[26] This is delightfully commemorated in the old custom of Queen's College, by which, at the Gaudy dinner on Jan. 1st, each guest receives a needle with a silk thread of the colour of his faculty—Theologians black, Lawyers blue, Arts students red—and is bidden 'Take this and be thrifty'. The mending of the hood was a duty which must have often devolved on the poor mediaeval student. The custom dates from the time of the Founder (1340). It is sad that so few colleges have been careful, as Queen's has been, to preserve their old customs.
[27] Those of royal blood, the sons of peers and members of Parliament, and those who could prove an income of 60 marks a year, were allowed the privilege of Masters.
[28] i.e. if they are admitted by a college as 'noblemen', and are entered on the books as such.
[29] The initials S.T.P. (Sanctae Theologiae Professor), so commonly used for Doctors of Divinity on monuments, are simply a survival of the old usage according to which, in the Middle Ages, Doctor, Professor, and Master were synonymous terms for the highest degree. It was only later that 'professor' came to be especially applied to a paid teacher in any subject.
CHAPTER VI
THE PLACES OF THE DEGREE CEREMONY
The University of Oxford confers its degrees in three rooms, the Sheldonian Theatre, the Divinity School, and the Convocation House; the choice rests with the Vice-Chancellor, and now that, in the last year or so, degree-days have been made less frequent, and there are consequently more candidates on each occasion, the place is often the Sheldonian. This is a great improvement on old custom, for it is the only one of the three buildings which was designed for the purpose, and it is also the only one which gives room for the proper conduct of the ceremony, when the number of candidates is large.
The Sheldonian.
The Sheldonian, therefore, commonly known in Oxford as 'The Theatre', will be spoken of first, although it is the last in date of construction. It is a memorial at once of the munificence of one of the greatest among Oxford's many episcopal benefactors, and also of the architectural skill of her most eminent architect, Sir Christopher Wren. Down to the time of the Civil War, the ceremony of the 'Act' (cf. p. 27 seq.) at which degrees were conferred, had taken place in St. Mary's; but the influence of the Puritans was beginning to affect all parties, and was causing the growth of a feeling that religious buildings should not be used for secular purposes. John Evelyn, who gives us our fullest account of the opening ceremony at the Sheldonian, notes that it might be thought 'indecent' that the Act should be held in a 'building set apart for the immediate worship of God'[30], and this was 'the inducement for building this noble pile'. Wren had shown his design to the Royal Society in 1663, and it had been much commended; he was only a little more than thirty years of age, and it was his first public building, but he was already known as that 'miracle of a youth' and that 'prodigious young scholar', and he fully justified the Archbishop's confidence in him. So great was this that Sheldon told Evelyn that he had never seen the building and that he never intended to do so. Wren showed his boldness alike in the style he chose—he broke once for all with the Gothic tradition in Oxford—and in the skill with which he designed a roof which was (and is) one of the largest unsupported roofs in England. The construction of it was a marvel of ingenious design.