Cambridge and its story With lithographs and other illus by Herbert Railton, the lithographs being tinted by Fanny Railton . than life, andboldly drawn, so as to be well seen from a great distance; but thefaces are full of expression and individuality, and each scene isbeautiful as a composition. They would well bear reduction withinthe narrow limits of an easel picture. . There is no doubt thata German or Flemish influence is discernible in some of the subjects;but that is no more than might have been expected, when weconsider the number of sets of pictures illustrating the life andpassion of
Cambridge and its story With lithographs and other illus by Herbert Railton, the lithographs being tinted by Fanny Railton . than life, andboldly drawn, so as to be well seen from a great distance; but thefaces are full of expression and individuality, and each scene isbeautiful as a composition. They would well bear reduction withinthe narrow limits of an easel picture. . There is no doubt thata German or Flemish influence is discernible in some of the subjects;but that is no more than might have been expected, when weconsider the number of sets of pictures illustrating the life andpassion of Christ that had appeared in Germany and Flanders duringthe half century preceding their execution. . That these windowsshould (at the time of the Puritan destruction of such things) havebeen saved is a marvel ; and how it came to pass is not exactlyknown. The story that they were taken out and hidden, or, asone version of it says, buried, may be dismissed as an idle fabrica-tion. More likely the Puritan sentiments of the then Whichcote, were regarded with such favour by the Earl of 156 r:j:^ A I:!-. ^4?^ ^^^m ( TWO ROYAL FOUNDATIONS Manchester during his occupation of Cambridge, that he interferedto save the chapel and the college from molestation. The magnificent screen and rood-loft are carved with thearms, badge, and initials (H. A.) of Henry and Anne Boleyn,and with the rose, fleur-de-lis, and portcullis. Doubtless, there-fore, they were erected between 1532 and 1535- The doorsto the screen were renewed in 1636, and bear the arms ofCharles I. The stalls were set up by Henry VHI., but theywere without canopies, the wall above them being probablycovered with hangings, the hooks for which may still be seenunder the string-course below the windows. The stalls are inthe Renaissance manner, and are the first example of that styleat Cambridge. They appear to differ somewhat in characterfrom Torregianos works at Westminster, and to be ratherFrench than Italian i
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectunivers, bookyear1912
