The Trinity College harp

Usually dated to the 14th or 15th Century

Also known as Brian Boru harp or O'Neill Harp

On display in the Long Room of Trinity College, Dublin, Ireland.

"Small Low Headed" design;
29 strings, longest c.62cm. One extra bass pin added at some point

Old
postcard

Old
postcard

This harp is the national symbol of Ireland, being depicted on national heraldry, Euro coins and also on the Guinness beer logo. All these show it in its pre-1961 state, when it had a curious "reconstructed" scroll at the base of the pillar. The illustration reproduced here (from an old postcard; click to enlarge) clearly shows this scroll in white plaster. In 1961 the harp was in an exhibition in London, and while it was there it was dismantled and reconstructed by the British Museum, into the shape it has nowadays, closer to an original medieval form.

There are many curious theories about the harp. Some experts think that it is not really "a surviving medieval harp" at all, and that it is in fact a combination of three components from different harps of different ages. Certainly there is decoration of different dates on the neck, pillar and soundbox, but there are so many layers of decoration it is hard to see how one could be sure either way; other harps were re-decorated may years after their initial construction. Certainly the components fit well together and there are elements of the damage, and of components visible in old engravings but no longer extant, that support the view that it is an authentic old instrument.

In 1961 after the reconstruction, brass strings were put onto the harp, but rather than being a cosmetic stringing (as on other old instruments), Joan Rimmer brought some of the strings up to pitch, and Mary Rowland experimented with playing the instrument. Other things that were done in 1961 for no apparent reason were that the 30th pin-hole in the bass was blocked with a silver stud, and the soundbox was restored with only 29 shoes; and the metal hoop like a collar at the treble end of the soundbox was apparently removed, and the seating filled in with resin or putty. However contrary to the drawings in Armstrong's book, and to my previous statement here, this does not appear to affect the neck-pillar joint. It is a shame that the work done in 1961 was never written up and published by the British Museum.

Further reading:
R.B. Armstrong, The Irish and Highland Harps. David Douglas, Edinburgh, 1904, p. 55-62. Photos, line drawings of elevation and details, comprehensive written description.

Simon Chadwick

Student copies of this harp are available for sale from the Historical Harp Society of Ireland. Built by David Kortier, based on his measurements from the original to reproduce its idiosyncratic string spacing, angles and overall ergonomics. Laminated construction and simplified outline keep the price affordable without compromising the historical value of this harp. click here for more info.