to St. Mary Winton, and has been called New College from its first foundation, being at that time highly regarded for its extent and grandeur.

We enter this College by a portal, leading into the first court, which is a quadrangle of about 168 feet long, and 129 broad. This court, as built at the foundation of the College, was low, with narrow arched transom windows, in the fashion of the times. But soon after the Restoration of King Charles II. another story was added over the old building, and the windows altered to their present form. The magnificent Gothic building on the north side is the Chapel and the Hall; on the east the Library; on the south the Fellows' apartments; and on the west the Warden's lodgings, which are large and commodious, furnished with some valuable portraits.

In the north-west corner of the court is the entrance into the Chapel; by much the grandest in the University. The form of it is like that of Magdalen College, but larger. The Ante-chapel is supported by two beautiful staffmoulded pillars. This part is upwards of 80 feet long, and 36 broad.

As the PAINTED WINDOWS of this Chapel make one of its chief ornaments, it will not be improper to bestow on them a more particular description.

Of those there are four distinct sorts.

1. All the windows of the Ante-chapel (the great one excepted) are nearly, if not quite, as old as the Chapel itself, and contain the portraits of patriarchs, prophets, saints, martyrs, &c. to the number of 64, and 50 smaller above them; curious for their antiquity, but for little else, being drawn without perspective, without the effect of light and shade, and ill-proportioned; yet in these are some remains, which shew the brilliancy of their colours, and some traces of simplicity and beauty; particularly in the heads of the female figures in the window on the right-hand of the entrance to the Chapel.

2. Of the second sort are the windows on the north side of the Chapel. These are done in the common modern style by Mr. Peckitt, of York. The three nearest the organ contain, in the lower range, the chief persons recorded in the Old Testament, from Adam to Moses; in the upper, twelve of the Prophets. Mr. Rebecca gave the designs for these. The two other windows contain our Saviour, the Virgin Mary, and the twelve Apostles.

3. The third sort are on the south side of the Chapel. These were originally Flemish windows, and done (as it is reported) from designs given by some scholars of Reubens. Being brought out of Flanders, they came into the possession of Price, the son, whose skill in glass-painting is

well known. Of him they were purchased by the gentlemen of the College, who also employed him to repair what injuries they had sustained, and to fit them for the places where they now stand, A. D. 1740. In each window are eight figures, of saints, martyrs, and prelates, with their respective symbols; and for expression, colouring, and effect, they were esteemed equal, if not superior, to any painting executed on glass, till the appearance of the fourth sort, of which we come now to speak.

4. The west window of the Ante-chapel. This great window consists of seven compartments in the lower range, each near three feet wide and twelve high. In these stand seven allegorical figures, representing the four Cardinal and three Christian Virtues, in the manner following.

TEMPERANCE, pouring water out of a larger vessel into a smaller one. Her common attribute, the bridle, lies at her feet..

FORTITUDE, in armour; her hand resting on a broken column, which though half destroyed remains upright; her form robust, her look bold and resolute. A lion, her attendant, couches below her.

FAITH, standing firmly on both feet, and bearing a cross, the symbol of her belief; her eyes and hand raised up to heaven.

On the other side of the middle group (of which more hereafter) HOPE, looking toward

the same heaven, and springing forward to it so eagerly, that her feet scarce touch the ground. Part of an anchor, her attribute, is seen in the corner of her compartment.

JUSTICE, looking with a steady and piercing eye through the dark shade which her arm casts over her face; in her left hand the steelyard, a kind of balance less cumbrous, if not less vulgar, than the scales, which are usually given her. Her right hand supports the sword.

PRUDENCE, beholding (as in a mirror) the actions and manners of others, for the purpose of regulating her own by observation thereon. Upon her right arm an arrow joined with a remora, the respective emblems of swiftness and slowness; Prudence being a medium between them.

The middle group, mentioned above, repre sents CHARITY, and deserves particular notice for the expression of the figures. The fondling of the infant, the importunity of the boy, and the placid affection of the girl, together with the divided attention of the mother, are distinctly and judiciously marked with a knowledge of character, for which the great artist who gave this design is so justly celebrated.

Such are the figures which fill the lower compartments; yet they are but a subordinate part to the superb work erected over them. space ten feet wide, and eighteen high, is repre

In a

sented the NATIVITY of JESUS CHRIST: a composition of thirteen human figures, besides some animals. 1. The blessed Virgin, whose attention is wholly engaged with her Infant. 2. A group of Angels descended into the stable, and kneeling around him. The face of the least of these exhibits an idea of youthful beauty that perhaps was never surpassed. 3. A company of shepherds, whose devotion and rude eagerness to behold him are strongly expressed. 4. St. Joseph, looking on the spectators, and pointing to the Child, as to the promised seed, the expectation and hope of all nations. 5. In the clouds above, an Angel contemplating the mystery of the Cross; and near him a scroll, on which is written the original Greek of this text, Mysteries which the Angels themselves desire to look into.

In this composition the painter has taken for his light that which is supposed to proceed from the body of the Infant; herein imitating a famous picture now preserved in the Gallery at Dresden, and known by the name of the Notte of Correggio*. This beautiful idea has often been adopted, but never so judiciously applied as in this instance; where the substance on which the Infant is delineated being transparent, and the light actually passing through him, his body receives a higher

A small copy of this picture is in the Collection at Christ Church.