christ. 4. The Descent of the Holy Ghost. [R] He casts his mantle, represented by a lovely piece of ruby glass, down to Elisha. WINDOW XXI. 1. Peter and John heal the 2. The Apostles arrested. [S] lame man at the gate of the Temple. 3. Peter and the Apostles 4. The Death of Annanias. [U] going to the Temple. [T] [S] In the background, Peter and John are seen bound to a pillar andscourged. [T] In the background, Peter preaching inside the building. [U] In the background is seen his body being carried out for burial. WINDOW XXII. 1. The Conversion of St. Paul. 2. Paul conversing with Jews at Damascus. [V] 3. Paul and Barnabas at 4. Paul stoned at Lystra. Lystra. [V] In the background he is seen being let down in a basket from awindow. In this and the preceding window figures of St. Luke, habited asa doctor, with his ox by him, alternate with figures of angels in thecentral light. WINDOW XXIII. 1. Paul and the Demoniac 2. Paul before the Chief Captain Woman. Lysias at Jerusalem. 3. Paul saying farewell at 4. Paul before Nero. Philippi. [W] [W] In this subject is a beautiful specimen of a late fifteenth centuryship. The ship has her sails furled, and is anchored by her port anchoras her starboard anchor is fished (_i. E. _ made fast with its shankhorizontal) to the ship's side by her cable. An empty boat is alongside. At the top of the mainmast is a fighting top from which project twolarge spears. An excellent article on this ship was contributed by Messrs. H. H. Brindley, M. A. , and Alan H. Moore, B. A. , and read to the members of theCambridge Antiquarian Society in 1909. WINDOW XXIV. 1. The Death of Tobit. 2. The Burial of Jacob. 3. The Death of the Virgin. 4. The Funeral of the Virgin. WINDOW XXV. 1. The Translation of Enoch. 2. Solomon receives his mother Bath-Sheba. 3. Assumption of the Virgin. 4. The Coronation of the Virgin. [X] [X] She kneels in the centre, full face. On right the Son, seated; onleft the Father, crowning Mary. The dove between. Angels playing musicin front. WINDOW XXVI. The _West Window_ was filled with stained glass depicting the LastJudgment, by Messrs. Clayton and Bell, of London, in 1879. There is nodoubt that in the original scheme of the windows this was intended to bethe subject of the west window. [8] Like the east window, it consists ofnine lights, divided by a transom into two tiers. The general idea is toset forth the scene of the Judgment as within a vast hall ofsemi-circular plan. In the central light of the upper tier is seated thefigure of our Lord on the throne of judgment. On each side of theprincipal figure are groups of angels jubilant with trumpets and bearingemblems of the Passion. On the right and left, each in three divisions, are seated figures ofApostles and other Saints. In the three lights below the figure of ourLord are St. Michael and two other angels, the one on the dexter side(the left side as you look at it) bearing a Lily, the other on thesinister (right) holding a flaming sword. St. Michael in the centre isin full armour. He carries the scales of judgment, and rests one hand ona cruciferous shield. The lower portions of the lights show, on the one side, the resurrectionof the blessed, with angels receiving them. A special feature of thedesign is seen in the lowermost portion near the centre. Here appearsthe figure of the founder, King Henry VI. He rises from his grave gazingupward, and bearing in his hands a model of the chapel itself. On theother side the lost are shown, driven out by angels threatening themwith flaming swords. In the tracery are arranged various shields and heraldic devices, whichcomprise the arms of Queen Victoria, Henry VI, Henry VII, Henry VIII, the Provost (Dr. Okes), the Visitor (the Bishop of Lincoln, Chr. Wordsworth), F. E. Stacey, Esq. (the Donor), with those of King'sCollege, Eton College, and the University. * * * * * The question has often been asked, How did the windows escape during the_Civil War_? There is one story that the west window was broken byCromwell's soldiers (who certainly were quartered in the chapel), andthat the rest of the glass was taken out and concealed inside the organscreen. Another, which appears in a small book called "The Chorister, "is that all the glass was taken down and buried in pits in the collegegrounds in one night by a man and a boy. Both these stories are entirelyfictitious. The best answer to the question may be found in the words ofthe Provost of Eton (Dr. M. R. James), who says, in one of his addresseson the windows: "It is most probable that Cromwell, anxious to have atleast one of the universities on his side, gave some special order thatno wilful damage should be wrought on this building, which, then as now, was the pride of Cambridge and of all the country round. " The windowshave been taken out and re-leaded at various times--first between 1657and 1664; next in 1711-1712; thirdly in 1725-1730; fourthly in1757-1765; fifthly in 1847-1850; and fourteen of them (one in each year)in a period extending from 1893 to 1906, by the late Mr. J. E. Kempe, when several mistakes which then existed were put right. FOOTNOTES: [7] This window from its base to the top of the arch is 53 feet and 25feet wide. [8] This window is 49 feet from its base to the top of the arch and 33feet 6 inches in width. The Woodwork, Organ, etc. [Illustration: H. A. FROM THE SCREEN] THE _Screen_ dividing the choir from the ante-chapel is one of theearliest and purest examples of renaissance woodwork in this country andis no doubt the work of foreign artists (probably Italian), severalhaving been brought over and employed by Henry VIII. Carved upon it arethe badge of Anne Boleyn, a crowned falcon holding a sceptre; theinitials H. R. , R. A. , H. A. , with true lovers' knots entwining thesetwo letters; the arms of Henry VIII and Anne impaled; while below in thesame compartment is a bull's head caboched. This last is not a rebus[9]in the true sense of the term (for at least one would expect the letterN or something similar to appear), yet I venture to say it refers toAnne, and, with the rest, shows the date of the work to be 1533-1536, during which period her influence was at its height. At the back of theProvost's stall is carved an admirable representation of St. George andthe dragon. Over the door on this side are the arms of King's and Etonemblazoned. The definition of the arms of King's is as follows: Sable, three roses argent, a chief per pale, azure a fleur-de-lis of France, and gules a lion of England. [10] That of Eton is the same, with theexception of three lilies in the place of the roses. [11] The organ was put up in 1688 by René Harris, [12] taking the place of oneerected in 1606 by an organ-builder named Dalham; some portions of thecase date back to the time of Henry VIII. On the outer towers of theorgan facing west are two angels holding trumpets. These were put up in1859, taking the place of two pinnacles, which in their turn weresubstituted for two figures about the size of David on this same side. In 1859 the organ was much enlarged by Messrs. Hill, of London. The _Coats of Arms_ at the back of the stalls on the north and southsides were put up at the expense of Thomas Weaver, a former Fellow ofthe College, in 1633. Amongst them are the arms of England as they wereat the time; those of Henry V, VI, VII, VIII, Eton and King'sCollege--for Henry VI (no doubt following out the scheme adopted byWilliam of Wykeham, who founded Winchester School and New College, Oxford) founded Eton also--also the arms of Cambridge University, and, to show a friendly feeling to the sister University, those of Oxfordplaced on the opposite side. The canopies of the stalls and the panelwork east of them were executed in 1675-1679. The _Altar Table_, from a design by Mr. Garner, was first used on AdventSunday, 1902; and the woodwork round the chancel was finished in 1911. The architects were Messrs. Blow and Billary, the work being executed byMessrs. Rattee and Kett, the celebrated ecclesiastical builders, ofCambridge. The _Candelabra_ which stand within the Chancel, were the gift ofMessrs. Bryan, Wayte, and Witts, sometime Fellows; conjointly with theCollege, and are of the date 1872. The _Candlesticks_ on the Altar were given by Edward Balston, a formerFellow, in 1850; and the _Cross_ (by Mr. Bainbridge Reynolds) is inmemory of the late Rev. Augustus Austen Leigh, Provost, 1889-1905. The _Picture_ on the north side, "The Deposition, " by Daniel deVolterra, was presented to the College by the Earl of Carlisle in 1780. It previously occupied the central position in the woodwork placed therein 1774, and was removed in 1896 when the east window was re-leaded. Thehandsome _Lectern_ was given to the College by Robert Hacomblen, who wasProvost from 1509 to 1528. The candle branches were added in 1668. Itwas removed to the Library in 1774, where it remained until 1854. Before I go on to speak of the side Chapels, I think it is worthrecording that on Wednesday, May 4, 1763, nine Spanish Standards takenat Manilla by Brigadier General Draper, formerly Fellow, were carried inprocession to the Chapel by the scholars of the College. A Te Deum wassung, and the Revd. William Barford, Fellow, and Public Orator, made aLatin oration. The colours were first placed on each side of the Altarrails, but afterwards were hung up on the Organ Screen; they eventuallyfound a resting-place in one of the South Chapels. About 20 years agothey were sent to a needlework guild in London with a view to theirbeing restored, but it was found they were too far gone. Some of theremnants that were returned are preserved in a glass case in the vestry, where they may be seen. FOOTNOTES: [9] A rebus was invariably a badge or device forming a pun upon a man'ssurname. It probably originated in the canting heraldry of earlier days. A large number of rebuses ending in "ton" are based upon a tun orbarrel; such are the _lup_ on a _ton_ of Robert Lupton, Provost of Eton1504, which appears in the spandrils of the door in the screen leadinginto his chapel at Eton College, or the _kirk_ and _ton_ of AbbottKirkton on the deanery gate at Peterborough. The _eye_ and the _slip_ ofa tree, which form, together with a man falling from a tree (I slip!), the rebuses of Abbot Islip, are well known. The _ox_ crossing a _ford_in the arms of Oxford, and the _Cam_ and its great _bridge_ in the armsof Cambridge are kindred examples. [10] "The founder designed, by the colour of the field, to denote theperpetuity of his foundation; by the roses, his hope that the collegemight bring forth the choicest flowers, redolent of science of everykind, to the honour and most devout worship of Almighty God and theundefiled virgin and glorious mother; and by the chief, containingportions of the arms of France and England, he intended to impartsomething of royal nobility, which might declare the work to be trulyregal and renowned. "--_Cooper's Memorials of Cambridge. _ [11] At a meeting of old Etonian generals at Eton on May 20, 1919, thefollowing reference was made to the arms of Eton:-- "What bears Etona on her shield? What each true son should be; A lion valiant in the field; At heart a fleur-de-lis. " _Daily Telegraph_, May 21, 1919. [12] Mr. T. F. Bumpas in his _London Churches, Ancient and Modern_, speaks of him as an organ builder of some note. Renatus Harris he isthere styled. "In 1663 the Benchers of the Temple Church being anxiousof obtaining the best possible organ, we find him in competition withone Bernard Schmidt, a German, who afterwards became Anglicized as'Father Smith. ' Each builder erected an organ which were played onalternate Sundays. Dr. Blow and Purcell played upon Smith's organ, whileDraghi, organist to the Queen Consort, Catherine of Braganza, touchedHarrises. The conflict was very severe and bitter. Smith was successful. Harrises organ having been removed, one portion of it was acquired bythe parishioners of St. Andrew's, Holborn, while the other was shippedto Dublin, where it remained in Christ Church Cathedral until 1750, whenit was purchased for the Collegiate Church of Wolverhampton. In 1684 hecompeted again with Father Smith for the contract for an organ for St. Laurance, Gresham Street, and was successful. In 1669 he built a finelarge organ for St. Andrews, Undershaft. " He was also engaged in 1693 tokeep in order the organ in Jesus College Chapel, Cambridge, at a yearlysalary of £3. The Side Chapels I WOULD next draw the attention of my readers to two of the sidechapels. The second from the west on the south side is known as_Hacumblen's Chapel_, and contains a brass marking the place of hisburial. It also contains a tomb (the only one in the Chapel) to thegreat Duke of Marlborough's only son, John Churchill Marquis ofBlandford, who died of the small-pox in 1702 while resident in College. In the window next the Court is a portrait of the Founder, and the otherfigure is St. John the Evangelist. In the tracery are the evangelisticsymbols and the four fathers of the Latin church--St. Jerome, St. Ambrose, St. Augustine and St. Gregory; and in the window which dividesthe chantry from the Ante-chapel is to be seen the Annunciation, with, on the one side, St. Ursula and the eleven thousand virgins, and St. Christopher with the infant Jesus; on the other, St. Anne with theBlessed Virgin, and St. John the Baptist with the Lamb. The third chapel on the same side is _Provost Brassie's Chapel_, wherehe was buried in 1558. In the window is some fifteenth century glass, which, having been removed from the north side chapels, was repaired in1857 and placed here. The Provost of Eton, whose knowledge of old glassmakes him a competent authority, is now of opinion that it was made forthe side Chapels, and was probably the gift of John Rampaine, Vice-Provost in 1495. Of the remaining chantries on the south side, the first contains theMusic Library; the next three are to be utilized as a Library of AncientTheological works; and the last two will be fitted up and dedicated, asa War Memorial to those members of the College who made the greatsacrifice in the War 1914-1919. Some fine Flemish glass, given by Mrs. Laurence Humphrey, and two lights purchased of St. Catherine's College, and other fragments of the XVth and XVIth century of great interest andbeauty have already been placed in the windows, and a reredos is incourse of erection. In the window of the second chantry from the west onthe north side are the arms of Roger Goad (Provost 1569-1610) impalingthe arms of the College, [13] in a most beautiful floral border. [Illustration: ROSE AND PORTCULLIS. (Badges of Henry VII. )] [Illustration: ARMS OF HENRY VII. ] Two other _Side Chapels_ deserve to be mentioned, viz. The two eastmoston the north side, which were the first roofed with lierne vaulting. Theone furthest east has been lately restored to use for early celebrationsof the Holy Communion and other devotional services. Visitors should payspecial attention to the lovely doorway in stone through which youenter, and the one on the opposite side. In the apex of the arch are thearms of Edward the Confessor, on the left those of East Anglia, on theright those of England. On that of the opposite side is a figure of theBlessed Virgin Mary at the top, flanked on the right by one of St. Margaret, and on the left by St. Catherine. These figures have beendefaced, probably by William Dowsing, who is said to have gone about thecountry like a lunatic, breaking windows, etc. He visited the College in1644. The _Ante-chapel_ is profusely decorated with the arms of Henry VII, with a dragon and greyhound as supporters, "the dragon of the greatPendragonship" and the greyhound of Cecilia Neville, wife of RichardDuke of York in every severy, and with crowned roses and portcullisalternating with each other, intimating that, as the portcullis was thesecond defence of a fortress when the gate was broken down, so he had asecond claim to the crown through his mother, daughter of John deBeaufort. After the accession of the Tudor dynasty there arose a maniafor heraldic devices; in some cases an unsatisfactory mode ofdecoration, but in this building one that possesses not only historicalinterest, but great decorative value. During the time when these styles of Gothic architecture prevailed thatare now called the Decorated and the Perpendicular, the roof, [14] thecolumns, the stained glass windows, the seats, altar, tombs, and eventhe flooring, were filled with emblasonment. Nor was heraldic ornamentconfined to architecture; it formed the grand embellishment of theinterior of palaces and baronial castles. [15] In the middle of one of the roses at the west end, toward the south, maybe seen a small figure of the Virgin Mary, about which Malden says:"Foreigners make frequent enquiries, and never fail to pay it areligious reverence, crossing their breasts at the sight, and addressingit with a short prayer. " I cannot say that, in my long experience, Ihave ever observed an instance of this. FOOTNOTES: [13] Heads of Colleges have the right of impaling with their own armsthe arms of the College of which they are the head in the same way as aBishop impales the arms of the See over which he presides. Deans ofsecular churches and the Regius Professors of Divinity at Cambridge(since 1590) have the same privilege. [14] Of Melrose it is written: "The keystone that locked each ribbed aisle Was a fleur-de-lys or a quarterfoil. " [15] "The gorgeous halls which were on every side With rich array and costly arras dight. " Memorials of the Dead HAPPILY the chapel does not abound in _epitaphs_, a species of memorialoften extravagant or even ridiculous, but there is one, viz. Of ThomasCrouch, a former Fellow, M. P. For the University, who died 1679, writtenby himself, which, in my opinion, is of a high character. It is asfollows: "At the last day God will lay open the graves, and bring forth All men from their sepulchres. It shall be known, when that day Shall come, what manner of man I was. " One may notice two striking features contained in this epitaph: (1) Hebelieves in the resurrection; (2) he does not care what man thinks ofhim, it is God who shall decide whether he was good or bad. Money was not a dominant motive with those employed on our oldbuildings, but master and man worked together for a common object, witha common sympathy; and especially in our cathedrals and minsters theykept uppermost in their minds that they were working for the glory ofGod. "They thought not of a perishable home Who thus could build. " Froude, in his _History of England_ (I. 51), says of our ancestors:"They cannot come to us, and our imaginations can but feebly penetrateto them. Only among the aisles of the cathedrals, only as we gaze upontheir silent figures sleeping on their tombs, some faint conceptionsfloat before us of what these men were when they were alive. " There are four _Sepulchral Brasses_ on the floor of the chantries. Theearliest one is that of Dr. William Towne, who is buried in the secondchantry from the east, to which I have already referred as being thefirst roofed in. He is represented in academical costume; and on hishands hangs a scroll with the following words: "Farewell to glory, toreputation in learning, to praise, to the arts, to all the vanity ofthis world. God is my only hope. "[16] Under his feet is the inscription:"Pray for the soul of Master William Towne, Doctor of Divinity, once aFellow of this College, who died on the eleventh day of March, 1494. Whose soul God pardon. Amen. " The words "Pray for the soul" and "Whosesoul God pardon. Amen, " have been partially effaced. [17] The most ancient brass after Dr. Towne's is that of Dr. Argentine, whois buried in the vestry on the south side nearest to the east. Hisfigure is placed, according to his last desire, on the tombstone in hisdoctoral robes, with his hands elevated towards the upper part of thestone, where there was formerly placed a Crucifix. From his mouthproceed these words: "O Christ, Son of God and the Virgin, crucifiedLord, Redeemer of mankind, remember me. " Below his feet are the words:"This stone buries the body of John Argentine, Master of Arts, Physician, Preacher of the Gospel; Passenger, remember, thou art mortal;pray in an humble posture, that my soul may live in Christ, in a stateof immortality. " On a fillet round the tombstone the following words areengraved: "Pray for the soul of John Argentine, Master of Arts, Doctorof Physick and Divinity, and Provost of this College, who died February2, 1507. May God have mercy on his soul. Amen. "[18] The next is that of Robert Hacumblen, in the second chantry from thewest on the same side. He is represented in ecclesiastical costume inprocessional vestments. On a label proceeding from his mouth isinscribed the following line: "O Christ, be thy wounds my pleasingremedy. " This applies to a shield in the sinister corner of the stone, which represents the five wounds of Christ. The shield in the dextercorner is missing. It probably contained his coat of arms, which were:vert, a cross saltire argent between four lilies of the second. On thefillet, which on all sides surrounds the stone, are the words: "O Lord, judge me not according to my actions. I have done nothing worthy in Thy sight. Therefore I beseech Thy majesty, That Thou, O God, wouldst blot out my iniquity. Have mercy, Jesu. " At the corners are the evangelistic emblems. The inscription that wasunder his feet has been taken away. It may be that it contained thewords "Pray for the soul, " etc. The fourth brass is in the next chantry toward the east, and is that ofRobert Brassie. He is also in ecclesiastical costume in processionalvestments, without the cope exposing the almuce. The label thatproceeded from his mouth is missing. At his feet are the followingwords: "Here lies Robert Brassie, Doctor of Divinity, formerly Provostof this College, who departed this life November 10, A. D. 1558. " On the walls of the Ante-chapel there are several _Memorial Brasses_. The oldest is a diamond-shaped one, on the left of the south porch, tothe memory of John Stokys, Public Orator, who died 17th July, 1559. Thatof a similar shape on the right is a repoussé tablet in copper, and isto the memory of J. K. Stephen, Fellow, who died February, 1892. In thelast bay is one to Richard Okes, Doctor in Theology, who was Provost ofthe College from 1850 to 1888. On the north wall there are seven tablets. Taking them in order ofdeath, the first is to Roland Williams, S. T. P. , Fellow, who died 15thFebruary, 1870. Then Henry Bradshaw, M. A. , Fellow, University Librarian, died 15th February, 1886; William Johnson (afterwards Cory), M. A. , Fellow, and for many years a Master at Eton, died 1892; Charles VickeryHawkins, Scholar, died 6th August, 1894; John Henry Middleton, M. A. , Professorial Fellow, Slade Professor, died 1896; Arthur Thomas Reid, Scholar, who met his death in climbing a mountain near Bangor, NorthWales, September, 1907; Frederick Whitting, M. A. , Senior Fellow, who wasfor 24 years Bursar and 20 years Vice-Provost, died suddenly in London, 1st January, 1911. Other tablets in the chantries commemorate variousmembers of the College. FOOTNOTES: [16] In all cases I have refrained from using the Latin, and havecontented myself with giving the English translation. [17] The words "Pray for the soul, " or "May whose soul God pardon, " weresufficient excuse for fanatics such as Dowsing to destroy or deface thebeautiful brasses in various parts of the kingdom. But the fanatics werenot alone to blame; for it is well known that churchwardens and evenincumbents of our churches have in many cases taken up and sold thebrasses to satisfy some whim of their own in what they called"restoration" of the edifice over which they had charge. [18] It may appear to my readers somewhat strange that in this case thewords "Pray for the soul" and "May God have mercy, &c. " are intact. Until 1898 this chantry had a boarded floor above the slab, the filletround not being visible. The figure itself with label was affixed to aboard and placed in the vestry for those who cared to inspect it. Whenthe floor was removed the Brass was placed in its proper place on theslab and the whole inscription could then be seen. There are thematrixes of four coats of arms. Probably they were King's, Eton, theUniversity, and Argentine's own coat, which was gules, three coveredcups argent. At the upper corners of the fillet are the evangelisticemblems of St. Matthew and St. John, while those of St. Mark and St. Luke, which were evidently at the bottom, have been taken away. Conclusion LIKE human beings, the chapel has received well-merited praise frommany, while some have used their knowledge (or want of it) to criticise. Fuller speaks of it "as one of the rarest fabricks in Christendom, wherein the stonework, woodwork, and glasswork contend which shalldeserve most admiration. " To quote Carter again: "It is entitled to beranked with the finest buildings of the world, " although he further goeson to say: "The exterior aspect is perhaps justly open to somecriticism, but it has received unqualified abuse at the hands of somewriters. " Ruskin was very severe, comparing it to a billiard table, turned upside down, the four corner turrets being the four legs; but heafterwards, it is said, retracted. The late Rev. Augustus Austen Leigh, Provost of the College from 1888 to 1905, in writing a history of theCollege, says: "Like other really great works, King's Chapel produces animpression which is instantaneous, and at the same time permanent. Itdoes not disarm criticism, but it compels admiration. And if anyone isinclined to criticise, let him look at the exterior on a moonlight nightfrom the south side of the Quadrangle, or from the top of TrinityStreet, or let him take his stand within the ante-chapel at thenorthwest corner on a bright summer's day, and cast his eye along thecoloured glass and stone vaulting till he catches a part of the eastwindow rising above the stately rood-loft; and if he does not feel thatthere is an inspiration in the building which is above criticism, hemust be a man that hath no music in himself. " I cannot end this brief sketch better than by quoting Wordsworth's twofamous sonnets on King's College Chapel:-- "Tax not the Royal Saint with vain expense, With ill-matched aims the Architect who planned-- Albeit labouring for a scanty band Of white-robed Scholars only--this immense And glorious work of fine intelligence! Give all thou canst; high Heaven rejects the lore Of nicely-calculated less or more; So deemed the man who fashioned for the sense These lofty pillars, spread that branching roof Self-poised, and scooped into ten thousand cells, Where light and shade repose, where music dwells Lingering--and wandering on as loth to die; Like thoughts whose very sweetness yieldeth proof That they were born for immortality. . . . . . . . What awful pérspective! while from our sight With gradual stealth the lateral windows hide Their portraitures, their stone-work glimmers, dyed In the soft chequerings of a sleepy light. Martyr, or King, or sainted Eremite, Whoe'er ye be, that thus, yourselves unseen, Imbue your prison-bars with solemn sheen, Shine on, until ye fade, with coming night. But from the arms of silence--list! O list! The music bursteth into second life; The notes luxuriate, every stone is kissed By sound, or ghost of sound, in mazy strife; Heart-thrilling strains, that cast, before the eye Of the devout, a veil of ecstasy! Appendix List of Provosts from the Year 1443 WILLIAM MILLINGTON, D. D. April 10, 1443 JOHN CHEDWORTH, D. D. Nov. 5, 1446 [Y]ROBERT WOODLARKE, D. D. May 17, 1452 WALTER FIELD, D. D. Oct. 15, 1479 JOHN DOGGET, D. C. L. (Oxon) April 18, 1499 JOHN ARGENTINE, D. D. And M. D. May 4, 1501 RICHARD HATTON, LL. D. Mar. 21, 1507 ROBERT HACUMBLEN, D. D. June 28, 1509 EDWARD FOX, D. D. Sept. 27, 1528 [Z]GEORGE DAY June 5, 1538 SIR JOHN CHEKE, M. A. April 1, 1548 RICHARD ATKINSON, D. D. Oct. 25, 1553 ROBERT BRASSIE, D. D. Oct. 3, 1556 PHILIP BAKER, D. D. Dec. 12, 1558 ROGER GOAD, D. D. Mar. 19, 1569 FOG NEWTON, D. D. May 15, 1610 WILLIAM SMITH, D. D. Aug. 22, 1612 SAMUEL COLLINS, D. D. April 25, 1615 BENJAMIN WHICHCOT, D. D. Mar. 19, 1644 JAMES FLEETWOOD, D. D. June 29, 1660 SIR THOMAS PAGE, M. A. Jan. 16, 1675 [AA]JOHN COPLESTONE, D. D. Aug. 24, 1681 CHARLES RODERICK, LL. D. And D. D. Oct. 13, 1689 JOHN ADAMS, D. D. May 2, 1712 ANDREW SNAPE, D. D. Feb. 21, 1719 WILLIAM GEORGE, D. D. Jan. 30, 1742 JOHN SUMNER, D. D. Oct. 18, 1756 WILLIAM COOKE, D. D. Mar. 25, 1772 HUMPHREY SUMNER, D. D. Nov. 3, 1797 GEORGE THACKERAY, D. D. April 4, 1814 RICHARD OKES, D. D. Nov. 2, 1850 AUGUSTUS A. LEIGH, M. A. Feb. 9, 1889 MONTAGUE R. JAMES, Litt. D. May 13, 1905 SIR WALTER DURNFORD, LL. D. Nov. 16, 1918 List of Organists from 1592 EDWARD GIBBONS, Mus. B. (Cantab. & Oxon) 1592-1599 JOHN TOMKINS, Mus. B. (Cantab. ) 1606-1622 MATTHEW BARTON 1622-1625 GILES TOMKINS 1625-1626 ---- MARSHALL 1626-1627 JOHN SILVER 1627 HENRY LOOSEMORE, Mus. B. (Cantab. ) 1627-1671 THOMAS TUDWAY, Mus. D. (Cantab. ) 1671-1728 ROBERT FULLER, Mus. B. (Cantab. ) 1728-1743 JOHN RANDALL, Mus. D. (Cantab. ) 1743-1799 JOHN PRATT 1799-1855 WILLIAM AMPS, M. A. (Cantab. ) 1855-1876 ARTHUR HENRY MANN, F. R. C. O. , Mus. D. (Oxon), 1882; M. A. (Cantab. ), 1910 1876- FOOTNOTES: [Y] The last Provost appointed by the Founder. [Z] It is very strange, but there is no evidence of Provost Day havingtaken a degree of any kind. He was Master of St. John's College, Cambridge, 1537; Provost, 1538; Bishop of Chichester, 1543. On makingenquiry at Chichester, the answer is "We have no reference whatever tohis having taken a degree, odd as this is to us. " [AA] The last Provost nominated by the Crown. PRINTED BY W. HEFFER & SONS LTD. CAMBRIDGE, ENGLAND. * * * * * Transcriber's Notes: Obvious punctuation marks added. Page 4, "bnried" changed to "buried" (buried at Chertsey Abbey) Page 10, "ravelled" changed to "travelled" (have travelled from city) Page 36, "Naaomi" changed to "Naomi" (Naomi and her Daughters-in-Law)