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Instructor’s Manual Excel 2016 Module 7 Page 1 of 10
© 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
Excel 2016 Module 7: Creating a Worksheet
A Guide to this Instructor’s Manual
We have designed this Instructor’s Manual to supplement and enhance your teaching experience through
classroom activities and a cohesive module summary.
This document is organized chronologically, using the same heading in blue that you see in the textbook.
Under each heading you will find (in order): Lecture Notes that summarize the section, if any, Teacher Tips,
Classroom Activities, and Lab Activities. Pay special attention to teaching tips and activities geared toward
quizzing your students, enhancing their critical thinking skills, and encouraging experimentation within the
software.
In addition to this Instructor’s Manual, our Instructor’s Resources Site also contains PowerPoint
Presentations, Test Banks, and other supplements to aid in your teaching experience.
Table of Contents
Navigate a Workbook 2
Enter Labels and Values 3
Work with Columns and Rows 4
Use Formulas 5
Use AutoSum 6
Change Alignment and Number Format 7
Enhance a Worksheet 8
Preview and Print a Worksheet 9
End of Module Material 10
Module Objectives
Students will have mastered the material in Excel 2016 Module 7 when they can:
• Navigate a workbook
• Enter labels and values
• Work with columns and rows
• Use formulas
• Use AutoSum
• Change alignment and number format
• Enhance a worksheet
• Preview and print a worksheet

Navigate a Workbook
LEARNING OUTCOMES
• Start Excel and open a blank workbook
• Identify Excel Interface elements
• Navigate a worksheet and select cells
• Add a new sheet
LECTURE NOTES
• Explain that an Excel worksheet is an electronic grid of rows and columns, sometimes referred to
as a spreadsheet.
• Using Excel, you create a file called a workbook that has an .xlsx file extension. A workbook
contains one or more worksheets. Any new workbook you create contains three worksheets. You
can switch between worksheets by clicking the sheet tabs at the bottom of the worksheet window.
• Use FIGURE 7-1 to point out all of the elements in the Excel program window, including the
worksheet window, the Ribbon, the Quick Access Toolbar, the status bar, zoom controls and View
buttons.
• Explain that the worksheet window is the grid area where you enter data. It consists of columns
and rows of cells. Explain that the intersection of a row and column is a cell. You enter data, labels,
and calculations in cells. The letters along the top of the worksheet window are called column
headings; the numbers running down the left side of the worksheet window are called row
headings.
• You refer to a cell’s location using its cell address, which consists of its column letter followed by
its row number (for example, E7).
• Point out that there are also some elements that are special to Excel, including:
o The formula bar, which is used to enter and display calculations called formulas. The
formula bar is located just above the column headings.
o The name box, just to the left of the formula bar, displays the cell address of the current or
active cell. You can tell which cell in a worksheet is the active cell by the dark border (or
cell pointer) around it.
• When you first start a blank workbook, the active cell is cell A1. You can move to a different cell by
clicking it, or by pressing the arrow keys. You can also select cells using the mouse or keyboard.
Use TABLE 7-1 to review methods for selecting cells in a worksheet.
• At the bottom of the worksheet window are three tabs on the left side labeled Sheet1, Sheet2, and
Sheet3. To display a tab, click its sheet tab. These sheets are part of any new workbook. You can
also delete sheets if you don’t need them, or simply leave them blank.
• Use FIGURE 7-2 to define a cell range as a group of cells that share boundaries and are selected.
TEACHER TIPS
Many of today’s students have never created a manual spreadsheet, so it will probably be difficult for
them to see the practical advantages of its electronic counterpart. You can really drive the point home by
showing a spreadsheet containing columns of numbers that are totaled. Change one number, then show
students how the numbers in the total column change. Ask them to imagine using an eraser to make all
the necessary changes and they’ll soon appreciate the time-saving aspects of an electronic spreadsheet.

To demonstrate the relationship between the Name box, the formula bar, and the active cell, activate
different cells, including cells containing labels and those containing values, and point out how the Name
box and the formula bar change based on the cell that is active.
Emphasize that there are more columns and rows to the worksheet data than can be seen at one time.
Students should not think that they have lost some of their worksheet just because they cannot see it on
the screen. [Ctrl][Home] will take you back to the upper left corner of the worksheet. They can use the
arrow keys or the scroll bars to navigate to any part of the worksheet.
CLASSROOM ACTIVITIES
1. Class Discussion: Ask students how many of them have already used Excel. What did they use it for?
What features did they like? What did they dislike?
2. Quick Quiz:
1. In Excel, the electronic spreadsheet you work in is called a(n) ____. (Worksheet)
2. The cell in a worksheet that has a dark border around it is called the ____. (Active cell)
3. What is the element in the Excel program window that shows the address of the selected cell?
(Name box)
4. What elements in the Excel program window are also found in the Word program window?
(Quick Access Toolbar, the File tab, a document window, Ribbon, status bar, scroll bars, View
buttons, and window sizing buttons)
5. What elements in the Excel program window are unique to Excel? (Formula bar, Name box,
row headings, column headings, cells)
6. The intersection of a column and a row is called a(n) ____. (Cell)
7. T/F The formula bar displays the active cell address. (F)
LAB ACTIVITY
1. If you plan to use Excel frequently, you can add an Excel icon to your desktop, allowing you to double-
click the icon to start the program. To create an Excel desktop icon, right-click on an empty portion of
your desktop. From the shortcut menu that displays, select New, and then select Shortcut. In the
Create a Shortcut dialog box, enter the path to your Excel program file (or click the Browse button to
locate it), then click Next. In the Select a Title for the Program dialog box, type Excel, and then click
Finish. An Excel icon will appear on your desktop. Once a shortcut is created on the desktop, using it
will save time and keystrokes. Use the desktop shortcut by double-clicking it.
Enter Labels and Values
LEARNING OUTCOMES
• Define labels and values
• Enter text and numbers in cells
• Edit cell contents
LECTURE NOTES
• Explain that you can enter both values and labels in a worksheet. A label is text that describes
values or calculations in a worksheet; values are numeric data that can be used in calculations.

• To enter data in a worksheet, click the cell in which you want to enter the data, type the data, then
press [Enter] to lock in the cell contents and activate the next cell down.
• Explain that you can also click the Enter button on the formula bar to lock in the contents of a cell.
When you use the Enter button to accept a cell entry, the active cell remains the cell where you
entered the data.
• Note that you can also use the arrow keys to lock in the contents of a cell entry.
• You can also use the [Tab] key to lock in a cell entry and activate the cell to the right. Using the
[Tab] key is a good way to enter a row of data. When you reach the end of the row and want to
move to the next row down, press [Enter]. Pressing [Enter] at the end of a row of data activates
the first cell in the next row down.
• Point out that when you enter data in a cell, the cell contents also appears in the formula bar.
• Explain that text you type in cells (labels) are automatically left aligned. Values (or numbers) that
you type in cells are automatically right aligned.
• Remind students that, just as in any Office 2016 program, they can click the Undo button on the
Quick Access Toolbar to cancel previous changes as necessary.
TEACHER TIP
Students might be confused when the contents of a cell extend into the next cell because the adjacent cell
is empty. They might conclude that the neighboring cell contains the contents, too. One way to help
students understand this is to type a long word or phrase into a cell so that the contents extends to the
adjacent cell. Then, click the adjacent cell to show that no contents appear in the formula bar.
Make sure students understand the three-part process of entering data in a cell: selecting the cell, entering
the data, and then accepting the entry. Students might become frustrated if they type data in cells and the
results are not saved because they don’t press [Enter] or [Tab], or click the Enter button on the formula
bar.
1. Class Discussion: Ask students to discuss if they think it matters if you enter labels or values first in a
worksheet. Are there situations where entering one first is better? Or should you always enter one of
these types of data before you enter the other?
2. Quick Quiz:
1. What is the difference between a label and a value in a worksheet? (A label is text that
describes data in a worksheet; a value is a number)
2. What happens if the label or value you type in a cell doesn’t fit in the cell? (It extends into the
adjacent cell, if it is empty.)
3. What happens when you press [Enter] after typing a row of data? (The cell pointer moves
down to the cell at the beginning of the next row.)
Work with Columns and Rows
LEARNING OUTCOMES
• Insert and resize columns
• Insert and resize rows
• Explain AutoComplete

LECTURE NOTES
• If data does not fit in a cell because it is too long, you can resize a column so that all of the data is
displayed.
• Point out that the easiest way to resize a column is to position the mouse pointer between the
column headings until the resize pointer (a double-headed arrow) appears, drag the column to the
right or left, and then release the mouse button. As you drag the column, a ScreenTip appears
showing the exact measurement of the column.
• Mention that you can also double-click the resize pointer between column headings to
automatically resize the column width to accommodate long cell entries. This feature is called
AutoFit.
• To improve the appearance of a worksheet, you may also want to resize row height to add or
reduce space between different rows of data. To resize a row using the mouse, position the mouse
pointer between two row headings until the resize pointer appears, then drag the pointer up or
down. As you drag, a ScreenTip appears showing the exact measurement of the row height. Use
FIGURE 7-6 to illustrate how to resize a row.
TEACHER TIP
In Step 7 of the lesson steps, students are instructed to resize row 2 to an exact height of 30.00. Students
might have trouble doing this. Reassure them that if they make a mistake, they should simply try dragging
it again. If it’s still too difficult, show them how to use the Row Height dialog box to enter a precise
measurement.
1. Quick Quiz:
1. If you want to resize a column so that it automatically resizes to the longest entry in the
column, what should you do? (Double-click the column boundary on the right edge of the
column)
2. If you want to resize a row so that it is exactly 21.00 (28 pixels) what should you do? (Drag the
row boundary until the ScreenTip reads (21.00 28 pixels) or enter the exact measurement you
want in the Row Height dialog box)
2. Critical Thinking: What are the benefits of resizing rows and columns? What are the potential
problems that can result from not resizing rows and columns?
Use Formulas
LEARNING OUTCOMES
• Create a simple formula with cell references
• Identify mathematical operators used in formulas
• Copy a formula using the fill handle
• Explain relative cell reference

LECTURE NOTES
• A formula is an equation that calculates a new value from existing values. Formulas can contain
values, mathematical operators such as (+ or –) as well as cell references, which are references to
cell addresses, such as A5 or F27.
• Make sure that students understand that the mathematical operator for multiplication is an
asterisk (*). They use the multiplication operator in Step 4 in this lesson. Mention, too, that the
mathematical operator for division is a backward facing slash (/).
• Make sure to review the order of precedence, shown in TABLE 7-2.
• All formulas must begin with an equal sign (=). You can enter a formula directly in a cell, or enter a
formula in the formula bar. Any formula you type in a cell also appears in the formula bar.
• You lock a formula in a cell by pressing [Enter] or clicking the Enter button on the formula bar. The
advantage of using the Enter button is that the cell containing the formula remains active after you
click the Enter button. This allows you to see the formula result in the cell and the formula itself in
the formula bar.
• When you enter cell references in a formula, you can either type them or click the cells in the
worksheet that you want to reference. The lesson steps only have students click the cells they
want to reference.
• After you create a formula in one cell, it’s common to want to copy the formula to neighboring
cells. To copy a formula from one cell to an adjacent cell, drag the fill handle to the new cells, and
then release the mouse button. You can use FIGURE 7-9 to illustrate how to copy a formula using
the fill handle.
• Point out that when you copy a formula containing cell references to another cell, the cell
references are automatically replaced with cell references that are in the same relative position as
those in the original formula. This is called relative cell referencing. By default, all cell references
are relative, meaning that they will change to reflect the new cell location of the copied formula.
1. Quick Quiz:
1. What character must you type first in a formula? (=)
2. How do you copy a formula to adjacent cells? (Drag the fill handle)
3. What happens to cell references when you copy a formula to a new cell? (They change to
reference the cells that are in the same relative position to the active cell as they were to the
copied cell.)
2. Critical Thinking: Think about the importance of formulas in Excel. Could Excel have been a successful
spreadsheet program without having the ability to use formulas?
LAB ACTIVITY
1. Ask students to use the spreadsheet from the lesson to experiment with changing some of the values
in the Estimated Year 1 Units column, and then observe how the values in the Year 1 Sales column
change accordingly. Instruct them not to save any of their changes.
Use AutoSum
LEARNING OUTCOMES
• Explain what a function is
• Identify arguments in a function
• Calculate totals using AutoSum

LECTURE NOTES
• Define functions and explain that SUM is the most frequently used worksheet function. Walk
students through the use of the SUM function as shown in FIGURES 7-10 and 7-11.
• Explain what an argument is and why it is important in a function’s calculations.
TEACHER TIP
Point out that you don’t have to make edits to a cell entry in the formula bar. Instead, you can press [F2] or
double-click a cell to put it in edit mode. You can tell if you are in edit mode by looking at the indicator at
the far left of the status bar. The status indicator reads Edit when you are in Edit mode. To edit cell
contents in Edit mode, press [Backspace] to delete characters or use the arrow keys to move the insertion
point in the cell.
1. Class Discussion: Ask students to discuss if they believe that it is better to edit cell content in the
formula bar or directly in the cell. Then, ask them if there is really a “better” way or it is simply a
matter of personal preference.
2. Quick Quiz:
1. What is an argument? (Information a function needs to make a calculation)
2. What are functions? (Prewritten formulas designed for particular types of calculations)
Change Alignment and Number Format
LEARNING OUTCOMES
• Change cell alignment
• Apply number formats
LECTURE NOTES
• Remind students that by default, Excel automatically left-aligns labels in a cell and automatically
right-aligns values. Explain that you can change the alignment using the alignment buttons in the
Alignment group on the Home tab.
• Explain that you can also format numbers to appear in many different standard formats such as
currency, percent, and date.
• Explain that when you set alignment or change the format of a cell value, you must first select the
cells you want to format. Explain how to select a range (a group of two or more cells) and also how
to refer to a range using a colon (for example A1:B7).
• Use the Currency Style button in the Number group on the Home tab to format a cell as a dollar
amount. Use the Percent Style button to format a value as a percent. Use the Comma Style button
to display values with commas.
• Use FIGURE 7-14 to discuss options on the Number Format list. In this lesson, students apply a new
date format. Demonstrate the other types of number categories and their different formats.
• Click the launcher in the Number group on the Home tab to open the Format Cells dialog box. Take
some time to briefly mention the uses for the tabs in the Format Cells dialog box (Number,
Alignment, Font, Border, Fill, and Protection).

TEACHER TIP
Explain that sometimes Excel formulas will return numbers with multiple decimal places. In some
instances, this might cause values not to fit in cells, and you might not want or need to see so many
decimal places in the values. To decrease the number of decimals, select the cells, then click the Decrease
Decimal button in the Number group on the Home tab. You can also increase the number of decimals
using the Increase Decimal button.
Some students might be tempted to enter dollar signs and commas into worksheet cells that contain
currency values. Remind students that cells contain data only; formatting is applied using commands on
the Ribbon or in the Format Cells dialog box.
CLASSROOM ACTIVITY
1. Quick Quiz:
1. T/F By default, Excel right-aligns values. (T)
2. T/F By default, Excel right-aligns labels. (F)
Enhance a Worksheet
LEARNING OUTCOMES
• Add a header and footer to a worksheet
• Apply a theme
• Apply cell styles
LECTURE NOTES
• Worksheet data can be much easier to read and understand when it is formatted and arranged
correctly on the page. Explain that students can make their worksheets more professional-looking
by using different fonts, font styles, and font sizes for important calculations. They can also use
borders and shading to group related worksheet data.
• Explain that formatting labels and values in cells is similar to formatting text in Word. You first
select the cells you want to format, then apply fonts, font styles, and font sizes using the buttons
on the Mini toolbar or in the Font group of the Home tab.
• You can add borders to a worksheet to draw attention to different cells using the Borders button
in the Font group on the Home tab.
• Review the process of adding a border. First select the cells around which you want to add a
border, click the Button list arrow, then select the border style you want to use or click More
Borders to open the Format Cells dialog box with the Borders tab active, make your selections on
the tab, then click OK.
• Review the process of adding shading to selected cells using the Fill Color button in the Font group
on the Home tab or the Fill tab of the Format Cells dialog box.
TEACHER TIP
When choosing a border in the Border tab of the Format Cells dialog box (as opposed to using the Borders
list arrow in the Font group), make sure that students choose a line style and color before choosing a
Preset style. If they choose a Preset style first and then choose a line style and color, the settings in the
Preview area will only show the original Preset style with the original line style.

1. Quick Quiz:
1. What dialog box do you use to apply borders and shading? (Format Cells dialog box)
2. Describe the process of adding a border to a range of cells using a dialog box. (First, select the
range, click the Borders list arrow in the Font group, click the appropriate borders choice, click
the line style you want, and then indicate what borders you want to add in the Border area.)
2. Critical Thinking: What are the benefits of formatting a worksheet using fonts, borders, and shading?
3. Critical Thinking: Are there certain parts of a worksheet that should be formatted in a particular way?
For instance, should labels be formatted differently than values? If so, how?
4. Critical Thinking: When do you think it is helpful to apply shading? When do you think it is helpful to
add borders?
Preview and Print a Worksheet
LEARNING OUTCOMES
• Preview a worksheet
• Adjust the scaling and set orientation
• Print a worksheet
LECTURE NOTES
• Make sure students understand the importance of previewing a worksheet before they print. Doing so
can save time as well as paper and promotes efficient working habits. Also, make sure students get in
the habit of saving their work before printing.
• Point out that in Backstage view the Print Preview area in Excel looks a little different than the Print
Preview area in Word. Point out that to make edits, you must return to Normal view or Page Layout
view.
• Remind students of the difference between landscape and portrait orientations.
TEACHER TIP
You may want to show students how to set and clear a print area; this is not covered in the book. Explain
that if you want to print only part of a worksheet, you can first select the cells you want to print, click the
Page Layout tab, click the Print Area button, and then click Set Print Area. This tells Excel to print only the
cells in the defined print area. Clicking the Print button prints the defined print area. To clear a print area,
click the Print Area button, and then click Clear Print Area.
1. Class Discussion: It takes time, ink, and paper to print a worksheet. Ask the class to brainstorm reasons
for wanting a hard copy of a worksheet created in Excel.

2. Quick Quiz:
1. How can you open the Print screen in Backstage view using the keyboard? ([Ctrl][P])
2. What view lets you see how a worksheet will look when printed? (Print Preview area of
Backstage view)
End of Module Material
• Concepts Reviews consist of multiple choice, matching, and screen identification questions.
• Skills Reviews provide additional hands-on, step-by-step reinforcement.
• Independent Challenges are case projects requiring critical thinking and application of the module
skills. The Independent Challenges increase in difficulty, with the first one in each module being the
easiest. Independent Challenges 2 and 3 become increasingly open-ended, requiring more
independent problem solving.
• Independent Challenge 4: Explore contains practical exercises to help students with their everyday
lives by focusing on important and useful essential skills.
• Visual Workshops are practical, self-graded capstone projects that require independent problem
solving.
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great gateway was laid, and a chapel for the scholars of King’s Hall
was built.
Trinity College
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 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
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 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 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, of
living celebrities, Professor Michael Foster (Herkomer) and Dr Henry
Jackson (C. W. Furse).

The Fountain
Trinity College
E·H·N
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 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 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
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

T
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 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.
he 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’ 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 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 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
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
archæologist. 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 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 honoured with a better building.
One of the first scholars of Trinity who saw Nevile’s work in its
complete state was George Herbert. He was born in 1593, the first

year of Nevile’s mastership, and entered Trinity at a very early age.
Although it is more natural to think of him as a parish priest and the
writer of the most beautiful devotional poetry in English, his career
at Cambridge was not without distinction. His early Latinity was as
perfect as Milton’s, and he filled the office of Public Orator of the
University. He is unique among Trinity men as the only important
member of the college who belonged to the most illustrious school
of English churchmen—the school which, under Andrewes, Laud and
Cosin, placed the Church of England on a logical and independent
footing. The honours of this school are shared rather unequally
between the two Universities, but Cambridge contributed a
substantial quota to the whole sum. There is no portrait of Herbert
in the college, but he is commemorated in one of the chapel
windows. He died at the early age of forty, before the troubles of the
Great Rebellion. John Hacket,* the Royalist Bishop of Lichfield and
Coventry, was probably at Trinity with Herbert. He is remembered,
not so much for his divinity as for his gallant defence of his cathedral
against the Puritan destroyers. He was born in 1592 and did not die
till 1670, ten years after the Restoration. In his seventieth year,
having been mercifully preserved throughout the troubles, he
desired to bestow some mark of his affection upon Trinity, “that
Society,” as he said with a noble pathos characteristic of the party to
which he had attached himself, “which is more precious to me, next
to the Church of Jesus Christ, than any place upon earth.” The result
of his bequest was the present Bishop’s Hostel, which occupied part
of the site of the old Garret’s or Gerrard’s Hostel.
The seventeenth century is fertile in great men. During the
century, however, none of the masters of the college were very
conspicuous men, and the mastership, between 1615 and 1683,
changed hands no less than twelve times. It is also worthy of remark
that three successive masters ended their lives as Bishops of
Chester, thus uniting Henry VIII.’s collegiate foundation with one of
his bishopricks. These were John Wilkins (* Whood), master in 1659,
Henry Ferne, master in 1660, and John Pearson (* Whood), master
from 1662 to 1673. This last is the only exception to the general

insignificance of the masters at this time. He was a distinguished
scholar who had been connected with several colleges, and had held
the mastership of Jesus. His work on the Apostles’ Creed is still one
of the classics of English theology. About the middle of the century,
Dryden (* Hudson) came to Trinity from Westminster School. Both
he and Abraham Cowley (* Slaughton) were strongly attached to the
Royalist side during the Commonwealth disturbances, and Cowley,
who entered the college in 1637 and proceeded to his master’s
degree, was expelled in 1643 on account of his too strongly
expressed loyalty. He found more congenial soil at St John’s College,
Oxford, the college of Laud, Juxon, and others of the same party. If
to these poets we add the names of the naturalists Ray (* Hudson:
bust by Roubiliac) and Willoughby (bust by Roubiliac) we shall have
enumerated the most illustrious Trinity men of their time. Ray and
Willoughby, who studied natural history with special reference to its
religious character, were, in fact, the founders of the modern
science, just as Dryden may be said to have struck the first note of
modern poetry.
Pearson became Bishop of Chester in 1672, and removed there in
1673. Under his successor, Isaac Barrow, began the golden age of
Trinity. Barrow is, in many ways, the most extraordinary genius of
whom Cambridge can boast. He was one of that rare class whose
knowledge is practically universal. He was born in 1630, a year
before his great contemporary, John Locke, who went up to Oxford
from Westminster about the time when Barrow went up from
Charterhouse to Cambridge. Barrow was a man of surprising energy
and, at Cambridge, he appears to have read deeply in every subject
which was then studied. He was classic, mathematician, scientist,
theologian, and orator; and in each of these branches he excelled.
He was appointed Regius Professor of Greek in 1655, and,
subsequently, Lucasian Professor of Mathematics—a feat which, to
the scholars of to-day, would seem next to impossible. Undoubtedly,
however, his promotion to the mastership of his college and his
subsequent celebrity were due to his fame as a divine. His sermons
bear the same relation to his age that those of Jeremy Taylor bear to

the Stewart period. He was in high favour as a preacher at court,
and, on Pearson’s retirement, his appointment was obvious. He did
not hold the mastership for more than four years, as in 1677 he died
at the age of forty-seven. His portrait by Hudson hangs in the
college Hall; his bust, by Roubiliac, is in the Library; and his statue,
by Noble, was placed in the antechapel during the mastership of his
worthy successor, Whewell.
At this time, the mathematical attainments of the Society must
have been overpowering. Barrow’s fame in this department has
perhaps been obscured by that of Sir Isaac Newton; but, if we are to
believe Newton’s generous compliment, the early death of Roger
Cotes robbed Trinity of an even greater prodigy. The college may
nevertheless be well content with Newton, who was emphatically a
Trinity man, spending very little of his life away from Cambridge. He
was twelve years younger than Barrow, and entered Trinity in the
year of the Restoration, when he was eighteen. Nine years later, his
studies proved so fruitful that Barrow gave up the Lucasian
professorship in his favour. For more than half a century, he was the
chief ornament of the University. His discoveries revolutionised the
whole theory of mathematics, and it was owing to his personality
that the subsequent energies of Cambridge were so largely
mathematical. He occupied rooms between the Great Gateway and
the Chapel. Although he made Cambridge his home, he had a large
share in public business, sitting as Member for the University and
receiving the mastership of the Mint. This office he probably owed to
another member of the college, Charles Montague, Earl of Halifax
(* Kneller), whose recall of the specie is among the most famous of
English financial operations. In 1703, Newton was elected President
of the Royal Society, which, it is interesting to note, had been
founded, forty years before, mainly through the energy of Dr
Wilkins, Master of Trinity and one of the three Bishops of Chester
mentioned above. Newton was knighted by Queen Anne in 1705,
and died in 1727. His scientific studies were not his exclusive
pursuits, for he was, to a certain extent, one of the group of literary
men who are the glory of Anne’s reign, and was also much occupied

with the elucidation of prophecy, which probably attracted him from
its mathematical side. Trinity has very justly regarded him as her
greatest son. His portrait, by Ritz, occupies the place of honour in
the Hall, and every visitor to Cambridge knows—
The antechapel where the statue stood
Of Newton with his prism and silent face,
The marble index of a mind for ever
Voyaging through strange seas of Thought, alone.
The statue, which is by Roubiliac, and is that master’s most famous
work, bears the inscription from Lucretius “Qui genus humanum
ingenio superavit.” There is a bust of him in the Library, also by
Roubiliac, and several portraits are to be found throughout the
college.
After Barrow’s death, the mastership was filled successively by the
Hon. John North* and the Hon. John Montague,* whose rule was
calculated to foster a comfortable laziness rather than industry. On
the death of the second of these, Dr Richard Bentley, fellow of St
John’s, was elected master. There was, in those days, a strong
feeling of rivalry between the two foundations—not only academical,
but also in political and social matters. Bentley was a rare genius,
whose scholarship was just then acknowledged as the finest in
England, but he was utterly devoid of good feeling and tact, and had
a peculiar faculty for exciting hatred. His fame, for the most of us, is
due to his high place in the Dunciad. He arrived in Trinity with the
intention of managing the college on his own lines. There was a
party in the Society which thoroughly enjoyed the comfort of a
position it did not adorn, and in this body Bentley found his most
devoted enemies. Instead of conciliating them, he treated them with
undisguised contempt and arrogance; and his conduct was so
injudicious that he alienated all the better members of the college
from himself. Matters came to a head when Bentley made radical
alterations in the Master’s Lodge, and presented the fellows with a
bill considerably larger than the original estimate. Open war broke

out; the fellows refused to pay; and Bentley in consequence applied
methods of coercion, withholding privileges which were in his gift.
The fellows found themselves obliged to give in after some time, and
Bentley followed up this victory by altering the interior of the chapel
to suit the new organ. At this point, however, the Society revolted for
good. Bentley required a large subscription of each fellow. The
fellowship dividends had been much reduced during the previous
years, and, with this additional burden, poverty stared many of the
dons in the face. In this crisis, the fellows, who undoubtedly had
justice on their side, called in Serjeant Milne, a London lawyer and
one of their number, and, under his guidance, addressed a gravamen
against the Master to the Bishop of Ely. Things would have gone
hardly for Bentley, had not the Bishop died opportunely. This Bishop,
by the way, was John Moore, whose books George I. gave to the
University Library. However, Bentley’s tyranny was not suffered to
continue, for, in 1718, the Senate passed a grace degrading him
from his high positions in the University. After this, the quarrel was
less prominent. Bentley occupied the Lodge till 1742, but the bad
feeling which he had excited continued till the end of his life. His
judgment and taste may be estimated from the reply which he is
said to have given to some congratulatory address after his election.
Referring to his original college of St John’s, he said, “By the help of
my God, I have leaped over a wall.” His arrogance might have been
excusable in a young man whose promotion was early, but Bentley,
in 1700, was past middle life. His scholarship was sound, and there
is no doubt that his arguments against the Epistles of Phalaris
crushed the position of his adversary Boyle; but his lack of proper
feeling always put him in the wrong, and his memory lives in the
satire of Pope and Swift rather than in his own work. Hudson’s
portrait of him is in the Hall, and his bust, by Roubiliac, is in the
Library.
The quarrels of Bentley’s mastership form a period by themselves
in the college history. At the same time, it must be remembered that
the quarrel was confined to a section of the Society, and that the
better members kept aloof from it. It had nevertheless a marked

effect on the college throughout the eighteenth century, with the
consequence that famous names are comparatively scanty. Of
Bentley’s opponents, the most distinguished was Dr Conyers
Middleton, whose life of Cicero was good enough to merit a century
of abuse. Lesser scholars of the same time were Roger Gale,* the
antiquary, who is often confounded with the learned Theophilus Gale
of Magdalen, Oxford, author of the once famous Court of the
Gentiles; and Beaupré Bell* of Outwell, Norfolk, who was an
enthusiastic lover of church architecture, and left his valuable
manuscripts to the college library. Bentley’s immediate successor, Dr
Robert Smith,* master from 1742 to 1768, bequeathed his name to
the Smith’s Prizes. He was succeeded by John Hinchliffe, Bishop of
Peterborough, a typical prelate of the last century and a born
pluralist. Lord Orford, in his Tour of the Fens, describes his
entertainment at the Palace of Peterborough; from which we may
divine that Hinchliffe was fond of a good dinner and liked the vicinity
of a nobleman. On one occasion, he put a man with no voice into
the Trinity choir, because he happened to have a vote for
Peterborough. A fellow of the college, named Mansel, who was more
remarkable for his ponderous wit than his piety, wrote the following
epigram:—
A singing man, and yet not sing?
How justify your patron’s bounty?
Forgive me; you mistake the thing;
My voice is in another county.
This same Mansel* came, some years later, to great dignity as
Bishop of Bristol and Master of Trinity. His mastership, from 1798 to
1820, closes the eighteenth century. The most distinguished member
of the college at this time was the great Professor of Greek, Richard
Porson,* who died in 1808 at the age of forty-nine. His beautiful
Greek handwriting may be seen in one of the cases in the college
library. Otherwise, the scholars of the last century are few and far
between. Trinity was, however, the great nursing-place for
noblemen; and among the number of her sons may be mentioned

the famous Marquess of Granby (* Reynolds) whose head serves as
the sign for so many inns; John Jefferies Pratt, Marquess Camden
and Chancellor of the University (* Lawrence), George Henry Fitzroy,
Duke of Grafton (* Lawrence), and, of royal blood, William Frederick,
Duke of Gloucester (* Gainsborough, Romney, Opie), Chancellor of
the University, and Frederick Augustus, Duke of Sussex (* Lonsdale).
A great statesman of the day was Spencer Perceval,* who was
assassinated in the lobby of the Houses of Parliament. But, if we
turn to men of letters and poets, we merely find such men as the
parodist, Isaac Hawkins Browne.*
Lord Byron received his education under Mansel. His career at
Cambridge would be scarcely worth recording, were he not Byron;
for it is the record of a foolish series of silly exploits and
eccentricities bordering on madness. The place of honour which is
given to his statue in the library always seems a little better than his
merits. He occupied rooms in Nevile’s Court, and contrived, during
his residence, to irritate the college authorities. Mansel, as master,
had a very exalted idea of the virtues of his position, and, from the
anecdotes which are told of him, must have made himself peculiarly
unpleasant. He was the last master of Trinity who combined that
office with episcopal dignity. His successor, Christopher
Wordsworth,* master from 1820 to 1841, was brother to the poet,
and father of the late saintly Bishop of Lincoln.
During Wordsworth’s time, the college was full of great men.
Adam Sedgwick* was Professor of Geology. Another member of the
college was Thomas Babington Macaulay, who was born with the
century. As Fellow of Trinity, the great historian was thoroughly
identified with the college, and, nine years after his death, his
statue, by Woolner, was placed among the distinguished society of
the antechapel. Younger by nine years than Macaulay was Alfred
Tennyson (* Watts), who, in a few exquisite verses, made himself
peculiarly the poet of Trinity. The chief event of his Cambridge life
was, of course, his friendship for Arthur Henry Hallam, who lived, as
is well known, in the New Court. Tennyson himself was otherwise
not greatly attached to Cambridge. He lived at some distance from

Trinity, in Corpus Buildings, and went down without taking his
degree. In this respect, Thackeray (* Bogle), two years his junior,
was very different from him. Through all his life, Thackeray, although
he was so closely identified with London, kept his love for
Cambridge, and was at heart a don. While still in residence, he
would walk reading along one of the paths in the Great Court, and,
in after life, he constantly returned. His rooms were close to
Newton’s, north of the Great Gate. Probably no one has handled
University life with more success—the subject is proverbially difficult
—than Thackeray in the early chapters of Pendennis; and, in most of
his novels, he sent his heroes to colleges which, whether he placed
them in Oxford or Cambridge, have all the features of his beloved
Trinity.
With Thackeray we are hard on the heels of our own age. The
modern period of Trinity’s history begins with the mastership of
William Whewell, whose name is inseparable from his college. The
twenty-five years of his mastership, from 1841 to 1866, form a very
distinguished epoch. As scholar, organiser, and benefactor to the
foundation, he was pre-eminent. The famous epigram which said of
him that “Science was his forte and omniscience his foible” was in
the main true, but he carried to everything he attempted an
immense interest and a sound judgment. His statue very worthily
completes the group in the antechapel. It was erected during the
mastership of his successor, William Hepworth Thompson
(* Herkomer) the Platonist, famous for his erudition and his bons
mots. Before his elevation to the mastership, Dr Thompson had been
Regius Professor of Greek. The men of his generation who belonged
to the Society were men of the highest eminence; the best known
are, perhaps, Joseph Barber Lightfoot (* Richmond, Dickinson), the
commentator on St Paul’s Epistles and Bishop of Durham; James
Clerk Maxwell,* Professor of Experimental Physics in the University;
the late Arthur Cayley (* Dickinson), the greatest mathematician
whom Trinity boasts since the days of Newton; and the Public Orator,
W. G. Clark (bust by Woolner), Thompson’s life-long friend. When
Thompson died in 1886, he was succeeded by the present master,

Dr Butler, who had been Head Master of Harrow and Dean of
Gloucester. Beneath these rulers, and with the highest prestige in
the world as her tradition, Trinity fully justifies her distinction as a
royal foundation and a nursing-mother of sound and religious
learning. To select from the present society is invidious; but the
names of Professor Henry Sidgwick, Professor Michael Foster
(* Herkomer), Dr Henry Jackson (* Furse), and Professor Jebb, are
of European repute, to say nothing of the present vice-master, Mr
Aldis Wright, editor of Shakspeare, and Mr John Willis Clark, the
present Registrary, whose investigations in Cambridge history and
antiquities are well known everywhere. In the Church one may point
to the theologian Dr Westcott, Bishop of Durham, to Dr Farrar, Dean
of Canterbury, and to the late Charles Alan Smythies, Bishop of
Zanzibar; among politicians, to Mr Arthur and Mr Gerald Balfour, and
Sir William Harcourt; while of doctors, lawyers and men of letters the
crowd cannot be numbered.

When one hears of the destruction of the beautiful courts at
Emmanuel and Sidney, one is tempted to wonder what good
genius of building spared the second court of St John’s and Nevile’s
Court at Trinity. Had Ralph Symons’ work been allowed to remain
here, we should have had a building almost exactly parallel with the
latter. Symons built courts, but he did not attempt imposing street-
fronts, and the ranges he erected between 1584 and 1586 turned
their backs ungraciously to the road. The entrance to the college
was on the north side, where there is now a smaller court in the
Gothic style of 1840. What is now known as the Brick Building, east
of the entrance court and at right angles to the south side, belongs
to 1633, but is substantially in harmony with Symons’ earlier work. It
forms a very charming fragment. The classical transformation of
Emmanuel was begun during Dr Breton’s mastership. Sir Christopher
Wren, who was just completing his chapel at Pembroke, was invited
to design the east side of the court. It is interesting to observe how
he followed his uncle’s design for the chapel of Peterhouse, copying
the lateral galleries which connect the chapel with the main
buildings. Wren built these between 1665 and 1677, and it is
probable that, when he began working at Trinity in 1675, he left the
completion of this beautiful composition to his pupil, Nicholas
Hawksmoor. The characteristic of the whole is a very striking dignity.
Internally, the chapel is less interesting, but the stained glass,
representing noteworthy members of the college, such as Sancroft,
William Law, and some of the Cambridge Platonists, is thoroughly
suited to the fine, plain windows. The northern gallery is the picture-
gallery of the Master’s Lodge as well as an approach to the chapel,

and contains a number of fine portraits, including a Lely, two
Gainsboroughs and two Romneys.
In the last century the revival which Wren had innocently
inaugurated swept away Symons’ building. In 1719 the south side of
the court was rebuilt; the gigantic pilasters in the centre are a proof
of how bad the Palladian work of that over-abused period could be.
Sir James Burrough of Caius, who for half a century was the
architectural dictator of Cambridge, designed new north and west
buildings, obeying the unconquerable desire of the day for an
eloquent façade. Because the design is Burrough’s, this addition is
tolerable and more or less appropriate to the chapel; but Burrough
died before it was begun, and this, like the Clare chapel, is a
posthumous and probably slanderous addition to his fame. At all
events the work was entrusted to Essex, who carried it out before
1770. It is perhaps significant that Essex was chosen, a year or two
later, to compare his work once more to Wren’s, this time at Trinity.
The western cloister, which recalls the similar but earlier building at
Pembroke, is heavy but not unsuccessful. Essex had his own way
with the Hall, which is probably the least agreeable hall in
Cambridge. It is cold and stiff, and the plaster roof brings bad taste
to a climax. In the Gothic court north of this is the Library, which
corresponds to the refectory of the old Dominican house—the Hall is
on the site of the chapel. It was, till the Restoration, the college
chapel. Sancroft, to whose initiative Wren’s work is due, gave it a
valuable collection of old books, chiefly Bibles, and its Oriental
manuscripts were carefully described by Sir William Jones. The chief
modern addition to Emmanuel is the large brick building at the east
end of the college garden. This, although not remarkable in itself, is

“T
interesting as the pioneer of an attempt to revive the economical
principle of the medieval hostel. It also forms a not unfitting
termination to the pretty lawn, with its pond and tennis-courts.
he pure house of Emmanuel” occupies the site of the house of
Dominican Friars outside Barnwell Gate. At the dissolution the
buildings were left untouched, and, when Sir Walter Mildmay,
Chancellor of the Exchequer and Treasurer of the Household, came
into possession of the land, he had his materials for a college all
ready. Sir Walter was a strong Puritan, and was on that account no
great favourite with Queen Elizabeth. She met him one day and said,
“Sir Walter, I hear that you have erected a Puritan foundation.” Sir
Walter, however, disclaimed the insinuation, “No, Madam; far be it
from me to countenance anything contrary to your established laws;
but I have set an acorn, which, when it becomes an oak, God alone
knows what will be the fruit thereof.” The acorn, nevertheless, grew
into a very Puritan oak. The buildings seem to have been erected in
a curious spirit; for, if not Sir Walter, at all events his executors,
revelled in the fact that the secular buildings of the foundation stood
upon the Friary church, and did all they could to obliterate the
monastic plan of the buildings. But, beyond this unnecessary
manifestation of spite, the college was admirably governed and its
students were—and all through its history have been—serious and
law-abiding. Sir Walter founded it as “a College of Theology, Science,
Philosophy, and Literature, for the extension of the pure Gospel of
Christ our only Mediator, to the honour and glory of Almighty God,”
and appointed, as its first master, Dr Laurence Chaderton, who ruled
the college for thirty-eight years, and had a great part in the
Authorised Version of the Bible. Under Dr Chaderton, the foundation
increased in learning and godliness, and Fuller said of it, “Sure I am,
at this day it hath overshadowed all the Universities, more than a
moiety of the present masters of colleges being bred therein.” Dr
Branthwaite* of Caius, Dr Whichcot* of King’s, Dr Samuel Ward* of
Sidney, and the famous Ralph Cudworth* of Clare and Christ’s, all
held fellowships at Emmanuel.

As time went on, the Puritanism of Emmanuel became more and
more pronounced. The services in the chapel savoured of
Congregationalism and were altogether opposed to the Laudian
revival of church life and doctrine. Under the first Dr Sancroft, the
college ritual was thus reported to the Archbishop, “They receive
that Holy Sacrament, sitting upon forms about the Communion
Table, and do pull the Loaf one from the other, after the minister
hath begun. And so the Cup, one drinking as it were to another, like
good fellows, without any particular application of the said words,
more than once for all.” This expression of shocked piety has nothing
in its wording which allows us to expect exaggeration. The servers at
the altar were also “Fellows’ subsizars,” and not in holy orders.
However, one fails to see any extravagant Protestantism in this
arrangement. Emmanuel chapel must have presented a strange
contrast to Wren’s and Cosin’s chapel at Peterhouse, or to the chapel
at Queens’ which Dowsing ransacked so unceremoniously. The
college, meanwhile, was the nursery of American colonisers, and has
therefore always been a goal of American pilgrimage. Mr Everett’s
bombastic passage on the subject has been often quoted; its
eloquence is scarcely of the finest type. But, in company with a row
of Pilgrim Fathers, Emmanuel produced John Harvard, the founder of
the greatest American University, and may therefore be called the
mother of American education.
But, in common with St John’s and other colleges, Emmanuel lost
its Puritanism with years. The Restoration brought in a better state
of feeling, and, under the second Dr Sancroft and his successors,
Doctors Breton* and Holbech,* the college devoted its energies to
building. William Sancroft became Archbishop of Canterbury, and
kept up the traditions of his college in refusing to acknowledge
James II.’s Declaration. He was the chief of the seven bishops who
signed the famous petition against that document. Afterwards, as a
non-juror, he resigned his archbishoprick. But the best of all the sons
of Emmanuel was another non-juror, William Law, who was for many
years a fellow, and held the living of King’s Cliffe in
Northamptonshire. This great man has become better known to the

world since the publication of his biography by Canon Overton, and
the reprinting of his letters to Bishop Hoadly. He was a staunch and
able supporter of the Church’s principles, but his most abiding
monument is the half mystical but intensely practical treatise called
A Serious Call to a Devout and Holy Life. The book has had an
influence second only to that of the Pilgrim’s Progress, and its wide
application may be judged from the fact that it affected people so
widely different as Dr Johnson and Richard Hurrell Froude. Its simple
but vivid style and its picturesque quaintness, account very largely
for its popularity. In later years, Law, a solitary and meditative man,
took up the half-understood ideas of German mysticism, and became
a blind disciple of Jacob Behmen. These later aberrations have
somewhat eclipsed his legitimate fame. The college has
commemorated him by a window in the chapel. In connection with
Law, it is interesting to remember that another mystical writer,
Joseph Hall, Bishop, first of Exeter and afterwards of Norwich, was a
fellow of Emmanuel. There is a portrait of Hall in the splendid
collection at the Lodge, in which he is represented as wearing a gold
medal. This medal was given him by the States General as a
recognition of his services at the Synod of Dort, and the original is
still in the possession of the college.
There is also, in the same collection, an admirable portrait of
Sancroft, who, beyond his contributions to the new chapel, was a
great benefactor to the library. This library is one of the most
valuable in Cambridge. Bishop Bedell of Kilmore, who pursued his
studies at Emmanuel with great success, and was a fellow of the
college, left it a Hebrew Bible which he had bought for its weight in
silver. Among other treasures it contains a MS. of Chrysostom and a
copy of Wyclif’s Bible, with the inscription “Ihū help us, for we ben
feble.” To return to the portraits in the Master’s Lodge. We find there
an excellent portrait of that accomplished diplomat and typical prig,
Sir William Temple, by Lely. And, among other seventeenth-century
worthies, we are glad to see the portrait of the greatest of
Cambridge builders, Ralph Symons, “Effigies Radulphi Simons,” the
inscription goes, “Architecti sua aetate peritissimi qui praeter plurima

aedificia ab eo praeclare facta, duo collegia Emanuelis hoc Sydneii
illud exstruxit integre. Magnam etiam partem Trinitatis reconcinnavit
amplissime.”
After the time of Law and the non-jurors, the history of Emmanuel
is very quiet, and the stately ease for which its buildings are
conspicuous possessed the college. During the mastership of Dr
William Richardson,* in 1765, a member of the college published a
book which had a tremendous effect on English literature. This was
the Reliques of Ancient English Poetry, collected by Bishop Percy of
Dromore. The labours of this antiquarian are a lasting glory to his
college. A similar taste was apparent in Richardson’s successor,
“rare” Richard Farmer (* Romney) who was master from 1775 to
1797. The love of himself and his coterie for Shakspeare took him,
night after night, to the theatre at Stourbridge Fair, and his affection
for the drama combined with his good-fellowship made him
something of a curiosity at the time when most college masters were
dry and pedantic. To the same period belongs Samuel Parr, whose
pipe, tobacco-box, and stopper are preserved by the College. He was
undoubtedly a wit and a good talker, but his jokes were lengthy and
pompous, and he scarcely deserves the praise of those admirers
who have likened him to Dr Johnson and Sydney Smith. For most of
us, possibly, he lives entirely by virtue of de Quincey’s essay upon
him.
The two most famous scholars whom Emmanuel produced in the
eighteenth century were Joshua Barnes,* Professor of Greek at its
beginning, and Richard Hurd,* Bishop in succession of Lichfield and
Worcester, who died in 1808. Hurd was a theologian with a
somewhat dull pen, and is now chiefly remembered as the disciple,
friend and biographer of Bishop Warburton. At the beginning of this
century Sir Busick Harwood, a scientific man greatly in advance of
his age, was Professor of Anatomy. Gell, the antiquary and explorer
of Pompeii, who died in 1836, was also an Emmanuel man. But the
present century, although the standard of work and scholarship has
been high, is not prolific in eminent names. Our greatest living
historian, Dr Creighton, held a fellowship at Emmanuel according to

the terms of the Dixie Professorship, but Cambridge cannot count
him as her own. At present, the college is rapidly increasing in
numbers and emulates the modern popularity of Pembroke; and it
has the distinction, rare at Cambridge, of success on the river and in
the schools alike.

XVIII
SIDNEY SUSSEX COLLEGE
Sidney Sussex College

Ralph Symons, the great Cambridge builder whose name deserves
to be more widely known than it is, was the architect chosen to
superintend the works at Sidney. He was employed on Nevile’s Court
at Trinity, and was, a year or two later, to begin operations in the
second court of St John’s. Sidney, which was ready at the beginning
of 1599, was quite comparable with those famous works of art. As
usual, the architect did not attempt to manage a street-front. Here,
however, instead of turning the back of his buildings to the street, as
at Emmanuel, he constructed an oblong three-sided court, whose
eastern side directly fronted the street. In 1628 Sir Francis Clerke of
Houghton Conquest completed a second court on similar lines. The
south side of one court thus became the north side of the other. This
common side, which exactly bisects the building, was terminated by
a gateway opening on the street and into either court. In this
original plan the entrance to the Hall was immediately in the centre
of the eastern range of the north court; the entrance to the Chapel
occupied a similar position in the south court. We are still able to
admire this graceful and simple plan. But of the original buildings the
only remaining traces are the oriels in the garden-front of the
Master’s Lodge. In 1776 Essex, who had for the last ten years been
“improving” Cambridge out of knowledge, built a new chapel; and in
1830, while Dr Chafy was master—the names of these masters
deserve to be handed down—it was decided to thoroughly remodel
the college in the new Gothic style. This step was prompted simply
by the admiration which Wilkins’ doings at Corpus, Trinity, and King’s
had excited. Each college glowed with pious emulation, and Sidney
chose for its destroyer Sir Jeffrey Wyattville, who had Gothicised a
great part of Windsor Castle. Wyattville overhauled the college in the

I
Vandal manner; removed all traces, save those I have referred to, of
Symons’ obsolete work, and replaced it by the present pretentious
and insipid structure which adorns the eastern side of Sidney Street.
It is a comfort to know that a later generation has made amends for
this criminal error of taste. A court, or rather two sides of a court,
with cloisters, have been added in recent years by the late Mr John
Loughborough Pearson. This range of buildings, not very obvious
owing to the high walls behind which it stands, is of red brick, and,
like many other new buildings in Cambridge, is in the style of the
French Renaissance with English modifications. It is certainly one of
Mr Pearson’s great successes, and is, moreover, a success in a line
which he seldom attempted. The court—which contains, by the way,
a very fine Combination Room—is one of the most retired spots in
Cambridge, and in its studious shades it is possible to forget
Wyattville’s ravages.
n 1589 died an excellent lady, Frances Lady Sussex, widow of the
second Earl. She was the daughter of Sir William Sidney, and
would in any case have achieved a negative distinction as the wife of
Thomas Radcliffe and the aunt of Sir Philip Sidney. But in her will she
left a legacy of five thousand pounds, to be employed by her
executors in the foundation of a college at Cambridge, or, in case the
bequest were insufficient, in enlarging Clare Hall. Six years later, the
executors bought a site from Trinity College. When Henry VIII.
founded Trinity, he made over to it the lands of the Franciscan Friary
which, until the dissolution, had occupied the space between the
modern Sidney Street and the King’s Ditch. The buildings were
apparently taken down and used as a quarry for Henry’s new
college. Thus the site was vacant, and the executors, after making a
preliminary payment of a hundred marks, took over the ground on a
perpetual lease, and engaged to pay a rent of £13. 6s. 8d. yearly.
These executors, the actual founders of Sidney, were the Earl of

Kent and Sir John Harrington, the translator of Ariosto. The college
was called the College of the Lady Frances Sidney Sussex, and took
her arms, Radcliffe impaling Sidney. The pheon, the heraldic symbol
of the Sidneys, is the badge of the college, and, like the eagle of St
John’s and the silver crescent of Trinity Hall, has given its title to the
college magazine of our own days.
The first master was appointed in 1598. He was Dr James
Montagu,* and became Bishop of Winchester, where he died in
1618. But, in spite of this augury, the history of Sidney is the reverse
of prelatical. Of late years, the college has somewhat retrieved its
past record, but, on the whole, its distinction is Puritan. It is,
however, a college whose history finds its centre in one event, and
that event is vague and shadowy. In the college books, under the
date April 23rd, 1616, is the following inscription, “Oliverus
Cromwell, Huntingdoniensis, admissus ad commensum sociorum
Aprilis vicesimo sexto; Tutore Magᵒ Ricardo Howlet.” Few colleges
boast such a fellow-commoner. The note which follows, written in
after years by a good Royalist, is worth transcribing: “Hic fuit grandis
ille impostor, carnifex perditissimus, qui, pientissimo rege Carolo
primo nefaria caede sublato, ipsum usurpavit thronum, et tria regna
per quinque ferme annorum spatium, sub protectoris nomine,
indomita tyrannide vexavit.” Vexavit, as Polonius would say, is good.
No language is more abusive than aptly handled Latin! This “big
impostor and most damn’d butcher” stayed at Cambridge till July,
1617, and then, like many great men, left without taking his degree.
His contribution to the social life of his college has been stigmatised
as discreditable, but this is probably invidious rumour and nothing
more. The window of his room—which, by the way, dates from 1827
or thereabout—is still shown to the credulous. There is an admirable
portrait of him in the hall, which was presented to the college, with a
rather unnecessary parade of anonymity, by Mr Holles of the Hyde in
Essex.
The great name of Cromwell must not, however, suffer us to
forget the names of the good and pious men whom Sidney has
nurtured. Dr Edmund Calamy, the famous Nonconformist divine, was

a member of the college. So was Thomas Wilson, Bishop of Sodor
and Man. So, too, were Jones of Nayland, the revivalist and hymn-
writer, and an even more famous Evangelical preacher, Thomas
Cecil. Sidney had, indeed, a very conspicuous share in the revival of
spiritual life at the end of the last century. On the other hand, the
college produced, by way of an anomaly, Sir Roger l’Estrange, the
Royalist pamphleteer, whose sympathies were certainly apart from
his education. The laborious antiquary, Thomas Rymer of the
Fœdera, was also a Sidney man. In our own century it has been
recorded that—
There was a young man of Sid. Sussex
Who stated that w + x
Was the same as xw!
So they said, “We will trouble you
To confine those ideas to Sid. Sussex.”
But any such misconception has been rectified by the present
master, Mr Charles Smith, whose mathematical text-books are
classics in their own branch of literature. And, among living
members of the college, we may notice the present Bishop of
Bloemfontein, Dr John Wale Hicks, who is not only celebrated for his
equal skill in medicine and divinity, but, as tutor of his college and
vicar of Little St Mary’s, has had perhaps the greatest spiritual
influence on modern Cambridge life. Although Sidney is a small
college, there is none which is so remarkable for the patriotism and
good-fellowship existing among its undergraduates; and, within very
recent years, it has supplied the University with excellent athletes,
and one of its members has become president of the Union.

J
D
XIX
DOWNING COLLEGE
ames Wilkins, the builder of Downing, must be distinguished from
the later William Wilkins, the gothic experimentalist. If the second
Wilkins had worked in the manner of the first, we should have
missed some valuable historical relics, but should have gained in
other respects. Downing, with its heavy angularities and immense
porticoes, is not a very great advance on the plans so cherished by
Mr James Essex, but it bears the marks of a good intention, and is
an excellently proportioned building. It was begun in 1807, but has
never been finished, and now simply consists of two parallel ranges
running north and south, with a wide space of lawn between them.
Its situation is very remote, but to this it owes its chief beauty, the
lovely park with its fine avenues. The view northwards from the
park, embracing the fellows’ garden, and ending in the towers of the
new Roman Catholic Church, is worth seeing, although the contrast
of the classical college with one of the latest examples of modern
Gothic work is somewhat inharmonious.
owning is almost the youngest of Cambridge colleges, and its
history is chiefly concerned with its foundation. At Gamlingay, in
the only part of Cambridgeshire that can be called picturesque, there
lived from about 1680 to 1749, a baronet named Sir George
Downing. He had been the victim of a compulsory marriage. At the
early age of fifteen, he had been married to his cousin Mary
Forester, who herself was only thirteen. They never lived together,

and in 1717, Sir George made a will by which he bequeathed his
estates to some collateral relatives. This document contained the
provision that, if his heirs died out, the estates were to be applied to
the use of a college which his trustees should found in Cambridge.
He nevertheless outlived the trustees, and, dying in 1749, left his
property to his collateral heir, Sir Jacob Downing. Sir Jacob was
married, but died without issue in 1764. His wife retained the
estates, but this gave rise to a long lawsuit, and, at her death,
Chancery pronounced the original will to be valid. The Charter was
granted in 1800, but the buildings were not begun till 1807, and the
college was not in working order till 1821.
Sir George Downing’s design had included a master and sixteen
fellows. In addition—presumably to confer some prestige upon a late
foundation—he had provided for two professorships in connection
with the college, the Downing Professorships of Medicine and of the
Laws of England. Although the influx of undergraduates was at first
very small, the valuable law scholarships attracted many students in
course of time. The second master, Mr Serjeant Frere,* was an
eminent lawyer, and is still renowned as the first of college masters
who dispensed their hospitality without too keen an eye to rigid
selection. Dr Annesley, the first master, from 1805 to 1812, was the
head of a college which had no corporate existence, and Mr Frere,
for nine years, was in a similar position. Downing has the misfortune
of being in a very remote, although charming situation, and the
number of her undergraduates has never been very large. But her
present society includes the Professor of Law, Dr Maitland; and her
master, Dr Alexander Hill, is a distinguished ornament of the medical
school. And, among the doctors who have been educated at
Downing are the late Sir George Humphrey, Professor Latham, and
one of the best known of living physicians, Professor Bradbury.

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