Ivan Rakhmanin for The University Times
It was the early morning after heavy night of drinking, crisp and autumnal with a stretch of dappled sunbeams striking Front Square like an army of lightsabers. Sadly, being not so fresh, I made my method throughout campus in a baseball cap, tones and a hoodie. It was a remarkably sedate early morning, the vibrant atmosphere minimized to a mellow hum like a simmering pot of tomato soup. As I proceeded throughout the sea of cobbles, the chapel breezed into my periphery. There it stood, as it has for 240 years, with the existence and command of an otherworldly being. Its bright, mottled facade similar to the face of a moon. It stood out from the pastel court like a brilliant set of teeth to which whatever gravitated to.
The monumentality of this imposing charm can not be overlooked. At the time of its construction, it would have been one of the most significant structures in Dublin. At the heart of its facade lies a free-standing tetrastyle portico of enormous proportion. The dominant, Corinthian columns standing tall and durable like the four legs of an ancient, white mammoth. Beyond this lies a vaulted vestibule acting as a transitional area between the vastness of Front Square and the cocoon of the chapel interior.
The lively use of outside textures adds to the overall sumptuousness of the structure. Energetic rustication twists around the ground flooring like a belt, juxtaposed against the smooth, clean-cut upper stories. The walls glisten with granite ashlar, while the portico and window cases are of milky Portland stone, a special rock utilized just on the finest buildings of the British empire at the time. Completed at an earlier date, the general public Theatre– more commonly referred to as the Examination Hall– sits straight opposite, dealing with north and casting a cold, mauve shadow over Front Square.
It is maybe the slightly less attractive twin. Both were developed by architectural wizard, William Chambers, the very same man accountable for the design of London’s Somerset Home. However, under strange situations, Chambers deserted the chapel, leaving it to be completed by Christopher Myers in 1778.
Upon entry, the eye is prepared to an elliptical vaulted ceiling highly embellished with stucco work, the delicacy of which balances with the choral style of Trinity singers. Yet the most amazing aspect of the interior is, without a doubt, the fantastic organ which sits enthroned above the entryway. Gold leaf meanders up the 17th century pipelines like a valuable snail trail, the abundant mahogany sculpting filled with movement. The organ has a life of its own! As the fantastic organ continues to produce the very same sound as it has since the start of its life, the noises within the chapel have entirely altered. Alas, it is no longer a home exclusive to the male upstairs.
Instead, he shares his lodging with the movers and shakers of the Dublin music scene, supplying a venue with near acoustic perfection. In reality, Hozier was so enamored by the chapel that he composed a tune about it called “Take me to Church”. Next time you’re at Trinity Ball and feel the need to chunder, believe two times about letting loose on the actions of this impressive structure.Sign Up to Our Weekly Roundup Editors’Picks Increased School Guidance for Late-Night Workers Luke O’Neill Ranked in Top One Per Cent of Cited Scientist