File:Cambridge and its history - with sixteen illustrations in colour by Maxwell Armfield, and sixteen other illustrations (1912) (14597254657).jpg

Identifier: cambridgeitshist00grayuoft (find matches)
Title: Cambridge and its history : with sixteen illustrations in colour by Maxwell Armfield, and sixteen other illustrations
Year: 1912 (1910s)
Authors: Gray, Arthur, 1852-1940
Subjects: University of Cambridge Universities and colleges -- England History
Publisher: London : Methuen
Contributing Library: OISE - University of Toronto
Digitizing Sponsor: MSN

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ace, should becomefoul and dangerous. Though Caius is more town-bound and its population has grown more intensely,perhaps, than that of other colleges, the foundersdirection is piously and wisely observed to this day.The example of a three-sided court, in design, at least,foreign to the earlier colleges, was copied at Sidney andEmmanuel, and in Nevilles Court at Trinity. On the east of the college, towards Trinity Street,Dr. Caius purchased from Trinity a large site whichat first was left vacant, but in the next century wasused for the erection of Tree Court. The ancientgate of Gonville Hall, in Saint Michaels Lane, remaineduntil the eighteenth century, but Caius made entrancesto the new part of his college on its eastern and southernsides. In the High Street stood the Gate of Humility,which did not then open on a court. An avenue oftrees conducted from it to the interior college portal,variously styled the Gate of Virtue or the Gate ofWisdom. A third gate, of an enriched and charming
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r.ATK OF HONOIK WD iriUIK oK < ;.\1 K ol VIRIIK, (Alls <(); I.K(;; THE REFORMED COLLEGES 113 design, the Gate of Honour, served as exit in thedirection of the University Schools, which stood onthe opposite side of the street, then called Caius Street,now Senate House Passage—a blind lane, blockedby houses at the High Street end. We have seen thatQueen Elizabeths Gate at Trinity, occupying a similarrelative position to that of the Gate of Honour at Caius,but built some twenty years later, was called PortaHonoris. The allegory was a graft of medieval fancy,characteristic of the English side of Caius, but thearchitecture was of the newest Renaissance, whichhe had admired in Italy. The gate and its even moresatisfying fellow of Virtue have an interest beyondtheir beauty as showing the first conscious adoptionof a foreign model in Cambridge architecture. It was not Italian art only which Caius revealedto Cambridge. From Padua, he imported the newscience of Anatomy, which he had stu

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