The Great Court of Trinity represents the earlier foundations of King’s Hall and Michael House. Of these, the latter was the older, and its buildings occupied a position nearly corresponding to the south-western angle of the present court. It may safely be supposed that, up to the last half of the eighteenth century, some remains of the original building were allowed to exist, although Dr Nevile had probably faced them in accordance with his general design. In 1771, however, James Essex made a radical alteration in this corner, and the only part which was thought worthy of preservation was the kitchen. This quaint room, entered by a passage from the hall-screens, still survives, and may be regarded as the nucleus of the modern Trinity. The next relic of importance is the King’s Tower, which now blocks up the[212] west end of the Chapel, and occupies the centre of the north side of the court. It stood originally a little south-east of its present site, and opened at the junction of two lanes, one of which ran diagonally from the old church of All Saints’ to the Cam, while the other, coming from the present Trinity Lane, was bounded on the west by the small court of Michael House. Now, of course, the tower, removed and rebuilt, shows very little trace of antiquity, and the oldest part of it is the statue of Edward III., which stands above the gateway, and bears the inscription “Tertius Edwardus fama super aethera notus.” This may be ascribed to the reign of Edward IV. Later on, in the reign of Henry VII., the foundation of the great gateway was laid, and a chapel for the scholars of King’s Hall was built.
 
Not long after King’s Hall had received its new eastern gateway, which implies a considerable extension of the college, Henry VIII. dissolved the lesser foundations and founded Trinity as we know it. Henry’s chief wish was to provide a sufficient chapel. It was not, however, until Mary’s reign that any activity was shown in this work. Mary furthered her father’s project, and[215] allowed the builders to use the ruins of Cambridge Castle as their quarry. The work was finished by Elizabeth. Trinity Chapel is an excellent example of late Perpendicular work. As Gothic work, it is stiff and debased, and forms a striking contrast to the elegance of the Renaissance Hall. Its exterior has been very little altered. Internally, however, it belongs to a much later period. The west window was filled up by Nevile; the east window is obscured by a huge baldachino of the last century. During Bentley’s mastership, Father Smith built the present organ, one of the largest in England; and the whole chapel was refitted to suit the capacities of this instrument. Opinions may differ about the beauty of the heavy wooden screen in an uncompromisingly classical taste which supports the organ and divides the chapel from the antechapel; but it is unquestionably a very appropriate addition to a stately, if ugly, interior. The carving of the stalls is by Grinling Gibbons. Alterations did not stop here. The present century has made the building what it is. Within the last thirty years the roof and walls have been highly decorated in accordance with the rest of the[216] chapel, and the result is very imposing. Mr Henry Holiday’s stained glass, which represents the saints and worthies of the Church from the earliest period, is good, although its merits are a little various. The western windows near the organ, devoted to members of Trinity, are the best. In the antechapel the glass is very bad indeed. Otherwise, this part of the building is not much altered, and its panelling of dark oak makes it one of the most impressive sights in either university. This is much increased by the fine statues. Of these, that of Newton, by Roubiliac, was given in 1755 by the master, Dr Smith. The rest are more modern. Bacon’s statue, by Weekes, was given by Dr Whewell; Barrow’s by the late Lord Lansdowne. The statues of Macaulay and Whewell are both by Woolner.

These various buildings and others which had grown about them were gathered together in the reign of James I., and the result is the Great Court, one of the largest and certainly without exception the most beautiful of quadrangles in the world. Trinity owes a great debt to Thomas Nevile, who was master from 1593 to[217] 1615. To bring his buildings into a systematic form, he took down King Edward III.’s tower and rebuilt it west of the chapel. He added the upper storey to the great gateway, and placed the statue of Henry VIII. in a niche outside, while on the side towards the court he set up in corresponding niches statues of James I., Prince Charles, and the Princess Elizabeth. On the south side he built the Queen’s tower, which contains the figure of Queen Mary, and is exactly opposite King Edward’s tower. Finally, to the west he built the Hall, north of the old hall of Michael House, and, further north still, the Master’s Lodge. His architect was that admirable genius, Ralph Symons. Although the Great Court has been partly faced with stucco and, in certain places, refronted, its beauty is indestructible. The sets of rooms which join the towers and other buildings together, have their height in very just proportion to the size of the quadrangle. What the effect would be, were they higher than they are, may be seen by comparing the Jacobean buildings with Essex’s classical addition near the kitchen, and the modern Gothic buildings between the Chapel[218] and Lodge. The beauty of the court finds its central point, perhaps, in Nevile’s exquisite fountain, built in 1602, which has all the best attributes of English Renaissance work. It may be compared with the gateway just outside the south-western corner of the court.

The Hall, with its light oriels and graceful louvre, was finished in 1604. Its interior is, perhaps, a little over-decorated, but possesses a certain splendour which finds no parallel in England. The western gallery, covered with rich carving and highly gilded, may be compared with the similar galleries at Audley End and other contemporary houses. The portraits are interesting, although of no great excellence as a whole. Newton, Bacon, and Barrow occupy the north end, and other celebrities, such as Dryden, Cowley and Pearson, are to be found on the side walls above the panelling. Sir Joshua Reynolds’ charming portrait of the little Duke of Gloucester hangs close to the western oriel, and near it is Mr Watts’ portrait of Tennyson. Other modern portraits are those of Thackeray (Lockhart Bogle), Dr Thompson (Herkomer), Dr Lightfoot (Richmond), and,[219] of living celebrities, Professor Michael Foster (Herkomer) and Dr Henry Jackson (C. W. Furse).
 
Beyond the Hall, Nevile built the court, which bears his name, and, for a certain beauty of its own, is not far behind the Great Court. Ralph Symons was again his architect. This building consisted of two wings, shorter than at present, at right angles to the Hall, and built above a cloister. These splendid arcades are the very crown of Renaissance work in Cambridge; their cloistered ground-floor recalls Bologna or Padua rather than the court of an English university; but their upper stories are thoroughly English work. Nevile’s Court did not assume its present secluded, aristocratic appearance until considerably more than a hundred years later. Isaac Barrow, one of the many great Masters of Trinity, began the library in 1675, with Sir Christopher Wren as his architect. The court was completed by the generous addition of two compartments to the original arcades, which was paid for by some of the fellows. Wren’s Library is so prominent that its incongruity with the rest[222] of the court is not at once obvious, but there can be no doubt that it is seen at its best on the river side. Its front towards the court is adorned with a bas-relief which represents the dedication of the Septuagint to Ptolemy Philadelphus. On the roof are four statues of learned nymphs by Gabriel Cibber, which are chiefly remarkable for the part they played in one of Byron’s most senseless freaks. The interior of the Library is matchless for its magnificent simplicity. It is a pity that the arbiters of taste in the last century should have allowed Cipriani to design the window at the south end, but this is the sole fault. The numerous busts (some by Roubiliac), the carvings on the bookcases (Grinling Gibbons) and Thorwaldsen’s statue of Byron are remarkable.

Wren is also supposed to have harmonised the side of the Hall which stands opposite, with his Library. The present meaningless alcoves and the balustrade which have superseded Nevile’s work on this side, are probably by Essex, who was brought in to prop up the Hall and build the Combination Room and[223] Kitchen Offices in 1771. A little while before Wren began working at Trinity, John Hacket, Bishop of Lichfield and Coventry, founded Bishop’s Hostel, the small building south of the Great Court, and close to the Trinity Lane entrance. These buildings (1670) are now somewhat overlapped by the modern buildings of Garret Hostel, which are also of red brick. Garret Hostel is, however, a much older component of Trinity, and the modern buildings are simply a revival.

During the eighteenth century Bentley effected his famous alterations in the Lodge and Chapel, and Essex made the additional changes to which I have referred. No actual addition was made to the college until, in 1823, William Wilkins began his court in the revived Gothic taste, adjoining Nevile’s Court on the south. George IV. proved a benefactor to the extent of ￡1000, and the official name of the new building is for this reason King’s Court. It was finished about six years later. Cambridge, as we have seen, has a long tale to tell of Georgian Gothic, and the New Court of Trinity is a very typical[224] example of that period. It nevertheless is a far more pleasant building than Wilkins’ court at Corpus or Rickman’s at St John’s, although there is not much to praise in it. To a much better period of modern Gothic belong Mr Beresford Hope’s improvements in the Lodge and the Master’s Courts, usually known as Whewell’s Court (and by more familiar names), which are opposite the great gate of Trinity, and are one of the thoroughfares between Trinity Street and Sidney Street. Dr Whewell built this court at his own expense, with Salvin as his architect. Outside, it is gloomy but imposing. The darkness of its interior was till quite recently almost to be felt; but now (1898) they are being refaced, and the depressing rooms are being made into comfortable and picturesque habitations.

The grounds of Trinity are spacious and pleasant, and the famous lime-walk is one of the wonders of Cambridge. When Dr Nevile built his court, he filled up a branch of the Cam which ran northwards from Garret Hostel Bridge and rejoined the main stream at the north-west corner of the present Library. The[225] bridge which connects the lime-walk with the new court was built by Essex, and is his best work in Cambridge, if that is any praise.

The royal foundation of Trinity College is, as a matter of fact, one of the youngest colleges in Cambridge. At the same time, it is to Cambridge what Christ Church is to Oxford, and, more than that, its name, to a great number of people, is almost synonymous with Cambridge. Henry VIII., the most learned of our English sovereigns, was naturally a great patron of learning. In 1546, the year in which, with his characteristic want of scruple, he took upon himself the credit of founding Wolsey’s great college at Oxford, he also founded Trinity at Cambridge. His material was ready to hand, for the small colleges and hostels which filled up the space between the present Trinity Street and the river provided scanty room for their members, and needed amalgamation. Trinity, in fact, as it now exists, is composed of a number of separate foundations, the principal of which were Michael House, founded in 1324, and King’s Hall, founded by Edward III. in 1337. These two colleges had gradually absorbed many of the smaller hostels. The founder of Michael House was Hervé de Staunton, treasurer to King Edward II. In spite of its limited situation, it had a certain amount of prestige, and one of its last masters was John Fisher, afterwards President of Queens’[226] and Bishop of Rochester. It used the church of St Michael as its chapel. King’s Hall, on the other hand, had, by the time of Henry VIII., extended its boundaries and built its own chapel. It had grown out of a corporation of scholars, which had found a patron in Edward II., and had been presented by Edward III., in 1336, with a piece of ground belonging to one Robert of Crowland—which may point to a connection between the foundation and Crowland Abbey, the great centre of English learning. A regular charter was granted in 1337. The accounts of the institution remain, and point to a style of living which would not be very highly accounted of now, but was positively luxurious for medieval Cambridge. The scholars attended chapel at St Mary’s by the Market and All Saints’ in the Jewry, until, in Edward IV.’s reign, they obtained leave to found a chapel for themselves. King’s Hall naturally became the nucleus of Henry’s college, and the lesser buildings found their centre in its court, enlarged and beautified. John Redman, the last master of King’s Hall, became the first master of Trinity College.

Under the charter of 1546, Henry VIII. founded Trinity College for a master and sixty fellows and scholars. The full title was “Trinity College within the Town and University of Cambridge of King Henry the Eighth’s foundation.” Michael House, dedicated primarily to St Michael the Archangel, had been founded under the secondary invocations[227] of the Holy and Undivided Trinity, St Mary, and All Saints; and it is probable that the first of these suggested the name under which the college has become so famous. Trinity College is the most distinguished fruit of that revived learning which paved the way for and accompanied the Reformation: from the very beginning its tendencies were liberal and progressive; every genius which it nourished was eminently constructive. The names of its three greatest alumni, Newton, Bacon, and Barrow, form, so to speak, the three fountain-heads of organized philosophical thought in England; and there are a hundred less monumental names which are sufficient guarantee of the intellectual supremacy of Trinity over her sisters. The history of the college divides itself naturally into periods. The first is a period of consolidation, extending from 1546 to 1593. During this time, the college suffered the ordinary vicissitudes of the Reformation. Its chapel, which had been projected by Henry VIII., was begun by Mary and finished, probably out of a sense of duty, by Elizabeth. In 1553, William Bill, the second master, who had been appointed under Edward VI., had to retire in favour of a Catholic master, John Christopherson, but was of course restored at the accession of Elizabeth. He was succeeded in 1561 by Robert Beaumont, who presented to the Master’s Lodge a portrait of the founder by Lucas van Heere, one of the most excellent portrait-painters of the sixteenth century. Beaumont, in his turn, was succeeded[228] by John Whitgift, who was already well known in Cambridge as Master of Peterhouse and Pembroke, and Fellow of Queens’. Whitgift, with Matthew Parker and Matthew Hutton, is one of the three divines who may be taken as typical of Elizabethan Cambridge—strongly anti-papal in their sentiments, but keeping nevertheless a cautious eye on the political balance. It is hardly necessary to add that Whitgift’s long list of Cambridge preferments eventually led to the Archbishoprick of Canterbury. And it was during his mastership that the greatest intellect of the age was trained at his college. Under the yoke of the Aristotelian system of philosophy, Francis Bacon, while still at Cambridge, perceived the fallacies of the stereotyped methods of thought, and laid the foundation of inductive science. Bacon’s life is connected more intimately with affairs of state than with his University; but Trinity regards him as one of the principal saints in her kalendar, and his memory greets the visitor at every turn. His portrait is one of the three at the end of the Hall; there is another in the Master’s Lodge; his bust, by Roubiliac, is in the Library; and, in 1845, his statue was placed, side by side with that of Newton, in the antechapel.

Bacon is the great figure of this early period. Nine years older than he, the Lord Chief Justice Coke (* Whood: bust by Roubiliac) is the first of the great lawyers connected with Trinity. Another celebrated name is that of Dr Donne, Dean of St Paul’s, divine and poet. Sir[229] Henry Spelman (* Whood), the antiquary and translator of Xenophon, was a contemporary of Bacon, and, some years after, Sir Robert Cotton (* bust by Roubiliac) furnished Trinity with another arch?ologist. Whitgift, after his translation to Canterbury, was succeeded by John Still, who became Bishop of Bath and Wells. With Still’s successor, Dr Thomas Nevile,* master from 1593 to 1615, the second period opens. Nevile held the Deanery of Canterbury with his mastership, but his life was spent in Cambridge, and his architectural work in Trinity, while it is the most important in the University, stamps him as the chief benefactor of the college. In that great age of building, Nevile’s work has an honourable pre-eminence: it is the sign of a monumental perseverance and an artistic taste which, even in that fine era of Renaissance culture, was never surpassed. We may with justice echo the words of Fuller, who says that Dr Nevile performed this work “answering his anagram most heavenly, and practising his own allusive motto ne vile velis.” Higher praise could not be given. Nevile’s buildings, if architecture may be considered to reflect contemporary history, may be regarded as a turning-point in Cambridge thought. When we look at the reactionary tendency to the Gothic taste in Jacobean Oxford, and compare it with the distinct preference shown in Cambridge for classical and Renaissance models, the radical divergence of the two Universities is clear. Nevile’s courts at Trinity were the beginning[230] of a long series of collegiate buildings which, often very defective, took the place of Gothic work and held it for the next two centuries. The sole exception to this rule is Matthew Wren’s chapel at Peterhouse. Besides his building energy, Nevile acquired land for the college, so that, when the Society enlarged its buildings in after years, it found itself in possession of the requisite site. The King’s Court occupies part of this property. One can only say that Nevile’s memory might be hon............