But the legend is without form or foundation. The true history of the organ and its acquisition, however, is sufficiently interesting to be worth recording. On the 11th of October, 1702, a fleet of twenty-five English and Dutch ships of war, under the supreme command of Admiral Rooke, having been foiled in an attack on Cadiz, sailed into Vigo Bay, where the combined French and Spanish fleets were then collected. A body of 2,500 soldiers, under the command of Richard, second Duke of Ormonde,[154] landed under some fortifications eight or nine miles from the town of Vigo, silenced the batteries, and captured no less than forty pieces of cannon. A large number of the enemy’s ships were burned and sunk by the British fleet, including six great galleons with treasure on board to the extent of 14,000,000 pieces of eight; and a number of vessels of all kinds were taken as prizes. Among them was a ship containing, carefully packed as part of her freight, an organ destined in all probability for Mexico or Peru—the gift, it may be, of his most Catholic Majesty Philip the Fifth to some favoured church in Spanish America. Rooke declined to attack the town, and sailed away with his prizes to England. He was tried by court-martial on his arrival, and honourably acquitted, and lived to earn undying fame two years later by the taking of Gibraltar. But the Duke of Ormonde enjoyed all the credit of the victory at Vigo,[155] and was soon after appointed Lord Lieutenant of Ireland (1703), when he presented the organ, so strangely acquired, to Trinity College, Dublin. There was a solemn Thanksgiving Service at St. Paul’s in honour of Ormonde’s victory, at which Queen Anne was present, and a medal was struck in commemoration of the event, of which an example may be seen in the College Library. The organ is said to have been originally built in the Spanish Netherlands, and was repaired and enlarged in Dublin by Cuvillie in 1705, before it was placed in the old Chapel. But the instrument that now stands in the gallery of the Theatre is not the organ as it was presented by the Duke of Ormonde, or even as it left the hands of Cuvillie. “When the University Choral Society,” writes Sir Robert Stewart, “was founded (1837), they resolved to erect an organ for their accompaniments; and by the aid of the Lord Primate, who contributed £50 to the cost, this was done, and an instrument of two rows of keys and pedals was placed at the north end of the Commons Hall about 1839. But the Society, finding it useless for their purpose, sold it to the Board, who were glad to remove it from the space which was required for Commons, Examinations, and Lectures. The organ case which stands in the gallery of the Examination Hall contains at present the pipes of the organ built by Telford for the University Choral Society in 1839. All the old Spanish pipes having been removed from its interior, the case closely resembles all those organs built in the eighteenth century, a familiar type abounding in cherubs, heraldic mantlings, rococo scroll-work, all being surmounted by the Royal Arms.”[156]
Another more modern legend connected with this Theatre may be worth recording. When George IV. visited Dublin, he was entertained, as it was fitting that he should be, by the University. And to make his way plainer from the Provost’s House to the Theatre, where the Degrees were conferred in his presence, a part of the wall of the apse facing the Provost’s House, where his Majesty was received, was removed, and the grand procession entered the Hall without the necessity of going round to the main doorway. The masonry on the outside of the Hall still bears evidence of the destruction and restoration that was necessitated by this most loyal smoothing of the path of the royal guest.
One of the greatest improvements of recent times in the College precincts—a happy artistic inspiration—has been effected at comparatively small cost either of money or of trouble. In matters of art and taste, when the right thing is done, the result is commonly quite out of proportion to the material magnitude of the work. In the spring of 1892, the low granite wall, with its high iron railing, which ran from the north-east corner of the Library Buildings to the side of the Examination Hall, was moved back some fifty feet. As it stood before, it not only broke in upon the fine eastern façade of the Examination Hall, ninety feet in length, but it entirely concealed the lower story of the western end of the Library, and blocked up the main door of that building; and its lines were as meaningless and inappropriate as they are now harmonious and satisfactory. The actual amount of ground thus thrown into the quadrangle is only about five hundred square yards, or perhaps one-fiftieth part of the total area of the great square of the College. But it would be difficult to find a unit to express the magnitude of the improvement.
THE CAMPANILE.
The old Hall, which extended from the present Campanile in the direction of the College gate, and parallel to the Library, had a plain end towards the west, in which was the doorway. The view of the Hall from the gateway being somewhat unsightly, a sum of £600 was bequeathed to the College by Dean Pratt, formerly Provost, for the purpose of having an ornamental front erected at this end of the Hall; and Dr. Gilbert had also left by his will a further sum of £500 towards the building of a new Belfry. The Board accordingly employed Mr. Cassels to furnish a design for the combination of the two objects. The building was commenced in 1740, and in 1746 the new front to the Hall, with a Bell Tower surmounted by a dome and lantern, was completed, at a total cost of £3,886: and in 1747 the great Bell of the College, which had been cast at Gloucester in 1742, and which weighs nearly 37 cwt., was then hung in this Tower.[157] The upper portion of this Belfry was removed in 1791, having been condemned as unsafe, and the entire front was taken down in 1798. The present Belfry, or Campanile, as it is usually called, is the gift of Lord John George Beresford, when Archbishop of Armagh and Primate of all Ireland, in 1852. It is an isolated monumental building in the centre of Parliament Square—an architectural composition of three stages. The lower or basement stage is square in plan, and of the Doric order, elevated on a bold podium or sub-basement of rusticated granite ashlar. Each side presents an open archway between two pairs of Doric pilasters, the pilasters being raised on pedestals, and the whole surmounted by a Doric entablature. The keystones of arches have carved heads, representing Homer, Socrates, Plato, and Demosthenes. This story is built of granite, with chamfered joints and raised panels, the alternate courses of pilasters being raised in the same manner. From the blocking of the entablature rises a stage of circular steps, the angles of blocking being occupied by pedestals supporting figures representing Divinity, Science, Medicine, and Law. From the upper step of this chamber rises the bell-chamber—circular in plan, and formed by eight Corinthian columns, attached, and raised on pedestals. The space between each pair of columns is pierced by a semicircular-headed opening, filled with ornamental ironwork. The Corinthian entablature above is broken over each column. From this level rises the dome, divided vertically by bands in continuation of the columns below, the intervals being carved to resemble overlapping leaves. This dome is surmounted by a small open lantern, formed by piers and arches; above these is a small dental cornice, finished by a smaller dome, carved like the one below. The whole is surmounted by a gilt cross. Portland stone is used from the upper circular step; the rest is cut granite. The total height is about one hundred feet.[158] The gradation of the composition from the square basement to the circular belfry stage is designed with remarkable artistic ability. It is by a series of stepped courses, and the angles or “broaches” are happily filled by the sitting figures, adapted to their place with great skill by the late Mr. Thomas Kirke, R.H.A., the sculptor. The whole design, while of refined and “correct” classic detail, is of an original character, skilfully adapted to its isolated position. The architect engaged in its erection in 1852-3 was the late Sir Charles Lanyon, R.H.A., then Mr. Lanyon, and, associated with him, Mr. W. H. Lynn, R.H.A., both of whom continued to design buildings in the Roman Classic manner with skill and refinement throughout a period known as that of the Gothic revival, when this style was for a time under undeserved popular disfavour. Few architects of the day would have been found to adapt a design, with such good judgment and restraint, to the genius loci of Trinity College, and to the surrounding architecture, the work in the previous century of Sir William Chambers. The foundation-stone of the Campanile was laid by the donor, His Grace Lord John George Beresford, Lord Primate of all Ireland, who was also Chancellor of the University, on the 1st of December, 1852; and the great Bell was first rung in the new Belfry before Divine Service on Sunday, November 26th, 1854.
THE BELL TOWER, FROM THE PROVOST’S GARDEN.