Whichever way you choose you will turn now and again to look back upon the spires and towers of Oxford and Radcliffe’s dome, clustering together among rich gardens and noble trees, watered by the winding, willow-fringed Cherwell and the silver stream of Isis, “rivulets,” as Wood quaintly phrases it, “which seem to the prying spectator as so many snakes sporting themselves therein.” And so gazing you will let your fancy roam and think of her past history and her future influence on thought and the affairs of State.
Within fifty years of their first landing the Northern hordes had conquered the greater part of Britain. Mercia, the border kingdom of the marches, had been formed, embracing the site of Oxford; its heathen King Penda had lived and died, the Mercians had embraced Christianity, and Dorchester had become the seat of a Christian bishop. But it was not till the eighth century A.D. that the vill of Oxford, an unfortified border town on the confines of the kingdoms of Mercia and Wessex, came into existence; it was not till the year 727, one hundred and thirty years after S. Augustine’s mission to England, that a religious community settled there. The history of that settlement is bound up with the story of S. Frideswide—Fritheswithe, “the Bond of Peace.” For although the details of the legend are evidently in part due to the imagination of the monastic chroniclers, yet there is no reason to doubt the main facts of time and place.
That Frideswide, the daughter of an under-king named Didan, founded a nunnery at a spot where a bank of gravel ran up from what is now Christ Church Meadow, and offered a dry site, raised above the wandering, unbarred streams, set amid lush meadows untainted as yet by human dwellings, and fringed by the virgin forests that clad the surrounding hills, we need not hesitate to believe, or that here Didan presently built a little church, some traces of which yet remain in Christ Church Cathedral. For the rest, how Frideswide escaped by a miracle to Binsey and lived there in the woods, in dread of the hot courtship of a young and spritely prince; how that prince was miraculously deprived of his sight when about to assault the city in revenge for his disappointment, and how from that time forward disaster dogged the footsteps of any king who entered Oxford; how the virgin Frideswide returned at last to Oxford, and, after performing many miracles there, died and was buried in her church—are not all these things told at length in the charming prose of Anthony Wood? The Lady Chapel of the Cathedral, on the north side of the choir aisle, is the architectural illustration of this story in Oxford. It was enlarged in the thirteenth century, and has the early English pillars and vaulting of that period, but the eastern wall carries us back to S. Frideswide’s day. And on the floor is a recent brass which marks the spot where the bones of the virgin Saint are now supposed to rest. Here too is the Shrine of S. Frideswide—that shrine which used to be visited twice a year by the Vice-Chancellor and the principal members of the University in solemn procession “to pray, preach and offer oblations at her shrine in the Mother Church of University and town.” This is the site of S. Frideswide’s first church. The Lady Chapel is in a line with what was the ancient nave, the central apse of that church, and there, at the east end of it and of the adjoining aisle, are the rough rag-stone arches which were built for her, and which led, according to the ancient Eastern plan, into three apses. And inseparably connected with S. Frideswide too is the adjacent Latin Chapel, by virtue of that window designed by Sir E. Burne-Jones, one of the earliest and one of the most beautiful of the artist’s designs, so lovely in its conception that, if you take each picture separately, it seems like some perfect poem by Rossetti translated into colour by a mediæval craftsman. But take it as a whole and the effect is quite other than this. It is so full of subjects and dabs of bright colour that it is dazzling and almost unintelligible.
Burne-Jones had not grasped, even if he had studied the glazier’s art. Apart from the fact that the great predominance of fiery reds offends the eye, the design is essentially one that has been made on paper and not in glass, drawn with pencil and brush and not in lead. Worked out on a flat, opaque surface the fussy effect of the window would not be foreseen; but the overcrowded and broken character of the design is painfully obvious when set up as a window. The scenes here depicted form an illustrated history of the story of S. Frideswide.
The splendid fourteenth-century glass of the Latin Chapel contains also, besides figures of S. Catherine, the patroness of students in divinity, two representations of S. Frideswide. This chapel was built on to the rest at two periods; the first bay from
the west is part of the transept aisle, the second bay belongs to the thirteenth century, the third and fourth were added in the fourteenth, from which period the decorated vaulting, with its bosses of roses and water-lilies, dates. The chapel was used till recently as a lecture-room by the Regius Professor of Divinity. The carved wood-work of the stalls and desks should be noticed.