"The building, parent of my young essays,
Asks in return a tributary praise;
Pillars sublime bear up the learned weight,
And antique sages tread the pompous height."
TICKELL.
Queens's is one of the six oldest colleges in Oxford, and is far on to celebrating its sexcentenary, but it has purged itself of the Gothic leaven in its buildings more completely than any other Oxford foundation. It does not even occupy its own old site, for the building originally lay well back from the High Street. It was only the "civilities and kindnesses" of Provost Lancaster which induced the Mayor and Corporation of Oxford, in 1709, to grant to Queen's College "for 1,000 years," "so much ground on the High Street as shall be requisite for making their intended new building straight and uniform." And so the most important of "the streamlike windings of the glorious street" was in part determined by a corrupt bargain between "a vile Whig" (as Hearne calls this hated Provost) and a complaisant mayor. But much of the credit for the beauty of this part of the High must also be given to the architect of University College (seen in Plate IX on the left), who, whether by skill or by accident, combined at a most graceful angle the two quads, erected with an interval of some eighty years between them (1634 and 1719).
A man must, indeed, be a Gothic purist who would wish away the stately front quadrangle of Queen's, designed by Wren's favourite pupil, Hawkmoor, while the master himself is said to be responsible for the chapel of the College, the most perfect basilican church in Oxford.
If Queen's has been revolutionary in its buildings, it has been singularly tenacious of old customs. Its members still assemble at dinner to the sound of the trumpet (blown by a curious arrangement /after/ grace has been said); it still keeps up the ancient and honoured custom of bringing in the boar's head - "the chief service of this land" - for dinner on Christmas Day; while on New Year's Day, the Bursar still, as has been done for nearly 600 years, bids his guests "take this and be thrifty," as he hands each a "needle and thread," wherewith to mend their academic hoods; the /aiguille et fil/ is probably a pun on the name of the founder, Robert Eglesfield. The College at these festivities uses the loving, cup, given it by its founder, perhaps the oldest piece of plate in constant use anywhere in Great Britain; five and a half centuries of good liquor have stained the gold-mounted aurochs' horn to a colour of unrivalled softness and beauty.
Robert Eglesfield was almoner of the good Queen Philippa, wife of Edward III, and, like Adam de Brome, the founder of Oriel, he, too, commended his college to a royal patron. Ever since his time, the "Queen's College" has been under the patronage of the Queen's consort of England, and the connection has been duly acknowledged by many of them, especially by Henrietta Maria, the evil genius of Charles I, and by Queen Caroline, the good genius of George II. Her present Gracious Majesty, too, has recognized the college claim. The Queens Regnant have no obligations to the college, but Queen Elizabeth gave it the seal it still uses, and good Queen Anne was a liberal contributor to the rebuilding of the college in her day; her statue still adorns the cupola on the front to the High.
No doubt it was the royal connection which brought to Queen's, if tradition may be trusted, two famous warrior princes, the Black Prince and Henry V; though it is at least doubtful whether the Queen's poet, Thomas Tickell, Addison's flattering friend, had any authority for the picture he gives of their college life. He describes them as:
"Sent from the Monarch's to the Muses' Court,
Their meals were frugal and their sleeps were short;
To couch at curfew time they thought no scorn,
And froze at matins every winters morn."
The College has an interesting portrait of the great Henry, which may be authentic; but that of the Black Prince, which adorns the college hall, is known to have been painted from a handsome Oxford butcher's boy, in the eighteenth century. While we condemn the lack of historic sense in the Provost and Fellows of that day, we may at least acquit them of any intention of pacificist irony in their choice of a model.
Queen's has had better poets than Tickell on its rolls, but, by a curious chance, the two most eminent - Joseph Addison and William Collins - were both tempted away from their first college by the superior wealth and attractions of Magdalen.
The old local connections which were such a marked feature in the statutes of founders, and which so profoundly influenced Oxford down to the Commission of 1854, have been almost swept away at other colleges; but at Queen's they have always been strongly maintained. It has been, and is, emphatically, a north-country college. Not the least important factor in maintaining this tradition has been the great benefaction of Lady Elizabeth Hastings, fondly and familiarly known to all Queen's men as "Lady Betty." Steele wrote of her when young, that to "love her was a liberal education"; this may have been flattery, but her bounty, at any rate, has given a "liberal education" to hundreds of north-country men, who come up from the twelve schools of her foundation to her college at Oxford.
It is interesting to note in Modern Oxford, attempts to re-establish those local connections, which the wisdom of our ancestors established, and which the self-complacency of Victorian reformers "vilely cast away."