Henry VI. is the most famous of the founders of colleges in Cambridge, but his plan has been adhered to least of all. King’s has gone through several vicissitudes. The magnificent chapel stood south, not north, of the original college. That college was to have consisted of four courts; the fourth was to be on the other side of the river, and a covered bridge was to lead to it, as to the present fourth court of St John’s. As at Wykeham’s Oxford College, with which King’s has so many points of resemblance, the west end of the chapel was to be supplemented with cloisters and an ample tower. Only one court was built, which now is part of the University Library. The college has been transferred to the other side of the chapel, and consists of a scattered series of more or less modern buildings. From some points[94] of view, the change is to be regretted, but, had it not been made, we should have lost the unique view of King’s and Clare from the Backs, which disputes the honours of Cambridge with the Trinity lime walk.

King’s Chapel was very nearly a century in building. Henry VI. laid its foundation stone on July 25th, 1446, and the workmen continued at it till 1479 or thereabout. Edward IV. gave ￡1000 towards it, but the works lay idle till 1508, when Henry VII. came forward with ￡5000. Another ￡5000 was paid over by his executors in 1513, and in 1515 the chapel stood for the first time as it stands now. The stained glass was added under two contracts, one bearing date 1516, the second 1526. In 1536 the screen and most of the stalls were added, and in 1774 Essex spoiled the east end with some inferior Gothic wood carving, which, fortunately, has lately been removed.

This is the history of the main fabric. As a building, its faults are shared in common by all its contemporaries. It is possible to accuse King’s Chapel of monotony, and it must be confessed that its constant repetition of the[97] same ornaments all over its surface shows a lack of invention. But it may be said without any doubt that no building raised in Europe after 1500 is so pure a specimen of Gothic as this; and, with all its faults, and especially its strong tendency to mere bigness, it stands first in beauty among those of our churches which are not cathedrals—that is, after Westminster Abbey. The exterior, with its corner turrets, its row of tall windows, its flanking chantries and its immense buttresses, is simple in design and gorgeous in execution. The north and south porches, which are exceptionally good for their date, afford a certain relief from the general sameness. Internally, the charm of the general effect is extraordinary, and every Cambridge man must have felt it at some time or other. Its length is 316 feet, its breadth 45? feet, its height 78 feet; and this vast area is flooded with the exquisite colours of the stained windows. Even the roof, an unbroken expanse of that development of vaulting known as fan tracery, must give the palm to the windows. Without its stained glass, King’s Chapel would be, like the Lady[98] Chapel at Ely, merely an interesting relic. As it is, it is the rival of Fairford as the possessor of the most complete set of windows of the Renaissance period in England. Indeed, it would be difficult to find their parallel anywhere. Troyes is full of glass of the period, and, intrinsically, the windows of one of its churches, St Martin-ès-Vignes, are of equal interest, although much later. For depth of colour and systematic treatment these cannot be matched. They form a connected exposition of the Gospel History, proceeding by type and antitype from the conception of the Blessed Virgin, through the life of Our Lord and the apostolic history to the Virgin’s death. In each window there is an isolated figure or “messenger” between the compartments, who bears a scroll with an appropriate Latin text. Thus the windows embodied the whole plan of salvation, showing the type, the prophecy and the fulfilment. They culminate, in the east window, in the central fact of the Crucifixion. The west window, representing, in accordance with general custom, the Last Judgment, is modern (Clayton and Bell) and is in very fair, although far from complete[99] harmony with the older glass. The merit of the latter is not sustained all through, and the windows on the south side, nearest the altar, are coarsely treated in comparison with the rest.[3] Mr C. E. Kempe is at present restoring the windows dealing with the lives of Joachim, Anna, and the Blessed Virgin, which suffered from the enemies of so-called popery.

There are a thousand things to notice other than the windows. I have mentioned the roof. To understand its construction it is necessary to pay a visit to the space between the roofs, where the whole skeleton of the vaulting is to be seen and its wonderful engineering appreciated. The woodwork of the chapel is good, especially the screen, a very fine and graceful example of that Italian style which filtered into England through the court of Francis I. It bears the love-knot and twisted initials of Henry VIII. and Anne Boleyn. The organ-case upon it belongs to 1606; the organ itself was built eighty years later by Renatus Harris, but has been almost entirely renewed since. The canopies of the[102] choir-stalls are only a little older than the organ, and look best at a distance. Then there is the stone-carving in the antechapel, where the great coats-of-arms and supporters, the rose and portcullis of Henry VII. are repeated over and over again. Lastly, in the series of chantries there are one or two interesting brasses. Provost Hacombleyn’s chantry, on the south side, commemorates the provost who gave the beautiful lectern. He died in 1528, and is buried here. The window contains some good old glass; a portrait of Henry VI. and two pictures of Our Lady and St Nicholas of Myra, who are the patrons of the chapel. In the centre of the chantry is the altar tomb of Lord Blandford, only son of the great Duke of Marlborough. He died here in 1703.

For two hundred years after the completion of the chapel, the old northern court sufficed. To the south of the chapel was the Provost’s Lodge, which stood against the last bay, and, with other college buildings, bordered the western side of King’s Parade. In 1724 James Gibbs began the present buildings with his beautiful classical pile, which runs at right angles to the chapel from near its south-west corner. Fellows’[103] Building is in Gibbs’ best manner. It is an extremely plain building, with a rusticated basement and a great central opening, which runs through the first two stories and cuts into the third. This may be thought an unnecessary intrusion, but Gibbs had dispensed with an order throughout the building, and some relief was imperative. At any rate, the chief defect of this part of King’s is its hideous chimney-stacks, which are only too visible from the street.

Just a century later William Wilkins, who was rearing marvellous edifices in the Gothic mode, was let loose on King’s. He began with the space opposite the chapel, and built the long row which includes the Hall, Combination Room, Library, Provost’s Lodge, and several sets of rooms. This row begins at King’s Parade and continues past the southern end of Gibbs’ Building to within a short distance of the river—nearly 200 yards of supremely bad imitation Gothic. In this range of buildings the Hall is the only one which attracts much attention. It is large and gloomy, with a gallery at each end, and an elaborate plaster roof copied from Crosby Hall. Sir Robert Walpole has the place of honour[104] above the high table, but there are very few portraits, and the best is that of the late Henry Bradshaw, University Librarian. Wilkins was not satisfied with his undertaking. In 1828 he proceeded to lay King’s open to the road. The old Lodge was taken down, and a Gothic screen thrown across from the New Building to the south-east corner of the chapel. In the middle of this is the gateway, famous under many nicknames. To say that this fanciful structure is ugly is not strictly true: it has a very distinguished air about it, but it belongs decidedly to the era of the Brighton Pavilion. It would be appropriate in any country but England, and under any other name but Gothic.

Sir Gilbert Scott added the small court known as Chetwynd Court some forty years later. Its eastern side follows King’s Parade in a line with the end of Wilkins’ Building, and the face opposite Free School Lane is adorned with a statue of Henry VIII. Scott was too conservative and kept to Wilkins’ style too much; the result is not very successful. It was reserved for Mr G. F. Bodley to build the beautiful river court, which was completed on two sides in 1893.[105] Bodley’s Building is the architectural success of Cambridge in the present century, and compares very well with the same artist’s court at Magdalen College, Oxford. Its style is late fifteenth century: it consists of a ground-floor, two stories, and a gabled attic. The corner-staircase and the oriel of the south side are the chief features, for the use of ornament is very sparing. The rose and portcullis are introduced in places, and on the western end, which drops into the river, are carved the arms of Eton, King’s, and the tutelary see of Lincoln.

The only other buildings which remain to be mentioned are the last-century bridge, crossing the river by a single span, and the choir-school, a very handsome red-brick building in the meadows west of the college. It deserves notice as one of the very few really pretty dwelling-houses round Cambridge, and as an integral part of this noble and unique foundation.

In examining the motives which led to the foundation of the various colleges, it is interesting to observe how many of them were suggested by similar and almost contemporary foundations at Oxford. One may safely say that the boundary-line between the middle ages[106] and the new learning of the Renaissance was crossed when William of Wykeham founded his colleges of St Mary at Winchester and Oxford. The political importance of William of Wykeham and of his successors in the see of Winchester made their work very conspicuous: two of them, William of Waynflete and Richard Foxe, during their tenure of the see, proved no less munificent benefactors to Oxford than Wykeham had been. The connection of the see of Winchester with the Renaissance forced itself upon everybody’s attention. Henry VI. was especially impressed with it. Two bishops, Cardinal Beaufort and Waynflete, played a prominent part at his court; and it is to the latter that we doubtless owe many hints for the foundation of King’s College. However, at first, Henry VI. undertook the work without any idea of uniting it with his school at Eton. The college which he incorporated in 1440 was a very humble affair. It was restricted to a master and twelve scholars, and the space chosen for it was small and inconvenient. One of the main arteries of Cambridge ran west of it; the whole site of the present buildings was blocked up with houses; the form of the court had to be adapted to its narrow and cramped position. But, two years later, the king’s plans matured. His foundation of 1443 took a much larger form. It converted King’s into a finishing-school, as it were, for his Highness’ poor scholars of Eton. The dedication of the college was changed. Hitherto, in reference to the saint who presided over Henry’s[107] birthday, it had been called the King’s College of St Nicholas. It now added St Mary, the patroness of Eton, to its title. Thus it became an exact counterpart of New College at Oxford. Although Henry projected his buildings on a far more magnificent scale than anything of which Wykeham had dreamed, they had nevertheless a certain resemblance to the Oxford buildings. The plan includes a great tower and a cloister west of it, such as were built at Oxford. On the whole, the Founder must have been thinking very closely of the colleges at Winchester and Oxford, when he set his hand to this splendid work. He made Waynflete, then Warden of Winchester, Provost of Eton; and Waynflete was the guiding spirit of the charter by which the two communities were regulated.[4]

The first provost of King’s came from the opposite side of the street. His name was William Millington, a fellow of Clare. We are told that he was “set back for factious favouring of Yorkshiremen.” At any rate, Waynflete probably held the reins of both foundations until his translation to Winchester, which took place in 1447. Among the earliest members of the college are one or two famous names. Nicholas Close or Cloose, Bishop, first of Carlisle and afterwards of Lichfield, was certainly the overseer of the new chapel and perhaps its architect. Thomas Rotherham, whose name is[108] so closely connected with the history of both universities, was fellow of King’s, and gave ￡140 to the chapel. His portrait is in the Hall. Rather younger than these was Oliver King, Bishop of Exeter, who afterwards distinguished himself as Bishop of Bath and Wells. The immense Perpendicular building of Bath Abbey, which is due to his energy, is clearly suggested by King’s Chapel, and reproduces many of its details. John Chedworth, who is actually the first provost of the new foundation, became Bishop of Lincoln. His successor, Robert Woodlark, was the founder of St Catharine’s College. Another remarkable man of the end of the fifteenth century was Nicholas West, whose conduct as fellow was extremely indecorous. His temper was naturally hasty, and, when he was defeated in his candidature for a proctorship, he made an attempt to set the Provost’s Lodge on fire. Being baulked in this endeavour, he ran off with the college spoons. What action the college took is not recorded, but we are informed that, after this ebullition of temper, the quarrelsome fellow “became a new man, D.D., and Bishop of Ely.” Not only did he combine these three attributes, but, in penitence for his wild design on the Provost’s Lodge, built part of it. This was, of course, the old Provost’s Lodge, south-east of the chapel.

Penitence, too, moved Henry VII. to finish the chapel. As a member of the House of Lancaster, his hereditary duty compelled him to complete a work which even Edward IV. had[109] found pleasure in favouring; while, as one of the most extortionate and unjust kings who were establishing their thrones about that time, his conscience invited him to do something as an amende honorable for his misdeeds. King’s College was already looked upon as a royal legacy, and all the kings in their turn were well disposed to it, but none promoted its welfare so much as Henry VII., although his benefits were chiefly posthumous. The provost to whom the task fell of seeing that Henry’s bequests we............