Oxford

by F. D. How

How much the beauty of the interior of Oxford's ancient buildings is increased by the glowing colours of the light, that finds its way through stained-glass windows, it is hard to say. These windows are so numerous and so beautiful that it is difficult to imagine what many a chapel, hall, and library would be without them. They are of every date, from ancient fragments, such as may be seen in the windows of the Library at Trinity, to the great Sir Joshua Reynolds' window in New College Chapel, and the still later examples of Burne-Jones' art, which are among the chief beauties of the Cathedral; and they include such splendid instances of old Flemish art as may be found in Lincoln College Chapel.

IFFLEY MILL

Of carved work in wood and stone there is much that is precious, though many of the larger statues are not examples of the highest form of art. Still there are traceries and capitals of exquisite design to be found everywhere, and of statuary there is at least Onslow Ford's pathetic figure of the poet Shelley to be seen at University College, beneath a dome which does its best to mar the whole effect.

Of wood carvings the most beautiful are Grinling Gibbons' work at Trinity and Queen's, and the most interesting the old oak altar at Wadham, brought there from Ilminster, the home of Nicholas and Dorothy Wadham, the founders of the College.

New College and Corpus each can boast the possession of their founder's pastoral staff, silver gilt, and in the former case both jewelled and enamelled; while Exeter and Magdalen prize among their chief treasures tapestry hangings of great beauty, the former designed by Burne-Jones, and executed by William Morris (both Hon. Fellows of the College), the latter of considerable antiquity, having been presented to the College by Prince Arthur, son of Henry VII. But so innumerable are the artistic delights hidden in every corner of Oxford that it is impossible to do more than thus suggest their existence.

And now, before it is quite time to turn away, we will out into the sunshine once again. There is one memory of Oxford to which expression has not yet been given. It is connected with the sparkle, the gladness, the sunshine of the place: it is the music of the sound of Oxford—the song, if you will, it always used to sing. To-day there is a difference. The rumble of the tramcar, the hoot of the motor, are heard in her streets, and since the era of much married fellows, the wail of the infant rises from the solid phalanx of perambulators on the pavement. But once upon a time—how long ago!—all through the summer day and summer night there was a kind of music in the air. The whisper of the wind that stirred the willows made soft accompaniment of the splash of paddle in the stream: the birds sang lustily amid the gentle rustle of the garden trees, and when the thrush retired to roost the nightingale took up the tale. The very footfall of the men hurrying to lecture was a pleasant sound, for then they needed not to punctuate their progress with the sharp tang of the bicycle bell. And best of all the bells made music morning and evening at the chapel hours. Not the despairing music of a peal, that falls and rises only to fall again, till nervous men are racked, but a cheerful note—just one—but different from each side; and, amongst all, that one that each man knew to be his own and loved, and knows it still to-day and loves it still. It is true enough that other sounds, less musical, are heard by memory's ears. Sometimes the nightingale would take to flight, affronted that her note was drowned by "the shout of them that triumph, the song of them that feast", as the College kept high revel in honour of the Eight. Even now it is possible to hear the raucous yell of "Dra-ag", to summon those who lingered over luncheon and kept the char-à-banc from starting for the Cowley cricket grounds, and none who have once heard it can forget the roar mingled with the rattles, pistol shots and bells, that draws closer and even closer, as the Eights come racing to the Barges. Scarcely music, perhaps, but for all that a part of the song of Oxford life.

But in all the sweetest sounds that have till now gone up from earth to heaven Oxford has had its part. Not only have birds and meadows, trees and rippling streams made constant music to the God who made them, but the heart and voice of man have not unworthily joined in. What of Keble and Clough from Oriel, singing indeed a different strain, but singing for all that? What of Bishops Heber and Ken, from All Souls and from New? Of Robert Browning of Balliol, and Landor Trinity's chief poet? And lastly what of Shelley, recognized at last as singer of immortal verse? These and a host of lesser songsters, each with his several songs, joining with the glorious harmonies that have for so long been sent up from Magdalen, New College, and from that ancient fane where once St. Frideswide rested, make good the claim of Oxford as a city of sweet song.

There is no more to say—or rather there is no space in which to say it—and thoughts which have been revelling in Oxford's loveliness must be turned once more to the homelier duties from which they have for a while escaped, and he who writes must lay aside his pen all sorrowful that on such a theme he could no better write.