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ation consisted of a provost, three fellows, and three scholars. As increased by various augmentations and benefactions, it now consists of the provost, seven senior fellows, twenty-three junior fellows, with ten fellowships recently founded by the college, the various professors and teachers, seventy-five scholars, and thirty sizars. The number of students generally averages about 1,400. If it cannot exhibit a roll of scholars rivalling those of Oxford or Cambridge, it has a list of which it may well be proud.

of the more eminent scholars of Trinity College; and also for a very elaborate monumental group, in memory of Provost Baldwin. It consists of several figures, and is much admired: the sculptor was a native artist, Mr. Hewetson.

On the south-side of the great quadrangle is the refectory; a building which every one familiar with the English colleges will be likely to turn to with some interest. But it is disappointing. In collegiate edifices, classic dining-rooms seem but poor substitutes for the noble old Gothic halls. This, for example, (not to speak irreverently,) reminds one but too forcibly of an English provincial assembly-room. However, it is a fine room, and of ample proportions, being some seventy-five feet long, by thirty-five wide, and as many high. The portraits form its chief attraction ; among them the most noteworthy are those of the Fox and Pitt of the Irish House of Commons,-Grattan and Flood.

Perhaps, however, the room which will most interest the ordinary visitor is the Museum. The collection is a very general one; there are minerals, fossils, antiquarian relics, South Sea and Indian idols, weapons, and garments, and so forth. But the portion which will chiefly attract the stranger is the collection of early Irish antiquities, which is varied and tolerably extensive, too much so for us to touch upon here.

Supposing the visitor to be interested in these remains, we strongly advise him not to neglect, while in Dublin, to visit the Museum of the Royal Irish Academy, which is just by the College, i. e., in Grafton Street, opposite the Provost's House. The Irish Academy was founded towards the close of the last century,

The grand front of Trinity College is turned towards College Green. It is about 300 feet long, and three stories in height; the order is Corinthian. The centre consists of a pediment supported by four columns; the wings are terminated by pavilions, which are ornamented with coupled pilasters, and raised a story higher than the rest of the front. Altogether the effect is rich and stately. The large quadrangle, in which are the chapel, the library, the refectory, the theatre, and lodgings for the fellows, is of noble proportions, being 570 feet long by 270 feet broad. It is consequently much larger than the quadrangles of any of the English Colleges; Trinity College, Cambridge, being 334 feet long, by 325 feet where widest; and Christ Church, Oxford, 264 feet by 261 feet. But though the several buildings are sufficiently imposing, it, to our thinking, has by no means the same venerable collegiate air as either of those we have mentioned. The next quadrangle, Park Square, which is 280 feet by 194 feet, is recent and common-place. The third quadrangle is commonly known by a name of unpleasant sound and associations-Botany Bay: both these are chiefly appropriated to apartments for the students. Beyond these quadrangles there is the College Park, a pleasant piece" for the study of polite literature, science, and antiof ground of about twenty acres, planted with trees, and containing the observatory and some other college building; it is open to the public. There are also gardens for the fellows. Several of the buildings deserve inspection. The chapel, which is on the north side of the great quadrangle, is a neat edifice, Corinthian in style, the architect of which was Sir William Chambers. The interior is handsomely fitted up the choir is celebrated: the choral service is open to the public. The library is a very handsome building, three stories high. The façade, which is 270 feet in length, is built of mountain granite, and has a very fine effect. The principal room, a magnificent apartment, extends nearly the whole length of the building, being 210 feet long, forty-one feet broad, and forty feet high. In front of the presses which contain the books, is a series of busts of eminent men both ancient and modern. The books in this room are above 110,000. In a room beyond is another very valuable collection called the Fagel Library, from having been purchased of a Dutch family of that name it consists of about 18,000 volumes. The celebrated collection of manuscripts is contained in the upper story: admission to it is only granted for a special purpose. Corresponding in size and style with the chapel is the theatre, which is worth visiting for the portraits it contains of several

quities," to quote the terms of the Act of Incorporation. The study of Irish archæology, and the collecting of Irish antiquities, have been from the first the most prominent features of the Institution. The results are shown in the publication of many elaborate memoirs, and in the contents of the Museum. This is by far the largest and finest collection of Celtic remains in the world. Many of the specimens in gold, silver, and the less precious metals are both "rich and rare." They consist of torques, and other personal ornaments; reliquaries, crosiers, patens, and other articles connected with religious purposes. There is also a goodly store of weapons in bronze, and iron, and stone, some curious bronze horse-bits, trumpets, and other matters, that speak of warlike service. In the library is a choice collection of ancient Irish manuscripts.

From the Academy the visitor should, in order to complete his examination of Irish antiquities, proceed to the house of the Royal Dublin Society in Kildare Street. The building itself will repay the visit. It is a very handsome one; originally it was the residence of the Duke of Leinster, from whom it was purchased by the Society in 1815, for the sum of £20,000. The objects of the Dublin Society, as stated in its Act of Incorporation, are much more various than those of the Irish Academy. It was founded in 1731 "for the

Improvement of Husbandry, Manufactures, and other
useful Arts and Sciences." From the Irish Parliament
the Society received an annual grant of £10,000; from
the Imperial Parliament it only receives half that sum.
From the variety of subjects to which the Society directs
its attention, there is a considerable diversity of objects to
be seen within its walls. The Museum occupies several
rooms. In natural history it is especially rich; but a
mere mention of it will suffice here: the enormous
Irish elk, which is the chief feature of this part of the
collection, is a remarkably fine specimen; but specimens
of it are now to be met with in England: that at the
British Museum, or at Cambridge, will perhaps be
familiar to the reader. The Irish antiquities, which
chiefly led us here at this time, deserve careful inspec-
tion. An examination of these collections of remains,
found so abundantly in Ireland, will not fail to give rise
to much curious speculation, and perhaps lead to fur-
ther inquiry into a subject full of interest, though com-
paratively little known to Englishmen. But we must
hasten on.
One object of the Dublin Society was the
promotion of the Arts, and here may be seen some of
the productions in painting and sculpture of the pupils
who have attained eminence. Of living artists, Sir
Martin Archer Shee, the President of the Royal Aca-
demy, and Mr. Behnes, the celebrated sculptor, may be
mentioned as old pupils of the Society. A room is set
apart for a collection of casts from the Elgin Marbles,
&c. There is also an Agricultural Museum, containing
models of farmhouses, cottages, and other objects con-
nected with the science. Besides these, there is a good
library. Altogether, an hour or two will be well em-
ployed in examining the rooms. Certain days are set
apart for the admission of the public to the different
departments; but any part, or the whole, may at any
time be seen by strangers visiting Dublin upon pre-
senting their cards. This very considerate and hand-
some arrangement, we ought to mention, is also adopted
at Trinity College, the Irish Academy, and other insti-
ti-
tutions in Dublin. But it is only just to add, that
everywhere in Dublin the stranger meets with the
greatest courtesy and readiness to afford him all proper
facility.

feeling on both sides appears to be losing its intensity, it is to be hoped that the hero may be permitted to anticipate future Julys, without dread of losing sword, or nose, or obtaining a new coat of paint. The position of the statue is shown in the woodcut. Dame Street has one or two good buildings, and some large and handsome shops.

Cork Hill, on which the Castle stands, is the highest ground in the city; but it is so built upon that the exterior of the Castle cannot be seen as a whole, which, however, need excite no regret. The site was, no doubt, chosen with a view at once to defend and command the old city, which extends westward from it. The erection of the original castle commenced early in the thirteenth century; it was completed in 1220. The present castle is almost wholly modern; and, as an architectural object, as poor and unsatisfactory as can well be conceived. A large gateway, on which is a statue of Justice, leads to the Upper Castle Yard-a quadrangle, 280 feet long by 180 feet broad, in which are the stateapartments and official residence of the Lord Lieutenant, which occupy the whole of the south side and part of the east; while the apartments of the Chief Secretary, the Dean of the Chapel Royal, and other officers of the household occupy the rest of the Court. The state-apartments, as will be supposed, are not wanting in splendour. A room is set wanting in splendour. The Presence Chamber, which contains the throne, is a handsome room, and fitted up in a costly manner: the throne is extremely rich. The Council Chamber contains portraits of all the Lord Lieutenants since the Union. Other public rooms are also more or less noticeable: but the finest of the stateapartments—and, in truth, the only one that is particularly worth going to see-is St. Patrick's Hall, a noble room, eighty-two feet long, forty-one feet broad, and thirty-eight feet high, with galleries at each end. The ceiling is divided into compartments, which are painted with subjects connected with Irish history.

But it is time to visit the vice-regal abode, and the older part of the city-which, indeed, ought to have been done before, as they seem to be fairly entitled to precedence in any account of Dublin. The Castle is situated at the end of Dame Street,-the prolongation westward of College Green. In passing towards it, the famous equestrian statue of William the Third, the object of so many a battle, will of course be noticed. It is of bronze; but when the Corporation of Dublin was thoroughly 'Orange,' they used to have it always newly painted against the 1st of July; and on that morning it was sure to be adorned with orange ribbons. The opposite party, of course, also daubed it,—but not with orange paint; and then there was a fight. The unlucky king has had, in the course of the century and a half that he has stood there, to endure an abundance of maltreatment, from both friends and foes; but as the

In the Lower Castle Yard (Cut, No. 2,) are the Bermingham or Record Tower, and the Chapel Royal. The Bermingham Tower is the only part of the Castle which is at all ancient; alone, it is not very picturesque, or of much interest; but, from its height, it serves to indicate the site of the Castle from the suburbs. As its name intimates, it is now used as a depository for the state records. The Chapel Royal is a very elaborate, but not particularly successful, example of modern Gothic. It consists merely of a choir: its dimensions are seventy-three feet long by thirty-five feet broad. At the eastern end there is a large perpendicular window; on each side are seven buttresses with crocketed pinnacles. Around the exterior is a good deal of carving: among others are the heads of the entire series of English kings. The sculpture over the northern entrance is a curious fancy: the head of St. Peter is placed above the door, and over it the head of Dean Swift! The interior is extremely elaborate, and rather striking in effect; but it hardly sustains a close examination. Every part is highly ornamented; but like the groined roof, all appears imitative plaster

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work, instead of the good old free hand-carving of real Gothic churches. All the windows are filled with stained glass. The galleries are distinguished by having crimson-curtained thrones in the midst: that on the south side is for the Lord Lieutenant, the opposite one is for the Archbishop of Dublin. The viceroy generally attends the service on Sunday mornings, and the chapel is usually crowded.

to attract the visitor. Though older than in the other parts, the houses are none ancient; and the oldest of them have suffered too much from decay and reparation to be in any way noteworthy. And as there is no antiquity to attract, neither is there any picturesqueness: but there is squalid misery almost past conception. A few of the streets are tolerably wide; but by far the greater number are narrow, and many are without thoroughfares all seem given up to the very poor, and those who supply them with provisions and other necessaries. That the dirt and odour of these streets are endured in these days of sanatory reforma. tion is quite surprising. The household dirt is perhaps too sacred to be interfered with; but the streets, one would think, might be kept clean, and the refuse, if permitted to be thrown in them, at least occasionally be cleared away. Yet, dirty as the streets are, the stranger must be of resolute nerves who does not speedily take to the middle of them, in order to escape from the vicinity of the houses. If the visitor should attend the cathedral service on Sunday morning, it would (if he can put up with some few "sights and sounds and scents vexatious") be worth while to come half an hour before the time for a stroll through this locality. There is, of course, no Sabbath quiet here: the shops are open, and more than commonly busy,especially the spirit stores and old clothes shops. The "Jolly lads of St. Patrick's, St. Kevin's, Donore," have done with early mass, and are now beginning to There is little in the old city besides the cathedrals grow a little lively, if not uproarious. Beggars abound

The Lower Court is a large quadrangle, 280 feet by 220 feet; but there is little to be noticed in it. In it are the ordnance-office, the arsenal, and the armoury, in which, among its other contents, are 60,000 muskets. In the Castle, too, are the head-quarters of the Metropolitan Police. A guard of both horse and foot soldiers remains constantly on duty at the Castle, which, from the number of soldiers and policemen about it, contrasts rather curiously with our London palaces.

On Cork Hill, near the entrance to the Castle, is a building which ought not to be overlooked-the Royal Exchange. It was erected in 1769, from a design by Thomas Cooley, the celebrated native architect; and it is universally admitted to be one of the most graceful buildings of the kind in existence. It is a square of about 100 feet, surmounted with a dome, and has three fronts. The principal front consists of a noble portico of six Corinthian columns, which stand on a high basement and support an enriched entablature and pediment. The interior is even more elegant than the outside, and should be seen. In the area are several

statues.

(for beggars appear, on Sundays, always to seek alms in the poorer localities), and are trying every means to obtain a trifle. We, a few Sundays back, heard three or four families of them singing emigrant and other begging songs along these streets and the wretched streets on the north and west sides of the city. Altogether, there is something as striking in the noise and activity of the streets of Dublin as in the quiet and comparative desertion of those of Edinburgh.

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If the dwelling-houses of the old city are not very old-looking, it is otherwise with the churches. St. Patrick's Cathedral is very old, and looks older. style is early English, and it is nearly uniform. is far inferior in beauty of detail, as well as in general character and size, to many English cathedrals in which the same style prevails. It is cruciform, with a lofty but not very elegant tower, and a plain spire. The dimensions are: length, 300 feet; breadth, eighty feet. On the whole, the exterior is chiefly remarkable for a certain rude massiveness of appearance. The interior is much finer, though in a sadly dilapidated state. The nave especially calls for a thorough reparation,—a thorough restoration would probably be rather too costly an undertaking. It has, even as it is, much grandeur of effect, though the stone roof is gone, and the floor is raised above the bases of the columns. The choir is in a better state, and though not to be compared with the choirs of most English cathedrals, has much to interest the admirers of ecclesiastical architecture. The arches of the triforium, some of the windows, and the capitals of the columns, are very beautiful. In the choir are the archbishop's throne, the stalls of the chapter, and those of the knights of St. Patrick, over each of which are suspended the helmet, sword, and banner of the knight who occupies it.

cast by it on the descendants of Schomberg, that he took public notice of it, declaring that "the Dean of St. Patrick's had put up that monument out of malice, in order to stir up a quarrel between himself and the King of Prussia," who had married Schomberg's granddaughter. "It caused," say the biographers of Swift, "an irreconcileable breach with the court."

Christ Church Cathedral is situated some little distance north of St. Patrick's and nearer the Castle. It is the older building of the two, but it has been so often altered and repaired as to retain little of its original character. Nor is it in its present state either grand or picturesque, externally; while the interior has little of the venerable solemnity we are accustomed to expect in a Gothic cathedral. Some time back it was thoroughly repaired and beautified;' it is, therefore, in a very much better state than St. Patrick's, but it will not afford the same kind of gratification to the general visitor, or the student of Gothic architecture. It is commonly visited by strangers who admire the cathedral service, on account of its fine organ and the choir, which is sometimes said to be the best in Ireland. But we were very unlucky in the two services we attended, for the singing was more slovenly and the conduct of the boy-choristers far more irreverent than it was ever our mishap to witness in any other cathedral or chapel choir,—and that is saying a good deal. There are some ancient monuments of considerable interest in Christ Church, and numerous modern ones. But we need not make a longer tarryance.

It will be as well, perhaps, to notice the other ecclesiastical edifices before turning to another subject. Dublin is divided into twenty parishes, and in addition to the churches which belong to them, there are also several chapels-of-ease. Very few of the churches are ancient, and none of those are very remarkable. St. Andrew's, near the Corn-market, though only a fragment of the original church, is one of the most beautiful examples of Gothic architecture in Dublin,—and it contains some curious old monuments. St. Michan's,

on the opposite side of the Liffey, is noteworthy as the burial-place of many who have gained a name in the recent history of Ireland. But several of the churches, which are quite uninteresting in themselves, have memorials that will be looked upon with more or less respect. One of the poorest, for instance, St. Anne's, in Dawson-street, contains monuments in memory of that sweet singer, Mrs. Hemans, and of Cæsar Otway, whose descriptions of Irish scenery have done so much to attract attention to the beauties of the country and the condition of the peasantry. Most of the modern

In the nave and choir are several monuments that command attention. The largest and showiest is that to the Earl of Cork,-o -one of those strange, huge, sculptural combinations of several stories, which were fashionable in the 17th century; it is a rather remarkable and striking specimen of the class. There are also monuments of several archbishops, and some of other distinguished persons. The monuments which are the chief attraction, however, are three mere mural tablets, but they bear the name of Swift, and suggest many recollections connected with his history. One, a plain slab of black marble, affixed to a pillar on the southern side of the nave, marks the spot where the remains of Jonathan Swift were deposited, and contains the terrible inscription, of his own writing,-" Ubi sæva indignatio ulterius cor lacerare nequit !" On the adjoin-churches are of the Greek or Roman orders of archiing pillar is another tablet, to the memory of "Mrs. Hester Johnson, better known to the world by the name of Stella, under which she is celebrated in the writings of Dr. Jonathan Swift, dean of this cathedral." The other monument to which we referred is in the choir, and is to the memory of the celebrated Duke Schomberg. It was erected by Swift, who wrote the bitter epitaph. George I. was so much displeased with the reflections

tecture. Some of them are admirable specimens of the adaptation of the classic forms to Christian churches. The finest is St. George's Church; it is situated in Hardwick Place, at the northern extremity of the city, -a rather out-of-the-way locality, but it will repay the journey. It has in the principal front a very fine tetrastyle Ionic portico. The steeple, which is about 200 feet high, displays much originality as well as good

taste, and combines with the Grecian temple-architec- | filled with 'mourners' after which succeeds an almost ture very much better than is usual with such incongruous objects as steeples. The architect was Francis Johnston, and it is one of his best works.

The Roman Catholic churches and chapels are very numerous; they are, of course, all modern, and, like the churches of the Established Church, they are commonly 'classic' in style. The prevalent Gothic feeling is only now finding vent in the new churches of both communions which are rising in the suburbs. One Gothic Catholic Chapel, however, may be pointed to, St. Michan's, in Anne-street, as, though far from perfect, a very pleasing and ornamental structure: it is built entirely of mountain granite. The most important of the Roman Catholic places of worship are the Church of the Conception and St. Andrew's Chapel. The former, often called the Metropolitan Chapel, is a magnificent structure; the style is Grecian Doric; the principal front has a massive hexastyle portico raised on a platform; the apex and extremities of the pediment are surmounted with colossal figures of the Virgin, St. Patrick, and St. Lawrence O'Toole. The south side also presents an elaborate frontage to the street. The interior is divided into a nave and aisles by a series of columns, which support an arched roof. The eastern end terminates in an apsis, from which the altar, a costly structure of white marble, stands detached. Altogether the appearance of the interior is very imposing, especially if seen during the performance of high mass. This chapel is said to have cost £40,000. St. Andrew's Chapel is situated in Westland Row, close by the terminus of the Kingstown Railway. This, like the Metropolitan Chapel, is a Grecian Doric structure. It is cruciform, and of spacious dimensions, the nave and choir being 160 feet long, the transepts 150 feet; the breadth and height are twenty feet. But the front of the chapel is prolonged at each end by the priests' houses, and thus forms a Doric façade, 160 feet long. On the pediment is a colossal statue of St. Andrew. The effect of the exterior is by no means good. The interior is less heavy. "The walls are divided into compartments with Grecian Doric pilasters. The grand altar consists of four massive pillars of Giallo Antico, which support a pediment similar to the Lantern of Demosthenes at Athens. The tabernacle and sarcophagus are of Italian marble; over the former is a fine group of figures, representing the Transfiguration; they are the work of our celebrated Irish artist, Hogan."- (M'Glashan.) Like the Metropolitan Chapel, the appearance of the interior during the celebration of mass is very splendid, and, like it, very theatrical.

If the stranger spends a Sunday afternoon in Dublin, he might visit one of the Catholic cemeteries, in order to see an Irish funeral—or, at least, saunter along the road to witness the funeral procession. Here are two of them. The first is evidently a 'grand' one. A hearse with six horses (not black ones) and white feathers leads the way. Next come three or four mourning coaches, each drawn by two horses. Then follow some fifteen or twenty hackney-coaches, all

interminable train of outside-cars (we count above fifty), each having its full complement of six passengers -men, women, and children-not a bit of black to be seen on the back of any one of them: the men, and some of the women, smoking their short pipes,-the boys' making fun with the girls, and all talking and laughing in full concert. The next procession is a shade less grand, but still a 'dacent' one. First comes the coffin, carried by men in their ordinary clothes; next the chief mourners on foot, but without cloaks or bands, and in many-coloured garments; and then come all the 'friends' of the deceased, a ragged band, mounted on some thirty or forty cars, every kind of finery and rags mingled together, and, if possible, more jovial than those in the other procession. Alongside of each, and bringing up the rear, is a motley assemblage on foot. To these funerals every one who in any way knew the deceased is invited, and all go, in order, as they phrase it, "to show respect." The custom seems ingrain; but recent misfortunes show how urgent distress will break through every custom. We were struck by the contrast presented by a funeral which we met, a few days later, in one of the poorer districts of the interior of Ireland. A plain deal coffin lay, without any covering, on a little donkey-cart, and one old woman walked beside it. We fancied that it was merely a coffin being conveyed to the house of the deceased person; but, on inquiring, found that it was, in truth, a poor fellow being carried thus unhonoured to his last earthly home.

We will now take a stroll along the Quays, which, as yet, we have only seen from Carlisle Bridge. The Liffey, as has been said, flows in easy windings quite through the centre of the city. The stream is confined within granite walls, which form a series of excellent quays, along which there is on each side of the river a clear footway, from Carlisle Bridge to King's Bridge. Indeed, the Liffey has rather the appearance of a grand artificial canal than a river. Between the quays and the houses is, on each side of the river, a wide roadway. Thus, there is here a feature which no other city in the kingdom possesses-a broad open thoroughfare, three miles long, with a fine river flowing through the midst, and many well-built, and some noble structures along the sides. Not only should it be an ornament to the city, but, as it is a tidal stream, it ought also to contribute to its salubrity. Very far otherwise must it be,-as every one knows who has spent a summer's day in Dublin. Into the Liffey the sewerage of the city is turned; and as when the tide ebbs the bed of the river is left exposed, the most unwholesome vapours ascend and impregnate the entire vicinity. How the citizens can endure so pestiferous a stench is inconceivable. Every one admits and laments the evil; but you are told that no system of flushing the river has yet been suggested which promises to be successful, and therefore-patience.

The lower part of the river is devoted to commerce. Along the quays ships of large size are moored, chiefly

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