The Woodwork, Organ, etc.
THE Screen dividing the choir from the ante-chapel is one of the earliest and purest examples of renaissance woodwork in this country and is no doubt the work of foreign artists (probably Italian), several having been brought over and employed by Henry VIII. Carved upon it are the badge of Anne Boleyn, a crowned falcon holding a sceptre; the initials H. R., R. A., H. A., with true lovers' knots entwining these two letters; the arms of Henry VIII and Anne impaled; while below in the same 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 letter N or something similar to appear), yet I venture to say it refers to Anne, 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 the Provost's stall is carved an admirable representation of St. George and the dragon. Over the door on this side are the arms of King's and Eton emblazoned. 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 the exception 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 one erected in 1606 by an organ-builder named Dalham; some portions of the case date back to the time of Henry VIII. On the outer towers of the organ facing west are two angels holding trumpets. These were put up in 1859, taking the place of two pinnacles, which in their turn were substituted 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 south sides were put up at the expense of Thomas Weaver, a former Fellow of the College, in 1633. Amongst them are the arms of England as they were at the time; those of Henry V, VI, VII, VIII, Eton and King's College—for Henry VI (no doubt following out the scheme adopted by William 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 Oxford placed on the opposite side. The canopies of the stalls and the panel work east of them were executed in 1675-1679.
The Altar Table, from a design by Mr. Garner, was first used on Advent Sunday, 1902; and the woodwork round the chancel was finished in 1911. The architects were Messrs. Blow and Billary, the work being executed by Messrs. Rattee and Kett, the celebrated ecclesiastical builders, of Cambridge.
The Candelabra which stand within the Chancel, were the gift of Messrs. Bryan, Wayte, and Witts, sometime Fellows; conjointly with the College, and are of the date 1872.
The Candlesticks on the Altar were given by Edward Balston, a former Fellow, in 1850; and the Cross (by Mr. Bainbridge Reynolds) is in memory of the late Rev. Augustus Austen Leigh, Provost, 1889-1905.
The Picture on the north side, "The Deposition," by Daniel de Volterra, was presented to the College by the Earl of Carlisle in 1780. It previously occupied the central position in the woodwork placed there in 1774, and was removed in 1896 when the east window was re-leaded. The handsome Lectern was given to the College by Robert Hacomblen, who was Provost from 1509 to 1528. The candle branches were added in 1668. It was 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 worth recording that on Wednesday, May 4, 1763, nine Spanish Standards taken at Manilla by Brigadier General Draper, formerly Fellow, were carried in procession to the Chapel by the scholars of the College. A Te Deum was sung, and the Revd. William Barford, Fellow, and Public Orator, made a Latin oration. The colours were first placed on each side of the Altar rails, but afterwards were hung up on the Organ Screen; they eventually found a resting-place in one of the South Chapels. About 20 years ago they were sent to a needlework guild in London with a view to their being restored, but it was found they were too far gone. Some of the remnants that were returned are preserved in a glass case in the vestry, where they may be seen.