133 Bust of Henry VIII. modern.

134 Do. (mod.) of Rob. C. Pal. Rhen. D. Bav. 1637. Æt. 17. 135 A Colossal Head of Apollo.

THE THEATRE.

The front of this building is opposite to the Divinity School, adorned with Corinthian pillars, and the statues of Archbishop Sheldon and the Duke of Ormond. Its roof has been admired as a chef-d'œuvre of Carpentry, being continued to a great breadth, by a very ingenious truss of timber-work, sustained only by the side walls, without intermediate support, its extent being 80 feet one way by 70 feet the other.

In consequence of the failure of the original roof, it was taken off, and a new one in its present form was executed in the year 1802.)

When properly filled, the Chancellor or ViceChancellor being seated in the centre of the semicircular part, the Noblemen and Doctors on his right and left hand, the Proctors and Curators in their robes, the Masters of Arts, Bachelors, and Under-Graduates, in their respective habits and places, together with strangers of both sexes, it makes a most august appearance.

On the north side is the statue of Charles II.. Within are the Portraits of the Founder (Archbishop Sheldon), the Duke of Ormond, and Sir

Christopher Wren, the Architect. Likewise a curious Ceiling, by Streater; the following description of which is taken from Plott's Natural History of Oxfordshire:

"IN imitation of the Theatres of the ancient Greeks and Romans, which were too large to be covered with lead or tile, so this, by the painting of the flat roof within, is represented open; and as they stretched a cordage from pilaster to pilaster, upon which they strained a covering of cloth, to protect the people from the injuries of the weather, so here is a cord-moulding gilded, that reaches cross the house, both in length and breadth, which supporteth a great reddish drapery, supposed to have covered the roof, but now furled up by the Genii round about the house, towards the wall which discovereth the open air, and maketh way for the descent of the Arts and Sciences, that are congregated in a circle of clouds, to whose assembly Truth descends, as being solicited and implored by them all.

For joy of this festival some other Genii sport about the clouds, with their festoons of flowers and laurels, and prepare their garlands of laurels and roses, viz. Honour and Pleasure, for the great lovers and students of those arts and that this assembly might be perfectly happy, their great enemies and disturbers, Envy, Rapine, and Brutality, are by the Genii of their opposite virtues, viz. Prudence, Fortitude, and Eloquence, driven from the society, and thrown down headlong from the clouds: the report of the assembly of the one, and the expulsion of the other, being proclaimed through the open and serene air by some other of the Genii, who,

blowing their antic trumpets, divide themselves into the several quarters of the world.

Thus far in general.

More particularly, the circle of figures consists, first of Theology, with her Book of Seven Seals, imploring the assistance of Truth for the unfolding of it.

On her left hand is the Mosaical Law, veiled, with the tables of stone, to which she points with her iron rod.

On her right hand is the Gospel, with the cross in one hand, and a chalice in the other.

In the same division, over the Mosaical Law, is History, holding up her pen as dedicating it to Truth, and an attending Genius, with several fragments of old Writing, from which she collects her history into her books.

On the other side, near the Gospel, is Divine Poesy, with her harp of David's fashion.

In the triangle on the right hand of the Gospel is also Logic, in a posture of arguing; and on the left hand of the Mosaical Law is Music, with her antic lyre, having a pen in her hand, and a paper of Music Notes on her knee, with a Genius on her right hand (a little within the partition of Theology) playing on a flute, being the emblem of ancient Music.

On the left (but within the partition of Physic) Dramatic Poesy, with a Vizard, representing Comedy, a bloody dagger for Tragedy, and the reed pipe for Pastoral.

In the square, on the right side of the circle, is Law, with her ruling Sceptre, accompanied with Records, Patents, and Evidences on the one side, and on the

other with Rhetoric: by these is an attending Genius, with the Scales of Justice, and a figure with a Palmbranch, the emblem of reward for virtuous actions; and the Roman Fasces, the marks of Power and Punishment.

Printing, with a Case of Letters in one hand, and a Form ready set in the other, and by her several Sheets hanging to dry.

On the left side the circle, opposite to Theology, in three squares, are the Mathematical Sciences, depending on Demonstration, as the other on Faith; in the first of which is Astronomy, with the Celestial Globe, Geography, with the Terrestrial, together with three attending Genii, having Arithmetic in the square on one hand, with a paper of figures; Optics with the perspective Glass; Geometry, with a pair of Compasses in her left hand; and a table, with geometrical figures in it, in her right hand. And in the square on the other hand, Architecture embracing the capital of a column, with Compasses, and the Norma or Square lying by her, and a workman holding another Square in one hand, and a Plumb-Line in the other.

In the midst of these squares and triangles (as descending from above) is the figure of Truth, sitting as on a cloud, in one hand holding a Palm-branch (the emblem of victory), in the other the Sun, whose brightness enlightens the whole circle of figures, and is so bright, that it seems to hide the face of herself to the spectators below.

Over the entrance of the front of the Theatre are three figures tumbling down; first Envy, with her #naky hairs, squint eyes, hag's breast, pale venomous

complexion, strong but ugly limbs, and riveled skin, frighted from above by the sight of the shield of Pallas, with the Gorgon's head in it, against which she opposes her snaky tresses; but her fall is so precipitous, she has no command of her arms.

Then Rapine, with her fiery eyes, grinning teeth, sharp twangs, her hands imbrued in blood, holding a bloody dagger in one hand, in the other a burning flambeau; with these instruments threatening the destruction of Learning, and all its habitations: but she is overcome, and prevented by a Herculean Genius, or power.

Next that is represented brutish, scoffing Ignorance, endeavouring to vilify and contemn what she understands not, which is charmed by a Mercurial Genius, with his Caduceus.”

In the Theatre are held the Public Acts called the Comitia, and Encænia, and Lord Crewe's annual Commemoration, in June or July, of the Benefactors to the University; when the Prizes adjudged to particular Performances are publicly recited.

This superb Edifice, which justly deserves to be deemed one of our principal curiosities, was built by that celebrated Architect Sir Christopher Wren, at the expence of Archbishop Sheldon, the Chancellor, in 1669, and cost his Grace 15,000l. to which he added 2000l. to purchase lands for the perpetual repair of it. Before the erection of the Clarendon, the upper part was