restorers of 1845-9; it is the great defect in their work. But the eleven perpendicular windows of the antechapel, including the enormous south window, have been filled with glass by Sir Edward Burne-Jones and Mr William Morris; and their magnificent, if somewhat secular, work, serves to hide the shallowness and unoriginality of the stonework. It is a pity that, in one or two places, the colours already show signs of decaying; but, on the whole, the two great artists seldom collaborated to such purpose or found such excellent material for their work. The organ at the west end is new, and there is perhaps too little space for it. The older organ, a small instrument with a triptych front, is in the choir aisle, and has an appearance strongly suggestive of the bygone monasticism of the place. The rest of the Court, Hall, Library and Master’s Lodge are much as the founder left them, although their outer shell has been from time to time considerably altered. The Hall, with its dark lobby on the ground floor and its staircase, is a fine room, occupying the position of the convent refectory. There are some good portraits here and in the Combination Room, including one of Cranmer in the manner of Holbein. The Hall was wainscoted early in the last century. Since then and since the completion of the outer court, the college has received no structural additions to its main body.[6] Within the last thirty years, however, the need for accommodation has increased; and we owe to it, first, Messrs Carpenter and Ingelow’s brick range of buildings north of the college and their houses for married tutors; and, secondly, the great building, also of brick, which Waterhouse built about 1869 at the end of the garden east of the chapel. His work here is better than usual, and forms a picturesque outpost to the colleges as one crosses the end of Midsummer Common by the Newmarket Road. The Jesus close, with its great palisade of trees and its view of the boathouses on one side and the venerable chapel tower on the other, almost rivals the Backs in beauty. * * * * *