ILLUSTRATED : 
 
 NEW GUIDE 
 
 TO 
 
 ampton Klliourt 
 
 alace 
 
 WITI 
 
 NEW CATALOG U I 
 
 I- OF THE PICTURES. 
 
 Crnc0t 2Uto. 
 
 THE FIRST COURT, WITH 
 
 Price One Shillin 
 
Printed on superfine toned paper; and illustrated with copperplaU 
 
 engravings, etchings, etc. 
 
 THE 
 
 i|t0torp of Hampton Court palate 
 
 Vol. I. In Tudor Times. Second Edition. Price 21s. 
 Vol. II. In Stuart Times Prtce 2\s. 
 Vol. III. In Orange and Guelph Times. Price jQi 11s. 6d. | 
 
 By ERNEST LAW, B. A, 
 
 BARRISTER-AT-LAW, .-^ 
 
 Author of the " Historical Catalogue of the Pictures at Hampton C**rt>" 
 "A New Guide to Hampton Court" &*c. 
 
 Opinions of the Press. 
 
 " A succession of vivid pictures ot courtly life in England under the rale of the magnificent 
 
 Tudors." — The Times. 
 
 '*. A story which reads like the stately portions of ' Kenilworth.' " — The Literary World. 
 " Tastefully got up, pleasantly written, and liberally illustrated."— Spectator. 
 " Mr. Law's pages seem to glow with purple and gold. "— St. James s Gazette. 
 " A work of great historic and artistic interest and importance." — The World. 
 " A delightful book. " — Manchester Guardian. 
 
 " The story is so interesting that one can almost imagine oneself in the sixteenth 
 century." — The Graphic. 
 
 " The work is altogether one of absorbing interest. " — The Queen. 
 
 " Vastly more interesting than most good novels." — The Magazine of Art. 
 
 " A really delightful history."— the Bookseller. 
 
 [* It is seldom one comes across so satisfactory a combination of research and recital."— 
 Tht Academy. " \ 
 
 " The book is a model of all that a book of the sort should he." —Pall Mall Gazette. 
 
 " He makes the very walls to speak and the stones to cry out. . . He marshals his 
 incidents, and arranges his figures with consummate skill . . . Mr. Law's book occupies a 
 position cf unique importance." — Morning Pose, 
 
 LONDON : 
 
 ^GR BELL & SONS, YORK STREET, CO VENT GARDEN 
 
THE 
 
 left sHuttie 
 
 TO 
 
 THE ROYAL PALACE 
 
 OF 
 
 amp ton KSiourt. 
 
 WITH A 
 
 NEW CATALOGUE 
 
 OF THE PICTURES. 
 
 (Hbu'tyjrti fiom \\)t &utfjot's " ffltetottcal aTatalope.") 
 
 BY 
 
 €Ctne0t Itato, 
 
 BARRISTER-AT-LAW, 
 Author of the "History of Hampton Court Palace. 
 
 LONDON: 
 
 GEORGE BELL AND SONS, YORK STREET 
 COVENT GARDEN. 
 i893. 
 
 From the Library of 
 Frank Simpson 
 
*•*■*•• 
 
 ntrotmctton 
 
 AMPTON Court, the largest and in some respects the finest of 
 all the Royal Palaces in England, was originally founded by 
 Cardinal Wolsey in 15 15, when on the threshold of his career of 
 greatness, and here he dwelt in more than regal splendour for 
 fifteen years, attended by an enormous household of some five hundred 
 retainers, and dispensing a most splendid hospitality. 
 
 He frequently received at banquets and other festivities Henry VIII. 
 and Catherine of Arragon, and here in 1527 he entertained for two or 
 three days the French Ambassador and the whole of his retinue of 400 
 gentlemen, in the most sumptuous manner. Previously to this, however, 
 he had handed Hampton Court with all its appurtenances and all its 
 contents to Henry VIII. — assuredly the most magnificent gift ever 
 bestowed by a subject on his sovereign. 
 
 After Wolsey's disgrace, in 1529, Henry entered at once into possession 
 of the Palace, and taking a great liking to the place, he enlarged and 
 improved it a great deal ; though curiously enough all his additions, except 
 the Great Hall and one or two other rooms, were afterwards demolished by 
 William III. 
 
 At Hampton Court Henry VIII. passed much of his time with his six 
 wives, first with Catherine of Arragon, then with Anne Boleyn, and next with 
 his third wife, Jane Seymour, who died here in October, 1537, soon after 
 giving birth to Edward VI. Anne of Cleves was also here on a flitting 
 visit during her brief married life, and immediately after her departure 
 Henry brought down with him to the Palace his fifth wife, Catherine 
 Howard, who was privately married to him in the very rooms where fifteen 
 months after she was arrested on the charge of high treason and hurried to 
 the Tower. It was in the Chapel of this Palace also that Henry took to 
 himself his sixth wife, Catherine Parr. 
 
 Edward VI. frequently stayed at Hampton Court, and during one of 
 his visits, under the Protectorate of his uncle the Duke of Somerset, the 
 Palace was fortified against an expected attack from the opposing faction. 
 Somerset, however, did not venture to await their arrival j but in the dark- 
 ness of the winter's night hurried his little nephew to Windsor, whence, a 
 few days after, the once proud Protector was removed to the Tower. 
 
 Queen Mary passed her gloomy honeymoon with King Philip at 
 
4 
 
 Introduction. 
 
 Hampton Court, and it was during her second sojourn here in the 
 following year that, believing she was about to become a mother, a 
 proclamation was prepared announcing " from our house at Hampton 
 Court " her " happy delivery of a Prince " — who was never destined to be 
 born ! Here, about the same time, she was reconciled to her sister 
 Elizabeth, who after her own accession to the throne frequently took up 
 her abode at Hampton Court, and entertained her Court and distinguished 
 foreigners with hunting parties, balls, banquets, masques and plays. 
 
 In James I.'s reign this Palace was often visited by the Court, and in 
 January, 1604, the King presided here as Moderator over the famous 
 " Hampton Court Conference " between the Episcopalians and the 
 Puritans. 
 
 At Hampton Court Charles I. spent with his wife and children some of 
 his happiest days, and it was to this Palace that he was brought, as a 
 prisoner, in August, 1647, remaining here three months under a very mild 
 restraint, until he escaped and fled to the Isle of Wight. 
 
 A few years after we find Oliver Cromwell installed here ; while soon 
 after the Restoration Charles II. arrived here to spend his honeymoon with 
 Catherine of Braganza. 
 
 William and Mary both took a great fancy to Hampton Court, and 
 Wren was commissioned by them to build the existing suite of State 
 apartments, in emulation of the splendour of Versailles. It was in the 
 park here that William met with the fall from his horse from which he 
 died in 1702. 
 
 Queen Anne came to Hampton Court a good deal, and here took 
 place the " Rape of the Lock," the subject of Pope's famous poem. 
 
 During the ponderous reigns of the first two Georges the Court was 
 frequently at Hampton Court; but George III. never resided here after 
 his accession, so that the Palace, thus ceasing during his long reign to be 
 one of the Royal residences, gradually came to be divided into suites of 
 private apartments, which were allotted by the King as dwellings, chiefly 
 for members of aristocratic families, to whom this privilege was granted by 
 Royal grace and favour — in recognition of services to the Crown and the 
 nation. To this use the bulk of the Palace, comprising about a thousand 
 rooms, and embracing about five-sixths of the whole building, has been 
 devoted ever since, the number of private apartments being at the present 
 day about forty-five, each comprising from fifteen to twenty rooms. The 
 occupation is only during the Sovereign's pleasure, the Crown reserving 
 the right to re-occupy the Palace at any time. 
 
 For a long series of years the State Apartments and grounds were neglected 
 
Introduction. 
 
 5 
 
 and forlorn, and it was not till the accession of her present Most Gracious 
 Majesty Queen Victoria, that the Palace was thrown open to the public 
 without fee or restriction. This favour, one of the first acts of her reign, 
 has been amply appreciated by her subjects, it being reckoned that 
 during the last fifty years no less than ten million persons have passed 
 through the State rooms. The highest record was in the Exhibition years : 
 350,800 in 1851, and 370,000 in 1862. In 1885 the numbers were 
 198,777, and in 1886, 220,000. 
 
 Hampton Court, with its parks, grounds, and contents, though of course 
 the private property of the Crown, is maintained by the State, with the 
 rest of the Royal Palaces, in consideration of the surrender by the Queen 
 of the revenue of the Crown lands to the nation. 
 
 V 
 
THE PUBI/IO OB GREAT FOUNTAIS GAUDENS, 
 
 Han of tije .State Koomx. 
 
 The State Apartments are open to the Public every day in the week, ex- 
 cept Fridays, throughout the year; the hours being from 10 in the morning 
 until 6 in the evening, from the ist of April to the 30th of September, both 
 days inclusive; and from 10 till 4 during the winter months. They are 
 closed on Christmas Day. 
 
 N ? B. — They are open on Sundays, but not till 3 o'clock, 
 
Img'g wxtat Batrcase. 
 
 HIS staircase, which is the principal approach to William III.'s 
 State Rooms, was designed by Sir Christopher Wren and 
 finished about the year 1700. Its decoration — so meretriciously 
 magnificent— is a good specimen of that gaudy French taste 
 which was first imported into England by Charles if and his courtiers, 
 and finally triumphed in the reign of William and Mary over our less pre- 
 tentious, but purer and more picturesque, native style. It is 43 feet long, 
 by 35 feet wide, and about 40 feet high. 
 
 QIi)t ^atnttrtfl of the walls and ceiling was executed by Verrio, who 
 at first refused to serve William of Orange at all, on account of his politics 
 and religion, but at length condescended to work for him here ; though he 
 painted this staircase " as ill," says Walpole, " as if he had spoilt it out of 
 principle." Perhaps the King thought so too, for we find Verrio complain- 
 ing to Queen Anne that, though he had promised him ^"1,800 for this 
 ceiling and one in the little bed chamber, he had only received ^600, and 
 that he was reduced to great extremity. 
 
 But Verrio, though always most handsomely paid for what he did, 
 receiving from Charles II. as much as ^8,000 for his painting at Windsor 
 alone, seems to have been usually hard up. On one occasion in the 
 Presence Chamber at this Palace, when he could not approach the King, 
 he called out loudly to him for more money. Charles smiled, and said he 
 had but lately ordered him ^1,000. "Yes, Sir," replied he, "but that 
 was soon paid away, and I have no gold left." "At that rate," said the 
 King, "you would spend more than I do to maintain my family." "True," 
 answered Verrio, "but does your majesty keep an open table as I do ? " 
 
 His performances were in his day held in very high estimation. Evelyn 
 thought "his design and colouring and exuberance of invention are com- 
 parable to the greatest old master, or what they do in France ; " while 
 others grew so enthusiastic that they gave vent to their feelings in verse 
 . . . " Great Verrio's hand hath drawn 
 The Gods in dwellings brighter than their own." 
 
 His fame, however, was short-lived, and Pope's couplet: — 
 ' ' On painted ceilings you devoutly stare, 
 Where sprawl the saints of Verrio and Laguerre," 
 
 has given the cue to all criticism since. 
 
 This staircase displays in a startling degree the tasteless exuberance of 
 
8 
 
 Catalogue of Pictures. 
 
 his pencil : Gods and Goddesses, Nymphs and Satyrs, Muses and Baccha- 
 nalians, Virtues and Attributes, Zephyrs and Cupids, ^Eneas and the twelve 
 Caesars, Julian the Apostate with Mercury as his secretary, Juno and her 
 peacock, Romulus and the wolf, Ganymede and the eagle, Hercules with 
 
 / 
 
 his club, all jostle one another in amazing confusion, in inconceivable atti- 
 tudes and wonderful attire, floating on clouds, sailing between columns, and 
 reclining beneath canopies of rainbows, flowers, and Zephyrs' heads. 
 
 WtyZ Nottf) 212iall is on the left as you enter. Just above the wainscot, 
 is Flora, and opposite her a Nymph or Fortune, with a cornucopia ; behind 
 them are Cupids and Iris, and on both sides are River Gods and Nymphs. 
 Above them, poised on clouds, is Ceres, attended by Cupids ; above her 
 
Hampton Court Palace. 
 
 9 
 
 is the god Pan with his unequal reeds; and still further up, on the 
 cornice, are Apollo and the Nine Muses, playing on various musical instru- 
 ments. 
 
 UTfye (STrtlUlg represents the Banquet of the Gods. Jupiter and Juno are 
 seated at table, attended by Ganymede riding on the eagle, and by Nymphs 
 who hand nectar and ambrosia ; behind them are Juno's peacock and one 
 of the Parcae ; while above them are an arc with the signs of the Zodiac, 
 Cupids scattering flowers, Fame blowing her trumpet, and Zephyrs' heads 
 breathing soft airs. Below are the other Gods and Goddesses banquetting: 
 to the left Venus and Mars, to the right Neptune, and the rest in the centre. 
 
 3Tt)e ISaSt &2RfUI, which is opposite the entrance, is painted in continua- 
 tion of the subject on the ceiling. Just below the cornice, to the left, is 
 Bacchus with his left hand on the head of Silenus. Above, in the centre, 
 is Diana reclining on her crescent. Below is a marble table supported on 
 two-headed eagles, with wings displayed, themselves resting on clouds. 
 Below is Hercules, with his club, and also a winged figure of Peace, with 
 an olive branch ; near her is ./Eneas, standing. He is pointing to the 
 middle, where are seen the twelve Caesars, amidst whom is the soothsayer 
 Spurina. Above them is Romulus, with the wolf, while to the right the 
 Genius of Rome hovers over them. 
 
 Cf)e i&OUtf) 312UaU shows a man (Julian the Apostate?) seated at a 
 table, and turning round to Mercury. 
 
 HIS room, one of the finest of the suite, being 6o| feet long, 
 feet broad, and 30 feet high, is curiously decorated with 
 old arms; they were so arranged by a common gunsmith, 
 named Harris, for William III. Harris had decorated the Guard 
 Chambers at the Tower and Windsor in this fashion, and Sir Christopher 
 Wren, in his estimate laid before William III., suggested a like arrange- 
 ment here. The author of " Apelles Britannica," 1740, says that Harris 
 received a pension from the Crown for his ingenuity. The arms are nearly 
 3,000 in number. 
 
 The panel door, to the left of the fireplace, opens into a small room 
 called by Wren " The Smoaking Roome." The door in the opposite corner 
 leads on to the " Beauty Staircase," which itself goes upwards to the top 
 storey, and downwards to the " Beauty Passage," and " Beauty Room." 
 
IO 
 
 Catalogue of Pictures. 
 
 ling's ©uarti Olfjamta. 
 
 To assist hurried visitors in their inspection ot the t,ooo pictures here, 
 the more important are distinguished by prominent type. This, however, 
 is not always to be taken as indicating artistic value; for attention is 
 thus drawn to many pictures, which are worthless as works of art, but 
 interesting on historical or other grounds. 
 
 *tt\)i lOfcturefr 
 
 1 Bringing in Prisoners and Wounded Rugendas. 
 
 2 Foraging Party going out Rugendas. 
 
 3 Entry into a Town after a Battle Rugendas. 
 
 4 Besieging a Town Rugendas. 
 
 These represent scenes from Marlborough's campaigns in the Netherlands. 
 
 5 Lord Anson Bockman. 
 
 6 Admiral Sir Thomas Dilks . , , , Bockman. 
 
Hampton Court Palace. 
 
 1 1 
 
 7 Sir John Lawson (killed in 1665) Lely. 
 
 8 Halt of an Army Rugendas. 
 
 9 The Colosseum at Rome . Canaletto. 
 
 10 Admiral John Benbow (died in 1702) Bockman. 
 
 11 Edward Montagu, Earl of Sandwich Sir P. Lely. 
 
 12 Soldiers attacking a Foraging Party Rugendas. 
 
 13 Admiral Edward Russell, Earl of Orford Kneller. 
 
 14 Admiral Sir G. Byng {now placed after No. 26) .... Bockman. 
 
 15 Admiral Sir John Gradin {tiaiv placed after No. 30) . . Bockman. 
 
 Served in the reign of Queen Anne, and was dismissed (or over-caution. 
 8jt General Spalken unnamed. 
 
 17 Admiral Beaumont Bockman. 
 
 Perished in the storm " such as of late o'er pale Britannia passed," in 1703. 
 
 18 Admiral Sir John Jennings . .v Bockman. 
 
 19 A Wedding in Camp Rugendas. 
 
 20 Queen Elizabeth's Giant Porter F. Zucchero? 
 
 This portrait is life-size, his height being 8£ feet, and his hand 17 inches long. 
 "Anno 1580" is on the canvas, in the upper right-hand corner. It is probably 
 the famous porter who kept the gate at "the Princely Pleasures of the Court of 
 Kenil worth." 
 
 21 Admiral Sir Stafford Fairbourne Bockman. 
 
 22 Admiral George Churchill Bockman. 
 
 23 Raising Earthworks against a City Rugendas. 
 
 24 Admiral Viscount Keith Phillips. 
 
 N.B. — Visitors are required, for the general convenience, to pass from 
 room to room in one direction only. 
 
 ItUtam m.'s lliresmee ^sbamber. 
 
 RACING the entrance to this room hangs the <£anopj) of State, 
 under which was formerly the Chair of State. Here the king 
 gave audience to ambassadors and statesmen. The canopy is of 
 crimson damask; at the back the arms of William III. and his 
 motto, "Je main tien dray," are embroidered in silver, and round the 
 valance are the crown and the cypher W and the rose, harp, fleur-de-lys, 
 and thistle, likewise crowned. 
 
 The catbtng is by Grinling Gibbons, who was specially employed by 
 William III. to decorate his new Palace. Nothing can exceed the lightness 
 
12 
 
 Catalogue of Pictures. 
 
 and delicacy of the festoons of flowers and fruit in lime-wood over the fire- 
 place and doors in this and other rooms. 
 
 Between the windows are three old-fashioned looking-glasses in gilt 
 frames, with bevelled edges. These and the stools are part of the original 
 furniture of the room ; the gilt stands in the corner are later, having the 
 monogram G.R. on their tops. A fine silver djaittJeltet hangs from the 
 centre of the ceiling ; it has the harp, thistle, &c, on it, and probably was 
 hung here in William IIL's time. The mantelpiece, with the two pieces of 
 Oriental ware on the high shelf — part of Queen Mary's collection, — should 
 be noticed. The fire-back is of cast iron, and shows the royal arms and 
 I. R. 1687 on it. 
 
 t TOi)z Hampton Court H3eauue0* 
 
 In this room are now placed the well-known collection of the Beauties of 
 the Court of William and Mary, painted by Sir Godfrey Kneller, and called 
 the "Hampton Court Beauties." This name was given them from their 
 being placed in this Palace by Queen Mary, and also in order to distinguish 
 them from Lely's Beauties of Charles II. 's Court, formerly at Windsor, and 
 thence called " The Windsor Beauties," but which are now hung here in 
 "The King's Bed Chamber." (See Nos. 185-207.) 
 
 Of the beauties of Hampton Court, Horace Walpole remarks, in his 
 "Anecdotes of Painting," that "the thought was the Queen's during one of 
 the King's absences ; and contributed much to render her unpopular, as I 
 have heard from the authority of the old Countess of Carlisle, who remem- 
 bered the event. She added that the famous Lady Dorchester advised the 
 Queen against it, saying : ' Madam, if the King was to ask for the portraits 
 of all the wits in his court, would not the rest think he called them fools? ' " 
 
 The Queen, however, would not be dissuaded ; and Kneller, on his part, 
 entered thoroughly into the spirit of the idea. He was knighted for his 
 performance, and received besides a medal and a chain worth ^300. 
 
 An anecdote connected with them is told by Horace Walpole in a letter 
 to Sir Horace Mann, dated August 31st, 1751 : — "As you talk of our 
 beauties, I shall tell you a new story of the Gunnings. They went the 
 other day to see Hampton Court ; as they were going into the Beauty-room, 
 another company arrived ; the housekeeper said, ' This way, ladies ; here 
 are the Beauties.' The Gunnings flew into a passion, and asked her what 
 she meant ; that they came to see the palace, not to be showed as a sight 
 themselves." 
 
Hampton Court Palace. 
 
 13 
 
 25 Ruins and Landscape Rousseau. 
 
 26 Lady Diana de Vere, Duchess of St. Albans . . Kneller. 
 14 Admiral Sir G. Byng Bockman. 
 
 28 Cupids, with Boat and Swans P. da Caravaggio. 
 
 29 William III. landing at Margate, 1697 .... Kneller. 
 
 This large allegorical picture is 18 feet by 15. The King is represented in 
 armour on a white horse, trampling on the emblems of war, by which lies a 
 flaming torch. Above are Mercury and Peace in a cloud supporting the King's 
 helmet, decorated with a laurel wreath, while a Cupid holds a scroll. Neptune, 
 with attendants, welcomes him to British ground. In front, Plenty, with her cor- 
 nucopia, offers a branch of olives, and Flora presents flowers. In the distance are 
 some ships, whose sails are swelled with the east wind. The hair of the figure of 
 Plenty is ingeniously ruffled, and blown in the same direction. 
 
 30 Lady Mary Bentinck, Countess of Essex . . . Kneller. 
 ij Admiral Sir G. Gradin Bockman. 
 
 32 Cupids with a Boat P. da Caravaggio. 
 
 33 Carey Fraser, Countess of Peterborough . . . Kneller. 
 
 34 Christian VII. of Denmark (aged 18) Dance. 
 
 35 An Old Man's Head B. Denner. 
 
 36 An Old Woman's Head B. Denner. 
 
 37 Lady Margaret Cecil, Countess of Ranelagh . . Kneller. 
 
 38 William III. Embarking from Holland .... Unnamed. 
 
 " He went," says Macaulay, " onboard a frigate called * The Brill.' His flag was 
 immediately hoisted. It displayed the arms of Nassau quartered with those of 
 England. The motto, embroidered in letters three feet long, was happily chosen. 
 The house of Orange had long used the elliptical device, ' I will maintain.' The 
 ellipsis was now filled up with words of high import, ' The liberties of England and 
 the Protestant religion.' " 
 
 39 Figures in Landscapes, Sketches Schiavone. 
 
 40 Miss Pitt, afterwards Mrs. Scroop . . . . Sir G. Kneller. 
 804 Supposed portrait of Fair Rosamund unnamed. 
 
 42 Head of St. Jerome Lanfranco. 
 
 43 " Old Man in a red garment reading with spectacles " . . Catalani. 
 
 44 James, 2nd Marquis of Hamilton Mytens. 
 
 Holding the white wand of his office— the Lord- Stewardship of the Household 
 to James I. On his breast are the insignia of the Garter. 
 
 45 Cupids with a Boat P. de Caravaggio. 
 
 46 Lady Isabella Bennet, Duchess of Grafton . . . Kneller. 
 
 47 Margaret Lemon, Vandyck's Mistress .... Vandyck. 
 
 Mrs. Lemon was certainly the most beautiful and celebrated, though far from 
 being the only, mistress of Vandyck. She lived with him at his house at Black- 
 friars, which became the fashionable resort of all the wils and dandies of the 
 
14 
 
 Catalogue of Pictures. 
 
 town. Among them was the well-known Mr. Endymion Porter, Gentleman of 
 the Bedchamber to Charles I. When Vandyck married, Margaret Lemon is 
 said to have been so enraged, that she took a knife and endeavoured to cut the 
 wrist of his right hand, but not succeeding in her attempt, retired in disgust to 
 the continent. 
 
 48 Head of St. Peter . Lanfranco. 
 
 49 Head of Judas Lanfranco. 
 
 50 Lady Mary Compton, Countess of Dorset . . . Kneller. 
 
 51 Landing of William III. at Brixham, Torbay . . unnamed. 
 
 He landed on the 5th of November, 1688 ; the scroll on this picture says 5th of 
 February, 1689, which is certainly an error. Every incident of the landing de- 
 
 tailed by Macaulay is depicted here : we see the fragment of rock on to which he 
 stepped, and which is still preserved by the reverential townsmen of Brixham ; 
 the horses for which he called on landing, are being brought forward, and his 
 flag is seen floating from the castle. 
 
 52 Landscapes, with figures . . . Schiavone. 
 
 53 Lady Middleton . . . r Kneller. 
 
 808 Portrait of a Gentleman unnamed. 
 
 55 Youth B. Denner. 
 
 56 Age B. Denner. 
 
 57 Peter the Great, Czar of Russia Kneller. 
 
 58 Family of Villiers, Duke of Buckingham . . Honthorst. 
 
 Curious as having been painted just before Buckingham's assassination. It 
 was during those four months that Buckingham's unpopularity reached its highest 
 pitch : he was continually exposed to insult from the populace, and London was 
 placarded with a paper inquiring: "Who rules the Kingdom? — The King. 
 Who rules the King ?— The Duke. Who rules the Duke ?— The Devil ! " He 
 himself was filled with forebodings of his approaching end. He begged Laud 
 to "put his Majesty in mind to be good to my poor wife and children," and 
 remarked that, " against popular fury a shirt of mail will avail nothing." 
 
 59 Portrait of the Duke of Wirt emberg Mytens. 
 
 60 Head of a Man, in a Black Cap Giorgione? 
 
 6 1 Portrait of a Woman with Flowers L. da Vinci ? 
 
 62 Charles II. taking leave of the Dutch States . . unnamed. 
 
 63 Portrait of a Man in Black, with a Tablet L. da Vinci ? 
 
 64 Infant Christ caressing St. John L. da Vinci. 
 
 65 Marie Beatrix of Modena, Queen of James II. . Kneller. 
 
 66 Jacob de Brag and his Family representing the Banquet of 
 
 Cleopatra By himself. 
 
 67 Architectural Subject Rousseau. 
 
Hampton Court Palace. 
 
 T 5 
 
 leconti 
 
 re0ence 
 
 Camber. 
 
 HE cavbtngS are, like those in the last room, by Gibbons. On 
 a door which leads into the lobby to the King's or Cartoon 
 Gallery is a lock with decorative brass work, cupids holding the 
 I crown over the letters W. M. R. arranged in a monogram. 
 
 68 Ruins in a Landscape Rousseau. 
 
 69 Esther fainting before Ahasuerus Tintoretto. 
 
 " One of the most admirable specimens of this unequal master." 
 
 70 Portrait of a Lady in a Green Dress . . . S. del Piombo ? 
 
 71 A Lady Playing on the Virginals . . Bernardino Licinio. 
 
 72 Portrait of a Sculptor Leandro Bassano. 
 
 73 Diana and Actaeon Giorgionel 
 
 74 Portrait of a Gentleman unnamed. 
 
 75 The Death of Lucretia Titian. 
 
 76 A Magdalen, or Mater Dolorosa after Titian. 
 
 77 The Nine Muses in Olympus Tintoretto. 
 
 This picture is universally considered one of his masterpieces. 
 
 78 A Dominican Monk? Giacopo Bassano. 
 
 79 Holy Family Palma Vecchio 
 
 80 Portrait of a Gentleman Dosso Dossi. 
 
 81 Ruins in a Landscape Rousseau. 
 
 82 Philip IV. of Spain Velasquez. 
 
 83 A Man in Armour Correggio ? 
 
 84 Portrait of a Venetian Senator Pordenone ? 
 
 85 Charles I. on Horseback Vandyck. 
 
 By his side stands M. St. Antoine, equerry. 
 
 This is at any rate a very fine replica, and by some is believed to be the original. 
 There are many other replicas extant. 
 
 Madonna and Child unnamed. 
 
 Diana and Actseon after Titian by Paul Veronese ? 
 
 Tobit and the Angel Schiavone. 
 
 89 Worshipping the Host Bassano. 
 
 90 Elizabeth de Bourbon, Queen of Philip IV. . . Velasquez? 
 
 "Her cheeks whisper that the pencil and rouge-pot, the bane of Castilian 
 beauty, were not banished from her toilet. Ladies, in fact, seem to have been even 
 fonder of " enamelling" in those days than now, for they did not confine their 
 
 86 
 
 87 
 88 
 
i6 
 
 Catalogue of Pictures, 
 
 embellishments to their faces only, but went so far as to paint their hands, ears, 
 
 shoulders, and necks. 
 
 91 Portrait of a Knight of Malta . . .... Tintoretto. 
 
 92 Portrait of a Man with a Red Girdle .... Pordenone. 
 
 93 Vision of St. Francis Carlo Maratti. 
 
 94 Head of an Old Man Bassano. 
 
 95 The Good Samaritan Bassano. 
 
 96 Portrait of a V enetian Gentleman Tintoretto. 
 
 97 A Holy Family Dosso Dossi. 
 
 98 Christian IV. King of Denmark Van Somer. 
 
 Painted when Christian IV. was on a visit to England in 1606. James, who 
 was not himself averse to a little joviality, thought the visit of his brother-in-law, 
 who was a boisterous jolly fellow, a good pretext for a regular " fling." A letter- 
 writer of the time remarks : — "I think the Dane hath strongly wrought on our 
 good English Nobles ; for those whom I could never get to taste good English 
 liquor, now follow the fashion and wallow in beastly delights. The ladies abandon 
 their sobriety, and are seen to roll about in intoxication." 
 
 99 Cupids and Satyrs P. da Caravaggio. 
 
 100 Jacob, Rachel, and Leah . G. Cagnacci. 
 
 101 A Shepherd with a Pipe Giorgione? 
 
 102 An Italian Knight Pordenone ? 
 
 103 Head of Giorgione ? by himself 1 
 
 104 Family of Pordenone ? Bernardino Licinio. 
 
 Though long attributed to Giovanni Antonio Licinio, called Pordenone, this is 
 decidedly by his scholar and kinsman (some call him his brother) Bernardino 
 Licinio, and is one of his earlier works. There is the same composition, with 
 slight variations, in the Borghese Palace at Rome. 
 
 105 Architectural Subject . Rousseau. 
 
 ltng'0 HuDtence 
 
 Camber. 
 
 ROM the centre of the ceiling is suspended an elaborate 
 chandelier covered with cut-glass, arranged in pendants, roses, 
 and small festoons. The fire-back is curious ; it is a rude re- 
 presentation of the Sacrifice of Isaac. 
 
 106 A Triptych — The Passion Lucas van Leyden? 
 
 {Removed to the Queen's Private Chamber?) 
 
Hampton Court Palace. 
 
 17 
 
 107 Holy Family with Four Angels Parmigiano ? 
 
 108 Portrait of a Man Tintoretto? 
 
 109 Portrait of a Man, in Armour Titian ? 
 
 110 Mary Magdalen anointing the Feet of Christ . . S. Ricci. 
 
 This and other scriptural subjects in these rooms were painted by Sebastian Ricci 
 after 1726, the date of his return from England to Venice. They are unusually 
 good examples of his manner, and show how completely he succeeded in his 
 imitations of Paul Veronese, which indeed were sometimes so successful as to be 
 sold for original works of the master and deceive, if possible, even the critics La 
 Fosse, the painter, when he found he had been imposed upon, retaliated with the 
 sarcasm : "Take my advice, paint nothing but Paul Veroneses, and no more Riccis." 
 
 1 1 1 Portrait of Titian after Titian. 
 
 112 Madonna and Child, with Tobit and the Angel . Titian. 
 
 113 Portrait misnamed St. Ignatius Loyola . . . Tintoretto. 
 
 114 Portrait of a Gentleman Laurenzo Lotto. 
 
 115 Madonna and Child, adored by Saints . . Palma Vecchio. 
 
 This beautiful little picture is one of the best at Hampton Court. 
 
 116 Supposed portrait of Titian's Uncle Titian. 
 
 117 Portrait of Giovanni Bellini by himself 1 
 
 118 Madonna and Child, with the Donors P Bordone? 
 
 119 A Venetian Gentleman L. Bassano. 
 
 120 Head of an Old Man Il Bassano. 
 
 121 Christ healing the Sick S. Ricci. 
 
 122 The Marquis del Guasto ? and Page Titian. 
 
 123 Landscape with Figures .... Schiavone. 
 
 124 Venus, Mars and Cupid School of P. Bordone? 
 
 125 Head of a Man in a black Cap Giorgione? 
 
 126 Jacob's Journey Il Bassano. 
 
 127 The Wise Men's Offerings P. Veronese. 
 
 128 Elizabeth, Queen of Bohemia, daughter of James I. Full- 
 
 length, with a fan of feathers Honthorst. 
 
 She was married in 1613, in the Banquetting House at Whitehall, to the Elector 
 Palatine Frederick V. ; the festivities on the occasion were of the greatest splendour, 
 and cost ,£100,000. 
 
 129 Departure of Briseis Schiavone. 
 
 130 Head of a Young Woman unnamed. 
 
 131 The Woman taken in Adultery S. Ricci. 
 
 132 David and Goliath School 4/" Schiavone. 
 
 133 Mystic Marriage of St. Catherine Titian? 
 
 134 Jacob Stealing the Blessing Schiavone. 
 
 135 The Shepherd's Offering Cariani? 
 
 136 Portrait of Jacopo da Ponte (II Bassano) . . . by himself. 
 
 c 
 
1 8 Catalogtie of Pictures. 
 
 50J Senators of Venice in the Senate House J Fialetti. 
 
 386 Holy Family with Saints unnamed. 
 
 137 Christ and the Woman of Samaria {now placed after No. 169) 
 
 Bonifazio. 
 
 138 Warrior in Armour Savoldo. 
 
 It is a replica of a portrait in the Louvre. 
 
 139 Holy Family, with two Donors Savoldo. 
 
 A characteristic example of Savoldo, an excellent artist in his way, who has 
 been persistently ignored, and whose works are usually assigned to other painters. 
 
 140 Small half-length Portrait of a Gentleman ? 
 
 141 Susannah and the Elders P. Veronese. 
 
 211 Continence of Scipio S. Ricci. 
 
 160 The Deluge Il Bassano. 
 
 142 Jacob's Journey {now placed after No. 210) .... Il Bassano. 
 
 143 Mars, Venus, and Cupid Paul Veronese. 
 
 1 44 A Concert Lorenzo Lotto ? 
 
 1 45 St. Catherine, with three other figures, at the Altar . . P. Veronese. 
 
 146 The Shepherds' Offerings {now placed after No. 159) Bonifazio. 
 
 147 An Old Man's Head L. Bassano. 
 
 148 Portrait of Andrea Odoni Lorenzo Lotto. 
 
 This magnificent portrait has for centuries been erroneously attributed to Cor- 
 reggio, and denominated Baccio Bandinelli the sculptor. Dr. Waagen was the 
 first to designate Lorenzo Lotto as the true painter, and his opinion, which was 
 emphatically endorsed by Messrs. Crowe and Cavalcaselle, has recently been con- 
 firmed by the discovery in the lower left-hand corner of the signature : — " Laurentius 
 Lotus, 1527." 
 
 149 Portrait of Alessandro de' Medici ? Titian. 
 
 150 Madonna and Child Parmigiano? 
 
 ltns'0 £^2ratotng moom. 
 
 151 David with the Head of Goliath Dominico Feti. 
 
 152 Christ before Pilate, a study Tintoretto. 
 
 153 Boaz and Ruth, with men reaping Il Bassano. 
 
 154 The Expulsion of Heresy Palma Giovine? 
 
 155 Lodovick Stuart, Duke of Richmond and Lennox Mytens. 
 
 156 Goat and Cupid Caravaggio. 
 
Hampton Court Palace. 1 9 
 
 157 Glorification of a Saint I L Bassano. 
 
 158 A Venetian represented as a Saint Giorgione? 
 
 159 Christ at the Pool of Bethesda Bassano 
 
 146 The Shepherds' Offering ' Bonifazio. 
 
 160 The Deluge {now placed after No. 141) Il Bassano". 
 
 161 Mary Magdalene after Titian. 
 
 162 Madonna and Child with St. John C. Cignani. 
 
 163 The Shepherds' Offering I L Bassano! 
 
 164 Venus Recumbent . . after the Darmstadt original by Titian. 
 
 165 The Annunciation p. Veronese. 
 
 166 St. John with a Lamb Spagnoletto? 
 
 167 The Madonna teaching Our Lord to read C. Cignani. 
 
 169 Christ in the House of the Pharisee . . . . Il Bassano. 
 
 137 The Woman of Samaria Bonifazio. 
 
 942 Holy Family unnamed. 
 
 171 Madonna and Child Tintoretto. 
 
 172 The Annunciation Il Bassano. 
 
 173 A Gentleman in armour and a Lady with a flute . . . Giorgione? 
 
 174 An Italian Lady with an Orrery and Dog . . Parmigiano? 
 
 175 The Judgment of Midas Schiavone. 
 
 176 The Assumption of the Blessed Virgin Bassano. 
 
 177 St. Roche curing the Plague Tintoretto? 
 
 178 Marriage of St. Catherine Paul Veronese. 
 
 179 The Woman of Faith S. Ricci. 
 
 180 Portrait of a Venetian Gentleman L. Bassano. 
 
 181 St. George and Princess Cleodolinda Tintoretto. 
 
 182 Portrait of an Italian Lawyer P. Bordone? 
 
 183 St. William taking off his Armour Giorgione? 
 
 183* Judith with the Head of Holophemes C. Allori ? 
 
 iiltttfam ttt/s iltate iiei3«oom* 
 
 g^^gSIR CHRISTOPHER WREN specially designed the decoration 
 bL^^I °f tn ^ s room > as appears from the original estimate in his own 
 t^&^ll handwriting, preserved in the Record Office. Its dimensions 
 l^^fif are 33 feet 9 inches long, by 23 feet 7 inches broad ; and its 
 height is 30 feet, and includes the half-storey. 
 
20 
 
 Catalogue of Pictures. 
 
 The Cetllttfl, which is one of Verrio's best efforts, and is appropriately 
 painted with designs emblematic of Sleep, shows, in one part, Endymion 
 reposing in the lap of Morpheus, while Diana, in her crescent, admires him 
 as he slumbers ; and, in the other part, a fine figure of Somnus with his 
 attendants. 
 
 The ttti is not William III.'s, but the state bed of Queen Charlotte, 
 George III.'s Queen. The embroidery, on lilac satin, is said to have been 
 worked by the Clergy Orphan School, and is an exceedingly fine specimen 
 of English needlework. William III.'s bed, which used to be here, is 
 now in a room further on, called the Private Dining- Room. Near the 
 bed is an Olfo ClOCft, made by the celebrated Daniel Quare, which goes 
 for one year ; it is still in good repair, but no longer wound up. It has 
 been in this room in its present position nearly 200 years. On its face are 
 two small dials, which tell the day of the month, &c. In the corners of 
 this room are also two old barometers, one made by Tompion. 
 
 Between the windows is a fine pt?r~gla#£, which dates from William's 
 time ; it is ornamented with a border of cut blue glass, and the edges are 
 bevelled. In the centre is the monogram W.R. surmounted by the crown, 
 in blue and white glass. Over the fire-place is a similar looking-glass, and 
 some oak shelves, with pieces of Queen Mary's collection of china. 
 The fatbtttJjB are more elaborate than in the other rooms, especially the 
 fine border of fruits, flowers, and birds, by the hand of Gibbons. 
 
 XJeautfesf of GCijarleg nVtf CCourt* 
 
 But the chief attraction of this room is the famous collection of pictures, 
 by Sir Peter Lely, of Charles II.'s beauties, formerly known as the " Windsor 
 Beauties," because they hung in the Queen's bedchamber at Windsor Castle, 
 whence they were removed early in this century to this room. 
 
 No more appropriate place could have been selected. It is a real delight 
 to sit in the window-sill here, before the tramping crowds have invaded the 
 quiet, and contemplate these charming portraits with Pepys's Diary or 
 Grammont's Memoirs in one's hand ; or, better still, Mrs. Jameson's 
 Beauties of Charles II. One can imagine one's self for a moment trans- 
 ported into that mixed society of frail, but lovely and interesting women — 
 "the professional beauties" of the time. "La Duchesse d'York," says 
 Hamilton in his Memoires de Grammont, " voulut avoir les portraits des 
 plus belles personnes de la Cour. Lely les peignitj il emploia tout son art 
 
Hampton Coicrt Palace. 
 
 dans l'execution. Tl ne pouvait travailler a de plus beaux sujets. Chaque 
 portrait parut etre un chef-d'oeuvre." 
 
 It must be confessed that he has succeeded in giving that voluptuous ex- 
 pression of blended drowsiness and sweetness, and that air of tender lan- 
 guishment which are so much in harmony with the characters of these 
 beautiful and charming creatures. Their " night-gowns fastened with a 
 single pin," and the " sleepy eye that spoke the melting soul," would have 
 sufficiently told us their history if the memoir writers had failed to supply it. 
 
 For further particulars as to the " Beauties," see the author's " Historical 
 Catalogue." 
 
 184 Flower-piece, Lilies and Poppies, in panel over the door Baptistf. 
 
 185 Lady Bellasys in the character of St. Catherine . . Lely. 
 
 There has been much dispute, during the last 130 years or so, as to whom this 
 picture, which is the most striking in this room, really represents : — it was at one 
 time known as Elinor, Lady Byron ; but it is more probably Susan Anne, the 
 widow of Sir Henry Bellasys, and mistress of the Duke of York. On the death of 
 Anne Hyde, the Duke wished to marry Lady Bellasys, but was dissuaded from 
 doing so by the King, who told him, " at his age it was intolerable that he should 
 think to play the fool again." 
 
 186 Jane Kelleway, or Princess Mary as Diana .... Lely. 
 
 187 Dorothy Sidney, first Countess of Sunderland Copy by A. Russell. 
 
 188 The second Lord and Lady Clarendon . . . Copy by A. Russell. 
 
 189 Copies of Ladies' Portraits, by Vandyck and Lely . . A. Russell. 
 
 190 Anne Hyde, Duchess of York Lely 
 
 191 Mrs. Knott Wissing. 
 
 She is supposed to have been one of the few virtuous ladies of Charles's court. 
 
 192 William, Duke of Gloucester Kneller. 
 
 193 Copies of Ladies' Portraits, by Vandyck and Lely . . A. Russell. 
 
 194 Duchess of Portsmouth, as Flora Varelst. 
 
 Louise Renee de Penencovet de Queroualle came from a good family of im- 
 poverished means, and had been maid of honour to Charles's sister, the Duchess 
 of Orleans. On her death, by the joint intrigue of the French King and the Duke 
 of Buckingham, she was sent over to England to become the mistress of Charles II., 
 with the double object of binding him to the disgraceful French alliance, and of 
 displacing Barbara, Duchess of Cleveland, an enemy of the Duke's. Soon after 
 her arrival Evelyn notes in his Diary : — "I now saw that famous beauty, the new 
 French Maid of Honour, but in my opinion she is of a childish, simple and baby 
 face. She was made a duchess both by Charles and Louis XIV., acquired 
 immense influence over the King, and lived in more than regal splendour at White- 
 hall." " Following his Majesty this morning through the gallery," writes Evelyn, 
 " I went with the few, who attended him, into the Duchess of Portsmouth's 
 dressing-room within her bedchamber, where she was in her morning loose gar- 
 
22 
 
 Catalogue of Pictures. 
 
 ment, her maids combing her, newly out of her bed, his Majesty and the gallants 
 standing about her ; but that which engaged my curiosity was the rich and splen- 
 did furniture of this woman's apartment, now twice or thrice pulled down and re- 
 built to satisfy her prodigality and expensive pleasures." 
 
 195 Frances Stewart, Duchess of Richmond Lely. 
 
 She was the daughter of Captain Walter Stewart, son of Lord Blantyre, and, by 
 all accounts, the most lovely woman of the Court. Everyone, from the King down- 
 wards, was passionately in love with her. 
 
 Of her consummate loveliness there seems to have been but one opinion. " Her 
 features were faultless and regular, her complexion dazzling, her hair fair and 
 luxuriant. Her figure, which rose above the common height, was well-proportioned, 
 though slender : she danced, walked, dressed, with perfect elegance, and sat her 
 horse with peculiar grace. " To her Parisian education she owed that ' ' air de 
 parure," which excited Hamilton's admiration as being so truly French. Of her 
 childish disposition, which perhaps added to her charms, numerous anecdotes are 
 related ; and "she was never known to speak ill of any one." 
 
 Miss Stewart's beauty has been perpetuated in a more enduring, or, at any rate, 
 more popular, monument, than Lely's canvas or the rhapsodies of her lovers ; for 
 she sat, by express direction of the king, for the emblematic figure of Britannia on 
 our pennies — "on the reverse our Beauty's pride." 
 
 196 Marie d'Este? misnamed Nell Gwynne Lely? 
 
 This picture has, since it came here, about fifty years ago, from Buckingham 
 Palace, been misnamed " Nell Gwynne." It is certainly not her, to whom it bears 
 no sort of resemblance, her face being round, while this lady's is long ; her hair 
 being light auburn, while this lady's is very dark. 
 
 197 Henrietta Boyle, Countess of Rochester .... Lely. 
 
 198 Elizabeth Percy, Duchess of Somerset Wissing. 
 
 This is probably " the beautiful Duchess," who married " the proud Duke." 
 
 199 Mrs. Middleton Lely. 
 
 Mrs. Jane Middleton was the daughter of Sir Roger Needham, and became, 
 after her marriage, one of the most renowned beauties of the day. Wherever she 
 went she was the centre of observation and admiration, whether in the Park, at 
 Court, at balls, or at the play; and Pepys even confesses his "great delight 
 to have the fair Mrs. Middleton at our church, who is indeed a very beautiful 
 lady." 
 
 De Grammont was one of her admirers and made desperate love to her. " La 
 Middleton," says Hamilton, * 4 fut la premiere qu'il attaqua. C'etoit une des plus 
 belles femmes de la ville, peu connue encore a la cour ; assez coquette pour ne 
 rebuter personne ; assez magnifique pour vouloir aller de pair avec celles qui 
 l'etoient le plus ; mais trop mal avec la fortune pour pouvoir en soutenir la depense." 
 " Elle etait bien faite, blonde et blanche, et avoit dans les manieres et le discours 
 quelque chose de precieuse et d'affecte. L'indolente langueur dont elle se paroit, 
 n'etoit pas du gout de tout le monde. On s'endormoit aux sentimens de delicatesse 
 qu'elle vouloit expliquer sans les comprendre." At one time he showered presents 
 on her ; but " II s'appercut que la belle prenait volontiers, mais qu'elle ne donnait 
 
Hampton Court Palace. 
 
 23 
 
 que peu," so he left her to her numerous other lovers, who were more easily grati- 
 fied, or more fortunate. 
 
 Of Mr. Middleton no notice was ever taken, nor any mention made ; he is 
 known to us only as " the great beauty's husband." In the days of her mature age 
 and charms she devoted herself to gambling. 
 
 200 Mrs. Lawson, in red Wissing. 
 
 201 Frances Brooke, afterwards Lady Whitmore . . Lely. 
 
 This Miss Brooke was the younger of the two daughters of Sir William Brooke, 
 who were nieces of Digby, Earl of Bristol. When they were respectively sixteen 
 and seventeen years old, their uncle, who was anxious to ingratiate himself with 
 Charles, introduced them at Court to captivate that amorous monarch. With this 
 object in view, he used to give little supper parties, at which his young and beau- 
 tiful nieces, — "qui etoient toutes deux faltes pour donner de l'amour et pour en 
 prendre," — were sedulously brought under the notice of the king. " Le luxe et la 
 delicatesse regnoient dans ces repas nocturnes, qui font l'enchainement des autres 
 voluptes : " and all was in good train, when the affair was discovered, and at once 
 put a stop to, by Lady Castlemaine. 
 
 202 Elizabeth, Countess of Northumberland .... Lely. 
 
 203 Countess of Falmouth, misnamed Countess of Ossory . Lely. 
 
 204 Elizabeth Brooke, Lady Denham Lely. 
 
 She was married off at eighteen to old Sir John Denham the poet, a widower of 
 seventy-nine, and described as "ancient and limping." She was supposed, but on 
 inadequate grounds, to have been poisoned. 
 
 205 Barbara, Duchess of Cleveland, as Minerva . . . Lely 
 
 When Catherine of Braganza came to England, she had firmly resolved not to 
 receive Lady Castlemaine. No sooner, however, did Charles and his new queen 
 come to this palace to spend their honeymoon, than Lady Castlemaine established 
 herself here also, and within two days of her arrival fcrced herself into the queen's 
 presence. Her majesty was so overcome at this indignity, that she burst into tears, 
 and was carried fainting from the room. Afterwards she was constrained to make 
 her one of her ladies of the bedchamber, and treat her with the greatest 
 deference. 
 
 206 Anne, Countess of Sunderland Lely. 
 
 207 Miss Hamilton, Countess de Grammont Lely. 
 
 This picture is the finest and most interesting of the whole series, and we are 
 told in Grammont's Memoires that Lely bestowed all his art on it, and confessed 
 he had taken a special delight in painting it. At Court it made a great sensation, 
 and the Duke of York, who had before paid assiduous attention to Miss Hamilton, 
 "en eut a la regarder, et se mit a lorgner tout de nouveaux l'original" — much to 
 the alarm of Le Chevalier de Grammont, who had just made her acquaintance, and 
 was already her ardent lover. 
 
 Nevertheless, De Grammont seems to have been of so volatile a nature, that he 
 was leaving England hastily, without performing his engagements to Miss Hamilton, 
 when he was pursued and met by her two brothers in an inn at Dover. " Chevalier 
 de Grammont," cried they aloud, "n'avez vous rien oublie a Londres?" " Far- 
 
24 Catalogue of Pictures. 
 
 donnez moi, messieurs," replied he, "j'ai oublie d'epouser votre soeur." He ac- 
 cordingly returned, and about December, 1663, "pour le prixd'une Constance qu'il 
 n'avoit jamais connue auparavant, et qu'il n'a jamais pratiquee depuis, il se vit en 
 fin possesseur de Mademoiselle d'Hamilton." They appear to have left England 
 about 1664. In France, where she resided the rest of her life, she was appointed 
 "Dame du Palais ; " but she was not popular, at least with the ladies, who desig- 
 nate her as "affected and haughty," "plus agreable qu'aimable," and " Anglaise 
 insupportable." 
 
 208 Flower-piece, in panel Baptiste. 
 
 ltng'0 ilJres0utg ilioom. 
 
 ,ROBABLY this room was not quite finished till Queen Anne's 
 time, as the ornamental brass-work on the door bears the initials 
 A. R. 
 
 The (Eeiltttg, which is another of Verrio's, represents Mars 
 reposing in the lap of Venus. The tOtntX fireplace,— with its marble 
 chimney-piece, its antique cast-iron fire-back, showing Neptune and atten- 
 dant nymphs (date about 1702), and the curious oak mantel-piece, with 
 diminishing shelves rising one above another, and decorated with lime- 
 wood carving, — is characteristic of old times. Here are placed some more 
 pieces of Queen Mary's china. The barometer in the corner was con- 
 sidered a curiosity even in 1741. 
 
 210 Men in Armour, fighting with Bears Giacomo Bassano. 
 
 142 Jacob's Journey Il Bassano. 
 
 612 Diana and her Nymphs Reposing . . Rubens and Snyders. 
 212 Robbers in a Cave dividing their Spoil .... S. Rosa. 
 
 234 Cleopatra dying from the bite of an Asp L. Caracci ? 
 
 216 Cupid Shaving his Bow after Parmigfano. 
 
 237 Moses Striking the Rock Salvator Rosa. 
 
 218 Judas betraying Christ . . Pordenone? 
 
 219 Salome with the Head of John the Baptist unnamed. 
 
 239 Small Landscape Salvator Rosa. 
 
 221-2 Heads of Christ and the Madonna, in a small oval . . unnamed. 
 
 223 The Tribute Money P. Veronese? 
 
 224 The Marriage of Joseph and Mary . Girolamo da Treviso? 
 
 225 "A piece with a Doe, a Stork, and a Brass Paa in it" . . . Kalf. 
 
Hampton Court Palace. 25 
 
 Itng's Hrtttng fUloset* 
 
 PPOSITE the windows in this little room is a door in the wain- 
 scot, leading to a private staircase, at the bottom of which is a 
 private way into the garden, so that the King could go out 
 unobserved. 
 
 The looking-glass over the chimney-piece is so arranged as to afford a 
 view in vista of all the rooms on the south side of the state apartments. 
 
 2 25 a Flowers in a Brass Vase — a panel-piece .... James Bogdani. 
 
 226 Artemisia Gentileschi at her Easel, painting . . By herself. 
 
 She came over to England with her father, but did not remain long. Her 
 popularity was not confined to England. Lanzi speaks of her as " famed through- 
 out Europe, " and her master, Guido, held her in high esteem. She passed most 
 of her life at Naples, where, if we are to believe the gossips, she was "as cele- 
 brated for her amours as her painting." She certainly does not seem to have 
 cared much about her husband, for we find her asking in one of her letters with the 
 most perfect indifference, whether he is still alive or dead ! 
 
 227 A Sibyl Orazio Gentileschi. 
 
 Orazio Gentileschi was a native of Pisa and a disciple of his half-brother, 
 Aurelio Lomi. The very considerable reputation he had earned abroad, induced 
 Charles I. to invite him to London in 1626, and treat him with the greatest libe- 
 rality. He gave him an annuity of ^iooa year (equal to at least £600 in these 
 days), bore the whole expense of the education and travelling of his sons in Italy, 
 employed him in painting ceilings at Greenwich, paid very large sums for his 
 pictures, and furnished him a house from top to toe at a cost of more than ^4000 ! 
 
 228 Colossal Head of a Warrior Guercino. 
 
 229 Joseph and Potiphar's Wife . . . . Orazio Gentileschi. 
 233 Head of a Young Man C. Cignani. 
 
 2 1 3 A Holy Family Perugino ? 
 
 214 A Holy Family Francesco Vanni. 
 
 215 Nymphs and Cupids sporting in Clouds Chiari. 
 
 235 Lucretia and Tarquin .... after Pa/ma Vecchto, P. Bordone. 
 217 Christ in the House of Martha and Mary . . . Giacomo Bassano. 
 238 Martyrdom of St. Bartholomew . . after Spagnoletto, L. Nottery ? 
 220 Two Nymphs Kissing Chiari. 
 
 240 A Sibyl? P. Bordone? 
 
 241 Salome with the Head of John the Baptist .... Luini ? 
 
26 
 
 Catalogue of Pictures. 
 
 242 Head, a Sibyl C. Cignani. 
 
 243 A Peacock, Cocks, and Hens J. Bogdani. 
 
 244 Triumph of Spring over Winter S. Ricci. 
 
 245 Marriage of St. Catherine . after the Louvre original by Correggio. 
 
 246 Flower-piece— Lilies, &c— in a Brass Vase .... J. Bogdani. 
 
 lueen 
 
 IUEEN MARY'S closet is not a very appropriate designation of 
 this room ; for, as it was not floored till four or five years after 
 her death, she could never have been in it at all. It seems to 
 have got this name from having been formerly hung with 
 needlework executed by her ; the chairs and screens also being described 
 as " the work of the same pious hand," and " extremely neat, and the 
 flowers very well shadowed." They were all removed some years ago. 
 
 Artistic needlework, indeed, seems to have been the chief occupation by 
 which Mary beguiled the weary hours of her husband's long absences, 
 varied with the interest of her choice collection of exotics and her orange 
 trees, — the remnant of which can be seen from the windows here, — and her 
 curious specimens of china, which are seen in every room. In an old 
 building called "The Water Gallery," which stood on the brink of the 
 river, but was taken down after her death, she formed a retreat which 
 would do credit to any " aesthetic " lady of the present day. The decora- 
 tion of her rooms was superintended by Sir Christopher Wren. It included 
 ceilings painted by Verrio; richly carved doorways and cornices, with 
 delicate festoons of fruits and flowers in limewood, by Grinling Gibbons ; 
 oak dados, hangings of fine needlework, and corner fireplaces, with 
 diminishing shelves above, on which were ranged her most valued specimens 
 of blue china. Here she spent most of her time, surrounded by those 
 beautiful maids of honour whose features she made Kneller transmit to 
 us (see " King's Presence Chamber ") ; sometimes plying her needle on the 
 fragile balcony of beautiful wrought iron, which overhung the then un- 
 cockneyfied Thames, and watching the barges sail to and fro ; sometimes 
 superintending the laying out of the new gardens ; and sometimes sitting 
 at work beneath the shade of the curious intertwined trees still known by 
 the name of " Queen Mary's Bower." 
 
 247 Two Females sacrificing to a Statue . G. Romano. 
 
 248 Charity ... , C. Cignani. 
 
Hampton Court Palace. 27 
 
 249 Madonna and Child Bronzino ? 
 
 250 Holy Family, St. Catherine and St. Joseph . . . Luca Cambiaso. 
 
 251 The " Madonna della Quercia " . after Raphael, G. Romano. 
 
 252 Thetis presenting Achilles to Cheiron the Centaur . . A. Balestra. 
 
 253 The Roman Daughter and her Father unnamed. 
 
 254 St. John the Baptist in the Desert Lionello Spada. 
 
 255 Vulcan giving Thetis Armour for Achilles A. Balestra. 
 
 256 Madonna and Child C. Cignani. 
 
 257 A Roman Emperor on Horseback G. Romano. 
 
 258 A Female with Flowers, called " Flora" unnamed. 
 
 259 Saint Catherine with a Palm and Wheel . . B. Luini. 
 
 260 Old Woman warming her Hands with Charcoal . . . G. Nogari. 
 
 261 Madonna and Child unnamed. 
 
 262 Madonna and Child, with St. John ....... V. Malo. 
 
 263 Portrait of a Man Nogari. 
 
 264 The Infant Christ attended by Angels .... Carlo Maratti. 
 
 265 Madonna and Child and St. Joseph V. Malo. 
 
 267 Sophonisba preparing to take Poison . . . . Gaetano? 
 
 lueen's iiaUerp* 
 
 URING Queen Anne's reign this room, which is one of the finest 
 of the suite, being 81 feet long by 25 feet broad, and having 
 seven large windows, was hung with Mantegna's " Triumph." 
 The amateur of blue-and-white jars and bowls will observe 
 some very interesting specimens, made especially for William and Mary, 
 and mostly bearing the Royal arms, with the cypher W.M.R. and the 
 Nassau motto, Je main-tien-dray, and the rose, harp, thistle, &c. The 
 finest are the great flower-vases standing about four feet high, and composed 
 of some eight different parts, placed one above another, and tapering 
 upwards. They bear effigies of William III. and various devices. There 
 are also some old teapots, which remind us how in the palace, and doubt- 
 less in this room, 
 
 " Thou great Anna, whom three realms obey, 
 Dost sometimes counsel take and sometimes tea." 
 
 djnnneg'Piece. This is particularly handsome, being of dark grey 
 marble, with a bust of Venus on the top, two doves billing beneath her, and 
 
28 
 
 Catalogue of Pictures , 
 
 two Cupids on the sides ; in the centre is a looking-glass, ornamented with 
 brass work. The fireback shows James II. 's arms and his initials, I. R. 
 
 1687 : it was a strange piece of economy on William of Orange's part to 
 make use of his dethroned father-in-law's arms for the fireplaces in his new 
 palace. 
 
 T£\>t r ttape0tne0— Ijfetor? of aiejcanHec* 
 
 These are a series of seven pieces of tapestry from the celebrated designs 
 of Charles Le Brun, illustrative of the Life of Alexander. Very little is 
 known of their history beyond the fact that they were bought by General 
 Cadogan, in Flanders, for a very small sum, in George I.'s reign, and set up 
 here by order of the king. They were worked either at Brussels, or at the 
 Gobelin manufactory. 
 
Hampton Court Palace. 
 
 29 
 
 The seven pieces here are only a part of the whole series, and are not 
 arranged in chronological order. Their now faded condition gives but a 
 faint idea of their pristine splend >ur. 
 
 1. Alexander's Triumphal Entry into Babylon. 
 
 He entered Babylon in 331 B.C., after the battle of Arbela and the flight of 
 Darius, and was received by the inhabitants as a deliverer. 
 
 2. The Last Fight of Porus, King of India. 
 
 Porus is on his elephant in the centre of the picture, hurling a javelin. The 
 contest was fought in 326 B.C., after Alexander had forced a passage across the 
 Hydaspes. 
 
 3. Alexander and his Horse Bucephalus. 
 
 Alexander, after turning the horse, has just dismounted, and is being embraced 
 by his father Philip, who on this occasion exclaimed that "Europe would be too 
 small for such a spirit." 
 
 4. Alexander and Diogenes. 
 
 5. Alexander meeting the Chaldean Prophets as he enters Babylon. 
 
 6. The Battle of the Granicus. 
 
 Alexander is about to strike Spithridates, the Ionian Satrap ; behind the King, 
 coming to his assistance with a battle-axe, is Clytus, who saves his life. 
 
 7. Alexander Entering the Tent of Darius' Wife. 
 
 Alexander, after the battle of Isaus, is entering, accompanied by Hepruestion, the 
 tent of Sisigambis, the wife of Darius. She at first took Hephsestion for the 
 King, and prostrated herself before him to kiss his feet. 
 
 268 Landscape with four small Figures Adrian Hennin. 
 
 269 Twelve Classical Subjects {moved to various rooms) . S. Ricci. 
 
 270 A Boy playing with Puppies ........ B. Castiglione. 
 
 ES89 
 
 llueen 
 
 innes 
 
 00m. 
 
 mm 
 
 fUEEN ANNE'S bed, with its stools, &c, to match, appropriately 
 furnishes this room. The hangings of the bed are of fine silk 
 velvet, worked with an elaborate pattern of architectural designs 
 J and conventional vases and flowers, in orange and crimson on a 
 white ground. The material has suffered much with age, but, when closely 
 inspected, it discloses a workmanship of great delicacy It is said to have 
 
30 
 
 Catalogue of Pictures. 
 
 come from Spitalfields. In George I.'s reign, this room was occupied by the 
 Princess Caroline, wife of the Prince of Wales. 
 
 WfyZ (?t£tltng was painted for her by Sir James Thornhill, who had 
 succeeded Verrio and Laguerre as a decorator of palaces and public 
 buildings. It was by Halifax's influence that he was employed. "The 
 Duke of Shrewsbury, Lord Chamberlain," says Horace Walpole, " intended 
 it should be executed by Sebastian Ricci ; but the Earl, then First Com- 
 missioner of the Treasury, preferring his own countryman, told the Duke 
 that if Ricci painted it he would not pay him." The design shows Aurora 
 rising out of the ocean in her golden chariot, drawn by four white horses, 
 and attended by Cupids ; below are Night and Sleep. In the (llonttce are 
 the following portraits : — George I. with the crown, over the bed ; Princess 
 Caroline, over the fireplace; George II. as Prince of Wales, opposite his 
 wife ; and Frederick, Prince of Wales, as a boy, over the windows. 
 
 The chandelier is silver, elaborately decorated with glass balls. Near 
 the bed are two large blue bowls, which probably belonged to Queen Mary. 
 The cast-iron fireback has a rude representation of the Worship of the 
 Brazen Serpent. The size of this room is 30 by 25 \ ft. ; its height 30 ft. 
 
 271 St. Peter; so called {now placed after No. 470) .... unnamed. 
 
 272 Head of an Old Man ( „ „ „ 773) . . . . unnamed. 
 
 2 73 Queen Mary Kneller. 
 
 274 Venus embracing Adonis G. Chiari. 
 
 275 St. Francis and the Infant Jesus Guido? 
 
 276 Holy Family with St. James Correggio? 
 
 277 St. Sebastian pierced with arrows Francia ? 
 
 278 Offerings of the Magi L. Giordano. 
 
 279 Venus and Cupid F. Pourbus? 
 
 280 Burning of Rome by Nero after G. Romano. 
 
 281 Saint Catherine reading Correggio. 
 
 282 Madonna and Infant Jesus A. del Sarto ? 
 
 266 Chiron teaching Achilles the use of the Bow ... G. Romano. 
 
 283 A Dead Christ unnamed. 
 
 284 Head of a Man Schiavone. 
 
 285 The Apostles Peter, James and John . . M. A. Caravaggio. 
 
 286 Birth of Apollo and Diana G. Romano. 
 
 287 Fortune on a Shell oared by Tritons . . . . G. Romano. 
 
 288 & 292 History of Cupid and Psyche .... Giordano. 
 
 289 Christ brought before Pilate Schiavone. 
 
 290 A Roman Emperor on Horseback Giulio Romano. 
 
Hampton Court Palace. 3 1 
 
 291 The Nursing of Jupiter Giulio Romano. 
 
 292 The History of Cupid and Psyche. [See No. 288.] L. Giordano. 
 
 2 93 Jupiter and Europa G. Romano. 
 
 294 Portrait of a Gentleman Nogari ? 
 
 295 Portrait of a Lady in a red bodice School of Francia. 
 
 296 Portrait of a Gentleman unnamed. 
 
 297 Ganymede carried to Heaven by Jupiter . . after Michael A ngelo. 
 
 298 Madonna and Child . . . . , unnamed. 
 
 299 Judith with the Head of Holofernes after C. Allori. 
 
 300 Venus and Cupid . after M. Angelo by Pontormo or Bronzino. 
 
 This grandly beautiful though hardly attractive composition, was designed by 
 Michael Angelo. The copy before us is probably by Bronzino. " It was brought 
 to England in 1734, and exhibited at 'Essex House, Essex Street, Strand;' 
 subsequently it was purchased in the name of the King for ^1000." 
 
 301 Judith with the Head of Holofernes Guido. 
 
 302 Jupiter and Juno taking possession of Heaven . . . G. Romano? 
 
 303 Head of a Magdalen after Sasso Ferrato. 
 
 304 A Female Saint with a Cross School of Francia. 
 
 305 A Mermaid and her Young G. Romano. 
 
 306 Portrait of an Italian Lady Parmegiano. 
 
 307 St. John baptising Christ F. Francia. 
 
 This beautiful picture, one of the finest specimens in England of this great 
 master, must have been acquired by Charles I. with the Mantuan collection. 
 Between that date and about thirty years ago, when it was discovered in a Lumber' 
 room in this palace, there is no record of it. 
 
 308 William III Kneller. 
 
 meen 
 
 Iratotng l&om. 
 
 IEING the central room of the East Front, this is one of the finest 
 of the suite ; it is 41 feet long, 35 feet wide, and 30 feet high. 
 ! As it was not decorated till the reign of Queen Anne, for whom 
 I Verrio executed the painting on the ceiling, the visitor can judge 
 of the real taste of that age, which was nothing better than a poor imitation 
 of the bastard-classic of Louis XIV., as distinguished from the so-called 
 "Queen Anne Style," which never had any existence at all, except an 
 imaginary one in the brains of modern china-maniacs. 
 
 <£etltng. This represents Anne in the character of Justice, with scales 
 in one hand and a sword in the other; her dress is purple, lined with 
 
32 
 
 Catalogue of Pictures. 
 
 ermine. Over her head a crown is held by Neptune and Britannia ; while 
 surrounding her, and floating in the clouds, are various allegorical figures 
 representing Peace, Plenty, &c. " On the sides of this room," we are told, 
 in 1 741, "are more paintings of Verrio, representing the British Fleet, and 
 Prince George of Denmark pointing to it ; and the four parts of the world, 
 shown by four figures ; but these were thought so indifferent that they are 
 now concealed and covered over with hangings of green damask." A flock 
 paper now replaces the old hanging ; but the painted walls behind them 
 remain as they were. All the gilt furniture, tables, stools, and stands, in 
 this room are Georgian : the cypher G. R. being carved on most of the 
 pieces. 
 
 Queen Anne, who resided occasionally at Hampton Court, used to give 
 levees in this room, and Swift mentions his attending one here. - 
 
 Wfyt Uteto from the windows here is very strikingly beautiful. It shows 
 the whole of the Public or Great Fountain Garden, and a large portion of 
 the House Park (sometimes erroneously called the Home Park, in imitation 
 of the one at Windsor); and the middle window is the centre point towards 
 which all the lines of the walks and avenues converge. The Gardens were 
 laid out in their present form by William III. ; but Charles II. had begun the 
 alterations, and in his time the Long Canal was dug, and the great avenues 
 planted. The Long Canal is about three-quarters of a mile long, and the 
 side diverging avenues about the same length ; the vista of one is closed 
 by the picturesque old tower of Kingston Church, the vista of the other by 
 those revolting brickwork abortions, the Surbiton waterworks. 
 
 This room is now exclusively hung with the paintings of West, all of 
 which were executed for George III., who greatly admired them, and 
 extended to him a most liberal patronage. He was equally in favour with 
 the public, who lauded his performances to the skies, and with his fellow- 
 artists, who made him President of the Royal Academy. We now hardly 
 know which to wonder at most — an obscure lad from the wilds of Pennsylvania, 
 who took his earliest lessons in painting from a tribe of Cherokees, accom- 
 plishing what he did ; or the English fetish, Public Opinion, having been 
 so deluded as to regard his efforts as masterpieces of Art. The deprecia- 
 tion which has overtaken him may be judged when we hear that an 
 "Annunciation," for which £&oo was originally paid, was knocked down 
 in 1840 for ;£io. 
 
Hampton Court Palace. 
 
 33 
 
 309 Duke of Cambridge, and Princesses Charlotte and Augusta . West. 
 
 310 Dukes of Cumberland, Sussex, and Cambridge, and the Princesses 
 
 Augusta-Sophia, Elizabeth, and Mary West. 
 
 311 The Death of the Chevalier Bayard West. 
 
 312 Hannibal Swearing never to make Peace with Rome . . . West. 
 
 313 Armenius' Wife brought Captive to Germanicus West. 
 
 314 St. Peter Denying Christ West. 
 
 315 Cyrus liberating the Family of Astyages West. 
 
 316 Queen Charlotte and the Princess Royal West. 
 
 317 The Death of Epaminondas West. 
 
 318 George III., aged 40; Lords Amherst and Lothian behind . West. 
 
 "I wonder," observed the Duke of Sussex, while passing through the apart- 
 ments at Hampton Court, "in which of these rooms it was that George the Second 
 struck my father. The blow so disgusted him with the place that he never after- 
 
 wards could be induced to think of it as a lesidence." 
 
 319 St. George and the Dragon .... West. 
 
 320 The Death of General Wolfe West. 
 
 321 Queen Charlotte, aged 36, with her thirteen children . . . West. 
 
 322 Prince of Wales (George IV.), and Duke of York West. 
 
 323 The Final Departure of Regulus from Rome West. 
 
 324 Duke of Clarence (William IV.), and Duke of Kent . . . West. 
 
 325 Apotheosis of the Infant Princes Octavius and Alfred . . . West. 
 
 ueen'0 Butrience member. 
 
 N the wall hangs an old Canopy of State of red damask, of the 
 time of Queen Anne, who no doubt often sat under it. The 
 walls were formerly hung with tapestry. The (ftfjaiV&eltei; is very 
 handsome. The fireback represents the Rape of Europa. 
 
 526 Four Portraits of Doges of Venice Fialetti. 
 
 327 Don Guzman, Spanish Ambassador Mytens? 
 
 328 Tobit's Father restored to sight M. de Vos. 
 
 329 Battle of the Forty Pieter Snayers. 
 
 There are exactly forty horsemen, who are distinguished by their scarves ; twenty 
 wearing red ones round their waists, and. twenty with green ones on their left arms. 
 It is stated to represent a contest in the Spanish Netherlands between two rival 
 commanders, which took place about 1621, before Bois-le-Duc. 
 
 D 
 
34 
 
 Catalogue of Pictures. 
 
 335 St. Michael and Satan . . after Guido, by Sir J. Reynolds. 
 331 Meeting of Henry VIII. and Maximilian I. . . unnamed. 
 
 This is a highly curious contemporary picture representing several incidents in 
 the siege of Terouenne, undertaken by the joint armies of Henry VIII. and the 
 Emperor Maximilian. In the foreground, the first meeting of the sovereigns, 
 which took place on the 9th of August, 15 13, on the east side of Terouenne, is 
 shown. On the right is Henry VIII. in gold armour and visor. 
 
 Tournay surrendered on 24th of September, and early on Sunday morning, the 
 25th, Henry entered the town. The sun was shining brightly, and it must have 
 been a splendid sight to see the youthful monarch, then the finest man in the whole 
 army, riding at the head of his troops through the grand old Gothic town, the sun- 
 light glistening on his golden helmet and cloth-of-gold trappings, and playing on 
 the spears of the sturdy men-at-arms. All the houses by which they passed were 
 hung with costly tapestries ; the great bells were rung ; and the burgesses, in their 
 civic attire, came to welcome the King with magnificent gifts, attended by the 
 townspeople carrying torches and sounding a triumphal march. Thus they pro- 
 ceeded up to the market-place, where he was greeted by the populace with enthu- 
 siastic vociferations of ' ' Vive le Roi ; " then, all sounds being hushed, he passed 
 into the cathedral to render, in a grand high mass, his thanksgivings to Almighty 
 God. 
 
 332 Daughter of Frederick II. of Denmark unnamed. 
 
 333 Christ curing the Sick B. van Orley. 
 
 334 Embarking from Schevening Palamedes. 
 
 55p Margaret Douglas, Countess of Lennox ? 
 
 Margaret Douglas was the daughter of the Earl of Angus and Margaret Tudor 
 (see No. 558), and was thus a niece of Hemy VIII., at whose court she mostly 
 resided in her youth. But her fondness for flirting moved the displeasure of her 
 uncle Henry, who directed Cranmer " to call apart my Lady Margaret Douglas, 
 and declare to her how indiscreetly she hath demeaned herself, first with the Lord 
 Thomas, and secondly with Charles Howard, in which part ye shall with discretion 
 charge her with over-much lightness, and finally give her advice to beware the 
 third time, and wholly apply herself to please the King's Majesty." 
 
 We find her as one of the bridesmaids at Katharine Parr's wedding in the 
 chapel here. In 1543 she married the Earl of Lennox, by w^hom she became 
 mother of Lord Darnley, and thus is an ancestress of the present royal line. 
 When Edward VI. came to the throne she tried to get apartments here ; they were 
 refused, but the King lent her £200 instead. 
 
 336 Edward, twelfth Lord Zouch Mytens. 
 
 337 Embarkation of Henry VIII. from Dover, on 31st of May, 
 
 1520, to meet Francis I. at the Field of the Cloth of 
 Gold . . " V. Volpe ? 
 
 The view in this old contemporary picture is taken from the south-west of Dover 
 Harbour, extending across the harbour eastward to the Castle, so that the town of 
 Dover is left in the bay to the north. The ship, the " Henri Grace-de-Dieu," or 
 " Great Harry," which was built expressly for the King, is represented as just sailing 
 
Hampton Court Palace. 
 
 out of the harbour, having her sails set. On the main deck stands the King. In 
 the distance is seen the coast of France. In the foreground on the right are two 
 circular forts, communicating with each other by a terrace, with cannons firing a 
 a salute, and spectators, billmen, officers, and a person of distinction dressed in 
 green and yellow with a black coat — probably Sir Edward Poynings, Constable of 
 Dover Castle, and Lord Warden of the Cinque Ports. On the hill opposite is seen 
 Dover Castle. 
 
 The number of those who embarked with King Henry on this occasion was very 
 large, including, besides the great nobles and their followers, 4,334 men with 1,637 
 horses. Cardinal Wolsey's retinue alone consisted of 12 chaplains, 50 gentlemen, 
 238 servants, and 150 horses. 
 
 338 Sea-Piece — The Bay of St. Lucar? Jan Parceli.es. 
 
 339 The Battle of the Spurs, 1513 ? 
 
 This represents the defeat of the French before the walls of Terouenne on the 
 1 6th August, on which occasion they made more use of their spurs than their 
 weapons. The English are shown on the left charging the French ; the figure in 
 the centre in a gold helmet, with his vizor up, fighting valiantly, is probably meant 
 for Henry VIII. 
 
 340 Henry VIII. and his Family School 0/" Holbein. 
 
 On the King's left is seated his queen, Catherine Parr, and next to her Princess 
 Elizabeth, standing. She is identified by the jewel she wears, in which is the 
 letter A, the initial of her mother. On the other side is the Princess Mary with a 
 jewel representing a cross. Behind her, in the doorway, is "Jane the Fool;" 
 while in the corresponding doorway on the right side is Will Somers, Henry VIII.'s 
 jester. 
 
 341 Sir John Gage in the Garter robes unnamed. 
 
 342 Meeting of Henry VIII. and Francis I. at the Field of the 
 
 Cloth of Gold in 1520 ? 
 
 In this curious contemporary painting we find every incident of the famous in- 
 terview between the two sovereigns depicted with the most minute and elaborate 
 historical accuracy. It is needless to say that it has no pretensions at all to being 
 a work of Holbein's, to whom it is ascribed. 
 
 Left-hand side of the Picture. 
 
 On this side is shown the arrival of the English cavalcade, which, having landed 
 at Calais on the 31st of May, removed to Guisnes on June 4th. 
 
 In the foreground is the chief part of the procession, prominent in which is King 
 Henry himself, who, as the chronicler, an eye-witness of the scene, tells us, 
 <e showed himself some deal forward in beauty and personage, the most goodliest 
 Prince that ever reigned over the realm of England : his Grace was apparelled in 
 a garment of cloth of silver of damask ribbed with cloth of gold, so thick as 
 might be, the garment was large and pleated very thick." The head of Henry VIII. 
 in this picture and in No. 339 has been at some time or other, probably during the 
 Civil Wars, cut out. This may be detected by a close inspection of the canvas in 
 a side light. 
 
36 
 
 Catalogue of Pictures. 
 
 By the side of the King is Wolsey, in violet-coloured velvet, riding a mule, and 
 attended by pages who carry his cardinal's hat, &c. In front of the King is the 
 Marquis of Dorset with the sword of state ; behind come many other officers of state. 
 
 Right-hand side of the Picture. 
 
 In the middle background is seen the plain of Ardres, studded with 2,800 tents, 
 amidst which is Henry VIII. 's, all of cloth of gold, with two flags. Beyond is 
 that of Francis I. "Amidst golden balls, and quaint devices glittering in the 
 sun, rose a gilt figure of St. Michael, conspicuous for his blue mantle, powdered 
 with golden fleurs-de-lys, and crowning a regal pavillion of vast dimensions, sup- 
 ported by a single mast. Inside, the roof of the pavillion represented the Canopy 
 of Heaven, ornamented with stars and figures of the zodiac." Here the first 
 interview of the two chivalric monarchs took place, and we see them inside it, in 
 this picture, affectionately embracing one another. 
 
 More in the foreground is the famous palace, which was an exact square of 328 
 feet, but of which, being seen in a foreshortened position, we can form but a very 
 inadequate idea from this picture. "On the castle green," says Mr. Brewer, 
 "within the limits of a few weeks, and in the face of great difficulties, the English 
 artist of that day contrived a summer palace, more like a vision of romance, the 
 creation of some fairy dream, than the dull every-day reality of clay-born brick and 
 mortar. No 'palace of art' in these beclouded climates of the West ever so truly 
 deserved its name ; the imagination of the age prepared to realize those visions of 
 enchanted bowers and ancient pageantry on which it had fed so long in the fictions 
 and romances of the Middle Ages." 
 
 Outside the palace gate on the green sward stand two gold fountains spouting 
 wine. The French chronicler tells us there were large silver cups for any one to 
 drink, "qui estoit chose singuliere," and that the English and French toasted each 
 other, "et disoient ces parolles : Bons amys, Francoys et Angloys, en les repetant 
 plusieurs foys en beuvant lung a laultre de bon couraige." We see some of the 
 results of this good cheer depicted in this picture to the right. 
 
 In other parts are shown other incidents of the meeting ; thus, to the right are 
 the lists, half-way between Guisnes and Ardres, with the galleries of the kings and 
 queens, and the great pen-on or tree of nobility, the trunk made of cloth of gold, 
 and the leaves of silver and Venetian gold, on which the shields of all the comba- 
 tants were suspended. 
 
 Lower down are the kitchens, where no less than 200 cooks were employed, 
 while more towards the foreground is a tent with people dining in it. In the upper 
 left corner is a dragon, probably meant for the artificial salamander which we are 
 told by the French chronicler suddenly appeared in the sky, while the cardinal, 
 attended by bishops as deacons, was singing the grand high mass, "De Trinitate." 
 Beyond is the old town of Ardres, where 10,000 persons had collected in its 
 ruined houses to be present at the great festivities. Around is the camp of 
 Francis's followers. 
 
 343 Portrait of Isabella Clara Eugenia, Infanta of Spain, and 
 Archduchess of Austria . . . F. Pourbus the younger ? 
 
 She was married to her cousin the Cardinal Archduke Albert of Austria, and 
 was present in person at the famous siege of Ostend in 1601, and was so vexed at 
 its gallant resistance, that she swore never to change her linen till the town was 
 
Hampton Court Palace. 
 
 37 
 
 reduced. It is not stated at what precise period this vow was made, but as the 
 siege lasted three years, three months, and three days, it is not surprising that her 
 underclothing eventually attained that sort of tawny hue that has ever since been 
 known as " couleur Isabelle." 
 
 798 Sir Jeffrey Hudson the Dwarf Mytens. 
 
 " He was born at Oakham in Rutland in 1619, and about the age of seven or 
 eight, being then but eighteen inches high, was retained in the service of the Duke 
 of Buckingham, who resided at Burley-on-the-Hill. Soon after the marriage of 
 Charles I., the King and Queen being entertained at Burley, little Jeffrey was 
 served up to table in a cold pie, and presented by the Duchess to the Queen, who 
 kept him as her dwarf. From seven years of age till thirty he never grew taller ; 
 but after thirty he shot up to three feet nine inches, and there fixed." "A poem, 
 called Jeffreldos was written by Davenant on a battle between him and a 
 turkey-cock ; he was celebrated in a diminutive little book called The Newe Yeares 
 Gift ; and employed by the Queen on a mission to France. Jeffrey, thus made of 
 consequence, grew to think himself really so. He had borne with little temper 
 the teasing of the courtiers and domestics, and had many squabbles with the 
 King's gigantic porter. At last, being provoked by Mr. Crofts, a young gentleman 
 of family, a challenge ensued, and Mr. Crofts, coming to the rendezvous armed 
 only with a squirt, the little creature was so enraged that a real duel ensued, and 
 the appointment being on horseback, with pistols, to put them more on a level, 
 Jeffrey, with the first fire, shot his antagonist dead." He was afterwards taken 
 prisoner by a Turkish rover, sold as a slave into Barbary, made a captain in the 
 King's army, and imprisoned on account of the Popish plot. 
 
 346 Anne of Denmark, Queen of James I Vansomer. 
 
 The Queen used to go out with a cross-bow and shoot at the deer from a stand ; 
 though her only recorded exploit is killing the King's favourite dog. 
 
 This portrait must have been painted in the autumn of 161 7, when she made a 
 long stay at Oatlands for her health, which was then beginning to decline. In the 
 autumn of 1618, having become much worse, she moved to Hampton Court ; and 
 the King used to come down three times a week to see her. But she grew rapidly 
 weaker, and on the night of the 2nd of March, 1619, as the old clock struck four, she 
 passed away. Ever since then, it is said, the clock always stops whenever a death 
 occurs in the palace ; and those curious in such coincidences being able to cite seve- 
 ral undoubted cases of its occurrence within the last few years, the superstition has 
 somewhat revived. 
 
 Bust of Henry VIII. by the sculptor Torrigiano. 
 349 Queen Elizabeth in a fanciful dress .... Zucchero? 
 
 On a tree by her are inscribed the following mottos or verses : — " Iniufii iufia 
 querela ; " beneath that :— " Mea ftc mihi," and still lower : — " Dolor eji medecina ed tori 
 (} dolori)." At the bottom of the picture on the other side is a scroll, or rather 
 tablet, on which are the following verses, probably by herself : — 
 The rejlles fzvallozv Jits my rejiles minde, With penfive thought 'es my iveefmge Jiagg I cro-wnt. 
 
 In fi'dl re-vivinge y Jiill renewinge ivronges ; JVkoJe melancholy tears my cares exprejfe; 
 
 Her juji complaintes of cruelty unkinde ties teares in jylence, and my fighes unknoivne, 
 
 Art all the mufique that my life prolonges, [ Are all the phyficke that my harmes redreje. 
 
38 
 
 Catalogue of Pictures. 
 
 My onely hope was in this goodly tree, 
 Which I did plant in love, bringe up in care 
 But all in vaine,for now to late I fee, 
 The Jbales be mine, the kernels others are. 
 
 My mujique may be plaintes, my phyjique teares t 
 If this be all the fruite my love-tree beares. 
 
 Elizabeth's vanity is so well known that no one will be surprised to learn that 
 in 1563 she issued a proclamation, reciting that as " hitherto none hath sufficiently 
 expressed the natural representation of her Majesty's person, favour, and grace, 
 but for the most part also erred therein," therefore no one should take her portrait 
 except "a special cunninge paynter." "Cunning," in the modern sense of the 
 word, the painters certainly were ; for they always represented her in front, and 
 not in profile, which would have shown her hooked nose. 
 
 The strange Persian-looking costume she wears here, exemplifies her extraordi- 
 nary love of variety in dress. She told Sir James Melville that she had " clothes 
 of eveiy sort ; which," he adds, " every day so long as I was at court, she changed. 
 One day she had the English weed, another the French, and another the Italian, 
 and so forth." At her death, according to Hume, no less than 3,000 robes of all 
 sorts were found in her wardrobe. 
 
 trans 
 
 00m. 
 
 |EORGE II. used occasionally to dine in public in this room. 
 " After dinner the King always took off his clothes, and reposed 
 himself for an hour in bed, of an afternoon. In order to accom- 
 modate himself to this habit, Mr. Pitt, when, as Secretary of 
 State, he was sometimes necessitated to transact business with the King 
 during the time he lay down, always knelt on a cushion by the bedside." 
 The decoration of the room dates from about 1740. 
 
 351 Portraits of two Gentlemen William Dobson. 
 
 352Johann Christian Fischer, the oboe-player Gainsborough. 
 
 353 Portrait of Colonel St. Leger Gainsborough. 
 
 354 George III. Reviewing the Tenth .... Sir W. Beechey. 
 
 355 Portrait of Francis, 5th Duke of Bedford J. Hoppner. 
 
 358 Francis Hastings, Earl of Moira Hoppner. 
 
 359 Mrs. Jordan, the Actress, as the Comic Muse .... Hoppner. 
 
 360 The Shah ZUmeen, King of Oude, receiving Tribute . . . Home. 
 
 361 The Family of Frederick, Prince of Wales Knapton. 
 
 362 Nabob Walajah of Arcot G. Willison. 
 
Hampton Court Palace. 
 
 39 
 
 363 Portrait of Friedrich von Gentz Lawrence. 
 
 364 Portrait of Richard Brinsley Sheridan unnamed. 
 
 365 Portrait of Robert Walker, the Painter . ... by himself. 
 
 366 A Rabbi after Rembrandt, by Gainsborough. 
 
 367 Portrait of Hurd, Bishop of Worcester Gainsborough. 
 
 368 Portrait of John Hely, Lord Hutchinson . . . T. Phillips, R.A. 
 
 369 John Lacy, the Actor, in three characters . . M. Wright. 
 
 In the lower right-hand corner is the inscription : — "John Lacy, one of His 
 Majties Comedians, representing Parson Scruple in the 1 Cheats,' Sandy in the 
 ' Taming of the Shrew,' and Monsieur De Vice in the ' Country Captaine.' " 
 
 370 A Man's Portrait W. Dobson. 
 
 371 Richard Hurd, Bishop of Worcester . . . Gainsborough. 
 
 372 Portrait of Mrs. Elliott John Riley. 
 
 373 Portrait of Spencer Perceval Joseph. 
 
 This is a posthumous likeness, taken from a mask after death, but considered by 
 all who knew him to be a faithful resemblance. When Queen Charlotte went to 
 see it, and the curtain which covered it was withdrawn, she was so struck with its 
 
 truth, that she burst into tears. 
 
 374 Brownlow North, Bishop of Winchester after Dance. 
 
 375 Mary Granville, Mrs. Delany Opie. 
 
 376 Dobson the Painter and his Wife by himself. 
 
 512 Queen of William I. of Prussia (?) Anton Graff ? 
 
 jij Frederick the Great, when young ...... Antoine Pesne. 
 
 rmce of males' liiresence &Hsl)amber. 
 
 HIS and the two rooms that follow formed part of the apartments 
 allotted to Frederick, Prince of Wales, when he lived here. 
 
 It was from this Palace and from these very rooms, that he 
 secretly conveyed the Princess of Wales to London, just at the 
 hour she was about to become a mother, in spite of her entreaties, so that 
 his father should not be present at the birth, as he had arranged. 
 377 Count Gondomar, Spanish Ambassador . . . Mytens? 
 
 Of Gondomar's " witty prankes and merrie jestes," many are recorded by the old 
 writers, who complain of his arrogance, and that these " proper conceits " " set him 
 up so high on his tiptoes." "At the departure of one of his agents into Spain, he 
 facetiously bade him commend him to the sun, for he had seen none here for a long 
 while." Wilson also records that he had "as free access to the King as any courtier 
 of them all (Buckingham excepted), and that the King took delight to talk with 
 
4Q 
 
 Catalogue of Pictures, 
 
 him ; for he was full of conceits, and would speak Latin falsely on purpose in his 
 merry fits to please the King, telling the King plainly: 'he spake Latin like 
 a pedant, but I speak it like a gentleman.' " 
 
 Gondomar was not loved by the populace, especially the London " buys " as he 
 called them, who used to pelt him with stones and call him nicknames. He hated 
 them cordially in return, remarking that in England " the flour (meaning the aristo- 
 cracy) was very choice and fine, but the brand (the common people) was very coarse. " 
 
 442 Mockery of Christ crowned with Thorns . after Rubens or Vandyck. 
 
 378 The Repentant Thief on the Cross P. del Vaga. 
 
 379 The Unrepentant Thief on the Cross P. del Vaga. 
 
 450 A Country Woman carrying Holly Wheatley. 
 
 380 Nymphs and Satyrs and Cupids .... Nicholas Poussin. 
 
 381 Head of an old Jewish Rabbi Rembrandt. 
 
 382 Portrait of a Jewish Lady Rembrandt. 
 
 383 Joseph and Mary by Lamplight . . . . . . . G. Honthorst. 
 
 384 A Skirmish on a Bridge Borgognone. 
 
 385 Adam and Eve in the Garden of Eden .... Mabuse. 
 
 387 Samson and Delilah . . . . " . . . Vandyck. 
 
 388 Portrait of a Knight of the Garter Mirevelt. 
 
 389 Portrait of an Old Man, a Scholar Q. Matsys ? 
 
 390 Pack of Hounds on the Scent Snyders. 
 
 391 Destruction of Pharaoh and his Host .... Hans Jordaens. 
 
 392 Madame la Marechale de Chatillon unnamed. 
 
 393 Singing by Candlelight Honthorst. 
 
 394 Calumny — An Allegory F. Zucchero. 
 
 On the left is seated Credulity, with ass's ears ; Suspicion and Ignorance (?) are 
 whispering in his ears. Justice stands behind him and holds him back. Calumny 
 is represented as a dragon-like reptile with coloured wings, accusing a man with 
 his head crowned with leaves (? Bacchus), and a naked woman holding a dove to 
 her breast (? Venus, or a personification of Truth). Mercury is leading these 
 two away. 
 
 347 Sea-piece, a Shipwreck with moonlight Parcelles? 
 
 396 Charles II., King of Spain, aged 4 (a.d. 1665) . . Carreno. 
 
 397 A Spanish Boy playing on a Guitar — — ? 
 
 398 A Boy paring Fruit ? 
 
 399 An Old Woman blowing Charcoal ? 
 
 400 Henry, Prince of Wales, and Robert Devereux, third Earl 
 
 of Essex, Hunting ? 
 
 It is related of the young Lord Essex and the Prince, that they were playing 
 tennis one day, and falling out about the score, the Prince so far lost nis temper as 
 to call Essex the son of a traitor ; upon which his high-spirited companion took up 
 his racket and hit the Prince across the head. 
 
Hampton Court Palace. 
 
 41 
 
 401 Assembly of the Gods B. Spranger. 
 
 402 Christ falling beneath the Weight of the Cross . . . Garibaldo. 
 
 403 Study for a Boar's Head Snyders. 
 
 404 A Quakers' Meeting. A Woman Preaching . . . E. Hemskerck. 
 
 405 Ernest, Count Mansfeldt Mytens. 
 
 Being of a romantic temperament, he adopted with ardour the cause of Elizabeth 
 of Bohemia, and won many brilliant victories. 
 
 rtnce of IfMesr fISratotng 
 
 00m, 
 
 N an old plan this is called " The Dressing Room." It is exactly 
 in the north-east angle of Wren's Palace, and is 24 feet square. 
 There is nothing to notice in the decoration. From the two 
 windows that look to the north, part of the old Tudor Palace 
 is seen, unfortunately much disfigured, but nevertheless picturesque. Below 
 is a charming little garden, enclosed between the buildings and the wall of 
 the Public Garden. In the middle of it is an old catalpa tree, planted 
 about a hundred years ago by the mother of the great Duke of Wellington 
 and Lord Wellesley, Lady Mornington, who had the suite of apartments 
 underneath these. 
 
 406 Philip III., King of Spain Pantoja. 
 
 Philip III. possessed some hereditary feeling for art, though too indolent to sub- 
 stantially promote its cause ; of bad pictures he sagaciously remarked that " as they 
 please some people as much as good ones, it was a pity to destroy them ." 
 
 Portrait of Louis XIII. of France Copy by Belcamp. 
 
 Louis XIV. on Horseback Charles le Brun ? 
 
 The Massacre of the Innocents P. Mignard. 
 
 Marianne, Duchess of Bourbon unnamed. 
 
 411 Marie de' Medici F. Pourbus. 
 
 412 Christ's Agony in the Garden after N. Poussin. 
 
 413 Louis XVI. in his Robes Greuse. 
 
 414 Prince Eugene on Horseback A. Van der Meulen. 
 
 415 A Dead Christ N. Poussin. 
 
 416 A Gentleman on Horseback A. Van der Meulen. 
 
 417 Mademoiselle de Clermont unnamed. 
 
 418 Henry IV. of France F. Pourbus. 
 
 419 The Angel appearing to the Shepherds .... after N. Poussin. 
 
 407 
 408 
 409 
 410 
 
42 
 
 Catalogue of Pictures, 
 
 420 Sophia, Queen of Frederick II. of Denmark unnamed. 
 
 421 A Landscape with Ruins after Claude. 
 
 422 Portrait of Louis XV. when young Rigaud. 
 
 423 A Sea Port after Claude. 
 
 446 A Woman's Head after Titian. 
 
 447 Queen Thomyris receiving the Head of Cyrus 
 
 after Rubens by T. Russell. 
 
 426 Portrait of a Lady Richardson. 
 
 427 Christian IV. of Denmark riding unnamed. 
 
 428 Louis XIV., when young Mignard? 
 
 429 Madame de Pompadour Drouais. 
 
 This picture has been attributed, but quite unwarrantably, to Greuze, who does 
 not appear to have painted Louis XV. 's mistress at all, and certainly could not have 
 done so when she was as young as she is here represented. It is, in fact, a replica 
 of a portrait by Drouais, of which a great many repetitions are extant, and of which 
 the original — a full length — is now at Mentmore, Lord Rosebery's. The Mentmore 
 picture was purchased for ,£1,000. 
 
 The tambour-work at which she is engaged was one of her favourite occupations. 
 
 Prince of Wales' BSefrllioom. 
 
 Wfyt 3Tapej3tVJ> represents the Battle of Solebay, which was fought on 
 May 28th, 1672, between the English and French fleets under the Duke 
 of York and the Comte d'Etrees, against the Dutch fleet under De Ruyter. 
 The Dutch fleet, it will be remembered, consisting of 91 men-of-war, 54 
 fireships, and 23 tenders, attacked the combined fleet, composed of 100 
 English and 40 French men-of-war, when at anchor in Southwold Bay, or 
 Solebay, on the coast of Sussex. 
 
 In the first piece of tapestry, on the left, we see the two fleets drawn up 
 in the form of a crescent just off the sea-shore, and a few Dutch ships 
 coming forward on the right. The second piece shows the English fleet 
 under sail. There were originally, no doubt, several other pieces, giving 
 the combat itself, in which the heroic Lord Sandwich (see his portrait, 
 No. 11) lost his life. Both sides claimed the victory. Each piece is 
 12 feet high by 24 feet long, and has a fantastic border of tritons, dog 
 fish, &c. It was worked at Mortlake; and below is the name of the 
 director, Francits Poyniz. 
 
 437 Copy of Titian's "Ecce Homo" ? 
 
 452 George II. ... after Pine. 
 
Hampton Court Palace. 
 
 43 
 
 453 George Villiers, Second Duke of Buckingham, and his brother, Lord 
 
 Francis Copy after the Vandyck at Windsor. 
 
 454 Faith with a Chalice and Host Guercino? 
 
 444 Philip, Duke of Orleans Sir J. Reynolds. 
 
 457 Duke of Clarence Hoppner. 
 
 Iueen'2 Blrtoafe [&!)apel. 
 
 jUEEN CAROLINE was accustomed to have prayers read by her 
 ! chaplain in a room adjoining her private chamber while she was 
 I dressing. Her toilet was probably performed in the little room 
 | next to this, called the Queen's Bathing Closet. A recumbent 
 Venus used to hang over the fireplace in the chapel, and her chaplain once 
 made bold to observe : " A very pretty altar-piece is here, Madam ! " 
 
 440 St. John the Baptist after Correggio. 
 
 445 Nautch Girls' Dance before an Indian Prince .... unnamed. 
 
 455 Foreign Birds Bogdane. 
 
 45 5# Water-Fowl and Birds F. Barlowe. 
 
 These two pieces are catalogued under Bogdane's name ; but they are really by 
 Francis Barlowe, whose signature is on each of them. He was an English painter 
 of birds and fish, &c, who was born in 1626, and died in 1702. 
 
 456 The Raising of Lazarus B. van Orley? 
 
 458 Christ healing the Sick , Verrio. 
 
 460 A Holy Family Bassano. 
 
 461 Pharaoh in Bed Sleeping Van Harp. 
 
 462 Birds — A Cassiowary, Parrots, &c Bogdane. 
 
 463 Ducks and Geese, in a Farm-Yard .... Hondecoeter. 
 
 464 Dead Game, with Fruit Snyders. 
 
 465 St. Peter in Prison Steenwyck. 
 
 466 Joseph brought before Pharaoh {now placed after No. 553) unnamed. 
 
 467 Still-Life — Sausages, Bread, &c Labrador ? 
 
 468 Dead Game and Implements of Sport .... Van Aelst. 
 
 469 Still-Life— A Lemon, Apples, &c. . . . . J. D. de Heem. 
 
 470 Joseph's departure from Jacob {now placed after No. 553) unnamed. 
 
 cjji Dutch Scene Jan Steen. 
 
 2/1 Head of St. Peter unnamed. 
 
 232 St. Roque curing the Plague » 
 
44 
 
 Catalogue of Pictures. 
 
 atlnng 
 
 loset. 
 
 UEEN ANNE and Queen Caroline used this as a bath-room ; 
 and in the wall is still the tall recessed marble bath with a tap, 
 where the queens used to wash. 
 
 471 Children playing with a Goat . J. Amiconi. 
 
 472 An Italian Market Bamboccio. 
 
 473 A Painter in his Studio ...... G. F. Cepper. 
 
 474 St. Paul unna??ied. 
 
 475 Italian Peasants Bamboccio. 
 
 476 Cupid and Psyche Lazzarini. 
 
 477 George II. when Prince of Wales . . after Knelkr by Schackleton. 
 
 478 Judith and Holofernes after P. Veronese by Teniers. 
 
 479 Two Men's Heads facing each other Tiepolo. 
 
 480 Two Youths' Heads facing in front „ 
 
 481 Head of Christ and an Old Man . ....... „ 
 
 482 Head of Christ and a Young Man „ 
 
 483 An Old Man's Head facing to the right „ 
 
 484 Acts of Mercy after A. Caracci 
 
 485 Italian Peasant Regaling G. F. Cepper. 
 
 486 Italians Regaling G. F. Cepper. 
 
 487 Italian Peasants Feasting G. F. Cepper. 
 
 488 Boys playing with a Lamb Amiconi. 
 
 rtbate 
 
 lining 
 
 00m. 
 
 HIS, as well as several rooms that follow, were last occupied, 
 from 1795 to 1813, by the Stadtholder, to whom George III. 
 gave an apartment here when he was driven from the Nether- 
 lands by the Revolution. In the previous reigns it had been 
 used as a private dining room by the Royal Family. When the Prime 
 Minister, Sir Robert Walpole, was invited, he had to stand behind the 
 Queen's chair and hand the first dish. 
 
Hampton Court Palace. 
 
 45 
 
 In this room are now three old State Beds : the one on the left, of 
 crimson damask, being William IIL's; that on the right, of crimson velvet, 
 Queen Mary's ; and the small one in the middle, that used by George II' 
 when he lived in this Palace. 
 
 483" A Female Praying ? 
 
 435 Holy Family \ [ a//^' Dosso Dossi! 
 
 489 Landscape— A Garden with Statues Danckers 
 
 490 Landscape Edema.' 
 
 491 Stoning of St. Stephen Rottenhammer ? 
 
 492 Christ in the House of Martha and Mary unnamed. 
 
 493 Landscape Lucatelli.' 
 
 494 Landscape with Ruins unnamed, 
 
 495 Venus and Cupid Pontormo ? 
 
 496 A Japan Peacock Bogdane. 
 
 497 View on the Thames near Whitehall, with old Scotland Yard ? 
 
 498 Landscape —Cattle at a Fountain H. Roos. 
 
 499 Ruins, with a Vase Griffier.' 
 
 500 A Magdalen Palma Giovine? 
 
 501 Princess Isabella, Daughter of James II Lely. 
 
 502 Duchess of Brunswick, Sister of George III. ... A. Kauffman'. 
 
 503 Landscape — Men Fishing in a Stream Van Diest. 
 
 \)t UltMe illo0et 
 
 504 Landscape — A Stream and Weir G. Edema. 
 
 505 Landscape — A Stream and a Bridge Danckers. 
 
 506 Twelve Saints Feti. 
 
 507 Senators of Venice in the Senate-House {now after No. 136) Fialetti. 
 
 508 View of Windsor Castle unnamed. 
 
 509 St. Peter in Prison Steenwyck ? 
 
4 6 
 
 Catalogue of Pictures. 
 
 Wmtx(% 
 
 Irtbate 
 
 i)ambet\ 
 
 106 A Triptych— The Passion 
 
 Lucas van Leyden ? 
 
 Centre Compartment — The Crucifixion. 
 
 Christ is on the Cross, between the two thieves. On the left a soldier with a 
 spear piercing His side. In front is Our Lady fainting and supported by St. John. 
 Mary Magdalene is at the foot of the Cross clasping it. 
 
 Left Wing — Christ falling under the Cross. 
 
 Reverse of the Left Wing — Ecce Homo. 
 
 Right Wing — The Resurrection. 
 
 Reverse of the Right Wing — Mater Dolorosa. 
 
 510 Greek and Ottoman Architecture Ghisolfi. 
 
 511 Portrait of a Lady . unnamed. 
 
 236 Augustus consulting the Sibyl Pietro da Cortona. 
 
 433 Landscape — a Rocky Valley and Waterfall Ibbetson. 
 
 436 The Flight into Egypt after Bassano by Teniers. 
 
 439 The River Liddel, with Rocks . . . Ibbetson. 
 
 448 Madonna and Child after Tintoretto. 
 
 514 The three Daughters of George II Maingaud. 
 
 Anne, born in 1709, is on the right, her right hand holding a rose to her bosom. 
 Of her it is said that "she was vain without cause, imperious without being digni- 
 fied, and ambitious without the means of gratifying the passion." When a mere 
 child she told her mother she wished she had no brothers that she might succeed to 
 the throne, and when reproved she answered, " I would die to-morrow to be queen 
 to-day." To satisfy her ambition she married, in 1734, the Prince of Orange, a re- 
 pulsively hideous man, having declared she would do so even if he were a baboon. 
 " Well, then," said the King, " there is baboon enough for you." 
 
 Her sister Amelia, who is behind, was never married. She occupied herself 
 entirely in her youth with painting, in her old age with play, and in her middle age 
 with gossip. "Princess Emily," writes Walpole, "remains in London, saying 
 civil things: for example, the second time she saw Madame de Mirepoix, she 
 cried out, 'Ah ! Madame, vous n'avez pas tant de rouge aujourd'hui; la premiere 
 fois que vous etes venue ici, vous aviez une quantite horrible.'" 
 
 Caroline, their amiable sister, who devoted herself entirely to works of charity, 
 led a retired life, marred by ill-health, and embittered by an unfortunate attachment 
 to "that mere white curd of ass's milk," Lord Hervey. 
 
 515 Duke of Gloucester Lely ? 
 
 517 Two Daughters of George II . © . . . Maingaud. 
 
 5i6 
 
 The Last Supper 
 
 Bassano. 
 
Hampton Court Palace. 47 
 
 519 View of the Arno at Florence by Day Patch. 
 
 520 View of the Arno at Florence by Night ' Patch! 
 
 £ ^n Encampment Van der Meulen. 
 
 524 A Labyrinth and Pleasure Garden Tintoretto. 
 
 525 Landscape— A Palace and Garden Danckers. 
 
 553 Boys with flowers (two pictures) S. Ricci. 
 
 m&s Irritate dressing g^oom. 
 
 |VER the fireplace is some exceedingly beautiful carving by 
 Gibbons ; and all round the room is a richly carved oak cornice 
 of the acanthus-leaf pattern. There are some very dilapidated 
 old chairs, but of fine workmanship, of the time of Queen Mary. 
 Wfrt marfcle tat of a negro, which stands on a pedestal in this room, 
 is believed, and probably correctly, to be William III.'s favourite servant, 
 who frequently appears in portraits with the King (see No. 31). The face 
 and neck are of black marble ; while his dress, and the dog's collar round 
 his neck with a bell, are of a grey and white. 
 
 430 Madonna and Child Paul Veronese ? 
 
 431 Madonna and Child after Vandyck. 
 
 432 Landscape — a Lake and distant Mountains .... Van Diest. 
 
 434 Landscape ; with a River and Bridge P. Hackert. 
 
 438 Jupiter and Europa ......... after Paul Veronese. 
 
 441 Copy of Titian's "Venus qui se mire" ? 
 
 443 Christ in the House with Martha and Mary .... after Bassano. 
 
 449 Venus and Cupid after Titian. 
 
 451 Madonna and Child Vandyck. 
 
 570 The Sleeping Shepherd Gennaro. 
 
 760 Danae after Titian by Gennaro ? 
 
 772 Lot and his Daughters after Guido. 
 
 778 The Apostles at the Tomb Van Orley? 
 
 779 Dans Scotus writing Spagnoletfo? 
 
 526 Four Doges of Venice {moved to Queen 's Audience Chamber) Fialetti. 
 
 527 Caroline, Queen of George I [ Zeeman ? 
 
 528 A Turkey Carpet with Fruit and Flowers . . . Maltese. 
 
 529 Venus and Adonis B. Gennari. 
 
 530 Madonna and Child Bassano? 
 
4.8 Catalogue of Pictures. 
 
 531 A Dutch Barrack Room C. Troost. 
 
 269 Two classical subjects -. . S. Ricci. 
 
 344 Eleanora, widow of Francis I unnamed. 
 
 348 William "the Silent," Prince of Orange Mirevelt. 
 
 m leorgett/s Imttoatt Uiftamber. 
 
 532-534 Flower-pieces Baptiste. 
 
 535 Flowers — Vases of Tulips and Roses M. di Fiori. 
 
 536 Fruit and Flowers M. A. Campidoglio. 
 
 537 Flower and Fruit-Pieces Baptiste. 
 
 538 Fruit-pieces — Grapes, Peaches, &c. .... Van Aelst. 
 
 539 Fruit-piece, Apples, &c, in a Dish Labrador. 
 
 540 A Gold Vase of Flowers, with Birds Bogdane. 
 
 541 Four Flower and Fruit-Pieces Baptiste. 
 
 542 & 543 Unassigned. 
 
 544 Grapes in an Earthenware Bowl .... Campidoglio? 
 
 548 & 550 Stables with Cattle, Sheep and Figures .... unnamed. 
 
 549 & 551 Blind Man's Buff, and Attending the Sick P. Longhi. 
 
 552 Still-Life — A Lute and a Music Book .... Roestraten. 
 
 553 Boys with Flowers S. Ricci. 
 
 230 Venus and Youth at a Brook ... unnamed. 
 
 424 Stanislaus, King of Poland Lampi. 
 
 425 Emperor Paul of Russia unnamed. 
 
 466 Joseph brought before Pharaoh „ 
 
 470 Joseph's Departure from Jacob „ 
 
 554 Robert Darcy, Earl of Holderness unnamed. 
 
 555 An Encampment {now placed after No. 520) . . Van der Meulen. 
 
 556 Judgment of Paris ( „ „ ,, „ 818) . . . . L. Caracci ? 
 
 557 Portrait of a Gentleman — Waller, the Poet.' unnamed. 
 
 952 Daphne unnamed. 
 
Hampton Court Palace, 49 
 
 Itngs iSlalierp* 
 
 IR CHRISTOPHER WREN built this room expressly for the 
 reception of Raphael's cartoons, which formerly hung here, till 
 their removal in 1865, by command of Her Majesty the Queen, 
 to the South Kensington Museum. 
 The Ct)UttlWJ)'pi?CT is a fine bas-relief, in white marble, of Venus, drawn 
 in her chariot by Cupids. 
 
 In old days the Privy Council used to sit in this Gallery, whence it is 
 sometimes called The Great Council Chamber. It is 117 feet long, 24 feet 
 wide, and 30 feet high ; it extends along the whole of one side of the 
 Fountain Court, and has twelve windows. At present it is much disfigured 
 by four tall green-painted screens on which the pictures are hung. 
 
 558 Margaret Tudor, Queen of Scotland . . Copy by Mytens. 
 
 560 Mary Queen of Scots in 1580 Copy by Mytens. 
 
 The original, from which this was copied, though turned the reverse way, is now 
 in the National Portrait Gallery. It gives, however, but a mean idea of the beauty 
 of the divine Queen. 
 
 The prodigious number and variety of portraits of Mary Queen of Scots is one 
 of the most curious and embarrassing things in the whole history of portraiture. 
 As a French critic observes, there is not a single great house in England, not a 
 single collection, which does not boast of its "true and original portrait" of the 
 unfortunate Queen. "Tan tot c'est une blonde qu'on vous montre, tantot une 
 brune ; ici un nez grec, long et etroit ; la court, parfois raeme retrousse : dans tel 
 portrait la face est ronde et ramassee, dans tel autre elle est longue et ovale." 
 
 For an account of this beautiful Queen, the reader will doubtless prefer to turn 
 to the sympathetic verse of the chivalrous Frenchman, than listen to the detestable 
 libels of her venomous maligners. Ronsard, who knew her well, gives this account 
 of her : — 
 
 " Au milieu du printemps entre les lys nasquit 
 Son corps, qui de blancheur les lys mesme vainquit ; 
 Et les roses, qui sont du sang d' Adonis teinctes, 
 Furent par ses couleurs de leur vermeil despeinctes. 
 Amour de ses beaux traicts lui composa les yeux, 
 Et les graces, qui sont les trois filles des cieux, 
 De leurs dons les plus beaux cette princesse ornerent, 
 Et pour mieux la servir les cieux abondonnerent." 
 
 561 Eleanor of Spain,|wife of Francis I. . . , Jean Clouet? 
 
 She holds a letter, with this address : — " A la piantisima y muy poderosa sinora 
 la Reyna my sinora" alluding to the emperor's habit of addressing his letters to 
 her after her marriage : — " A Madame ma t?ieilleure sceur" 
 
 E 
 
5o 
 
 Catalogue of Pictures. 
 
 562 Lady of the Time of Henry VIII. ...... L. Cornelisz. 
 
 563 Portrait of Henry VIII., a.d. 1536 . . Holbein or Janet? 
 
 He holds the end of a white scroll, inscribed : — 
 
 "Marci-i6. Ite in MCdvm Vniversv et predicate 
 
 EVANGELIVM OMNI CREATVR^E." 
 
 The most various opinions have been expressed as to the painter of this picture. 
 ''Undoubtedly a very fine work of Holbein's," says one critic. *' Certainly not 
 by him," says another, but "unquestionably by Janet." " Clearly not by him," 
 replies a third, but by " Sotto Cleeve." " Not at all," cry others, " By Toto, by 
 Luca Penni, by Girolamo da Treviso," &c. Dates, style, tone, drawing — every- 
 thing is invoked to establish the most opposite theories. " Non nostrum inter vos 
 tantas componere lites." But it may be observed that the authorities whose 
 opinions are entitled to most weight — Dr. Waagen, Mr. Wornum, and Dr. Wolt- 
 mann — are all agreed that it is not by Holbein ; though Wornum is inclined to 
 attribute it to an Italian hand, perhaps Girolamo da Treviso, and Woltmann to a 
 Frenchman. 
 
 564 Elizabeth of Austria, Queen of Denmark . . . . L. Cornelisz? 
 
 565 Lady of the Time of Henry VIII L. Cornelisz? 
 
 566 Francis I. and his wife Eleanor of Spain . . . Janet? 
 
 This curious picture has for at least 230 years been wrongly named ; the lady 
 being called "The Duchess of Valentinois, Francis I.'s mistress," while, in fact, 
 she is Eleanor of Austria, his wife. 
 
 567 Lady of the Time of Henry VIII L. Cornelisz. 
 
 569 Christian, Duke of Brunswick, in his youth {now placed after 
 
 No. 803) ? 
 
 785 Palace of Prince Maurice of Nassau, at Cleves . . . Oldenburg. 
 
 571 William III., aged 14 {now placed after No. 803) . Hanneman. 
 
 572 Countess of Derby L. daHeere? 
 
 573 Portrait of Sir George Carew. (Died in 1545.) ? 
 
 574 Portrait of a Man with a Paper in his hand .... Giorgione? 
 
 575 Portrait of a Gentleman unnamed. 
 
 576 Venus mournng over Adonis' Body B. van Orley. 
 
 577 Portrait of Edward III unnamed. 
 
 578 Holy Family with SS. Andrew and Michael . . Schoreel. 
 
 579 St. Jerome with a Lion by him J. van Hemmessen? 
 
 580 The Last Supper Palma Giovine. 
 
 581 Turkish Warrior on Horseback .... Mazzolino da Ferrara. 
 
 582 La Belle Gabrielle, Mistress of Henri IV ? 
 
 583 Portrait of a Gentleman Unknown unnamed. 
 
 584 Portrait of a Gentleman Unknown unnamed. 
 
 586 Children Playing with a Lamb F. Floris. 
 
 587 Death and the Last Judgment M. Heemskerk. 
 
Hampton Court Palace. 
 
 5* 
 
 588 The Judgment of Paris Lucas Cranach. 
 
 589 Portrait of a Young Man ....... Albrecht Durer. 
 
 590 Head of a Man in an oval School <t/"Memling. 
 
 591 Elizabeth, wife of Lord Vaux, the Poet .... Holbein. 
 
 592 Portrait of a French Nobleman? Janet? 
 
 593 Portrait of a Young Man Hans Baldung. 
 
 594 Erasmus writing . . . by Cornelius Vischer? after Q. Matsys? 
 
 595 Three Children of Christian II. of Denmark . . Mabuse. 
 
 596 Martyrdom of St. Sebastian Lucas van Leyden. 
 
 597 Erasmus, with his hands on a book Holbein. 
 
 Companion piece to No. 603. 
 
 598 Francis I. of France Jean Clouet? 
 
 599 Mary Magdalen at our Lord's Sepulchre . . . . Holbein? 
 
 600 St. Christopher and other Saints L. Cranach ? 
 
 601 Henry VIII. and Jane Seymour; Henry VII. and Eliza- 
 
 beth of York after Holbein, by R. van Leemput. 
 
 This is a very precious little copy, executed by Remee van Leemput in 1667, by 
 order of Charles II., after Holbein's famous fresco at Whitehall, which was 
 Holbein's finest work, and which was destroyed by fire in 1698. 
 
 602 Joseph, bound, brought before Pharaoh . . . Lucas van Leyden. 
 
 603 Portrait of Froben, Erasmus' printer Holbein. 
 
 This, and its companion, No. 597, were painted by Holbein while at Basle be< 
 tween 1521, the year of his arrival, and 1525. 
 
 604 ? Mary, sister of Anne Boleyn 
 
 605 The Battle of Pavia, February 24th, 1525 . . . 
 
 606 Portrait of Henry VIII Holbein? 
 
 607 Holy Family Mabuse? 
 
 608 The Father and Mother of Holbein, so called . . Holbein ? 
 
 There is no genuine tradition of this being a picture of the father and mother of 
 Holbein, by himself. " Besides, the man does not bear the slightest similarity with 
 the authentic portraits of Hans Holbein the father, and the treatment does not accord 
 with the works of Holbein the son." But the painting is certainly a work of the Swa 
 bian school, and possesses a decided similarity with the works of the elder Holbein 
 
 609 Head of Lazarus Spinola William Key 
 
 610 John Reskemeer of Cornwall Holbein 
 
 611 St. Jerome after Albrecht Durer 
 
 612 Diana and her Nymphs reposing . . Rlbens and Snyders 
 
 613 Sir Francis Walsingham unnamed. 
 
 The physiognomy of this portrait thoroughly accords with his subtlety of intel 
 lect, and the craftiness of his politics. How he discovered Philip II. '« 
 
5^ 
 
 Catalogue of Pictures. 
 
 intentions with regard to the Spanish Armada is well known. He bribed 
 a Venetian priest to induce a gentleman of the Pope's bedchamber to take 
 the key of his Holiness's cabinet from his pocket while he slept, transcribe 
 the king's letter, and put it back. From this, discovering that Philip intended to 
 i-aise money for equipping his fleet by drawing bills on Genoa, he contrived 
 to get them protested, and thus delayed the sailing of the expedition for a whole 
 
 year. 
 
 614 Robert Dudley, Earl of Leicester unnamed. 
 
 615 Portrait of Sir Peter Carew unnamed. 
 
 616 Queen Elizabeth, with a fan Zucchero? 
 
 This recalls what Melville, the ambassador of Mary Queen of Scots, tells us, how 
 Elizabeth " delighted to show her golden-coloured hair, which was more reddish than 
 yellow, and curled in appearance naturally. She desired to know of me what colour 
 of hair was reputed best ; and whether my Queen's hair or her's was best ; and which 
 of them two was fairest ? I answered the fairness of them both was not their worst 
 fault. But she was earnest with me to declare which of them I judged fairest. I 
 said she was the fairest Queen in England, and mine the fairest in Scotland. Yet 
 she appeared earnest. I answered they were both the fairest ladies in their 
 countries — that her Majesty was whiter, but my Queen was very lovely. She 
 enquired which of them was of highest stature. I said my Queen. Then saith she, 
 she is too high, for I myself am neither too high nor too low." 
 
 She was scarcely less vain of her hands. "In audiences she would pull off her 
 glove, above a hundred times, to show her hands, which were very fine and 
 white." 
 
 617 Mary of Lorraine, Mother of Mary Queen of Scots ? 
 
 618 Portrait of George Fermor unnamed. 
 
 619 Portrait of Queen Elizabeth M. Gerrard. 
 
 It has been said that this was the last portrait taken of her, which is very likely 
 the case, as she is represented as a very old woman. Hentzer, who saw her in 
 1598 in her 66th year, thus describes her : — " Very majestic, her face oblong, fair, 
 but wrinkled ; her eyes small, yet black and pleasant ; her nose a little hooked, 
 her lips thin, and her teeth black. She had in her ears two pearls, with very rich 
 drops ; she wore false hair, and that red ; upon her head she had a small crown. 
 Her bosom was uncovered, as all English ladies have it till they marry ; and she 
 had on a necklace of exceeding fine jewels ; her hands were small, her fingers 
 
 long, and her stature neither tall nor low. " 
 
 620 Charles Howard, Earl of Nottingham unnamed. 
 
 621 Portrait of Judge Croke unnamed. 
 
 622 Isabella Clara Eugenia, daughter of Philip II. . . . Sir A. More 
 
 623 Margaret, Archduchess of Austria 
 
 624 Portrait of a Gentleman unnamed. 
 
 625 Portrait of a Young Lady ......... Sir A. More. 
 
 626 Cupids Dancing Wouters. 
 
 627 Charles I. and his Queen dining in Public . . Van Bassen. 
 
 The King is seated at table ; on his left is th 2 Queen, and at the end of the 
 table Prince Charles. 
 
Harnpton Court Palace. 
 
 53 
 
 This picture is valuable for the architecture and decoration, and as exhibiting 
 the manners of the time, and the prevalent custom in that age of royalty dining in 
 public. " There were daily at Charles I.'s Court, 86 tables, well furnished each 
 meal . • whereof the King's table had 28 dishes; the Queen's 24 ; 4 other tables, 
 16 dishes each, and so on. In all about 500 dishes each meal, with bread, beer, 
 wine, and all things necessary. There was spent yearly in the King's house, of 
 gross meat, 1500 oxen ; 7000 sheep, 1200 calves ; 300 porkers, 400 young beefs ; 
 6800 lambs, 300 flitches of bacon ; and 26 boars. Also 140 dozen geese, 250 dozen 
 of capons ; 470 dozen of hens ; 750 dozen of pullets, 1470 dozen of chickens ; for 
 bread 364,000 bushels of wheat ; and for drink 600 tuns of wine and 1700 tuns of 
 beer ; together with fish and fowl, fruit and spice, proportionately " 
 
 628 Elizabeth, daughter of the Archduke Charles ? 
 
 (See companion picture of her sister, No. 636.) 
 
 629 Portrait of a Flemish Gentleman ...... Gonzales Coques. 
 
 Companion-piece to No. 637. 
 
 630 Head of Rudolph II. (? Maximilian II.), Emperor of Germany tinnamed. 
 
 633 Philip II. of Spain Sir Antonio More? 
 
 634 A Startling Introduction , Henry Pot. 
 
 635 Allegorical Picture of Queen Elizabeth . . . L. da Heere. 
 
 In front of her are the three goddesses, represented as thunderstruck at 
 the sight of her : Juno, who lets fall her sceptre, and one of her shoes ; Minerva 
 armed, who holds a flag in her hand, and is gazing with astonishment at the Queen ; 
 and Venus, unrobed, who drops her roses, and to whom Cupid, having thrown 
 away his bow and arrows, clings for protection. 
 
 636 Mary Christierna, daughter of the Archduke Charles . . . ? 
 
 (See companion picture, No. 628.) 
 
 637 Portrait of a Flemish Gentleman . ... Gonzales Coques. 
 
 (Companion piece to No. 629.) 
 
 638 A Dying Saint — A Sketch Vandyck. 
 
 640 Christina, Duchess of Tuscany? Sir A. More? 
 
 641 Portrait of a Gentleman Sir A. More? 
 
 642 Catherine, Daughter of Philip II. of Spain ? . . . Sir A. More ? 
 
 643 Children of the King and Queen of Bohemia .... Poelemberc. 
 
 644 Portrait of a Young Lady Sir A. More. 
 
 645 The King and Queen of Bohemia dining in Public . . Van Bassen. 
 
 646 Exterior of a House with Figures G. Dow. 
 
 647 Landscape with Cattle Adrian Vandevelde. 
 
 648 Perspective Piece — Christ with Martha and Mary . J. D. de Vries. 
 
 649 Garland of Roses, &c, round a Frame . . . D. Seghers. 
 
 650 Adam and Eve caressing, Satan behind .... A. Van de Werf. 
 
 651 Landscape, with a Rainbow Woutefs. 
 
 652 A Perspective piece — A Garden Steenwvck. 
 
 653 The History of Argus F. Floris. 
 
54 
 
 Catalogue of Pictures. 
 
 654 Venus, Adonis, and Cupid after Rubens. 
 
 655 Architecture — The Angel delivering St. Peter . . . Steenwyck. 
 
 656 Perspective piece — The Woman taken in Adultery ... P. Neefs. 
 
 The figures by old Franks. 
 
 657 Windsor Castle . Verdussen. 
 
 658 Garland of Roses round the Madonna . . . D. Seghers. 
 
 659 Magdalen praying by Candlelight Godfrey Schalcken. 
 
 660 Lot and his Daughters— A Night-Piece Schalcken. 
 
 661 A Hermit in a Cave — A Night-Piece . . J. P. Van Slingelandt. 
 
 662 A Dutch Merrymaking Molenaer. 
 
 663 Cupid and Psyche Vandyck. 
 
 231 Portrait of Guercino by himself. 
 
 664 Portrait of Holbein ? by himself I 
 
 665 Head of Maximilian, Archduke of Austria unnamed. 
 
 666 Face at a Window, misnamed Will Somers . . Holbein? 
 
 667 Portrait of Sir Nicholas Bacon unnamed. 
 
 Towards the close of his life — the period when this portrait was painted — he 
 grew very fat. To this he alludes in a letter to Elizabeth, excusing himself for 
 writing instead of coming to her, saying, "not of an unwillinge harte and mynde 
 but of an unhable and unwieldie bodie, is the onely cause." He knew also how to 
 combine flattery with a jest on his own corpulence. "No, madam," said he, 
 when the Queen was visiting him and observed that his house was too small for 
 him, " my house is not too small for me, but your Majesty has made me too large 
 
 for my house." 
 
 668 Head of boy, unknown unna?ned. 
 
 669 Musicians Peter de Hoogh. 
 
 670 Architectural Night-Piece — St. Peter in Prison . . . Steenwyck. 
 
 671 Soldiers on the March Borgognone. 
 
 672 Cattle in a Landscape M. Carre. 
 
 673 Christ Blessing little Children Huens ? 
 
 674 "A Landscape-piece of a Den of Lions" R. Savery. 
 
 675 Still- Life — A Fruit-piece De Heem. 
 
 676 Whole-length portrait of a man — A sketch . . F. Hals. 
 
 677 Landscape, with Ruins, Goats, and Sheep .... Paul Brill. 
 
 678 Landscape, with Cattle .... Herman Van Swanevelt. 
 
 679 Landscape with the Gate of a Town Jan Breughel. 
 
 680 The Judgment of Paris Rottenhammer. 
 
 681 Soldiers in a Landscape Borgognone. 
 
 682 A Laughing Boy F. Hals ? 
 
 683 Perspective Night-piece — St. Peter in Prison .... Steenwyck. 
 
 684 Flowers, Weeds, and Insects M. Withoos. 
 
Hampton Court Palace, 
 
 55 
 
 685 Landscape, with Figures Bartholomew Breenberg. 
 
 686 Satyr and Nymph, dancing Poelemberg. 
 
 687 Battle-Piece — Troopers Plundering .... Wouvermans. 
 
 688 The Elements— Water . . . Breughel and Rottenhammer. 
 
 689 Portrait of a Knight of the Golden Fleece unnamed. 
 
 990 Stacking a Hayrick Wouvermans. 
 
 691 Flowers — Roses, &c, in a Vase . . . M. van Oosterwyck. 
 
 692 Flowers and Insects M. Withoos. 
 
 693 Nymphs in a Landscape, bathing Dietrich. 
 
 694 Landscape — Venus presenting Cupid to Diana . . . Swanevelt. 
 
 695 Landscape — A Waterfall R. Savery. 
 
 696 A Penitent received into the Church Baroccio. 
 
 697 Destruction of the Children of Niobe Rottenhammer. 
 
 698 Landscape — Rocks and a Lake Everdingen. 
 
 699 Judith with Holofernes' Head . . . after P. Veronese by Teniers. 
 
 700 Flowers and Insects M. van Oosterwyck. 
 
 701 The Conversion of St. Paul V. Malo. 
 
 702 Still-Life — Flowers in a Glass Vase M. Withoos. 
 
 703 One of the Elements — Air . . . Breughel and Rottenhammer. 
 
 704 A Wild Boar Hunt Snyders. 
 
 705 Portrait of the Count of Hoogstraaten unnamed. 
 
 706 Portrait of Maurice, Count of Nassau unnamed. 
 
 707 George Villiers, first Duke of Buckingham . . C. Janssen. 
 
 708 Portrait of a Man unknown unnamed. 
 
 'jog Supposed Portrait of Shakespeare unnamed. 
 
 710 Supposed Portrait of Raphael by himself. 
 
 711 Sir Theodore Mayerne, Physician to James I., Charles I., and 
 
 Charles II o//^Rueens? 
 
 712 Sir Theobald Gorges unnamed. 
 
 713 Portrait of the Count of Brederode unnamed. 
 
 714 Portrait of the Due D'Aumale unnamed. 
 
 715 Dutch Boors regaling Egbert Hemskirk. 
 
 716 Head of a Youth umiamed. 
 
 717 Still- Life — Oranges, Oysters, Grapes Cuyp? 
 
 718 Dead Game and Flowers Jan Weenix. 
 
 719 Nymphs in a Landscape, Bathing Poelemberg. 
 
 720 A Landscape Cornelius Huysman. 
 
 721 One of the Elements — Fire . . Breughel and Rottenhammer. 
 
 722 A Small Landscape P. F. Ferg. 
 
 723 The Discovery of Callisto by Diana Poelemberg ? 
 
56 
 
 Catalogue of Pictures t 
 
 724 Nymphs and Satyrs . . . . Poelemberg. 
 
 725 Saint Francis praying Teniers. 
 
 726 Jonah under the Gourd M. Heemskirk. 
 
 727 Venus and Cupid escaping from Diana Swaneveldt. 
 
 728 A Sea Port and Ruins O. Viviani and Jan Miel. 
 
 729 A Saint's Head G.Dow? 
 
 730 Sketch for the Portrait of Madame de Cante Croix . . . Vandyck. 
 
 731 Dead Game Weeninx. 
 
 732 Grapes Varelst. 
 
 733 A Witch with Cupids A. Elzheimer. 
 
 734 Landscape, with Goatherds P. Brill. 
 
 735 Nymphs and Satyrs dancing Poelemberg. 
 
 736 An old Woman with a Book, asleep G. Dow, 
 
 737 Night-Piece — The Angel delivering St. Peter .... Steenwyck, 
 
 738 " Lot and his two daughters " Poelemberg. 
 
 739 One of the Elements — Earth . . Breughel and Rottenhammer. 
 
 740 Interior of a Hall, with figures Van Deelen. 
 
 741 Interior of a Farm — Loading a Donkey .... Teniers. 
 
 742 Louis XIV. Crowned by Victory Van der Meulen. 
 
 743 Landscape — A Shepherd and Ruins Poelemberg. 
 
 744 Still-Life — A Book, Silver Vase, and Watch . Roestraten. 
 
 745 "Sea-Piece — a drawing in black and white " . . . . Vandevelde. 
 
 746 Landscape, with Peasants and a Horseman . J. Wynants. 
 
 747 A Battle-Piece J. Parrocel. 
 
 748 Massacre of the Innocents ... P. (the younger) Breughel. 
 
 749 Interior of a Church Steenwyck. 
 
 750 The Woman Taken in Adultery Dietricy. 
 
 751 Small Landscape— in a circle Holbein ? 
 
 752 " Woman Milking a Goat, with several other figures " . . Berchem. 
 
 753 Fantastic Representation of Hell J. Bos. 
 
 754 A Sea-Piece, Man-of-War — a Sketch W. Vandevelde. 
 
 755 Sea-Piece — A Calm W. Vandevelde, 
 
 756 David with Goliath's Head Vandyck. 
 
 757 Alderman Leman {now placed after No. 803) 
 
 759 Portrait of James Stuart the Pretender . . . . B. Luti. 
 761 Portrait unnamed ; James I. when young ? . . . unnamed. 
 
 763 James in his Robes — Whitehall behind . . . Vansomer. 
 
 764 Anne of Denmark, Queen of James I Vansomer. 
 
 765 Elizabeth, Queen of Bohemia . . . Honthorst or Jansen. 
 
 766 Portrait of Peter OJiver, Miniature Painter . . Hanneman, 
 
Hampton Court Palace. 
 
 57 
 
 767 Portrait of Cornelius Ketel the Painter by himself. 
 
 At one time he adopted the fanciful notion of painting with his fingers, beginning 
 with his own portrait ; and afterwards undertook to paint with his feet, an antic 
 which the public, who thought " the more a painter was a mountebank the 
 
 greater was his merit," vehemently applauded. 
 
 768 Henry Cary, 1st Lord Falkland after C. Jansen. 
 
 769 James I. ; from the Picture at Ham House F. Read. 
 
 770 Portrait of Mytens the Painter by himself 
 
 771 Head of a Bishop {now placed after No. 876) . . . Parmegiano? 
 272 Head of an Old Man unnamed. 
 
 Wmt illmg'0 witibty. 
 
 773 Joseph and the Chief Butler and Baker unnamed. 
 
 774 Prometheus Chained to the Rock Palma Giovine ? 
 
 775 Portrait of George II. when young? unnamed. 
 
 776 Full-length Portrait of Edward IV Belchamp. 
 
 777 Mary, Sister of Charles II., Princess of Orange . . . Hanneman. 
 
 780 View of a House and Garden at Cleves Oldenburg. 
 
 781 A Magdalen Sir P. Lely. 
 
 782 Sea-piece — A Battle by Moonlight Parcelles. 
 
 783 A Woman with a Helmet Pordenone ? 
 
 784 Interview of Henry V. with Princess Katharine of France . . Kent. 
 
 786 Judith with the Head of Holofernes Guido ? 
 
 787 The Destruction of Popery by the Evangelists .... unnamed. 
 
 788 Marriage of Henry V. and the Princess Katharine . . . Kent. 
 
 789 Diana after Titian. 
 
 790 Diana Simon Vouet. 
 
 791 Lucretia unnamed. 
 
 269 Five pictures of classical subjects S. Ricci. 
 
58 
 
 Catalogue of Pictures. 
 
 ommumcarton IllaUerp. 
 
 |JK3^|*|T various times this has been called "The Gallery of Admirals," 
 Efill | " The Portrait Gallery," and " The Mantegna Gallery." Its 
 liFfi?8 H original name, given it by Sir Christopher Wren, was the Com- 
 EfeS^lS munication Gallery, on account of its connecting the king's and 
 the queen's apartments. It forms the west side of the Fountain Court, 
 and is 104 feet long, by 14 feet wide. 
 
 Ttnumpl) of lultug OCae^ac. 
 
 BY ANDREA MANTEGNA. 
 
 In this room are now appropriately arranged the famous nine pictures 
 of "The Triumph of Julius Caesar," Mantegna's greatest and richest work, 
 the glory of Hampton Court, and one of the most precious artistic treasures 
 of the English Crown. 
 
 They were originally begun about the year 1485 by Mantegna, for his patron 
 Lodovico Gonzaga, Duke of Mantua, who had already conferred several 
 favours on him, and who, in February, 1492, when the "Triumph" was 
 completed, further rewarded him with a fresh grant of land. For Mantegna, 
 it was evidently his most absorbing work, and between the dates above given, 
 except for a short stay at Rome, he applied himself with the greatest 
 energy and assiduity to this magnificent creation — " the most important 
 example," as Waagen has observed, " of that enthusiasm for the grandeur 
 of the ancient Roman world, which prevailed in Italy in the fifteenth and 
 sixteenth centuries, and which this master worthily represented." 
 
 " By the enthusiastic study of the Greek sculptures in the studio of his 
 master, Squarcione, Mantegna had formed his eye for a refined and definite 
 conception of nature in form and action, and endeavoured in this triumphal 
 procession, with remarkable success, to reconcile the laws of ancient sculpture 
 with those of painting, and the diversity of nature. Notwithstanding a 
 certain severity in the forms, there is great variety and animation in them, — 
 elevated, noble, powerful, robust, and even common figures and heads, are 
 intermingled with such delicate, slender, and youthful characters, as are 
 rare, in such measure, even in later masters. The movements, though duly 
 restrained, have much freedom and animation, and the variety and beauty 
 in the positions of the hands are extremely admirable. The small folds of 
 Greek sculpture predominate in the drapery, yet it is treated with taste, and, 
 far from exhibiting any stiffness or appearance of imitation, has something 
 
Hampton Court Palace. 
 
 59 
 
 animated. As regards the colouring, as is proved by the parts not painted 
 over^these pictures must have produced an effect like that of the antique 
 paintings : the general appearance was light, the draperies especially con- 
 sisting of light gleaming materials, of variegated hues ; for instance, yellowish 
 with violet shadows, greenish or pale blue, with white lights ; the background 
 has throughout a light horizon. In the execution we do not know whether 
 most to admire the inexpressibly rich and elegant details, or the light and 
 intelligent touch of the brush/' — {Art Treasures, ii.) 
 
 Unfortunately they are now very dilapidated, having been coarsely 
 painted over, it is said by Laguerre, in the time of William III., the colours 
 being faded, and the surface injured by injudicious cleaning. 
 
 The purpose for which these pictures were originally intended has been 
 sometimes misconceived. They are not properly called cartoons at all, that 
 is, they were not designed as models for frescoes or tapestries, but were 
 painted in tempera on twilled linen, with the object of being stretched on 
 frames, and affixed to the wall as a frieze. In this manner they are 
 believed to have originally decorated a gallery or hall in the Duke's Palace 
 of St. Sebastian at Mantua, and to have formed a continuous procession 
 along one side, eighty-one feet long, as they now do here. It was doubtless 
 thought that in this way they would be better preserved, and besides, be 
 movable. Between each picture were flat pilasters, faced with arabesque 
 reliefs, with simulated capitals, evidently the same as those which appear 
 in the old engravings as separating each picture, and a specimen of which 
 can be seen in the seventh picture. 
 
 From that period they remained at Mantua till the year 1628, when 
 Daniel Nys, Charles I.'s agent in Italy, took advantage of the Duke's being 
 involved in war and in want of money, to treat for their purchase: for they 
 had been reserved when the rest of the Mantuan collection had gone to 
 England. " The best informed persons," writes Nys to Lord Dorchester, 
 "told me that I had left the most beautiful behind, and that, not having 
 the ' Triumph of Julius Caesar,' I had nothing at all. This touched me to 
 the core ; I did not dare say anything for fear his majesty knowing it might 
 feel aggrieved, and I, in part, dissembled with Sig. Lanier, who, before his 
 departure, had treated for the marbles and statues of the Duke, with some 
 pictures which had been discovered in certain secret chambers. They de- 
 manded for these pictures 10,000 half-doubloons of Spain, and for the 
 statues, 50,000 half-doubloons, but it did not appear to Sig. Lanier or to 
 myself that we could give ;£i 0,000 sterling. So the matter rested." 
 
 But in the meanwhile the Queen-Mother of France is in treaty for them ; 
 and when Nys hears of this, he agrees, without waiting for the King's direc- 
 tions, to pay ^"10,500 for the marbles and the pictures that remained, and 
 
6o 
 
 Catalogue of Pictures. 
 
 especially for "The Triumph" of Mantegna, "a thing," as he writes, "rare 
 and unique, and its value beyond estimation." 
 
 It has been frequently stated that they were sold by the Commonwealth 
 for ^1,000. This is inaccurate. They were valued at ^"1,000 in Sept., 
 165 1, but not sold. They are afterwards noted as : — "Reserved for His 
 Highness' use," i.e., Cromwell, who, to his honour be it remembered, also 
 rescued Raphael's cartoons. Since then they have remained here; and, 
 after having been judiciously arranged by William III. in the Queen's 
 Gallery, and then inappropriately removed by George I., to make way for 
 Le Brun's tapestries, to the Public Dining Room, they were finally hung 
 about fifty years ago in this gallery, which, allowing of their being placed in 
 a continuous line, is admirably adapted for their reception. 
 
 First Picture. This represents the beginning of the Procession, and 
 shows, first, the trumpeters; next, Roman soldiers bearing aloft smoking - 
 censers on long poles, a bust of Roma Victrix, and pictured representations 
 of the conquered cities. 
 
 Second Picture. On the left is a magnificent triumphal car, on 
 which stands a large statue of a man holding a long staff under his left 
 arm. Behind come men on horseback drawing other cars, in which are 
 statues of the gods and goddesses taken from the temples ; and by their 
 side walks a man carrying a beautiful bust of Cybele. 
 
 Third Picture. In this we have similar cars bearing like trophies, 
 and also four men carrying aloft, on stretchers, costly vases and urns filled 
 with coin. 
 
 Fourth Picture. Other men follow bearing similar spoils ; next come 
 oxen decorated with wreaths for sacrifice, by which, in the foreground, is a 
 figure of a handsome boy, with fair flowing hair, he having his right hand on 
 one of the bullocks, and his head turned round to the front. The grace 
 and beauty of this head is very striking, the outlines having fortunately 
 been preserved, though the lights on the cheek, hair, and neck, have been 
 retouched. 
 
 Fifth Picture. On the left is the head of a musician, whose trumpet 
 is seen in the foregoing picture. Next comes another bullock led by a 
 woman, who turns her head round to the front. Behind come four 
 elephants ; boys driving them are also mounted on their backs. Rubens' 
 free copy of this, made when he was at Mantua in 1606, is now in the 
 National Gallery. 
 
 Sixth Picture. Here we have more vases and precious vessels, 
 carried on stretchers by four men. These are followed by men bending 
 under the weight of large trophies. 
 
Hampton Court Palace. 
 
 61 
 
 Seventh Picture. Next follow the captives: men walking with their 
 hands tied in front of them, their countenances expressing a noble dis- 
 regard of the jeers of the populace, women of equally dignified demeanour, 
 carrying their babies, or leading their daughters by the hand. Behind are 
 the windows of a prison, with heads peeping through the gratings. 
 
 " Here," says Goethe, "we must deem the painter worthy of all praise, in that he has 
 introduced no warrior or leader, no hero of the adverse army : their arms, indeed, have 
 we seen carried by fathers of families, venerable councillors and magistrates, aged or 
 portly citizens, these only are led in triumph ; and thus the whole story is told : the 
 former lie low in death, the last still live to suffer." 
 
 Eighth Picture. The musicians and singers who always accompanied 
 a Roman triumph, follow. Behind them march more Roman soldiers, 
 bearing eagles and other emblems on long staffs. 
 
 Ninth Picture. Lastly comes Julius Caesar himself in a magnificent 
 triumphal car, bearing in his left hand a long palm branch, and in his right 
 a sceptre. Behind him stands a winged figure of Victory crowning him with 
 a wreath of laurel. In front a man holds aloft a medallion with the 
 device: — "veni, vidi, vici"; behind are men bearing braziers of incense, 
 and all around boys holding branches of laurel. The beautiful arabesque 
 work of the car, which is in tolerable preservation, is worthy of notice. 
 
 792 William III. when a Boy unnamed. 
 
 793 Supposed Portrait of Jane Shore unnamed. 
 
 794 Portrait of an old Man with a large beard unnamed. 
 
 796 Portrait of a Lady, Unknown unnamed. 
 
 797 Triumph of Julius Caesar. (See above.) .... Mantegna. 
 345 Thomas Howard, Earl of Surrey Stretes ? 
 
 Every one has heard how in his youth he is supposed to have overrun most of 
 the countries of Europe, maintaining in tilt and tournament, against all gainsayers, 
 the superiority of the charms of his "fair Geraldine," of whom he tells us that :— 
 " Hampton me taught to wish her first for mine." 
 
 Surrey had other occupations, besides writing love sonnets ; one of these was 
 shooting with his cross-bow, in the dead of night, at the windows of the citizens of 
 London. When brought up before the Lord Mayor on this charge, he excused 
 himself by saying he had done so, in hopes that the citizens, thinking them super- 
 natural visitations, might amend their corrupt and licentious manners. 
 
 800 Portrait of a Lady unnamed. 
 
 801 Portrait of a Lady unnamed. 
 
 803 Sir John Parker Jeronimo Custodis. 
 
 757 Sir John Leman, Lord Mayor in 1616 ? 
 
 On Saturday the 9th he entertained the Knights of the Bath, newly made in 
 honour of His Highness s creation, with a supper and a play at Drapers' Hall. But 
 
62 
 
 Catalogue of Pictures. 
 
 " some of them were so rude and unruly, and carried themselves so insolently divers 
 ways, but specially in putting Citizens' wives to the squeak : so far forth, that one 
 of the sheriffs broke open a door upon Sir Edward Sackville, which gave such 
 scandal that they went away without the banquet, though it was ready and prepared 
 for them. " 
 
 Such uproarious festivities quite upset old Leman, who had to take to his bed. 
 He was well enough, however, to be knighted at Whitehall on March 9th, 161 7. 
 
 804 Supposed Portrait of Fair Rosamond unnamed. 
 
 805 Portrait of an Italian (now placed after No. 857) . . G. Penz. 
 
 807 Portrait of a Man in Armour unnamed. 
 
 808 Portrait of a Gentleman ? 
 
 556 Judgment of Paris .... L. Carracci. 
 
 569 Christian, Duke of Brunswick ? 
 
 571 William III., when young ? 
 
 Iueen'0 Uluart) Slbamber. 
 
 HIS room was probably not finished till the reign of George II., 
 the decoration being in the style of that period. The chimney- 
 piece, of which the sides represent Yeomen of the Guard, is of 
 white marble, and the doorways are of the same. The dimen- 
 sions of the room are 58 feet long, by 34 feet wide. 
 
 The two fine tDtOUQfjt UOU getting now placed in this room belong to 
 a series of twelve which were formerly in the gardens ; one still remains 
 in its original position (see page 118), the rest are now at the Bethnal Green 
 and South Kensington Museums. 
 
 811 Triumph of Bacchus ; Nymphs Ciro Ferri. 
 
 812 Frederick, Prince of Wales, at a Party . . Vanderbank? 
 
 813 Portrait of C. F. Abel, the Musician Robineau. 
 
 814 Landscape, with a Lake and Mountain Van Diest. 
 
 815 Portrait of Giulio Romano, a Copy . unnamed. 
 
 816 Portrait of Michael Angelo, a Copy ........ unnamed. 
 
 817 Jacob Fleeing from Laban Filippo Lauri. 
 
 818 Portrait of a Child G. C. Milani. 
 
 819 Portrait of Tintoretto, a Copy unnamed. 
 
 820 Hungarians at the Tomb of Ovid J. H. Schoonfeld. 
 
 821 Portrait of P. del Vaga, a Copy unnamed. 
 
 822 A Circular Temple, with Figures . . ... .... unnamed. 
 
 953 View of Portsmouth Dankers. 
 
Hampton Court Palace. 
 
 63 
 
 824 Portrait of John Locke Kneller. 
 
 This is one of Kneller's best portraits. It was evidently painted in the philoso- 
 pher's later years, for he looks here on the point of dying of the asthma to which he 
 succumbed in 1704. "Pray," said Locke in a letter to Collins, "get Sir Godfrey 
 to write on the back of my picture ' John Locke ; ' it is necessary to be done, or 
 else the pictures of private persons are lost in two or three generations." 
 
 825 The Assumption of the Blessed Virgin ....... . Snellinx. 
 
 827 Landscape— Ferry-Boat and Fishermen Van Diest. 
 
 828 Portrait of George II • Zeeman. 
 
 829 Ruined Temple with Peasants Viviani and Jan Miel. 
 
 8<o William, Duke of Gloucester, son of Queen Anne . . . Kneller. 
 
 831 Portrait of General Spalken {now placed after No. 13) . . unnamed 
 
 832 Portrait of Haydn the Composer unnamed. 
 
 834 Caroline, Queen of George II - • Zeeman. 
 
 836 A Shepherd J 0HN Collin,? 
 
64 Catalogue of Pictures. 
 
 837 Landscape . . . John Loten. 
 
 838 A Shepherdess John Collins ? 
 
 839 Pope Benedict XIV P. Battoni. 
 
 840 Landscape Edema. 
 
 842 Frederick II. of Prussia unnamed t 
 
 843 Portrait of Robert Boyle the Philosopher Kerseboom. 
 
 844 A Landscape : The Devil Sowing Tares . . . Lucas Vanuden. 
 
 845 George, Prince of Denmark Dahl. 
 
 846 Sir Isaac Newton (setat. 47) Kneller. 
 
 847 Landscape with a River and Castle Van Diest. 
 
 848 Charles XII. of Sweden . unnamed. 
 
 849 Christ at the Well after Correggio. 
 
 850 Triumph of Bacchus, Venus, and Ariadne after Guido by Romanelli. 
 85 t The Tribute Money Dietrich. 
 
 852 Portrait of Sir Peter Lely by himself. 
 
 853 Christ and the Woman of Samaria Bonifacio? 
 
 854 Portrait of a Young Man, Unknown unnamed. 
 
 855 Portrait of a Child G. C. Milani ? 
 
 856 Roman Architecture with Figures ? 
 
 85 7 Portrait of Holbein ? a Copy unnamed. 
 
 Soj Portrait of an Italian Gentleman G. Penz. 
 
 858 Portrait of a Man with a Watch .... Peter van Aelst ? 
 
 859 The Rape of the Sabines ....... Rottenhammer ? 
 
 860 Portrait of a Lady in White unnamed. 
 
 861 Ruins and Figures Domenichino. 
 
 862 Portrait of Sir Peter Lely by himself. 
 
 863 Venus and Satyr . . Albano. 
 
 864 " A China Dish with Heart-Cherries " Daniel Nys ? 
 
 865 A Holy Family F. Lauri. 
 
 844 Landscape — the Devil sowing Tares Lucas Vanuden. 
 
 ueen'0 IHresence K&amber. 
 
 866 Rear- Admiral Sir Charles Knowles's Squadron attacking Port Louis in 
 
 St. Domingo (? Hispaniola), March 8th, 1748 . . R. Paton? 
 
 867 Rear-Admiral Sir Charles Knowles's Action with a Spanish Squadron 
 
 off the Havannah, October 1 st, 1748 .... R. Paton? 
 
 868 Frederick the Great unnamed. 
 
Hampton Court Palace. 65 
 
 869 St. John in the Wilderness Huens. 
 
 870 The Death of Saul Huens. 
 
 871 The Shepherds' Offering T. Zucchero, 
 
 872 Portrait of a Gentleman unnamed. 
 
 873 View of Native Village in the West Indies F Post. 
 
 874 Italian Peasants M. A. Battaglia. 
 
 875 George III. Reviewing the Fleet at Portsmouth (4 Pieces) D. Serres. 
 
 876 Charles I., when Prince of Wales, leaving St. Andero, in 
 
 Spain, in. 1623 Parcelles? 
 
 777 Head of a Saint Parmigiano ? 
 
 82 3 A Lady in a Ruff unnamed. 
 
 835 A Child with a Lamb Kneller. 
 
 841 Sacrificing a Calf De Gelder. 
 
 877 Close of Nov. 4th, 1805, Sir R. Strachan's Victory . . . Pocock. 
 
 878 Commencement of Sir R. Calder's Action, July 22nd, 1805 Pocock. 
 
 879 British Vessel Engaged with Three Spaniards. . W. Vandevelde. 
 
 880 Close of the same Action W. Vandevelde. 
 
 881 Destruction of a Dutch Fleet at Schelling, and Burning of Banderis by 
 
 Admiral Sir R. Holmes, August 8th, 1666 . . . Vandevelde. 
 
 882 Sea Fight of August nth, 1673, Prince Rupert commanding the French 
 
 and English Fleets against the Dutch Vandevelde. 
 
 883 View on the Thames— Old Fleet Ditch James. 
 
 884 View on the Thames — Old London Bridge .... James. 
 
 885 View on the Thames— The Savoy Scott ? 
 
 886 A Sea-piece D. Serres. 
 
 887 A River Scene in Holland S. Ruysdael. 
 
 888 Action between English and Dutch Vessels . Vandevelde the elder. 
 
 889 The Royal Yacht which brought Queen Charlotte to England in 1761, 
 
 to be married to George III., in a storm Wright. 
 
 891 A Man-of-War engaged with two Vessels Monamy? 
 
 892 Battle of Camperdown — Lord Duncan's Victory . . J. T. Serres. 
 
 893 Sea-Piece — The British Fleet , Elliot. 
 
 894 Action between the " Arethusa" and " Belle Poule". . . unnatned. 
 
 895 A Small Sea-Piece Swaine. 
 
 896 The Vessel in which Charles II. Escaped to France after 
 
 the Battle of Worcester . . . W. Vandevelde the elder. 
 g4i Psyche on the Rock Caravaggio. 
 
 897 A River Scene Swaine. 
 
 898 The Day after the Battle of Trafalgar Huggins. 
 
 899 Battle of Trafalgar — Close of the Action Huggins. 
 
 f 
 
66 
 
 Catalogue of Pictures. 
 
 904 
 
 905 
 906 
 907 
 908 
 
 9o8 a 
 
 900 A Sea Fight Vandevelde. 
 
 901 Sea Fight — A Man-of-War attacked by Boats Monamy. 
 
 902 Sea Fight in a Harbour — The Attack . . . Vandevelde. 
 
 903 Equipment of the English Fleet in 1790 Elliot. 
 
 Battle of Camperdown — Close of the Action . . . . J. T. Serres 
 His Majesty's Yacht in Portsmouth Harbour . . . . J. T. Serres. 
 
 Two Dutch River Scenes J. D. Schalck? 
 
 Commencement of an Action between two Fleets . . Parcelles. 
 Destruction of the French Vessels " Soleil Royal," "Admirable," and 
 
 " Conquerant," by fire-ships and boats under the command of Vice- 
 Admirals Delaval and Rooke in Cherbourg Harbour at the close of 
 
 the Battle of La Hogue, May 23rd, 1692 unnamed. 
 
 Destruction of French Vessels the day after La Hogue . unnamed. 
 
 909 Sea Fight in a Harbour — Sunset Vandevelde. 
 
 910 Sea Fight in a Harbour— Midday Vandevelde. 
 
 911 Sea Fight in a Harbour — Night Vandevelde. 
 
 912 Sea Fight in a Harbour — The Morning . . . Vandevelde. 
 
 913 Sea Piece Brooking. 
 
 914 View on the Thames — Greenwich Hospital James. 
 
 915 A Small Sea-Piece P. Monamy. 
 
 918 The Thames from the Hill above Greenwich Danckers. 
 
 View of the Horse Guards from St. James's Park .... James. 
 View on the Thames — The Tower of London .... unnamed. 
 View on the Thames — Old Somerset House and Temple . James. 
 
 View on the Thames — Temple Gardens unnamed. 
 
 View on the Thames — The Savoy, the Temple, &c. . . . James. 
 
 A Man-of-W ar going out to Sea unnamed. 
 
 View on the Thames — The Adelphi, Whitehall, Westminster James. 
 926-933 Cartoons in Henry VIII.'s Presence Chamber . Carlo Cignani. 
 
 934 The Dockyard at Deptford . R. Paton. 
 
 The Dockyard at Portsmouth 
 
 919 
 920 
 921 
 922 
 
 9 2 3 
 924 
 
 9 2 5 
 
 935 
 936 
 937 
 938 
 
 939 
 940 
 
 941 
 
 942 
 
 The Dockyard at Sheerness 
 The Dockyard at Chatham 
 The Dockyard at Woolwich 
 Cupid lying Asleep . . . 
 A Woman struggling . . . 
 Psyche on the Rock . 
 The Birth of Jupiter 
 
 In this room are two portions of 
 
 R. Paton. 
 R. Paton. 
 R. Paton. 
 R. Paton. 
 unnamed, 
 unnamed. 
 
 POLIDORE DA CARAVAGGIO. 
 
 . . . . after G. Romano. 
 he mast of the " Victory," Nelson's 
 
 flag-ship at the battle of Trafalgar, on board which he died. 
 
Hampton Court Palace. 
 
 6 7 
 
 iueen'8 
 
 reat Ultanxase* 
 
 ICK and Kent share between them the very doubtful honour of 
 having besmeared the ceiling and walls of this staircase with 
 paint : the walls being covered with scroll-work and a few 
 unmeaning figures en grisaille, and the ceiling representing, or 
 rather simulating, a dome. The ironwork, however, of the staircase is fine, 
 and worth noticing. The staircase is 52 feet long, by 30 wide. 
 
 Cf)e ^atttltetl SaUetg. — Not shown to the public. — This old mys- 
 terious gallery, the door of which is on the right as you go down the 
 staircase, has its name from being supposed to be haunted by the shriek- 
 ing ghost of Queen Katharine Howard. It was here, at any rate, that she 
 escaped from her own chamber, in which she was confined before being 
 sent to the Tower, and ran along to seek an interview with Henry VIII., 
 who was hearing mass in the royal closet in the chapel. Just, however, as 
 she reached the door, the guards seized her and carried her back ; and 
 her ruthless husband, in spite of her piercing screams, which were heard 
 almost all over the palace, continued his devotions unmoved. And in this 
 gallery, it is said, a female form, dressed in white, has been seen, coming 
 towards the door of the royal pew, and, just as she reaches it, has been 
 observed to hurry back with disordered garments, and a ghastly look of 
 despair, uttering at the same time the most unearthly shrieks, till she passes 
 through the door at the end of the gallery. The gallery is now the lumber 
 room for old pictures, and, as the staircase is locked up at night, the voice 
 of the shrieking queen is but rarely heard. _ 
 
 On the west wall is the following large picture : — 
 810 King and Queen of Bohemia ....... Honthorst, 
 
68 Cardinal Wolseys Closet, 
 
 CCavdinaP tJOofecp'e CCPoect 
 
 To be seen on application. The entrance is at the end of the 
 Communication Gallery. 
 
 This curious old room, which was restored and opened to public in- 
 spection, at the author's suggestion, in 1890, is one of the original State 
 Rooms of the Tudor Palace, and preserves almost entirely its ancient 
 appearance. The ceiling is the chief point of interest, and is very beautiful, 
 being of pure cinquo-cento design in octagonal panels, interlaced, and 
 enriched with decorative arabesque work, gilt, and with the Tudor badges — 
 the rose, portcullis, fleur-de-lys, etc. Round the upper part of the walls of 
 the room, on two sides, are the remains of a finely wrought cornice, in the 
 same style as the ceiling. This cornice, doubtless, formerly extended all 
 round the four walls of the room, which has been reduced in size on one 
 side, and it certainly formed pait of its original decoration. On its lower 
 part is the Cardinal's motto " Dominus michi adjutor." 
 
 Below is a series of pictures painted on panel, forming a continuous 
 frieze, 70 feet long and about 7 feet high, and representing scenes in the 
 Passion of Our Lord. They are somewhat in the style of Primaticcio, and 
 were probably executed by one of the Italian artists attracted to England 
 by the patronage of Wolsey or Henry VIII. 
 
 The fireplace is original ; while the old oak panelling, of the linen-fold- 
 pattern, has been made up from various fragments collected from different 
 sources. 
 
 For further information, the visitor is referred to the author's " History 
 ©f Hampton Court Palace," Vol. I., in Tudor Times. 
 
Western Entrance. — Barrack Yard. 69 
 
 Ie0tern ilntrance* 
 
 jlftopjj) (Sxateg. These consist of four brick piers or piles, on the 
 outer of which are trophies of war carved in stone, and on the 
 inner the Lion and the Unicorn, each supporting shields with 
 the Royal arms. The arms are those of George II., not of 
 William III., as is usually but erroneously stated. They form the entrance to 
 Cf)e iSattacfc $atti, or " Outer Green Court," as it was formerly called, 
 a piece of ground 3 roods, 27 perches, in area. On the right were formerly 
 several old buildings — the Privy Bake-house, the Scalding House, and the 
 Poultry Office — which have been gradually demolished during the last sixty 
 years. On the left are the barracks, which are a great disfigurement to 
 this entrance. They appear to have been partly built in Charles II. 's 
 reign (though before that, in Cromwell's time, there was a sort of guard- 
 house here), and enlarged by William III. They stand on the western 
 boundary of " a peece of pasture grownd called the Ctlt Ya£&, inclosed 
 with a good brick wall," to cite the words of the Parliamentary Survey of 
 1653, containing 9 acres, 1 rood, and now leased to a fruiterer at Kingston. 
 Here Henry VIII., who was the best horseman in England, if not in 
 Europe, indulged in his favourite pastime, when man and horse went down 
 before his redoubtable lance. Frequent jousts and tournaments were also 
 held here in the subsequent reigns, and in the north-west corner of the 
 Palace may be seen the gallery where Anne of Denmark and her ladies sat 
 at the Christmas of 1603-4, to witness " King James and the Lordes 
 running at the ringe." 
 
 jfJHoat, which was dug by order of Cardinal Wolsey, and sur- 
 rounded the whole of the Palace, was unfortunately filled up in the time of 
 Charles II., and the only trace of it that now remains is in the " wilderness " 
 on the north side of the Falace, not far from what is still called the " Moat 
 Gate." The moat and the arched stone bridge over it, which still remains 
 beneath the surface of the ground in front of the Great Gateway, are shown 
 in the annexed sketch. 
 
 This portion of the Palace was entirely built by Wolsey, and would give a 
 good idea of Tudor palatial architecture, if it were not for the dwarfed 
 
70 
 
 West Front. 
 
 proportions of the great central gate-house (which, having fallen into dis- 
 repair, was badly restored about 177 1), and for the absence from the 
 numerous turrets of the leaden cupolas (or " types," to use the correct old 
 English term), which with their crockets and pinnacles and gilded vanes 
 formerly gave so unique and picturesque an appearance to the building. 
 
 Nearly all the mullioned windows in this front are restorations of the last 
 fifty years, and have replaced the monstrous sashes, which had been 
 inserted in the Georgian period of " no taste." The chimneys are likewise 
 all modern and very excellent restorations. 
 
 The gateway on the left leads to the northern wing of the Palace, where 
 are situated the ancient kitchens and other domestic omces. 
 
 The South Wing on the right towards the river is one of the most pic- 
 turesque portions of the whole building, and the deep purple colouring of 
 the brickwork, varied with chequered lines of black bricks, is in striking 
 contrast with the flame-coloured walls of William III.'s building. This 
 corner of the building is said to be haunted by the ghost of Edward VI.'s 
 nurse and foster-mother, Mrs. Penn, who lived at Hampton Court thirty 
 years, and whose tomb and effigy still exist in Hampton Church. 
 
 <S*reat <K*ate^ jOUSe — ISxtertOt. As we have said, this is a modern re- 
 storation. But to give an idea of what it formerly was, and ought yet to be, 
 we annex a print of its original appearance, made up from half-a-dozen old 
 engravings and numerous records. The contrast between the grand, lofty, 
 deep-crimson Gothic tower, five storeys high, with its four turrets capped 
 with cupolas, and the existing squat three-storeyed gateway, with its bare and 
 truncated stumps of turrets, its modern glaring scarlet brick (incorrectly laid 
 in the " Flemish " instead of the " old English bond " of " headers " and 
 
Great Gate-house — Exterior. 
 
 7i 
 
 " stretchers "), is a measure of the degradation of English taste from the 
 age of Wolsey to that of George III. 
 
 The finely proportioned oriel window, however, is original, as is also the 
 tablet of stone, carved with the arms of Henry VIII., that stands beneath 
 the sill of the window. On the turrets are circular medallions of terra- 
 cotta, containing the busts of the Emperors Tiberius and Nero. 
 
 The two small hexagonal buttress-turrets which flank the archway, and 
 correspond to two similar ones on the inner side of the gateway, are careful 
 and excellent restorations of the last six months, which, besides acting 
 as supports to the front, are a great improvement to its appearance. They 
 rest on the original bases, which were found below the surface. 
 
72 
 
 Great Gate-house — Interior. 
 
 4£teat t&aU^OMe— Interior* This, which was long the disgrace of 
 Hampton Court, has been within the last year subjected to a beautiful 
 and most judicious restoration. When the front of the gateway was re- 
 built in 1 77 1, Wolsey's fine groined ceiling of carved stone was destroyed, 
 and replaced by a hideous flat lath and plaster one ; the four Tudor arched 
 doorways to the right and left were taken out, and common semicircular 
 brick arches substituted ; and the whole was plastered and whitewashed over. 
 
 This disfigurement has at length been removed through the energy and 
 artistic taste of Mr. Mitford, the Secretary to the Board of Works, who since 
 his appointment has done so much to repair and preserve the ancient 
 fabric of the Palace, and has shown his appreciation of its historic and 
 architectural charms by taking a particular and personal interest in every- 
 thing relating to it. 
 
 Wtyt i&ettl (l&TOtttefo (ftetltttg is similar in style and pattern to that under 
 the second gateway, with necessary variations for the difference in size and 
 proportion, this ceiling being thirty feet long by twenty broad, while the 
 other is eighteen feet square. The curvature and direction of the moulded 
 ribs were determined by two angle shafts, corbels, and springing stones, 
 which fortunately remained in two corners ; and the general construction is 
 in accordance with what is believed to have been the design and form of 
 the original. The central compartment is filled with tracery panels, with 
 Tudor detail, and ornamented with quatrefoils containing shields, upon 
 which are carved the arms and devices of Cardinal Wolsey, one being 
 " T. C.," Thomas Cardinal, a favourite cipher of Wolsey's. The central 
 " boss " or key-stone, which alone weighs a ton and a half, is carved with 
 the Royal arms of the Queen. The stonework weighs altogether forty 
 tons. The Tudor doorways and brickwork which have been inserted 
 below, complete a long-desired improvement. 
 
 The whole execution of these restorations reflects great credit on Mr. 
 John Lessels, surveyor to the Board of Works, under whose direction 
 they have been carried out, and who himself designed the new stone ceiling. 
 
 (JMft IBOOttS. The appreciative visitor will not fail to admire the grand 
 and massive old oak doors, which, after lying in an outhouse for no years, 
 have been lately repaired and replaced in the position which they originally 
 occupied in the time of Cardinal Wolsey. Their ribs, rivets, and beautifully 
 carved linen-fold panels, make a pleasing contrast to the pair of cast-iron 
 gates, of appalling pattern, which so long disfigured the entrance to the 
 Palace. 
 
 In the reign of Edward VI. this gateway and these great doors were 
 barricaded by the Protector Somerset, against an anticipated attack of 
 
First Court. 
 
 73 
 
 Warwick and other members of the Council who were hostile to him. 
 And it was to this gate that the young king was brought by Somerset to 
 harangue the multitude assembled in the Barrack Yard, and implore them 
 to "be good to him and his dear uncle." 
 
 The holes in these doors are said, and by some believed, to have been 
 made by shot and bullets during the Great Rebellion. There are certainly 
 in the woodwork a great many particles of lead, apparently shot. 
 
 ^Ottet'g Eotige* This is the small room, on the left-hand side of the 
 archway, where the porter used formerly to sit to be ready at hand to open 
 the great gates. The public had until recently to pass through this room 
 to reach the First Court. 
 
 Itrst 
 
 ireen or 
 
 lourt. 
 
 iN the outside of the cover of this book is printed an engraving of 
 ! this court, showing the decorated " types " with their heraldic 
 beasts and gilded vanes replaced on the turrets, from which they 
 were removed about 150 years ago. The sketch thus gives the 
 original effect of this court as it was finished by Cardinal Wolsey. It is the 
 finest and largest courtyard of the Palace, being 167 ft. 2 in. from north to 
 south, and 141 ft. 7 in. from east to west; and affords a good example of 
 the elasticity of Tudor Gothic, and its adaptability to domestic purposes. 
 The variety and freedom in the grouping of the windows are very observable, 
 especially in the range on the right-hand side of the Clock Tower, which 
 Pugin speaks of with admiration and engraved in his "Specimens." The 
 general impression is one of warmth and comfort; and the air of picturesque 
 gloom which invests the whole is in pleasing contrast to the staring vul- 
 garities of the " cheerful " cockney buildings of the present day. 
 
 It may be observed here that the horizontal line of the battlements and 
 those of the stone string courses are far from being rectilinear, which, though 
 it would be regarded as a terrible defect by modern surveyors, contributes 
 in no slight degree to the indescribable charm of old-fashioned work. 
 
 All the chimneys in this court are modern restorations ; the windows, 
 however, are all original, though the bad taste of the beginning of this century 
 substituted square panes of glass for the original leaden casements with 
 diamond panes. 
 
 On the two turrets by the gate-house may be observed the arms of 
 Edward VI., and his initials " E. R." in terra-cotta. 
 
74 
 
 First Court. 
 
 Wfyt HtftJ of the court was, in the autumn of 1891, once more laid down 
 with turf, as formerly. This is a restoration which has vastly improved the 
 appearance of the courtyard. William III., with that conspicuous want of 
 taste which distinguished him, grubbed up the grass and paved it with 
 pebbles. Surrey, who records of " the fair Geraldine " that 
 " Hampton me taught to wish her first for mine," 
 
 speaks also of 
 
 " The large greene courtes, where we were wont to hove 
 With eyes cast up into the maiden's tower." 
 
 In the good old times the courtyard used to present an animated aspect 
 whenever the Court was here. The magnificent state-coaches and chariots 
 of those days, beautifully carved and painted, and covered with velvets and 
 silks of the richest colours and workmanship, and cloth of gold, 
 
 " With damaske whyte and azure blewe 
 Well dyapered with lyllyes newe, " 
 
 as the old romance records, passed through it, to the grand staircase of the 
 Great Hall. In it too thronged the retainers, attendants, and servants, and 
 the inhabitants of the neighbouring "wick/' to chat and pick up the latest 
 gossip of the Palace. The entree was, in fact, so unrestricted, that when 
 Philip II. gave orders that no one should be admitted within the gates who 
 did not belong to the Court or have business in it, the English resented it 
 as a piece of Spanish exclusiveness. 
 
 <B*aUnM#» On the ground and first floors, on three sides of the quad- 
 rangle, are the windows, placed at regular intervals, of certain long narrow 
 galleries, which (though the plan has been altered in recent times) were 
 formerly continuous, and gave access to a great number of " double lodg- 
 ings," as they were called in Tudor times, consisting each of a large chamber, 
 with a smaller inner one. The plan, to judge from the ancient records, was 
 one of great comfort and convenience, and does not at all confirm the 
 current notion of the defective internal arrangement of old Gothic houses. 
 Here were some of the 280 rooms which Wolsey had always ready for 
 guests, richly furnished with silken beds and tapestry, and each with large 
 fires, and with basons and ewers and candlesticks of silver. The retinue of 
 the French Ambassador, consisting of some 400 persons, were entertained 
 with great magnificence in this Palace by the Cardinal in 1528. 
 
 Oriel &j&U)VtJ0U)!8. Over the inner side of the great gate-house is a fine 
 oriel window, with a stone panel beneath, carved with Henry VIII.'s arms, 
 and identical with the one already mentioned on the outer side of the same, 
 and similar to one which is over the gateway into the next court. A print 
 of the arms is annexed. 
 
Oriel Windows. 
 
 75 
 
 The charges for these three pieces of carving are entered in the old bills 
 preserved in the Record Office, as follows : — 
 Also paid to Edmund More, of Kyngston, 
 
 for fornyshyng and settyng up of the said thre sondry tables, with severall armes afore- 
 said, by convencion, 34/. 45-. \od. — October 23. H. 8. 
 
 &111U IBolegn'S <&atetoag, beneath the Clock Tower, leads into the 
 " Clock Court " and to the staircase of the Great Hall. The tower is finely 
 proportioned, but now disfigured by a bastard-classic campanile put up in 
 modern times. 
 
 On the turrets are two medallions in terra-cotta of the Roman Emperors 
 (see page 104). The clock-face on this side, which is of slate, and 5 ft. 8 in. 
 in diameter, was erected in 1835, when William IV., whose monogram is 
 cut on a small circle of slate above, sent the clock here from St. James's 
 Palace. 
 
 2Tj)e (Srometl &lt'lmg of this gateway is a modern restoration, but an 
 exact reproduction of what it replaced, some portion of which was believed 
 to be so far decayed as to be in danger of falling. It is noteworthy as a 
 good specimen of the fan groin. The original was built by Henry VIII., 
 whose initials, " H. R.," and whose badges, the fleur-de-lis, the rose, and 
 portcullis, were carved in the quatrefoils in the central circular panel. The 
 time of its erection must have been during Anne Boleyn's short reign, for 
 her badge, the falcon, and her initial, an " A," entwined with Henry's in a 
 true-lovers' knot, were also carved in the quatrefoils, whence the name of 
 this gate. By the time, however, that the carvers reached the decoration of 
 the Great Hall, the true-lovers' knot had to link Henry's initial with that of 
 Jane Seymour. The centre, or key-stone, is carved into a great Tudor rose. 
 
 fremason, for makyng, karvyng, and intaill- 
 yng of the Kynges armes in thre sondry 
 tables of fre ston, with severall bourders of 
 antique worke and cert en of the Kynges best, 
 holding up in a shilde the Kynges armes, 
 with the garter, poises, and scripture in- 
 graved, and the crown imperiall wrought 
 after the best facion ; whereof oon of the 
 said tables conteyninge 5 fot and oon inche 
 oon way, and 6\ fot an other way, standythe 
 over the great gate comying into the Base 
 Court, and the second table of like mesure 
 standithe over the inner part of the same 
 gate, and the third table, conteyning 5 fot 
 oon way, and 3 fot and 5 inches the other 
 way, standithe over the utter part of the 
 gate comyng into the inner court ; in all 
 
 ^^^^^^^^^^^^^^^^^^ 
 
76 
 
 First Court. 
 
 £5tattca8£. The interior of this, which forms the principal entrance to the 
 Great Hall, has been done up within the last few years, the walls refaced 
 with brick instead of the old plaster, and the ceiling supported on oak 
 beams. The little door on the left opens into a turret, where hang the 
 clock weights ; and on the landing is a small old doorway into a spiral 
 staircase, leading to the minstrel gallery, and on to the roof of the hall. The 
 spandrels of the great stone doorway into the hall itself are carved with the 
 arms of Henry VIII.; the doors are a miserable piece of work, put up in 
 Charles II.'s time in place of the original carved oak doors, with their 
 wrought iron hinges and linen-fold panels. 
 
 The arched recess at the top of the stairs represents the position of an 
 ancient fireplace, which was discovered when the walls were recently 
 stripped for the repairs, and which had remained concealed since 
 Henry VIII. adapted what were formerly chambers in Wolsey's palace 
 into this staircase. 
 
 The restoration of stained glass in the windows here, decorated with 
 Tudor arms, ciphers, badges, and mottoes in scrolls, such as we find from 
 the records to have been inserted by Henry VIII., is much to be desired. 
 
Great Hall. 
 
 iENRY VIII., and not Wolsey, as is still sometimes erroneously 
 stated, was the builder of this truly magnificent room, which, from 
 its size, its height, its splendid and elaborate roof, its stained 
 I glass windows, shedding a richly coloured light, and its beautiful 
 tapestries, is the most gorgeous extant example of the internal decoration of 
 a Tudor Palace. It has indeed been objected that the painting of the 
 roof, which was done up about fifty years ago, is too brilliant. But we 
 know that Henry had a particular liking for gold leaf and colour on the 
 roofs and ceilings of his palaces ; and we have the evidence of the original 
 bills to convince us how profusely the work was decorated. 
 
 Cf)e iftllinring was begun immediately after the death of Wolsey, the old 
 hall, which had either been built by the Cardinal, or had formed part of 
 the ancient manor-house of the Knights Hospitallers, being first removed 
 to make way for it. The accounts of the works, which are still preserved 
 in the Record Office and fill four large folio volumes, afford minute and 
 often very valuable and curious information as to the whole structure and 
 its decoration. The names of every workman and labourer, with his wages, 
 and the cost of all the material, and of every piece of carving or painting, 
 are elaborately set down. By dint of the men " workyng in theyr howre 
 tymes and drynkyng tymes for the hastye expedicion of ye same," and 
 by the " empcion of tallow candles spent by the workmen in the nyghte 
 tymes" — to cite the original entries — the hall was finished by the year 
 1536, when Jane Seymour was queen. 
 
 As to the fjtgtOtJ) of the Hall, it was used by Henry VIII. chiefly for 
 grand functions of state, banquets, and receptions of ambassadors ; and 
 many a time the bluff old king sat in state on the dais, or took part in 
 mummings and disguisings, or danced with Jane Seymour and Catherine 
 Howard. Here Catherine Parr was proclaimed queen on July 12th, 1543 ; 
 and here at the Christmas following was entertained Francis Gonzaga, the 
 Viceroy of Sicily. 
 
 In the subsequent reigns it was also used for masquerades, masques, and 
 
78 
 
 Great Hall. 
 
 plays, for which it was found to be admirably adapted. The accounts of 
 the Treasurer of the Chamber and of the Master of the Revels supply us 
 with numerous details as to the stage appliances, scenery, and dresses, all of 
 which were on a most elaborate scale. One of the most magnificent of 
 
 these entertainments was " The Vision of the Twelve Goddesses," a masque 
 by Samuel Daniel, which was played before King James, on Sunday night, 
 January 8th, 1604, when the Queen, Anne of Denmark, and her ladies, 
 
The Roof. 
 
 79 
 
 took the leading parts. There is besides conclusive evidence that the 
 King's company of actors, of which Shakespeare was a member, gave 
 several performances in this hall. In Charles I.'s reign it still continued 
 one of the chief royal theatres, and one of the last plays acted in it was 
 " Hamlet" on January 24th, 1637. After the Great Rebellion we hear of 
 no more theatricals till George I.'s time ; when the hall was re-opened as a 
 theatre on the 23rd of September, 17 18, with " Hamlet," which was followed 
 on October 1st, by " Henry VIII., or The Fall of Wolsey." 
 
 The dimensions of the Hall are : — in length 106 feet, in width 40 feet, 
 and in height 60 feet. The hall of Christ Church, Oxford, which is 
 remarkably like this, and was built a few years before, probably by the 
 same architect, is of the same width, but longer by eight feet, and not so 
 high by ten feet. 
 
 *t£&e ^aoof. 
 
 This is, perhaps, the most splendid Gothic roof in England, of the Per- 
 pendicular period. That of Westminster Hall is grander and more 
 imposing, those of Crosby Hall and Eltham Palace purer in taste, but the 
 roof of the Great Hall of Hampton Court maintains an undisputed pre- 
 eminence for richness of decoration and elaborate workmanship. To 
 analyze its structure in detail would occupy more space than we can spare ; 
 we will not, therefore, do more here than indicate its leading features, 
 referring to the engravings in Pugin's "Specimens of Gothic Architecture" 
 for completer information. 
 
 Technically it is a late Perpendicular single hammer-beam roof, of seven compartments 
 or bays. Each "principal" consists of two half-arches, supporting one large centre arch, 
 above which is a somewhat similar arrangement of parts on a smaller scale, filled with 
 pierced panelled tracery. Each side arch is composed of a beam (called the "pendant 
 post"), resting against the wall, and terminating below in a corbel ; of a curved beam 
 (called the "hammer-brace") springing from the corbel ; and of a horizontal beam 
 (called the "hammer-beam"), resting on the pendant post and hammer-brace. The 
 spandrels between these three parts are beautifully carved with the arms and badges of 
 Henry VIII. and Jane Seymour. Each of the great centre arches of the roof are formed of 
 curved beams (called " collar-braces "), springing from perpendicular beams (called "side- 
 posts ") terminating above in the ceiling, where they are fixed to the rafters of the roof, 
 and below, where they meet the hammer-beams and hammer-braces, in magnificently- 
 wrought pendants. Across the top of each of these great centre arches, is laid a hori- 
 zontal beam (called the "collar") on which rests the open work filling the topmost part 
 of the roof. 
 
8o 
 
 Great Hall. 
 
 The longitudinal section, or side view, of a compartment 
 or bay, exhibits a peculiar and very complex and beauti- 
 ful construction. It consists, first, of single arches spring- 
 ing from the centres of the sides of the hammer-beams ; 
 secondly, half arches, springing from the "side-posts," at 
 the point where they terminate in pendants, and support- 
 ing centre arches, which themselves spring from other 
 pendants ; and thirdly, double arches, springing on each 
 side from the "collar" and meeting each other in the 
 centre, where they terminate, at their point of intersection, 
 in a third series of pendants. At the apex of the roof a 
 similar structure exists. The curved ceilings in the upper 
 part of the roof, with the two upper tiers of lesser pendants, 
 should be noticed as peculiarities to be found in no roof 
 but this. 
 
 A general view of the roof is afforded in the 
 sketch of the Great Hall. 
 
 Engravings of two pettfoatttS are annexed. 
 The longest of these, on this page, is one in the 
 lower series, beneath the hammer-beams. They 
 are sixteen in number, and are no less than four 
 feet ten inches in length. The following extract 
 from the old accounts of the time of Henry VIII., 
 preserved in the Record Office, relate to them : 
 " Also payd to Richard Rydge, of London, 
 kerver, for the makyng of 16 pendaunts standing 
 under the hammer-beam in the Kinge's New 
 hall, at 35. ^d. the peece." 
 The smaller peit&Ettt, on the opposite page, between the two corbels, is 
 one of the upper series, and is 2 ft. 9! in. in length. Their cost is given in 
 the old bills: "Paid to the aforesayd Richard for the makyng of 20 
 pendaunts standying in the upper purloyns within the Kynges new hall 
 at 25.?. the pece." They are now twenty-one in number, a discrepancy 
 accounted for by the fact of a new one having been made for the topmost 
 part of the centre bay, when the louvre or femeral was removed. 
 
 The cost of the intermediate pendants, which are 3 ft. long, and carved 
 with scroll-work and Tudor badges, is similarly recorded. It should be 
 noticed that the details in the pendants betray the influence of the Italian 
 taste, imported into England, a few years previously, by the artists employed 
 by Henry VIII. This is one of the first indications we have of the insidious 
 intrusion of that foreign style which, without ever thoroughly acclima- 
 tizing itself here, was destined to supplant our native English Gothic. 
 
The Roof. 
 
 81 
 
 The carving also of the COCfcelg, of which two engravings are annexed, is 
 likewise worthy of attention ; as is also that of the spandrels above them, 
 which were wrought by Thomas Johnson of London, and cost forty shillings 
 each. 
 
 jftHtttSttel (5*allerg. According to the usual design ot mediaeval 
 architects, this is placed at the lower, or entrance end, of the Hall. Here 
 stood the minstrels in their picturesque attire, and played during the 
 festivities, banquets, and other entertainments. Henry VIII. had a 
 large number of performers constantly in attendance on him wherever 
 he journeyed. The present balustrade is a restoration, the original having 
 been destroyed when the Hall was used as a theatre ; and the little panel 
 
 pictures of Cardinal Wolsey, Henry VIII., Anne Boleyn, and Jane 
 Seymour are modern imitations of well-known originals. The strips of 
 tapestry, on the other hand, inserted between them, are remains of old 
 borders used in the decoration of the Palace in ancient times. They were 
 probably executed in England ; one is worked with the arms of Henry 
 VIII., with the lion and dragon as supporters, and the Tudor badges 
 crowned, the other with the Cardinal's arms. 
 
 The ttopfjjp of armour and spears, &c, at the back of the gallery, was 
 arranged when the hall was redecorated. To the right is a large antique 
 fireplace, now partially bricked up, which served to warm the Minstrels' 
 Gallery. To the left is the doorway into a curious spiral staircase, or to 
 use the old and more concise term, " a vyce," which gives access to the 
 gallery, from the landing at the top of the Great Hall stairs. 
 
 G 
 
82 
 
 Great Hall. 
 
 Wfyt Screens which support the Gallery are of fine deep-toned oak, 
 and are divided, as was usual in mediaeval halls, into three parts, leaving two 
 entrances into the body of the room. The compartments, which are flanked 
 by heavy oak pillars with moulded bases and capitals, are formed into 
 panels with carved tracery, showing the Tudor badges and Henry VIIL's 
 initials. An item in the old accounts relating to this is as follows : "Payde 
 to Richard Rydge, of London, carver, for cutting and carving of 32 lintells 
 wrought with the King's badges and the Queen's standing in the screens 
 within the the King's New Hall, 2s. 6d. the piece." 
 
 At this end of the hall was erected the stage, when plays were given 
 here ; and many a time the actors in Shakespeare's company made their 
 entrances and exits through these openings. Behind the screens, and 
 opposite to the present public entrance, is another doorway, now covered 
 with tapestry, which leads down a flight of wooden steps into the cloisters 
 towards the great kitchens, whence, on occasions when grand banquets 
 were given by the King to foreign sovereigns or ambassadors, the dishes 
 were brought up to the tables. Each course was heralded, as is recorded 
 in the old romances, by the music of the merry minstrelsy : — 
 ' ' Fro kechene cam the fyrst cours, 
 With pipes, and trumps, and tabours. " 
 
 All the stained glass here is modern, and was executed between the years 
 1840 and 1846 by Willement, who, considering the epoch at which he 
 worked, deserved great credit for the taste and accuracy of the restoration. 
 We find from the old accounts that " Galyon Hone the Kynges glasier " in 
 the year 1534 put 
 
 " In the two great wyndowys at the ends of the haull two great armys, with four beestes 
 in them at 6s. 8d. the pece ; also in the said wyndows in the haull 30 of the Kynges and 
 Quenys armys, pryce the pece, 4s. ; also 46 badges of the Kynges and the Quenys, pryce 
 the pece, 3-r. ; also 77 scryptors with the Kynges worde, pryce the pece 12^." 
 
 It appears also that the iron " staybarres," "standards," and "lockets," 
 which form the stout framework of each casement, were coloured red. 
 
 The plan of the east windows, over the dais, which chiefly illustrates 
 Henry VIIL's descent from Edward III. and the union of the Houses of 
 York and Lancaster, is (beginning from top and left) as follows : — 
 
 ^Flpprr Sfflluitrotog, or ©btr Htg^ts. 
 
 Arms of the Kingdom of France. Arms of the Lordship of Ireland. 
 
 Arms of the Kingdom of England. Arms of the Principality of Wales. 
 
End Windows, 
 
 83 
 
 ©teat iHaist SHtntoto, 
 
 I0t atttr 2tt& Htg^tS. John Beaufort, Duke of Somerset's badge, the Portcullis, name, 
 and arms. Portcullis, and the White Greyhound of the House of Lancaster sup- 
 porting a banner charged with a portcullis. 
 
 3t:tr anft 4tf) tttgfjtg. Margaret, Countess of Richmond's badge ; the Daisy, arms and name. 
 John Beaufort, Earl of Somerset's arms and name. 
 
 5tf) atttr 6tf) 3Ltgt)t0. King Henry VII. 's arms, name, and badge, the Red Dragon. John 
 Duke of Lancaster's arms and name. 
 
 Centre iLigfjtsS. Effigy of HENRY VIIL, and the lines of York and Lancaster uniting 
 in a Tudor Rose ; and Henry VIII.'s arms. Edward III.'s name and arms ; and 
 the stock of the two houses branching off to the dexter and sinister sides. 
 
 9t!) atttr iotf) 7itgfjt6. Elizabeth of York's arms, name, and badge, the Rose en Soleil; 
 Edmond, Duke of York's arms and name, 
 ant) I2tf) JUgfjtjS. King Edward IV.'s badge, the Rose en Soleil, arms, and name. 
 Richard Earl of Cambridge's arms and name. 
 
 I3tf) aittr 14-tfj fUgfjtg. Richard, Duke of York's badge, the Falcon, within the closed 
 fetterlock, name, and arms. Falcon within the fetterlock ; and the White Lion of 
 the House of York supporting a banner charged with a falcon within an open 
 fetterlock. 
 
 The plan of the west windows, over the Minstrel Gallery, which give the 
 arms, &c., of Henry VIII.'s six wives, and their issue, is as follows : — 
 
 dpper ZEJmaotog, or QDfjer ILtgfjtj*. 
 
 Arms of the Order of St. John of Jerusalem. Arms of the Archbishopric of York. 
 Arms of Thomas Docwra, Prior of the Order. Arms of Cardinal Wolsey. 
 
 In the spaces above are Henry Villi's arms, badges, and cyphers. 
 1 jst attB 2ttB JLtg^tfi. Katherine of Arragon's motto "Tanta Monta," arms, and name. 
 
 " Vivat Rex ;" Device, "Dieu et mon Droit." 
 3tB attB 4tT) JLtgtjtg- Anne Boleyn's motto, "Mihi et Meos," arms, and name. " Ed- 
 wardus Sectus Rex ; " and arms in garter. 
 attB 6t1) JUgTjtgi. Jane Seymour's motto, "Bound to Obey and Serve," arms, and 
 name. " Dieu et mon Droit ; " " Fleur de lys ; " " Mon Joie, St. Denis." 
 Centre 3Ltgt)t0. Figure of Henry VIII ; " Henricus Octavus Rex." " Maria Regina ; " 
 Arms in garter. 
 
 gti) ant> iott) Htgtjtg. Anne of Cleves' motto, "God send me well to kepe," arms, and 
 name. " Dieu et mon Droit ; " Portcullis, " Altera Securitas." 
 
 utl) attB I2tl) 3LtOf^)t0. Katherine Howard's motto, " Toujours Loyal," arms, and name. 
 " Elizabetha Regina." Arms in garter. 
 
 1 3^ ana 14^) JLtg^tS. Katherine Parr's motto, "Amour avec Loyaute," arms, and 
 name. " Vivat Regina," Device ; " Semper eadem." 
 
84 
 
 Great Hall. 
 
 These are thirteen in number, each consisting of eight lights ; the space 
 of what would be the fourteenth window is occupied by the great south bay 
 window. Six of them set forth the pedigrees of Henry VIII.'s six wives, 
 who all traced descent from Edward I., with their badges, arms, and 
 legends. 
 
 The intermediate seven windows are occupied with the heraldic badges 
 and "beasts" of Henry VIII — The Lion, the Portcullis, the Fleur-de-Lys, 
 the Tudor Rose, the Red Dragon of the House of York, the White Grey- 
 hound of the House of Lancaster ; and with the cyphers H. R., etc., and 
 mottoes " Dieu et mon Droit," and " Dne. Salvum Fac Reg." 
 
 JFtrgt CMtnUofol (South side). il Katherine of Arragon, isl ivife of King Henry ye 
 Eight, her pedigree from King Edward ye First, 6° his 1st wife Eleanor of Castile. — 
 King Edward ye First married, 1st Eleanor of Castile — King Edward ye Second married 
 Isabel of France — King Edward ye Third married Philippa Pamaula — John, Duke of 
 Lancaster, married Blanch Plantagenet. John, Grand Master of Airs, married Philippa 
 of Lancaster — John, Prince of Portugal, married Isabel of Braganza — John, King of Leon, 
 married Isabel of Portugal — Ferdinand, King of Spain, married Isabel of Leon." 
 
 CfjtrH 2BmtJ0to (South side). " Anne Bullen, 2nd wife of King Henry ye Eighth, her 
 pedigree from King Edward ye First and his 2nd tuife, Margaret of France. — King Edward 
 ye ist married 2nd, Margaret of France — Thomas, Earl of Norfolk, married Alice Halys — 
 John, Lord Segrave, married Margaret de Brotherton — John, Lord Mowbray, married 
 Elizabeth Segrave — Thomas, Duke of Norfolk, married Elizabeth Fitzalan — Syr Robert 
 Howard married Margaret Mowbray — John, Duke of Norfolk, married Catherine Molyns — 
 Thomas, Duke of Norfolk, married Elizabeth Tylney — Thomas, Earl of Wiltshire, 
 married Elizabeth Howard — Anne Bullen, daughter of Thomas, Earl of Wiltshire. " 
 
 jFlftlj CHutUoto (South side). "Jane Seymour, 3rd wife of King Henry ye Eighth : 
 her pedigree front King Edzvard ye First and his 1st wife Eleanor 0/ Castile.— King 
 Edward y e First married Eleanor of Castile — King Edward y e Second married Isabel of 
 France — King Edward y e Third married Philippa of Pamaula — Lionel, Duke of Clarence, 
 married Elizabeth Burgh — Edmond, Earl of March, married Philippa of Clarence- 
 Henry, Lord Percy, married Elizabeth Mortimer — John, Lord Clifford, married Elizabeth 
 Percy — Syr Philip Wentworth married Anne Say — Syr John Seymour married Margaret 
 Wentworth." 
 
 Ctgfjtf) dttttUoto (North side). " Anne of Cleves, 4th wife of King Henry ye Eighth ; 
 her pedigree from King Edward ye First and his 1st wife, Eleanor of Castile. — King 
 Edward y e First married 1st, Eleanor of Castile — John, Duke of Brabant, married 
 Margaret Plantagenet — Lewis, Count of Flanders, married Margaret of Brabant — Philip, 
 Duke of Burgundy, married Margaret of Flanders — John, Duke of Burgundy, married 
 Margaret of Bavaria — Adolphus of Cleve married Mary of Burgundy — John, Duke of 
 Cleve, married Elizabeth of Hevers — John, Duke of Cleve, married Maud of Helse — John, 
 Duke of Cleve, married Mary of Juliers." 
 
 tEetlt^ COtnSorjj (North side). " Katherine Howard, $th wife oj King Henry ye 
 Eighth : her pedigree from King Edward ye First and his 2nd wife Margaret of France. — 
 
Side Windows. 
 
 85 
 
 King Edward y e First married 2nd, Margaret of France— Thomas, Earl of Norfolk, 
 married Alice Halys— John, Lord Segrave, married Margaret de Brotherton— John, Lord 
 Mowbray, married Elizabeth Segrave— Thomas, Duke of Norfolk, married Elizabeth 
 Fitzalan — Syr Robert Howard married Margaret Mowbray— John, Duke of Norfolk, 
 married Katherine Molyns— Thomas, Duke of Norfolk, married Elizabeth Tylney— Lord 
 Edmond Howard married Joyce Colepeper— Katharine, daughter of Lord Edmond 
 Howard. " 
 
 t£toelftt) CCI tntlOto. Katharine Parr, 6ih wife of King Henry ye Eighth ; her pedigree 
 from King Edward ye First and his 1st wife Eleanor of Castile.— -King Edward y e First 
 married 1st, Eleanor of Castile— King Edward y e Second married Isabel of France — King 
 Edward y e Third married Philippa of Hainault — John, Duke of Lancaster, married 
 Katharine Roet — Ralph, Earl of Westmorland, married Joanne Beaufort — Richard, Earl 
 of Salisbury, married Alice Montacute — Henry, Lord Fitzhugh, married Alice Nevel — Syr 
 William Parr married Elizabeth Fitzhugh — Syr Thomas Parr married Maud Green- 
 Katharine, daughter of Syr Thomas Parr. " 
 
 $3aj) SJJHtnfooto. This great bay window 011 the dais, extending nearly 
 from the floor to the roof, and containing as many as forty-eight lights, is 
 one of the finest in England, It bears some resemblance, but is superior 
 to the one at Christchurch, and has much affinity to that at Eltham Palace. 
 The roof of the bay consists of a miniature fan-groin of exquisite delicacy 
 and beauty, with pendants. The raised step, or "hal-pace," as it was 
 called, was formerly paved with green and white tiles, which have been 
 " restored " away and replaced by unsuitable flagstones. The stained glass 
 in this window, which was inserted by Willement, in 1841, contains the 
 arms, initials, and badges of Henry VIII., the arms and motto of Jane 
 Seymour, " Bound to obey and serve," and the arms of Wolsey, with his 
 motto " Dominus mihi adjutor." In the lower lights is the device "The 
 lorde Thomas Wolsey, Cardinal, legat de latere, Archbishop of York, 
 Chancellor of Englande." 
 
 Cf)0 dFlOOt is now paved with large plain white flag-stones, put down 
 when the restorations were carried out. They are entirely out of character 
 with the rest of the decoration, and should be replaced by the small tiles, 
 with which, as we learn from the old account, it was formerly paved, and 
 which were suffered to remain till a comparatively very recent period. At the 
 beginning of this century there still existed, somewhere at the lower end of 
 the hall, beneath the floor, the old stage trap-door, which was made in the 
 reign of James I., and opened into the cellars below. No trace of it is now 
 apparent. 
 
 In the centre of the floor, in Tudor days, was the open hearth, such as 
 survived until a few years ago in Westminster School. Relating to this we 
 find an item in the oft-quoted old accounts for " hewing and settyng the 
 pavyng of the herthe in the Kynge's new hall, of Reygate ston," its size 
 
86 
 
 Great Hall. 
 
 being six feet square. Here fires of blazing logs of wood and charcoal, 
 afforded both light and heat, while the smoke, escaping through the 
 " femeral " in the middle of the roof, was carried off by the draught 
 without leaving any noxious fumes behind. 
 
 W§Z JifOtttS arranged on the walls, above the tapestry, are the remnants 
 of a collection begun about the time of Queen Elizabeth. They were one 
 of the sights of the Palace, and Evelyn speaks in his Diary of " the vast 
 beames of stags, elks, and antelopes " as " very particular." 
 
 Qtyt " dFemetal " Or " 3L0Ubte," which was an essential feature both of 
 the exterior and interior of every Gothic hall, probably fell a victim to the 
 " improving " hand of Kent the architect, who was commissioned by 
 George II. to repair the hall ; as after his time it is not indicated in any 
 of the engravings of the Palace. Its exact design can only be conjectured 
 from extant examples, such as that on the Hall of Trinity College, 
 Cambridge, and that of Westminster Hall (which is believed to be a fair 
 restoration of the original), and from the records of its construction. Inside 
 there were three pendants of oak, and " a carved rose crownyd standyng in 
 the crowne vought." It was coloured blue, and probably studded with 
 gilt stars. Outside there were numerous pinnacles on which were placed 
 several heraldic " Kynges beastes " four lions, four dragons, and four grey- 
 hounds, all of which were elaborately painted, and bore gilded vanes; 
 while as a centrepiece was " a great lyone crownyd, baryng a great vane, 
 layde in oyle, servyng the toppe of the femerall." 
 
 2Bat0, flt J^tflj) Hace. It was on this raised step, that the Royal 
 table was placed across the upper end of the hall, the King sitting in the 
 middle and the principal guests on either side of him ; while inferior 
 persons were accommodated at the long tables placed lengthways down the 
 hall. On the left hand side of the dais, opposite the bay window, is a 
 doorway, now hidden by tapestry, which communicates with the " Horn 
 Room." (See page 101.) At the back, over the door into the adjoining 
 Presence Chamber, has been placed in modern times, a richly-carved stone 
 bracket inscribed " Saynt George for merrie England," on which in full 
 armour stands the saint, transfixing the dragon with his spear. The two 
 figures in armour, on smaller brackets, on each side, came from the Tower, 
 and were erected about the same time. 
 
 The door on the dais is doubtless modern. 
 
Tapestries in the Great Hall. 
 
 87 
 
 lapeatries in fye iireat liJaU. 
 
 N the Cardinal's time no palace in Europe was as celebrated as 
 Hampton Court for the quantity of splendid Arras hangings that it 
 contained. For this form of artistic decoration Wolsey appears 
 in fact to have had a perfect passion ; and he had not been in pos- 
 session of the manor a year before he was in negotiation for its purchase 
 wholesale. Again, in 1522, he bought at one bargain twenty-one complete 
 sets, for as many rooms, and consisting of 130 pieces. And he continued 
 to collect more tapestry, until every room of importance in the Palace was 
 covered. Several of the pieces that still remain here are to be identified as 
 having belonged to him. 
 
 Under the Minstrel Gallery are now placed the inferior pieces, consisting 
 of a duplicate of "The Triumph of Fate," described on page 97, and of 
 
 TT e Bfovp of Hercu&e. 
 
 Of this subject, which must formerly have consisted of several pieces, only 
 two now remain. They are much inferior to all the rest of the tapestry here. 
 ^L\)t jf irjaft Piece portrays Hercules with Diomede's mares. Above it is the legend : — 
 DtoeuemEi . a . Us . cljctoaur. . uonnat . samr. . estrancrjcr 
 Cur. . J?ercttlegf . le . fiest . Itti . pruprc . a . legs . cTjenauljc . mengiet. 
 
 Ctje SccotttJ Jptece exhibits the Death of Hercules. Above is the legend : — 
 
 Dtantra . pour . ft . ogter . Be . oeuure . tmunoc . la 
 
 (Hljemigie . lut . trangimtgt . par . Jlicag, 
 £Butt . mt0t . a . mort . et . le . pdtsf . preuje . rrn . mcnue . ftna, 
 
 llegf . joursi . par . cc . madjeurair . cas. 
 
 In the centre is Hercules with the skin of the Nemxan lion and his club, clothed in the 
 tunic which his wife, Deianeira, had steeped in the poisonous blood of the Centaur, 
 Nessus, who had revengefully assured her that it would act as a love-philtre. By the hero's 
 side is the altar whereon he was about to offer sacrifice to Zeus when the venom began 
 to eat into his flesh. Above are seen deianira, and lvcas, the bearer of the fatal 
 garment. Below to the right is shown the hero again, apparently in pursuit of the horned 
 hind, his third labour. 
 
88 Tapestries in the Great Hall. 
 
 X$fr Iliporj of :H6wfc>i). 
 
 But by far the finest tapestries at Hampton Court are the eight pieces 
 (belonging to a series of ten) illustrative of episodes in the life of Abraham, 
 which now adorn the walls of the body of the Hall, and which for richness 
 and splendour are scarcely to be matched in Europe, and certainly not in 
 England. Their present condition, however, with the masses of gold thread 
 dulled and tarnished, and the once lustrous silks worn and faded, can give 
 but an inadequate idea of their former brilliancy. 
 
 There would seem to be little doubt, although we possess no positive 
 proof of the fact, that they were executed after designs by the Flemish 
 painter, Bernard van Orley, and probably under his personal superinten- 
 dence at Brussels. Van Orley, who was a native of that town, travelled in 
 Italy during the beginning of the sixteenth century, and there became a 
 careful student of Raphael, if he did not actually work in his studio. The 
 influence of that great master's style is therefore clearly discernible in all 
 his works, and not least in those before us. On his return to his own 
 country, about the year 1520, he was named Court Painter to Margaret of 
 Austria, Governess of the Netherlands, and after her death in 1530 he held 
 the same post under her successor. During this time until his death in 
 1 541, he frequently drew designs for tapestry, and from this period " The 
 History of Abraham " undoubtedly dates. 
 
 On the verge of one of the pieces are two " B's," with a plain red escut- 
 cheon between them, which was the mark of the manufactory of Brussels. 
 An incomplete set, similar, but much inferior, to this, is preserved in the 
 Museum at Munich, and is likewise attributed to Bernard van Orley. 
 
 From the above circumstances and dates it would seem improbable that 
 these tapestries could have belonged to Cardinal Wolsey, and the fact that 
 they are not found in the inventory of his goods confirms this view. Probably 
 they formed the subject of a royal gift to Henry VIII. At any rate, they 
 were in his possession, for they occur in an inventory, taken at his death, 
 among the tapestries at Hampton Court: "Tenne peces of newe arras of 
 thistorie of Abraham," with the dimensions of each piece given. Ever 
 since that time they have remained here, the admiration for three centuries 
 and a half of every visitor to the Palace. 
 
 Hentzner, who made his tour in England in 1598, speaks of the chambers 
 at Hampton Court shining with tapestry of gold and silver, and silk of 
 
History of Abraham. 89 
 
 different kinds. And the Duke of Saxe-Weimar, who visited the Palace 
 in 1613, specially refers in his diary to "Several pieces, containing the 
 story of Hagar's delivery ; how Abraham is about to offer his son Isaac, how 
 Isaac courted, etc. The dress, landscapes, buildings, and the like, are 
 in gold, silver, and variegated silks, so artistically worked as though they 
 had been carefully painted with colours." 
 
 In the inventory taken in October, 1649, of Charles I.'s goods at Hampton 
 Court, by the commissioners appointed by the Long Parliament, the "Ten 
 pieces of Arras hangings of Abraham, in the custody of Wm. Smithbie, con- 
 taining 826 yards," were appraised at ^10 a yard, that is, ,£8260. This 
 high value is the more remarkable when we remember that Raphael's 
 cartoons were valued at only ^300, and that the prices paid at the sale for 
 a score of masterpieces by Raphael, Giorgione, Correggio, and Titian, which 
 are now among the brightest gems of the galleries of Madrid, Vienna, and 
 Dresden, scarcely amounted to that sum. In the inventory a note is 
 annexed to this entry : "Now in the use of the Lord Protector." 
 
 Evelyn mentions in his diary, in 1662, among the chief treasures of the 
 Palace, "the hangings designed by Raphael, very rich with gold," and adds, 
 " that the world can show nothing finer than the storys of Abraham and 
 Tobit." Since then they have at different times hung in different rooms, 
 till about the year 1839, when eight pieces were arranged in the Great Hall. 
 Unfortunately, the two others of the set were soon after removed from the 
 Palace altogether, and thus, for the first time in 300 years, separated from 
 the series to which they belonged. 
 
 $30Ctltt#, — Not less deserving of careful inspection than the subjects 
 themselves are the richly elaborate borders that enframe them, and which 
 consist chiefly of allegorical female figures, emblematic of the motives and 
 sentiments in the principal design. There are three of these figures, on 
 either side of each piece, standing beneath canopies, baldachins, or niches, of 
 fine classical work, with backgrounds of gold thread ; and at the bottom are 
 five more, seated. All of them are cleverly conceived, and many of them 
 exceedingly beautiful. The arabesque scroll-work and foliage intermediate 
 between them is in the most ornate style of the Renaissance. 
 
 The borders have been omitted from the following sketches of these 
 tapestries, because the designs are too minute to be indicated with any 
 success on a small scale ; but the names of the figures are inserted round 
 the edge of the engraving in their proper positions. Above each piece is 
 a Latin inscription, worked in capital letters on the skin of some animal, 
 and describing, more or less in the words of Scripture, the subject 
 portrayed. 
 
I. departure of &fctaf)am. 
 
 Apparet Deus Abrahce . Is Deijussu relinquit patriam . AZdificat aram 
 
 A dor at Deum. 
 
 APPARITIO . 
 Apparition. 
 
 . ANIMI . 
 PROMTITUDO 
 
 L ATRIA . 
 Worship. 
 
 EXILIUM . 
 Exile. 
 
 . ANIMI . 
 PROMTITUDO . 
 Promptitude. 
 
 SIMPLITAS 
 Simplicity ? 
 
 "Now the Lord had said to Abram, Get thee out of thy country, and from thy kindred, 
 and from thy father's house, and I will show thee . . . And give the land. ... So Abram 
 departed. . . . And there he builded an altar unto the Lord, and called upon the name of 
 the Lord."— Genesis xii. 
 
 II. IStttj an* OTtrcumctiston of Isaac ; ISiputeton of J^aflat, 
 
 Expellitur Agar cum Filio . Abraham dat commeatum . Puer siti perit . 
 plorat Agar . angelus earn solatur . fit Ismael Sagittarius. 
 
 DESPECTIO. 
 Slighting. 
 
 ZELOTYPIA 
 Jealousy. 
 
 FCEC UNDITA S. 
 Fruitfulness. 
 
 .LIBER PA TER. 
 Bacchus. 
 
 . OBEDIENTIA . 
 Obedience. 
 
 VITA 
 .SILVESTRIS. 
 Rural Life. 
 
 FUGA 
 Flight. 
 
 DESPERA TIO 
 Despair, 
 
 CONSOLA TIO , 
 Comfort. 
 
 .COMMISERATIO. 
 Commiseration. 
 
 . OBEDIENCIA 
 Obedience. 
 
 And Abraham circumcised his son Isaac, being eight days old, as God had commanded 
 him. "And Abraham rose up early in the morning, and took bread, and a bottle of 
 water, and gave it unto Hagar, (putting it on her shoulder,) and the child, and sent her 
 away. And she departed ; and wandered in the wilderness of Beersheba. And the 
 water was spent in the bottle, and she cast the child under one of the shrubs, and she sat 
 over against him, and lift up her voice and wept. And God opened her eyes, and she saw 
 a well of water. And God was with the lad ; and he grew and dwelt in the wilderness, 
 and became an archer." — Genesis xxi. 
 
III. <©atf) arib departure of ISltejer. 
 
 Juravit Eliezer sub femore Domini sui Abrahe [non ?] acceplurum se ejus 
 filio Isac de Chanan eorum filiabus sed de ejus cognotione — 
 Assimptisque came/is et muneribus abut Mesopotamiam. 
 
 VIRGINITAS . 
 Virginity. 
 
 LIBER PATER 
 Bacchus. 
 
 . OBEDIENTIA 
 Obedience. 
 
 . ANIMI . 
 . PROMTITUDO 
 Promptitude. 
 
 ACCEPTA TIO . 
 Acceptance. 
 
 INVOCATIO 
 Invocation. 
 
 " And the servant, Eliezer, put his hand under the thigh of Abraham, his master, and 
 sware to him that he would not take a wife unto Isaac of the daughters of the Canaanites, 
 but of his own kindred. And the servant took the camels of his master, and his goods, 
 and went to Mesopotamia." — Genesis xxiv. 
 
 iv a Return of <£araf). 
 
 Sara rapta ab Aigyptiis restituitur cum muneribus . Deus ostendit Abrahcc terram Canaan, 
 
 . LUX US . 
 Riot. 
 
 . A LAC RITAS 
 Alacrity. 
 
 "And Abimelech took sheep and oxen, and men servants and women servants, and 
 gave them unto Abraham, and restored him Sarah his wife."— Genesis xx. " And the 
 Lord appeared unto Abraham, and said, Unto thy seed will I give this land."— 
 Genesis xii. 
 
V. <&oli appear* to &fitaj)am an* promise* fjtm a son, 
 
 Deus apparet Abrahce—promittit filium — Sara ridet — Abraham orat 
 pro Zodoma. Ea cum a/tis urbibus celesti igne perit . 
 
 MISERICORDIA 
 Mercy. 
 
 . SIMPLICITAS 
 Simplicity. 
 
 " And lo, Sarah thy wife shall have a son. And Sarah heard it in the tent door which 
 was behind him. Therefore Sarah laughed within herself. . . . And Abraham drew 
 near and said, Wilt thou also destroy the righteous with the wicked ? And the Lord said, 
 If I find in Sodom fifty righteous within the city, then I will spare all the place for their 
 sakes."— Genesis xviii. "Then the Lord rained upon Sodom and Gomorrah brimstone 
 and fire from the Lord out of heaven."— Genesis xix. 
 
 VI. duping of tfje dFtelti of ISpftron. 
 
 Sara moritur. Abraham emit Agrum Mi in sepidturam. Ducit Ceturam 
 
 Moritur sepelitur, 
 
 And Sarah died in Kirjath-arba . . . And Abraham weighed to Ephron the silver, 
 and the field of Ephron, which was in Machpelah, and all the trees that were in the field 
 were made sure unto Abraham. . ."—Genesis xxiii. "Then Abraham took a wife, and 
 her name was Keturah . . . And Abraham gave up the ghost, and died in a good old 
 age ; and his sons Isaac and Ishmael buried him." — Genesis xxv. 
 
vil. Separation of &tiTaf)am an* Hot. 
 
 Ad vitanda jurgis Abraham dedit Loth eligere locus mansionis . Abraham 
 habitat in Canaan . Loth pergit ad Sodomam. 
 
 . DISCRETIO 
 Discretion. 
 
 ^W^,^ A oj * CONCORDIA 
 
 CONTEA TIO . 
 Contention. 
 
 INVOCATIO 
 Invocation. 
 
 . AMICITIA 
 Friendship. 
 
 REQUIES 
 Rest. 
 
 . ELECTIO , 
 Choice. 
 
 'And Abraham said unto Lot, Let there be no strife, I pray thee, between me and 
 thee ; for we be brethren. Is not the whole land before thee ? Separate thyself, I pray 
 thee, from me ; if thou wilt take the left hand, then I will go to the right ; or if thou 
 depart to the right hand, then I will go to the left . . . Then Lot chose him all the plain 
 of Jordan : Abraham dwelled in the land of Canaan, and Lot dwelled in the cities of the 
 plain, and pitched his tent towards Sodom." — Genesis xiii. 
 
 VIII. Sacrifice of Jteaac. 
 
 Abraham Divino oraculo jubetur immolare unigenitum suum filiutn Isaac. 
 
 CONST ATI A 
 Constancy. 
 
 SIMPLICITAS 
 Simplicity. 
 
 . PROMISSIO 
 Promise. 
 
 "And God said, Take thy son, thine only son Isaac, whom thou lovest, and get thee 
 into the land of Moriah : and offer him there for a burnt-offering upon one of the moun- 
 tains which I will tell thee of."— Genesis xxii. 
 
94 
 
 Henry VI I L 's Great Watching Chamber. 
 
 g*pg*^LTHOUGH this room is usually styled the " Withdrawing Cham- 
 f0 (I her," there is no doubt that it was originally the Great Watching, 
 |J^y >1 or Guard Chamber, to Henry VIII. 's State Rooms. It is, 
 ^^saJ perhaps, from its air of Gothic gloom and antiquity, the most 
 charming room in the palace. It was built by Henry VIII. about 1536 ; 
 and Jane Seymour's cypher and his own are to be discerned among the 
 decorations in the ceiling. Its dimensions are 61 ft. 10 in. long, 29 ft. 
 wide, and 29^ ft. high. 
 
 (RtillVift. The design of this ceiling is late Tudor; it is flat, but ornamented 
 with oaken ribs and pendants, between which are various royal cognizances : 
 the portcullis, rose, and fleur-de-lys. In some of the compartments occur 
 the royal arms impaled with Jane Seymour's, and the initials H. and J. 
 linked with the true-lover's knot, indicating that the decoration must have 
 been finished about 1536. The ceiling, which had become rather decayed, 
 has recently been restored and repainted. Specimens of similar work are 
 to be seen above the ante-room and staircase to the Royal Pew in the 
 chapel, and in one or two rooms in the eastern range of the First Court. 
 
 $£0Utttl ISag 21^ttttJ0fcD. This is remarkable as being one of the very few 
 existing examples of an ancient Gothic window in the semicircular form. 
 It extends the whole height of the room, and is composed of three main 
 compartments, each of which consists of four tiers of three lights, making 
 altogether thirty-six lights. 
 
 The stained glass, which chiefly shows Wolsey's arms, mottoes, and 
 devices, and those of the Bishoprics of Durham, Bath and Wells, Winchester, 
 and York, are entirely modern, having been executed by Willement, about 
 forty years ago. The window abuts on to the Round Kitchen Court. 
 
 In the recess of the window is a fine antique sculpture in white marble 
 of Venus lying on a couch. 
 
 In the far corner of the room are two doors behind the arras, one 
 leading into a small Tudor closet, the other into the " Haunted Gallery " 
 (see page 67) and Catherine Howard's lodgings. 
 
 Over the doorways are strips of tapestry with Henry VIII.'s arms, 
 supported by the Lion and the Dragon, and the Tudor badges, the fleur-de- 
 lis, rose, and portcullis, crowned. They are part of the original decoration 
 of the Palace, and were most likely wrought in England. 
 
Tapestries in the Great Watching Chamber. 95 
 
 Iape0trie2u 
 
 m iCtenrp tmiVg Oreat ISBCatcijino; GCljamber* 
 
 IT will be observed that the Arras hangings here are of a more 
 I antique character than those in the Hall, and harmonize well 
 with the quaint and sombre aspect of the room. They are 
 I entirely Gothic in conception, though here and there the 
 influence of the Renaissance is betrayed in the treatment of detail. 
 
 I. 
 
 tXnBnotSt) XiifioricaP £?u8jcct 
 
 This is of considerable excellence and interest. From the style, the cos- 
 tumes, the surroundings, and the treatment, it would appear to illustrate 
 some historical incident towards the close of the fifteenth century. 
 
 In the foreground is a female figure kneeling, and offering a chalice to a man standing 
 opposite to her, who appears to be admiring it, but refuses to accept it from hei\ By her 
 side is an elderly lady conducting her forward, presenting her to the man, and a number 
 of other people looking on. Behind, on a raised dais, are seated three queens with 
 sceptres, and behind them is an open gallery, through the windows of which numerous 
 persons are surveying the scene. Below, to the right and left, are many others, some in 
 conversation or dalliance, and some playing on lutes and other instruments. 
 
 II. 
 
 ."If' ®for& of p T£§x* Eafott Hai^e of 
 
 This consists of three pieces of old Flemish tapestry, similar in style to 
 that under the Minstrel Gallery. They were worked about the year 1470, 
 from three designs belonging to a set of six, illustrating in an allegorical 
 form Petrarch's Triumphs of Love, Chastity, Death, Fame, Time, and 
 Divinity. The pieces here are the third, fourth, and fifth of the series. Of 
 the third and fourth there are duplicates at the South Kensington Museum, 
 where there is besides the second of the series, the Triumph of Chastity. 
 
g6 Tapestries in the Great Watching Chamber. 
 
 The sixth, the Triumph of Divinity, is stated by Mr. Alan Cole to be at 
 Rheims. Every piece contains two distinct aspects of the incidents of the 
 story ; and, according to the usage of ancient art, the action of the second 
 part is continuous on that of the preceding part of the incident. Over each 
 part is a scroll with quaint old French verses or legends, worked in black 
 letter, indicating the moral of the allegory beneath ; and below are similar 
 scrolls with Latin texts. The three pieces here form a continuous story, 
 and it is probable that they were originally bought and sold as complete in 
 themselves. Wolsey was presumably the purchaser. At any rate, they are 
 mentioned under the title " Thre peeces of Arras of y e three fatall Ladyes 
 of Destenye, lyned with blewe buckeram," in the inventory of Henry VIII.'s 
 goods at Hampton Court in 1548. At Charles I.'s sale, the same three 
 pieces under the same title were sold, the 22nd of November, 1649, to Mr. 
 Boulton for ^47 ; but their removal was apparently prevented by Cromwell, 
 who soon afterwards selected Hampton Court as a favourite residence, and 
 ordered much of the furniture of the Palace to be " Reserved for the use 
 of the Commonwealth " — that is, for himself. For the last hundred years 
 or so they have occupied these walls. 
 
 1. ¥ e ftrtumpf) of JFate or Beatf). 
 
 This piece (which hangs to the left of the round bay window) portrays 
 the Triumph over Sensuality of Chastity, who in her turn is assailed by the 
 Fates, and ultimately subdued by them. 
 
 Left-hand Side. — Above is the legend : — 
 
 €omfctettque . I'omme . gott . rtjagte . tout . puBtque 
 Hess . geurg . fatalleg . par . leur . lot) . atttettttque, 
 'SErancient . leg . nerfg . et . filletj . tfe . la . tote, 
 3 . cela . la . mort . toug . less . tottoanss . amotrie. 
 
 On a car, drawn by four unicorns, is seated chastete, attended by her maidens, who 
 walk behind and at the side, carrying palms, while three angels suspend a veil above her 
 head. On the far side the three Destinies, labelled atropos, lachesis, and CLOTO, and 
 riding on bulls, are seen attacking her, Atropos holding the shears in her left hand and 
 with her right striking Chastity on the breast with her fatal dart. On the front part of the 
 car, at the feet of Chastity, is a naked boy with his arms bound, representing Cupid ; and 
 below is a figure labelled venvs being trampled under foot by the unicorns which draw 
 the car, and on the backs of which angels are seated bearing lilies emblematic of Purity. 
 In the foreground, on this side of the car, is LVCRECE, bearing a long pillar, with her 
 train held up by a youth, bonvolonte, who offers her the dagger with which she 
 destroyed herself after her violation by Tarquin. On the other side is a man on horseback 
 labelled chipionlafican (that is, Scipion 1'African). 
 
Right-hand Side. — Above is the legend : — 
 
 He . Cljasste . att . fort . plug . gamement . peitft . bilire, 
 £Uu . £fc . treutoe . t>e . gransf . fctcesi . Beltfcre; 
 Q9atsf . a . Ta . fin . tl . ng . a . rop . ne . pape 
 ©rant . nc . petit . qui . He . $t$ . (as . egctjappe. 
 
 Here the three Fatal Ladies are represented in a gorgeous triumphal car, drawn by four 
 bulls, richly caparisoned, and ringed at the nose. In the centre enthroned aloft is 
 APROPOS, with her right hand resting on a skull and her left holding the shears and slit- 
 ting the thin-spun thread of life, which CLOTO, on her left-hand side, is spinning from 
 the distaff, and lachesis on her right, is twining. At their feet lies Chastity, captive 
 and powerless. A tablet on the car bears the verse : — 
 
 CLOTO . COLVM . BAIVLAT . NET . 
 LACHESIS . ATROPOS . OCCAT . 
 
 On this side of the car is a warrior on foot, grasping in his right hand a javelin inscribed 
 grevance, and bearing on his left shoulder two clubs, PERSECVCION and CONSOMACION. 
 On the further side is a crowd of figures being knocked down and crushed by the relentless 
 progress of the Car of Fate. Underneath the wheels and the bulls' feet lie many prostrate 
 forms, which are being trampled on ; and among them may be distinguished a king in 
 his crown and robes, a burgher, a knight in his helmet, another king, and a pope with the 
 triple tiara and cross. Preceding the car is an armed figure, COVRONS, brandishing in his 
 right hand a javelin, labelled malhevr, and carrying over his left shoulder a club, 
 labelled fortitvdo. 
 
 There is a duplicate of this piece, with slight varieties, under the Minstrel Gallery. 
 
 H 
 
9 8 
 
 Tapestries in the Great Watching Chamber. 
 
 2. ¥ e CrtumpJ) of Iftenoton. 
 
 In this piece (which covers the south wall of the room) near the bay 
 window, is shown the overthrow of Destiny or Death by Fame or Renown. 
 
 Left-hand Side. — Above is the legend : — 
 
 Ha . ($)ort . mom . tout, . mate . clere . Stenomee, 
 £ur . SPort . trtumptje . ct . la . ttettt . ueprimee 
 jDe00ou&0 . 000 . pteU0, . mats . apre0 . 0es . effor0 
 JFame . 0it0ctte . Ie0 . ^attlt0 . fat0 . Be . gen0 . mot0. 
 
 Here we see again the Car of Fate, with the same motto on it as before, but lachesis 
 and CLOTO are lying prostrate under the wheels ; and ATROPOS is tottering from her throne, 
 stunned by the blast of the trumpet of Fame, which renomee is sounding in her ears. 
 All around the car. in answer to the summons of Renown, throng a host of figures, 
 labelled with the names of departed heroes, such as roi priam paris, hercvles, 
 
 MENELA, ALEXANDER, SALATINO. 
 
 Right-hand Side.^ — Above is the legend : — 
 
 flEUtt . par . dirtu . ottt . merttee . glotre, 
 
 2&u' . aprc0 . leur . ^ort . Be . Jeura . fai0 . 0ott . memotre, 
 
 3lncltte . fame . ttett0t . famai0 . congnot0attce 
 
 IDe . JLet^eus . le . grant . lac . u'ouMtance. 
 
 The same incident in another aspect is continued here, renommee, represented as a 
 very beautiful winged female figure with a trumpet, is now standing on a magnificent car, 
 drawn by four elephants, and captive at her feet appears ATROPOS seated. Attendant on 
 her are a crowd of heroes, on foot and on horseback, one of whom with an imperial 
 crown is intended for Julius Caesar. Others are labelled TORQVAT, CAThon, martias, 
 po'pee le grant, fabirvs maximvs. 
 
Story of the Three Fatal Ladies of Destiny. 99 
 
 vs. vi. 
 
 1 
 
 a ^ 
 
 y 
 
 1' 
 
 J,; 
 
 
 
 
 3. ¥ e Criumpf) of Ctme. 
 
 Finally, there is portrayed in this piece, which hangs opposite the last, 
 on the north wall, the ultimate triumph of Time over Renown or Fame. 
 Left-hand Side. — Above is the legend : — 
 
 flDuoique . fame . tnclttc . et . fjonoree 
 apres . la . Ctt9ort . gfoit . te . tongue . nuree 
 Clcre . et . kpgsant . neantmotns . tout . pe . pagsse 
 3Eout . gsoblie . par . temps . et . longues . passe. 
 
 The car of renomme is again shown here, but it is now turned in the opposite direction, 
 and both the elephants that draw it, and the surrounding throng on horseback and on foot, 
 appear to be in flight before some overmastering influence. Above this part of the picture 
 are shown the signs of the Zodiac — Gemini and Cancer — and the flight of the fleeting 
 hours, represented as female figures. 
 
 Right-hand Side. — Above is the legend : — 
 
 JLonguement . fchjre . que . t'aura . prouffite, 
 Jlluant . tu . setae; . es . latebrea . geete 
 3De . ce . tuel . temps . qui . tout . ronge . et . affine, 
 <£t . Dure . aptes . que . fame . meutt . et . fine. 
 
 The car of Time is here shown, drawn by four winged horses. Renown is seated in 
 front submissive at the feet of Time, represented as an old man with a flowing beard, 
 crutches, and wings. Over all this are more fleeting hours, and the sun in a full blaze of 
 splendour in the sign of the Lion. 
 
 Below, in the centre of this piece, is a scroll, with the motto in hopeless dog- Latin : — 
 
 3EemportDus . fulcor . quantumlibet . tnclttu . fama. 
 
 3IpSa . me . clauserunt . tempore . seta . ptam. 
 
 flDuttJ . proDest . Dtrisse . Dtu . cum . forttter . efco. 
 
 SlfcDiDtt . in . latebris . jam . me . tempus . eDar. 
 
ioo Tapestries in the Great Watching Chamber. 
 
 III. 
 
 "*TT e £ffor£C of p jSfcaSetj X)ca&Gc 8$m9*." 
 
 This consists of three pieces hung on the west side of the room, which 
 appear to belong to a series of " Nine peces of y e Storye of y e 7 Deadlie 
 Synnes " which, in VVolsey's time, hung in the Legate's chimber. They 
 are exceedingly curious and pleasing specimens of old Flemish design 
 and manufacture, and are in a fair state of preservation. The compositions 
 Are all allegorical, and indicate the repulsiveness of sin, man's surrender 
 thereto, and God's mercy in pardoning him. 
 
 First Piece — (On the left of the door) below is the legend : — 
 
 Per . cotum . tneiptengs . prtmo . toanum I %eptem . peccata . sicut . jrenerantur 
 (&9ortale . fit . atque . peranum | 31n . muntio . figuraltter . \\t . nolantur. 
 
 which is too bad Latin to be translated literally ; but which seems in substance to mean 
 that "The seven deadly sins are generated in the world, like as the canvas, which is at 
 first formless, becomes by means of the loom covered with shapes." 
 
 Here we see ^ttperbta riding on a nondescript, <©ula on a goat, Slmpenttentta on a 
 camel, JLururia on a pig, 31tlt)ttita on an ass, 3!ra on a griffin, and another vice with 
 an ape. They are being dispersed by %pejS. Further to the right are a king and his 
 attendants, and a figure of ^uimlttag. 
 
 Second Piece. — (On the right of the door) above is the legend : — 
 
 $htte . 31 uB I cent . tn . Strtutum . pregenria (pinatur . Culpa . a . 3lu0ttcia 
 
 arrrjetunt . 3Iusfticta . tt . ^tsiertcomta $>eB . rrcongiltatur . a . SgHsertcortita 
 
 (Elbi . apparet . Jfottttuuo . bene&kta peccata . tn . ete?num . cagttguntur 
 
 Campum . Degetunt . gemper . Beltcta Per btrtutesf quae nott ntortuntur, 
 
 which is explanatory of the incidents portrayed, and may be translated thus : "Justice 
 and Mercy plead before the Judge in the presence of the Virtues. Crime is threatened by 
 Justice, but reconciled by Mercy. Where blessed Fortitude appears, faults always leave 
 the field. Sins are chastised eternally by Virtues that never die." 
 
 On the left are several female figures in rich Gothic attire, labelled 3(u0ttcta, jFtBesf, 
 and (ffarttag. Near them is a woman, JFemme, holding a scroll inscribed " SlgcenBtt 
 JBDotSl per jFenesitrajS" (Death ascends through the windows). Next is a figure of 3|tt0ttCta 
 with sword uplifted to strike man, I^omo, but £&9t0ertcortJta intervenes to save him. 
 
 Above is the Deity, represented under the figure of " three old persons, in episcopal 
 habits, with crowns on their heads and sceptres in their hands " — as they are described by 
 a visitor to Hampton Court in 1613. Before Him are pleading Par, dJStSfericortlta, 
 {[lerttai*, and 3fU)Stteta. More to the right is the same man with " ©ratta Det ' pre- 
 senting armour to him, and with par. holding his helmet. 
 
The Horn Room. 
 
 101 
 
 orn 
 
 oom. 
 
 |HIS curious room takes its name from having been for many 
 years the receptacle of a large number of horns and antlers, 
 originally got together by Queen Elizabeth, and added to by 
 succeeding sovereigns, until the collection became, in the time 
 of Charles II., one of the finest in the kingdom. Some of the horns that 
 still remain are now fixed to these walls, while others are placed in the Hall 
 and the Great Watching Chamber. 
 
 This room had long been used as a lumber room, but in accordance 
 with a suggestion of the author's, was recently cleared, redecorated and 
 hung with tapestry, and opened to the public ; and the old staircase, up 
 which the dishes were formerly brought from the serving place and 
 kitchens to the royal table on the dais, reopened and restored to view. 
 The door that gives access to the dais is now hidden by tapestry. 
 
 The railing of carved oak, gilt, now placed here, is an altar-rail, apparently 
 of the time of Charles II., which had lain disregarded in the stores for 
 many years. 
 
 'Ctapcetr^ nj tfc X3orij Boom* 
 
 i. 
 
 Oln Hletmgrtj iQfece* 
 
 The subject of this piece is unknown. A bare description of it, there- 
 fore, is all that we can offer the reader. 
 
 Ileft'tjant) %tBe. In the upper part are four horsemen, one with a vizored helmet, 
 turned to the right and advancing towards, and perhaps charging, a king who is riding 
 on a gigantic griffin, and holding out a purse. Below this are two women and three or 
 four soldiers on foot, and a lady on horseback attended by a driver with a switch. 
 
 IRtgtjt'ljatttJ %ttJP. In the upper part is an angel offering a chalice to two knights on 
 horseback, one of whom holds a club in his left hand, and has his right hand on his 
 breast. Near them are two women, one stooping to pick up some fruit, and the other 
 giving some to a child. Below we see a horseman, with three attendants on foot, and a 
 king on horseback, with a sword in his right hand, and the orb of empire in his left. 
 
 II. 
 
 g$iX iQiece0 of tlje J^torp of ^eneatf* 
 
102 
 
 Clock Court. 
 
 ourt 
 
 lOST of this court was built by Cardinal Wolsey, though it now 
 presents, from the alterations it has undergone, a very different 
 appearance. Previous to the erection of the Astronomical Clock it 
 was known as the " Inner Court," the " Stone Court," or " Y e Court 
 where ye ffountayne standyth," from a fountain that was placed here by 
 Henry VIII. A new fountain was erected by Queen Elizabeth in 1590; 
 and Hentzer, the German traveller, who visited Hampton Court soon after, 
 speaks of there being in " the centre of the chief area which is paved with 
 stone, a fountain that throws up water, covered with a gilt crown, on the 
 top of which is a statue of Justice supported by columns of black and white 
 marble." Norden the surveyor, in his "Description of Middlesex," 1593, 
 also records that " Queen Elizabeth hath of late caused a very beautiful 
 fountain to be erected in the second court, which graceth this Pallace, and 
 serveth to great and necessary use." And the Duke of Wirtemburg, who 
 came to England in 1592, was also much struck with this "splendid and 
 massy fountain, with an ingenious waterwork by which you can, if you like, 
 make the water play upon the ladies and others who are standing by and 
 give them a thorough wetting." The fountain was removed by William III., 
 and the existing one substituted in the new court built by Sir Christopher 
 Wren. This court is 133 ft. 6 in. from north to south, and 97 ft. 10 in. from 
 east to west. 
 
 ISltfttOr Of ©teat JSall. This occupies the whole of the north side of 
 the court, and with its great windows, buttresses, and pinnacles forms a very 
 imposing feature. The small windows on the first floor light the vast 
 cellars which extend under the whole of this part of the building ; and in 
 which are several great stone pillars supporting the groining on which rests 
 the floor of the hall. Some forty years ago a " restorer " began to remove 
 these pillars, and was on the point of bringing the whole edifice about his 
 ears, when someone fortunately interposed in time, and interrupted his 
 career of "improvement." Those which he had demolished are now 
 replaced by wooden props. 
 
 The battleittntt of the Hall was repaired in the reign of George II., when 
 the " Kynges beastes " which formerly carried gilded vanes and stood at the 
 top of each buttress, were removed. They have been lately restored. 
 " TJie lyon and dragon in ston standyng at the gabyll ends of the Kynges 
 
Clock Court. 
 
 103 
 
 New Hall " and the "16 beasts in free ston standyng uppon the crest at both 
 the gabull ends of the sayd Hall " are modern restorations. 
 
 IBxUwx of ©teat ffialL 
 
 QIartltnal SSHolSeg'S %LX\X18. On the Clock Tower, just over the archway 
 into the court, are the arms of Wolsey, surmounted by a cardinal's hat, in 
 terra-cotta, with his motto " domine michi adjutor." 
 
 $Tf)e (ftolonitatie on the south side of the court was built by Wren to afford 
 a suitable approach to the King's Grand Staircase, and also to mask the 
 irregular, but very picturesque range of buildings, with turrets and oriel 
 windows, behind it. Though out of place in an old Tudor court like this, 
 it is in itself very handsome ; and we trust that the idea that some years ago 
 possessed a few Gothic enthusiasts that it ought to be removed, may never 
 be realized, It consists of seven couples of Ionic pillars, with pilasters of 
 
io4 
 
 Clock Court. 
 
 the same order at either end against the wall, supporting an entablature 
 and balustrade at the top. Over the two middle couples are two large 
 carved vases of stone ; and below are ornaments of foliage, masks, &c. 
 
 Cetra-rOtta JffletfaUtOng Of tf)e OTaCSatS. On the turrets that flank the 
 archway on the inner side of the Clock Tower are two medallions of terra- 
 cotta containing busts of two of the Roman Emperors, similar to those 
 which have been already mentioned as inserted in the turrets on the other 
 side of the gateway, and on the great Gate-House. They are frequently 
 stated, without any sort of warrant, to have been presents from Leo X. to 
 Wolsey ; while the truth is, that they were ordered by the Cardinal himself 
 
 JHrtraHum of fulhts Otear. 
 
 of Joannes Maiano (a junior member of the famous family of sculptors of 
 that name). The sculptor's own letter, dated June 18th, 15 21, in which he 
 asks for payment of the balance of his account, and in which he mentions 
 that their cost was £2 6s. Sd. each, and that they were destined for " 'Anton 
 Cort," may be found in the British Museum. 
 
 dErPOfge ilVsf ©atetoaj). We owe this miserable piece of mason's Gothic, 
 consisting of an attempted imitation of an Early English doorway, a ridicu- 
 lous pointed window, and two new turrets, to the perverse ingenuity of 
 Kent, a tasteless architect much employed by George II., whose initials, 
 " G. R." with the date 1732, are carved on a stone below the windows. In 
 order to insert his own grotesque work he destroyed several fine oriel win- 
 dows in this range, which belonged to the state apartments of Henry VIII., 
 and at the same time spoilt the interior by dividing the large Gothic cham- 
 bers into small modern rooms. This part of the Palace was occupied by 
 the Stadtholder when he was driven from Holland by the French Revolu- 
 tion. 
 
Astronomical Clock. 105 
 
 &tronomtcal Hoc*. 
 
 I HIS curious old astronomical clock, which was brought forth 
 about three years ago from a shed where it had lain neg- 
 lected for nearly half a century, and by order of the Secretary 
 to the Board of Works, restored and made to go again, is one of 
 the most remarkable clocks in England. It was originally made for King 
 Henry VIII., in the year 1540, as is proved by an old inscription with that 
 date and the initials " N. O." stamped on an iron bar on the inside of the 
 dial. 
 
 Who tf)t t)£S(0tWt may have been has long puzzled antiquarians ; and a 
 careful search among the old records and State papers has failed to reveal to 
 us any artist or workman whose name would answer to these initials. It has 
 been suggested, however, that whoever was the maker of the machinery, the 
 inventor, at any rate, was probably " Nicholas Cratzer," a famous German 
 astronomer, who came over to England by the invitation of Wolsey, and who 
 was introduced by him to Henry VIII. 
 
 He was certainly the only man in England at that time capable of designing 
 so elaborate a piece of scientific mechanism, and as he was in correspondence 
 with the king in this very year 1540, and was the maker of a similar clock 
 at Christ Church, the conjecture is very likely correct. The difficulty about 
 his surname may perhaps be explained by supposing that the " O " refers to 
 some other name of his besides Cratzer, such as that of his birthplace, which 
 was frequently taken as a surname by artists and handicraftsmen in the 
 middle ages. 
 
 However this may be, this old clock — the first astronomical one in 
 England — was being put up about the time Henry VIII. was making love 
 in this palace to Catherine Howard, whom he secretly married, and showed 
 publicly as queen here in the month of August, 1540. But the great dial 
 had scarcely completed its first annual revolution when Catherine was 
 carried away from the palace as a prisoner to take her trial for high treason. 
 The poor queen had spent most of her short reign here ; and her reminiscences 
 of her royal husband do not seem to have been so devoid of tenderness as 
 might be supposed. During a long interview with Cranmer, in her Privy 
 Chamber close by, who came to announce the king's determination re- 
 garding her, when she heard the clock strike six, she burst into an agony 
 of grief " because of remembrance as that was the time she was wont to 
 
io6 
 
 Astronomical Clock. 
 
 hear news of his Grace." Her spirit is said to haunt, to this day, a gallery 
 near the chapel. (See "The Haunted Gallery," pages 67 and 68.) 
 
 There is another anecdote about the old clock that ought perhaps to be 
 noticed. It is said that on the night of the 2nd of March, 16 19, when James 
 I.'s queen, Anne of Denmark, died here, the clock, which was striking four 
 at the moment of her death, immediately stopped ; and that it has done so 
 ever since, whenever anyone long resident in the palace dies within its 
 precincts ; and the superstitious cite many cases of its recent occurrence. 
 
 Since Henry VIII.'s time, except for certain repairs, such as the re- 
 painting of the dial in 1575 by the "serjeant painter," the addition of 
 another face looking towards the first court about 1649, and various 
 alterations in the works and repaintings of the dial at the beginning of the 
 last century, no change was made in the old clock till about forty years ago, 
 when the astronomical portion, which had always been somewhat defective 
 in construction, and had been a long time out of use, was removed. 
 
 About three years ago, as we have said, it was once more replaced in its 
 old position, the works adapted to our present accurate astronomical know- 
 ledge, and the dial made to move again once more after so many years 
 of rest, so that it is no longer open to the reproach addressed to it by the 
 poet : — 
 
 "Memento of the gone-by hours 
 
 Dost thou recall alone the past ? 
 Why standst thou silent midst these towers 
 
 When time flies still so fast?" 
 
 GCjplanatton of tlje !OtaU 
 
 The dial consists of three separate copper discs, of different sizes, with a 
 common centre, but revolving at varying rates. 
 
 The inner tH8C, the smallest of the three, is 3 ft. 3^ in. in diameter, and 
 in its centre is a slightly projecting globe, painted to represent the 
 earth. The larger portion of the surface of this disc is divided into four 
 quarters, numbered with large figures ; and at its outer edge it is divided 
 into twenty-four spaces. These represent respectively the quarters of the 
 moon and the hours at which it souths, i.e., crosses the meridian; and they 
 are indicated by a small red arrow, painted on the second disc, which always 
 points to the quarter in which the moon may happen to be, and the hour of 
 the day at which it will south. The phases of the moon are likewise shown 
 more obviously on a small subsidiary disc, which revolves behind the centre 
 one, in such a manner as to always exhibit through a circular hole the vary- 
 
Explanation of the Dial. 
 
 107 
 
 ing appearance of the moon's sphere. Next to the circular hole, on the 
 outer rim of the disc, is a small projecting triangular pointer, painted black, 
 which tells on the second disc the age of the moon in days. 
 
 This Second tliSC is 4 ft. i\ in. in diameter, and its outer rim (which is 
 
 the only portion of it seen) is divided fnto twenty-nine spaces numbered 
 from right to left, which are themselves each subdivided into fourths, and 
 which represent the moon's age in days and quarters of days. From between 
 the figures 1 and 29 on this disc, projects a long pointer, which carries a 
 
io8 
 
 Astronomical Clock, 
 
 gilded representation of the sun, and which marks on the outer disc various 
 astronomical facts, and indicates also the time of the day or night as it 
 passes the twenty-four Roman numerals — two sets of twelve — painted on 
 the stonework or clock-case within which the dial revolves. 
 
 On the tfjttti Or OUtet tltJ3C (which is 7 ft. 10 in. in diameter) are painted 
 several sets of concentric circular spaces. First come the names of the 
 twelve months, in gold letters on a red ground ; then the days of the month 
 (only twenty-eight for February) ; next the twelve signs of the zodiac ; out- 
 side them numerals dividing each zodiacal space into thirty degrees ; and 
 lastly, on the outermost rim, a circle subdivided into 365 parts, for the days 
 of the year. 
 
 Over these indices and symbols of time, the long pointer with its figure of 
 the sun, travels in a year ; and from its position at any time, it is easy to 
 ascertain the hour, the month, the day of the month, the position of the sun 
 in the ecliptic, and the number of days since the beginning of the year. In 
 addition to this, from the relative movements of the two inner discs, as 
 before explained, we are enabled to tell the various phases of the moon ; its 
 age in days ; the hour of the day or night at which it souths, and thence the 
 time of high water at London Bridge. 
 
 The clock having been designed before the discoveries of Copernicus and 
 Galileo, the sun, it will be observed, is made to revolve round the earth. 
 
 The ftatiutooift in which the clock is set, is of stone, about 1 5 ft. square, 
 with mouldings in the Tudor style, and quatrefoils in the angles, in which 
 are carved, Henry VIII.'s badges, the portcullis and fleur-de-lys above, and 
 the rose and his initials " H. R." below. Its inner portion is coloured black, 
 with the hours of the day and night painted in gold Roman numerals, and 
 with gilt fleurs-de-lys. 
 
 The tttacf)ttt£tg which works so large and complicated a piece of 
 mechanism, and which also moves the hands of the ugly modern clock on 
 the side of the tower toward the first court, is almost entirely new, and is 
 necessarily of an elaborate nature ; and considering this the clock may be 
 said to keep fair time. 
 
 The toftgjtS which supply the motive power are attached to steel wire 
 ropes, carried over pulleys, and are suspended in the turret at the north-west 
 angle of the tower, and descend to a depth of some 60 feet. The winding- 
 up of the works takes half an hour every week. 
 
 (Those curious in the subject will find further information in William 
 Derham's "Artificial Clockmaker," 1711; in Wood's "Curiosities of 
 Clocks," 1865 ; in " Archaeologia," vol. xxxiii.; in Rees' "Encyclopedia"; 
 and in the " Times," March 8th, 1880.) 
 
Fotmtain Court. 
 
 109 
 
 Mm. 
 
 ountatn 
 
 [ASSING through the Queen's Great Staircase, we enter the 
 cloisters of the new Palace, beneath the State Apartments, built 
 by Wren for William III., on the site of Henry VIII.'s " Cloyster 
 Greene Courte." To the left is seen part of the old Tudor 
 cloisters, and the entrance to the chapel. The four ranges which compose 
 the quadrangle make up the whole of Wren's additions, and they form an 
 almost exact square, the court being 109 feet 6 inches from north to south, 
 and 117 feet 6 inches from east to west. 
 
 The main idea was doubtless borrowed by Wren from some of the 
 palaces which he had seen during his travels in France, and he and his 
 royal master, who supervised the works throughout, had, above all, the 
 idea of emulating here the palatial splendours of Versailles. There remain, 
 in fact, at the Board of Works to this day, extensive designs for still further 
 alterations, which, if they had been carried out, would have added two or 
 three enormous courts to the Palace, and a magnificent new entrance, with 
 colonnades, towards the chestnut avenues in Bushey Park. These plans, 
 however, would have involved the destruction of most of the old historic 
 Palace ; and, fortunately, the king's death intervened to stop further devas- 
 tations. But even as it stands, his majesty, it is stated in Wren's " Paren- 
 talia," "said the new apartments, for good proportions, state, and con- 
 venience, jointly, were not paralleled by any palace in Europe." The 
 outward appearance, nevertheless, of Wren's building, is imposing rather 
 than beautiful ; and the red brick, which invests the old Palace with so 
 picturesque an air, only serves, when employed in these large uniform 
 classic elevations, to give them an aspect of pretentious meanness. 
 
 The windows of the first floor, which are surmounted by triangular 
 pediments, are those of the State Apartments ; the round windows belong 
 to the entresol, or to use the preferable good English word the half-stony 
 (which, in the case of the loftier state rooms, is included in their height) ; 
 and the square windows above are those of apartments formerly assigned 
 to various persons a' nut the Court, and now occupied by private families. 
 The visitor should observe the stone carvings of flowers, within the arches, 
 
no 
 
 Fountain Court. 
 
 and of heads above the arches, of the arcade, and of lions' skins round the 
 circular windows. 
 
 Hagume'S dFtmoeS. On the southern wall, in the twelve circular 
 spaces of the round window, or half-storey, are some frescoes in chiaroscuro, 
 of the Labours of Hercules, painted by Laguerre for King William III. 
 They are much obliterated by time and weather, although restored not 
 long ago ; and their artistic merit is of the slightest. The subjects, which 
 
 ^Fountain OTourt 
 
 are arranged from left to right, are as follow : — i. Fight against the 
 Lernean Hydra. 2. Fight with the Nemean Lion. 3. The Stag of 
 Ceryneia in Arcadia. 4. The Erymanthian Boar. 5. The Stymphalian 
 Birds. 6. The Cretan Bull. 7. The Stables of Augeas. 8. The Mares 
 of the Thracian Diomedes. 9. The Girdle of Hippolyte. 10. The Oxen 
 of Geryones in Erytheia. 11. The Golden Apples of the Hesperides. 
 12. Cerberus. 
 
 Laguerre, who was a French painter in the style of Verrio, and who is 
 well known for his painted ceilings, staircases, and halls at Burghley, 
 
Fountain Court. 
 
 1 1 1 
 
 Petworth, Blenheim, &c, was much patronized by William III., and given 
 lodgings in the palace. Besides these frescoes, he is stated by Walpole to 
 have been " appointed to repair those valuable pictures, the ' Triumphs of 
 Julius Caesar,' by Andrea Mantegna" (see page 58). In the "Treasury 
 Accounts " large payments to him occur several times. 
 
 Wfyt Htea of the court, with its large circular basin (the fountain in 
 which is frequently playing), in the middle, its bright flower-beds and grass- 
 plat, and its broad gravel-walk next to the building, presents a fresh and 
 pleasing appearance. The fountain was made by William III. when he 
 removed the one Queen Elizabeth had erected in the Clock Court. The 
 four tall piers of carved stone in each corner of the turf, with their bare 
 rods of iron, appear to have originally carried lamps ; at least, a writer in 
 1 741 mentions "four large lamps on pedestals of ironwork" among the 
 ornaments of this court. 
 
 Cfje (ElOt0tet0t which are carried round the four sides of the quadrangle, 
 are formed of a sort of open arcade of twelve arches on the north and south 
 sides, and of eleven arches on the east and west sides, with piers or pillars of 
 stone between them. The iron railings are modern. The ceiling is arched 
 over with brickwork, which supports the floor of the state rooms. In the 
 " Parentalia " we are told that William III. " excused his surveyor for not 
 raising the cloister under the apartments higher, which were executed in 
 that manner according to his express order." In the inside wall occur the 
 windows of various offices, situated on the ground floor, and doors leading to 
 staircases and apartments. The key-stone of one of the doorways near the 
 centre of the west portion of the cloister is carved with a monogram, 
 showing the letters " C. W.," apparently meant for the initials of Sir 
 Christopher Wren, who, in signing his name, combined them in a similar 
 way, and who perhaps lived, while the Palace was building, in the rooms to 
 which this door gives access. 
 
 UlSCOberp Of Skeletons* It was nearly opposite this door that some 
 workmen, while excavating in the cloister here, for the purpose of carrying 
 out the new system of drainage, on All Souls' Day, 187 1, came upon two 
 perfect human skeletons, about two feet below the level of the pavement. 
 They were the remains of two full-grown men, and, from the position in 
 which they were found, it was evident that they had been hastily buried or 
 rather thrust beneath the surface. 
 
 No satisfactory explanation has ever yet been offered as to their history. 
 It was conjectured at the time (see "Times " Nov. 5th, et seq.) that if they 
 had occupied the same position when William III. built this quadrangle, 
 they could not fail to have been disturbed in the progress of the alterations. 
 
I I 2 
 
 Fountain Court, 
 
 But this assumption was made by persons not familiar with the topography 
 of the Palace, and it is by no means necessarily the case; for Wren's 
 building at the place where they were discovered is little more than a 
 screen, extending only to the first floor, to mask the original Tudor 
 frontage of this court, which still exists behind it. It is not at all unlikely, 
 therefore, that the surface on which it was erected was not disturbed to any 
 depth, and that the pavement was laid down on what was originally the 
 level ground of the court-yard, the bodies remaining untouched below. 
 
 The condition in which the skeletons were found seemed to indicate that 
 they had been buried some 250 years ago. Probability, therefore, points 
 to their being the remains of two unfortunate victims of some Roundhead 
 villany during the Great Rebellion, who were secretly and hurriedly interred, 
 probably under the cover of night, beneath the turf of the old " Cloyster 
 Greene Courte." 
 
 ROM the cloisters of the Fountain Court, we pass into the Great 
 Fountain Garden, whence a good view can be obtained of the 
 principal facade of the new Palace. The general design is the 
 same as that followed in the Fountain Court, the only difference 
 being that the central compartment, which consists of five out of the twenty- 
 one bays, is faced with white stone and more elaborately decorated. The 
 three middle windows are flanked by four fluted columns of the Corinthian 
 order, which sustain a triangular pediment on which is sculptured in bas- 
 relief the Triumph of Hercules over Envy. In one of the accounts among 
 the Pipe Rolls is an item for payment to " Gabriel Cibber, for insculpting 
 the Relievo on the Timpan of the Great Frontispiece" in 1694 (see page 
 117). On each side are two pilasters of the same order, supporting a 
 continuation of the entablature. 
 
 Of the architecture of this part of Wren's Palace, Dallaway justly ob- 
 serves : — " The innumerable mezzanine circular windows, placed under a 
 range of others exactly square, a pediment beneath the balustrade obscuring 
 others in part, and the architraves of the central parts of the brick fronts, 
 profusely sculptured over the whole surface^leave little repose for the 
 eye, and offend in that respect no less than the palaces of Borromini and 
 Mansart." 
 
East Front. 
 
 The facade is 330 feet long, and the middle of the gateway is the centre 
 towards which all the lines of the canal, walks, and avenues converge. The 
 amateur of artistic ironwork should not fail to notice the gates and screens 
 that occupy the gateway. 
 
 The annexed sketch shows the front and the gardens as they were in the 
 time of George II. 
 
 ISast dTccnt arOi (ffiteat ^fountain <&artieru 
 
 reat iwimtatn harden* 
 
 HARLES II., who had imbibed a taste for the French style of 
 gardening during his exile, first began the laying out of these 
 gardens and the Park, in their present form. He invited over 
 here the famous designers of Versailles, Le Notre and Perault ; 
 and Le Notre, who came over and planted the parks of St. James's and 
 
 1 
 
ii4 
 
 Great Fountain Garden. 
 
 Greenwich, may have had something to do with the improvements at 
 Hampton Court. Rose, who was sent by Lord Essex to study the French 
 style, was, on his return, appointed Royal Gardener by Charles, and it was 
 he who planted here such famous dwarf yew-trees that London, who was 
 Rose's apprentice, challenged all Europe to produce the like. Stephen 
 Switzer, in his turn a worker under London, and who doubtless was 
 employed in these gardens, observes in his Ichnographia Rustica (1710) : — 
 " Upon the happy restitution of the Royal Family, anno 1660, Planting 
 began again to raise its dejected head, and in this reign it was that those 
 preliminary foundations of gardening were laid, that have since been raised 
 to such a stupendous height. It is certain that Prince, whose thoughts 
 and expressions of things were allowed by all to be just, did plant the large 
 semicircle before the Palace at Hampton Court, in pursuance of some 
 great design he had formed in gardening." 
 
 This must have been almost at once after the Restoration, for on the 7th 
 of June, 1662, Evelyn, who was visiting here, records in his Diary: — "The 
 park, formerly a flat naked piece of ground, now planted with sweete rows 
 of lime trees ; and the canall for water now neare perfected." He adds 
 that " the gardens might be exceedingly improved, as being too narrow for 
 such a Palace." Until that time there had been on this side of the Palace 
 only a narrow strip of garden next to the building, and fenced off from the 
 House Park by a stone balustrade. The avenues and the Long Canal are 
 shown in a picture painted by Danckers for Charles II., which is mentioned 
 in James II.'s catalogue, and is still in the Royal Collection. The notion 
 hitherto current that they were entirely the work of William III. is therefore 
 erroneous. 
 
 That Sovereign, nevertheless, undoubtedly made great improvements in 
 the gardens. " The plan of them," says De Foe, in his " Tour through 
 the whole Island of Great Britain" (1724), " was devised by the King him- 
 self, and especially the amendments and alterations were made by the King, 
 or the Queen's particular special command, or by both ; for their Majesties 
 agreed so well in their fancy, and had both so good judgment in the just 
 proporiion of things, which are the principal beauties of a garden, that it 
 may be said, they both ordered everything that was done." And Switzer, in 
 a more enthusiastic strain, exclaims: — "And now I come to that crisis 
 wherein gardening advanced to its highest meridian, by the encouragement 
 of King William of glorious memory, and his Royal Consort, and may be 
 brought amongst other things to help to eternize the memory of those 
 great princes." 
 
 " On the death of Queen Mary," continues our author, " gardening and 
 
Great Fountain Garden. 
 
 all other pleasures were under an eclipse with that prince ; and the beloved 
 Hampton Court lay for some time unregarded : But that sorrow being dis- 
 pelled, His Majesty reassumed his farther pursuit of gardening, in altering 
 and making a considerable improvement to the gardens." The gardeners 
 employed by him were London and Wise, but Wise was the one who had 
 the principal direction and management of the works. De Foe tells us in 
 his "Tour" that "the fine parcel of Limes, which form the semicircle, 
 were, by the dexterous hand of the head-gardener removed, after some of 
 them had been almost 30 years planted in other places, though not far off, 
 and they thrive perfectly well." This was in 1699, for we find in the 
 accounts of that year the following items, among scores of others : 
 
 " To remove and new plant 403 large Lyme trees y e dimensions of them girt from 4 ft. 6' 
 to 3 f r , the charge of takeing up these Trees bringing them to the place, digging holes 
 of 10, or 12 ft diameter, Carting 5 Loades of Earth to each tree one with another w th all 
 charges at io^ p. tree— £201 10. o." " 100 Trees to digg 20 ft round them and to take 
 out y« Gravell and Sand and raise their Roots and putt in 5 Loads of Earth to each tree 
 at 8 s p. tree — ^40 o. o. " 
 
 "While the gardens were thus laid out," continues De Foe, "the King 
 also directed the laying the Pipes for the Fountain, and Jette d'Eau's j 
 and particularly the dimensions of them, and what quantity of water they 
 should cast up, and increased the number of them after the first design." 
 
 The appearance of this garden, as completed by him, may be seen in the 
 bird's-eye view prefixed to this book. It will be noticed that there were 
 then twelve smaller fountains, besides the large one in the middle, which 
 still remains. 
 
 " The only fault " Switzer could find with the gardens as completed by 
 " the Great Nassau " was : " the pleasure-gardens being stuffed too thick 
 with box, a fashion brought over out of Holland by the Dutch gardeners, 
 who used it to a fault, especially in England, where we abound in so good 
 grass and gravel." However, " Queen Anne's first work was the rooting 
 up the box, and giving an English model to the gardens, which were laid 
 into that plain, but noble, manner they now appear in." 
 
 In the reign of George II. they underwent a further modification; the 
 elaborate pattern-work and the smaller fountains were swept away, and the 
 gardens made to assume the appearance they present in the sketch on 
 page 113. The arrangement was stiff and formal in the extreme ; yew-trees 
 cut into obelisk, and white holly-trees trimmed into globes, following each 
 other in a row, at equal distances, all round the garden. 
 
 Since then but little change has occurred. For some eighty years, 
 indeed, the place was so neglected that many of the fine old yew trees were* 
 
us 
 
 Great Fountain Garden. 
 
 suffered to become overgrown and strangled with ivy, and others to die 
 without being replaced ; and of the choice white hollies, which were tended 
 with such care in the olden times, scarce half-a-dozen remain. Neverthe- 
 less, "much of the original formal trimness," as an appreciative critic 
 observes, is " still retained, with great benefit to the character and charm of 
 the place." 
 
 IStOatl WB, alft. This magnificent terrace is no less than 2,300 feet, or 
 nearly half a mile in length. Its fault is, as Switzer remarked, that, "in 
 truth it looks very mean to come out of a building upon the grand flat of a 
 Lawn or Parterre, and is a very great disadvantage to the gardens at 
 Hampton Court, if it could have been avoided." 
 
 Among the items in Wise's estimate for its construction, dated 1699, are 
 the following : — 
 
 The walk parrallel to y e House that lyeth between y e Fountaine Garden & the Build- 
 ing, sinking and carrying away all the ground to y e Levell of the floor by y e Building, 
 make, 10,475 sollid y dl being sunk and carryed off at twice ; as first was sunk and carried 
 off 2,097 solid y ds to lay y e ground to the Levell of the great Fountain garden : afterwards to 
 the floor of y f Levell of the Building and one foot under, for to allow a f l thick of 
 gravell, both which sinkings come to 10,474 solid y d *. The charges of carting it to y e 
 lower end next y e Thames to raise all that lowe ground to y e levell of y e floor of the 
 Building, sorting it and spreading it sinking it to its true levells and into its severall Divi- 
 sions, as a walk for gravell, 2 verges for grass and a border all workes being included in 
 it at I5 d p solid y d most of it being pickaxe work ^654 ,, 13 ,, o. 
 
 To prepaire the ground and lay it with Turffe in the two verges that are on the sides 
 of the gravell walk being 4,786 superficiall y* with y e charge of y e Turffe and all other 
 charges of Cutting, Carting wheeling and laying at 4 d p y d To lay this Walk with 
 gravell y e length of y c Lymes w th is 2,264 l° n g 39 ft. wide and I ft thick will take up 
 3270 solid y d * at 3 d p y d .£490 : 10 : o. 
 
 To work and make all y e severall borders that are to be made for the use of planting 
 y e fine shap'd Ever-greens in, with fine Earth, and good rotten Dung, w ch to make 6 ft. 
 wide and 3 ft. deep will containe 2,835 s °lid yards at i8 d p y d ^210 ,, o ,, o. 
 
 There were several other charges on account of the Broad Walk, among 
 the principal being ,£3,675 6s. for the two "Return walls "from the Long 
 Canal, towards the Kingston Road on the north, and towards the River 
 Thames on the south, on which walls stand the iron railings fencing the 
 garden from the Park; £"717 for " carrying on the remaining part of the 
 Terras wall down to ye Thames being 315 ft. long; and £1,721 gs. 8d. for 
 " building a wall next y e Wilderness to answere that on the East side of ye 
 Terrace in y e Gallery garden." 
 
 Some abatements were made in these charges by Sir Christopher Wren 
 and the Board of Works, but the walk cost altogether in this year (1700) 
 about £"7,000. „ 
 
 At the entrance, in the Broad Walk, formerly stood two large marble urns, 
 
Great Fountain Garden. 
 
 carved in bas-relief, done as a trial of skill by Gabriel Gibber the sculptor, 
 lather of Colley Gibber, and a Frenchman. That on the left, by the foreigner, 
 represented the Triumph of Bacchus, that on the right, by Cibber, which is 
 engraved by Vardy, depicted the fable of Amphitrite and the Nereides. The 
 original pedestals remain, but the stone urns are modern.- The terra-cotta 
 pedestals at the edge of the gravelled semi-circle, with the terra-cotta pots 
 above them, are of course modern. 
 
 Wi)Z <&UZt ,-jFountam in the centre of the garden, is in the form of 
 an ellipse. It is well stocked with gold fish, which were pronounced by 
 M ^Frank Buckland to be the largest and finest he had ever seen. 
 
 «Tf)e ILong (ftanal, and not, as it is sometimes called, " The Long 
 Water," is the old and correct name for the lake in the Park, as every 
 schoolboy ought to know from the couplet in the " Rape of the Lock : "— 
 
 The nymph exulting fills with shouts the sky ; 
 The walls, the woods, and long canals reply. 
 
 It was Charles II., as we have shown above, and not William III., who 
 caused it to be dug, and the magnificent avenues planted. It is 150 feet 
 wide, and 3,500 feet, or nearly three-quarters of a mile long. 
 
 ftfte JftOUSe ^ark, or as it is often erroneously called, "The Home 
 Park," now comprises two enclosures known in the time of Charles I. as the 
 ; £ Course " and the " House Park." It consists of about 600 acres, and 
 is bounded on three sides by the Thames. The way in which it is laid out is 
 shown in the bird's-eye sketch at the beginning of this book. It is now 
 chiefly used as a grazing ground for cattle and the Queen's yearlings. 
 
 Although it cannot compare in size and magnificence with the Home Park 
 at Windsor, yet it has a beauty and an indefinable charm of its own, which 
 excites the admiration of every visitor to Hampton Court. Its still and 
 stately avenues of limes, "living galleries of ancient trees," its long 
 vast sheet of placid water, whose surface is broken only by the plash of some 
 sluggish carp, the herd of deer browsing undisturbed on the rich pastures, 
 or gracefully moving beneath the trees, all combine to form a picture of 
 solemnity, grandeur, and repose which is in pleasing contrast to the more 
 popular but less poetic appearance of Bushey Park. 
 
 TOiatet (fcaUeq). This name, which is now applied to the semi-circular 
 bastion at the end of the great terrace overlooking the river, is derived from 
 a building which Henry VIII. erected as a landing-place from the Royal 
 barges and a communication between the river and the house, and also as a 
 residence. Queen Elizabeth, when Princess, appears to have been kept in 
 the Water Gallery as a sort of prisoner by her- sister after her removal from 
 
n8 
 
 Great Fountain Garden. 
 
 Woodstock, just before their reconciliation, and it would seem that it 
 was by it that Charles I. made his escape from Hampton Court in 1648. 
 
 After the Revolution it became Queen Mary's favourite residence, where 
 she lived while the new palace was being built. (See page 26.) After her 
 death, when the new buildings were completed, William III. caused it to be 
 pulled down. 
 
 The modern Water Gallery is the favourite spot in Hampton Court 
 gardens ; and all day long people may be seen lounging over the balustrade, 
 never tired of gazing on the charming view of the Thames from Molesey 
 Weir to " the Swan at Ditton." 
 
 WtyZ Hong S2iiaUt OC ^TerraCf, which extends alongside of the Thames 
 from the Water Gallery to the Bowling Green for a distance of 2,300 feet, 
 or nearly half a mile, appears, from a Report of Sir Christopher Wren's 
 in 1700, to have been begun about that year. The raising of so enormous 
 a mass of earth cost a very great sum. Switzer calls it " the noblest work 
 of that kind in Europe," and the only one he ventures to compare it to, is 
 the terrace at Burley-on the-Hill. 
 
 OTirOU0t)t $ron (ffiateiS, About half-way down the Long Walk the visitor 
 will see a magnificent gate of wrought iron, the last remaining one in situ of 
 a set of thirteen, which formerly stood, at regular intervals of fifty yards, 
 along the fence between the Walk and the Park. This appears to have 
 been the centrepiece, and the only one of the set that was a practical gate, 
 the others being more correctly designated as screens. 
 
 They were wrought about the year 1694 for William III., and were at first 
 placed between the Privy Garden and the Towing Path, as we learn from 
 the old prints and old descriptions of the Palace. Their transference 
 to their recent position in the Long Walk probably took place about a 
 hundred years ago. Here they remained till the year 1865, when they 
 were taken away to the South Kensington Museum. Two, however, were 
 afterwards returned, and they are now placed in the Queen's Guard Chamber. 
 (See page 62.) Their removal was defended on the plea that they were 
 perishing from rust and neglect, as if they could not have been repainted and 
 taken care of, where they stood ! We do not, as Mr. George Wallis 
 suggests in an article on "Artistic Iron-work "in the "Magazine of Art," 
 ask, " Why not let them remain in situ and perish ? " but we do ask, " Why 
 not leave them to serve the purpose for which they were designed and 
 to decorate the place for which they were made, instead of burying them in 
 that tomb of living art, a museum ? " 
 
 It is commonly stated that they were designed and executed by one 
 Huntingdon Shaw, whose monument may be seen at Hampton Church, 
 
Great Fountain Garden. 
 
 1 19 
 
 stating thathe died in 1 7 10, at the age of fifty-one, and describing himas a native 
 of Nottingham, and "an artist in his own way." It is added that the King 
 died before the screens were paid for, that the Parliament repudiated the 
 debt, and that Shaw died from disappointment. No authority, however, is 
 given for this story; and if it is true, it is remarkable that no mention 
 is made of it in any old topographical works, though some of them notice 
 Shaw's monument. It is curious, too, that Shaw's name should never occur 
 in the Treasury accounts, though the wages and charges of those engaged 
 on the works, from Verrio, Laguerre, and Gibbons to the commonest 
 labourer, are frequently mentioned. As to the Parliament repudiating the 
 debt, it is not clear how the matter should have come before it. There were 
 plenty of petitions for payment of the arrears of bills for work at Hampton 
 Court, but they were always addressed to the Treasury ; and among them 
 we do not find any to which the name of Shaw is attached. 
 
 Among the Treasury papers, however, we do find " A list of debts in the 
 Office of Works" in 170 1, among which appear, under the heading Hampton 
 Court Gardens, "^910 8s. nd. due to Thomas Dunk Iron-monger, and 
 ^1,982 oj\ yd. due to John Tijou, smith." The conclusion is almost irresis- 
 tible that Tijou was the artist who worked up the iron supplied by the iron- 
 monger, and that it is to him and not to Shaw that we are indebted for these 
 magnificent works. Later on, in July, 1703, he petitions the Lord High 
 Treasurer for payment of ^1,889 is. 6\d. due to him from the late King 
 for the iron-work at Hampton Court, ^1,782 is. 6%d, being in the 
 gardens. 
 
 Tijou, it may be observed, was afterwards employed by Sir Christopher 
 Wren to make the beautiful iron-work gates on either side of the choir in 
 St. Paul's, which confirms our surmise. He is believed to have been a 
 Frenchman : what, then, becomes of the gratification so often expressed at 
 this exquisite wrought iron being of English workmanship ? 
 
 Each screen is 10 ft. 6 in. high, and 13 ft. 2 in. wide. The design con- 
 sists of two side panels, which are capped with crowns, and which afford the 
 means for supporting the whole by buttresses and stanchions ; and a central 
 compartment, which is 8 ft. 7 in. across, and has a centre panel, carrying 
 the emblems of the three kingdoms — the harp, the thistle, the rose, and the 
 cypher W. and M. (William and Mary). 
 
 The details of the design are most elaborate and beautiful, and vary in 
 each screen. 
 
 ISotolmS'Sreett atrtl $abtlum0. At the end of the Long Walk is an 
 enclosure, of an oblong shape, formerly the Bowling-Green, in each corner 
 of which wgs a small square house or pavilion — only one of which, the 
 
120 
 
 Great Fountain Garden. 
 
 south-eastern one, now remains. They were built about 1700. Here the 
 Court resorted on summer afternoons to play bowls, and sit about in the 
 nooks and arbours, or play ombre and sip coffee in the pavilions. 
 
 At the beginning of the century the pavilions were sometimes occupied by 
 the Duke of Gloucester by right of the rangership of the Park, and later 
 by the Duke of Kent, the Queen's father, in virtue of the same office. Two 
 pavilions still remained some years ago. 
 
 dntlt'g (JtCUrt. Near the entrance to the Wilderness, and on the north 
 of the new palace, is the old Tennis Court, built by Henry VIII. , who used 
 himself frequently to play in it. It is the oldest couit in England, and has 
 been the model of nearly all the modern ones. Tennis has been played in 
 it uninterruptedly for three centuries and a half ; and among the illustrious 
 players of whom there is record, are Robert Dudley Earl of Leicester, 
 Henry Prince of Wales, Charles I., Charles II., and Albert Edward Prince 
 of Wales, and Pettitt, the American player, who won the championship of 
 the world in a contest in this court wi'h Lambert, the English champion. 
 The appearance of the building now is not what it originally presented, 
 extensive alterations in the windows, roof, and galleries having been carried 
 out in the reign of Charles II. 
 
 dFIotoet-pt ©ate. This is situate at the far north end of the garden, 
 and opens on to the highway to Kingston. It was made by William III., 
 whose initials are carved on the stone piers. The figures of boys bearing 
 baskets or pots of flowers (whence the name of the gate) are very gracefully 
 designed. 
 
 ront. 
 
 N general plan this facade is similar to the East front ; it varies in 
 being 2 inches less in length, in having slightly projecting wings, 
 and in its central compartment being less highly embellished. 
 This last consists of four plain unfluted Corinthian columns 
 supporting an entablature on which is inscribed : " Gvlielmvs et maria 
 r. r. f.", that is, " William and Mary, King and Queen, built this palace," 
 the initials " r. r. f." standing for the Latin words Rex Regina Fecerunt. 
 
 Above the entablature are continuations of the columns, in the form of four 
 pilasters, which extend through the balustrade, and on the tops of which 
 
South Front. 
 
 121 
 
 formerly stood statues, two of which still remained in their original position 
 sixty years ago. The stone pediments of the two windows midway between 
 the centre and the wings, are worthy of attention. 
 
 Appreciative visitors will regret to see the harmony of the uppermost 
 storey destroyed by the tasteless substitution, in comparatively recent 
 times, in the four centre casements, of large, ugly modern panes of glass, 
 instead of the more appropriate small quarries, which Sir Christopher, with 
 his just idea of proportion, designed for these smaller square windows. 
 
 Above the balustrade appear the ugly and incongruous forms of the brick 
 chimneys, affording us an opportunity of contrasting the principles of this 
 style, which seeks to disguise as much as possible all elements of mere use, 
 with those of the truthful old English Gothic close by, where the harmonious 
 clusters of gracefully moulded chimney shafts are an ornament, and an indis- 
 pensable part of the whole design. 
 
 The three centre windows on the first floor, one of which is surmounted 
 by a trophy of war, are those of the King's Audience Chamber (see page 16); 
 to the left are those of the King's Guard and Presence Chambers (see 
 pages 9-16) ; and to the right other of King William's state rooms (see pages 
 18-26). Several of the round windows in this facade are only painted 
 " dummies." 
 
 William III. also lived in the rooms on the ground floor on the right-hand 
 side, where he had a private door into the garden. These, which are now occu- 
 pied as a private apartment, are among the most charming and interesting in 
 the whole Palace. They are all cased in rich-toned Norway oak, carved by the 
 hand of Gibbons. The oak mantel-pieces are especially beautiful : some re- 
 presenting garlands of flowers and fruit, others birds and butterflies, &c, and 
 one — the carver's masterpiece — various musical instruments and a music- 
 score. They are, in one respect, unique, for nowhere else are there speci- 
 mens of such exquisite work from Gibbons' delicate chisel in so hard a wood 
 as oak. 
 
 (SH'angerj). Next to the rooms just mentioned is a long gallery, 157^ feet 
 long, which occupies the whole of the centre part of the ground floor here. 
 It is paved with white marble, and panelled with oak. Here, perhaps, it was 
 that Queen Mary, while the apartments above were being finished, devoted 
 so much of her time to her favourite pursuit of gardening, " in which she 
 was," says Switzer, " particularly skilled, especially exotics, and allowed Dr. 
 Plukenet ^"200 per aim. for his assistance therein." In the Office of 
 AVorks is a sketch of this part of the building, showing the orange -trees, 
 within the window arches. De Foe refers to this in his " Tour thro' Great 
 Britain ; " — " The orange trees and fine Dutch bays are placed within the 
 
122 
 
 South Front. 
 
 arches of the building, under the first floor, so that the lower part of the 
 house was all one as a greenhouse for some time." 
 
 The orange-trees, though no longer brought in here for the winter, may 
 be seen in summer ranged in a line in front of the building. They are all 
 probably the original trees of William and Mary's time, for the orange grows 
 
 Soutf) jfxont ants Irtbn <&arten. 
 
 to a great age ; and certainly no new ones have been added for the last 
 hundred years or so. The strong stems of some of the largest measure as 
 much as twenty to twenty-four inches in circumference. In prints of the 
 time of George II. they are shown arranged in the various enclosed par- 
 terres of the Pond Garden. 
 
Privy Garden. 123 
 
 artiert. 
 
 I ROM the time of Cardinal Wolsey to that of William and Mary 
 this garden was divided into two parts — the "Privy Garden" 
 I proper, next to the Royal lodgings, and the " Mount Garden/' next 
 ' to the river. The Tudor style of gardening was pleasant and 
 curious — the grounds being laid out in a way suited to the variability of 
 our climate — for winter, walled parterres, and sheltered alleys, for summer 
 shady nooks, refreshing fountains, grassy plots, flowery bowers, and circular 
 banqueting-houses or " arbours," as they were called, with windows all round. 
 
 Here Henry VIII. strolled in amorous converse with Anne Boleyn, Jane 
 Seymour, Catherine Howard, and Catherine Parr ; here Philip and Mary 
 walked together during their gloomy honeymoon ; and here Elizabeth had 
 a clandestine meeting at night with the Earl of Arran. 
 
 After the new palace was finished, the conformation of these gardens 
 underwent a change. The part next the river, where formerly stood the 
 Water-Gallery (see page 117) and which included the "Mount Garden," 
 was lowered 10 feet to afford a view of the Thames from the windows of 
 the State Apartments ; and on either side the soil was heaped up to form 
 the two terraces ; and the beds laid out with rows of alternate yews and 
 white hollies, as in the Great Fountain Garden. 
 
 The appearance of the Privy Garden at that period may be judged from 
 the general sketch of the whole Palace, prefixed to this book, taken from 
 an old print. " The fine scrolls and bordure figured like lace patterns," 
 which De Foe mentions, are there clearly indicated. 
 
 Since then the beds have been altered, probably in George II. 's time, 
 when a less artificial taste prevailed ; and it was perhaps at that period also 
 that other slight modifications were made, such as the substitution in some 
 cases of gravel-walk slopes instead of the flights of steps. Nevertheless 
 the garden retains more of the old fashioned spirit than almost any other in 
 England ; and the air of repose and seclusion that invests it, gives it an un- 
 definable charm, which is utterly alien to the ostentatious vulgarities of the 
 modern style. 
 
 To see it in all its beauty one should visit it on some sunny morning, 
 towards the latter end of the month of May, when the flowers are just 
 budding forth, and all the shrubs are in bloom. Standing on the terrace. 
 
I2 4 
 
 Privy Garden. 
 
 or looking from the state rooms, nothing could be then more enchanting 
 than the scene. On either side are the fresh grassy slopes of the two 
 terraces ; and between them we see three vistas or alleys extending to 
 the Thames — the centre one a shady walk entirely canopied by over- 
 arching boughs of " tressy yew," amid which is just seen the picturesque 
 old fountain ; and two others carpeted with turf, edged with brilliant 
 masses of candy-tuft and alyssum, and embanked with the blossom of lilac, 
 laburnum, laurestina, and cyringa. A pretty effect is produced by one alley 
 being bordered with the candy-tuft, so that it forms a long line of white, 
 and by the other alley being bordered with the alyssum, so as to make a 
 similar line of brilliant yellow. The graceful statue of a girl with flowers in 
 her lap, most appropriately placed a few years ago on the old stone pedestal 
 in the left alley, irresistibly reminds us of the lines : 
 
 Now the bright morning star, day's harbinger, 
 Comes dancing from the East, and leads with her 
 The flowery May, who from her green lap throws 
 The yellow cowslip, and the pale primrose. 
 
 <©Ueen i^aq/lS ISotofl. This, which is 100 yards long, and 14 feet 
 high, and is on the top of the right-hand terrace, is one of the chief 
 curiosities of the gardens. It was, perhaps, in existence prior to the 
 building of the new Palace, and the alterations in the garden ; for Evelyn 
 tells us in his Diary, under date June 9, 1662, that " the cradle-walk of horne- 
 beame in the garden, is for the perplexed twining of the trees very ob- 
 servable." But he may refer to something similar, but not identical, which 
 may have been destroyed when the conformation of the gardens was altered. 
 The trees, it may be noticed, are not horn-beam, but wych or Scotch elm. 
 (Loudon's Encyclopaedia of trees and shrubs, p. 720.) 
 
 Queen Mary probably used to sit beneath this bower with the ladies of 
 her court, industriously engaged on the needlework which was formerly 
 preserved in one of the state rooms (see page 26). 
 
 artiert. 
 
 IINCE Cromwell's time this charming old-fashioned garden, which 
 is situate to the west of the Privy Garden and between the 
 south range of the First Court and the River, has been without 
 3 its name. As the want of a designation to it is often found 
 inconvenient, we venture to revive the old one, by which it is described in 
 
 is 
 
» 
 
 Pond Garden. 1 2 5 
 
 the Parliamentary Survey of 1653, and by which it was known in the 
 time of Henry VIII., and call it once more the Pond Garden, or Pond 
 Yard. 
 
 It includes several little gardens separated from each other by low walls, 
 and encloses bowers, banks, and shady nooks, such as were in vogue in 
 Tudor times ; and in the centre is a sunken parterre, with a pretty little 
 fountain, perhaps a " survival " of one of the original ponds. We find 
 among Henry VIII. 's accounts charges for " Laberers lading of water out 
 of the Temmes to ffyll the ponddes in the nyght tymes," and " for pynnyng 
 of xxx 1 stoon bests standyng uppon bases abowghtt the pondes in the pond 
 yerd for workmanshyp, oyle and collers at i2 d the pece" ; and "for cuttyng 
 and intayling " various heraldic beasts, and painting and gilding their vanes, 
 &c, to ornament the said garden. 
 
 The visitor should notice on the right as he enters this garden a fine 
 oriel window, usually known as "Queen Elizabeth's window," from her 
 initials " E. R." and the date 1568 being carved on a stone in the middle 
 of it. 
 
 On the left as one passes to the vine is seen the Banqueting House, 
 built for William III., and beautifully decorated with carved oak, and 
 painted ceilings. 
 
 (SntnijOUiSf. This, which stands in the small parterre on the north of 
 the garden, was erected by William III., primarily to mask the range of 
 Tudor buildings behind it. The screen, however, is much less attractive 
 than what it screens. It is merely a plain red-brick hot-house, 176 feet 
 long, with large sash windows, and an ugly, depressed, slated roof; while 
 at the back is hid a good specimen of plain, free, and unaffected old English 
 architecture, with ancient mullioned windows grouped as convenience 
 required, gracefully moulded chimney shafts, and picturesque gables and 
 parapets. The greenhouse is, in fact, entirely devoid of beauty or 
 interest; and the sooner it is removed, and the old facade restored to 
 view, and light and air admitted, the better. 
 
 The orange-trees, which used formerly to be kept in the orangery, are 
 now placed here, whence it is often erroneously given that name. That it 
 is correctly designated as the Greenhouse, we know from Rocque's plan 
 of the Palace in 1736, and other authorities. A writer in 1691 refers to it 
 as follows : — " In one of the lesser gardens is a large green-house divided 
 into several rooms, and all of them with stoves under them, and a fire to 
 keep a continual heat. In these there are no orange or lemon-trees, or 
 myrtles, or any greens, but such tender foreign ones that need continual 
 warmth." A list of them is preserved in a manuscript in the 13: itish 
 
126 
 
 The Great Vine. 
 
 Museum. Such plants, among which are probably several remnants of 
 Queen Mary's collection, are still housed here. 
 
 WtyZ ©teat Utlte, which is situated at the end of the " Pond Garden," 
 and of which a sketch is annexed, was planted in 1768 from a slip off a vine 
 at Valentines, in the parish of Ilford, near Wanstead in Essex, which itself 
 attained a very great size, and is still in a flourishing condition. The grape 
 is of the Black Hamburgh variety. 
 
 It must at once, on its being planted, have made rapid growth, 
 for already in 1800 the stem was 13 in. in girth, and the 
 principal branch 114 ft. in length, and it had been 
 known to produce as much as 2,200 bunches in 
 one year. Its greatest girth at present is 45 
 inches, and the principal branch 114 ft. 
 long. Forty years ago its yield was 
 stated to be, on an average, be- 
 tween 2,300 and 2,500 
 bunches, weighing 
 about a pound 
 each ; but 
 recently 
 
 Cfie <£reat Vim. 
 
 both the number and size of the bunches had fallen off, being, in 1874, 
 1,750, and in 1882 only 1,250. Latterly, however, it has been better cared 
 for, and the tree is greatly improved in appearance ; but its average mature 
 crop is not usually raised above 1,200 ; no less than 2,000 bunches or so 
 being pinched off, to improve the quality of the remaining fruit, and with 
 great benefit to the old tree. 
 
 Various conjectures have been advanced to account for the great size to 
 which it has grown. Some have surmised that its roots have made their way 
 into the vast drains of the Palace, and that it has been nourished on sewage. 
 This, however, is not the case. The filaments that are found clinging to the 
 brick walls of the sewers, and were, I suppose, mistaken for the roots of the vine, 
 are nothing but a fungous growth. If its luxuriance depends on any special 
 
Wilderness and Maze. 
 
 127 
 
 circumstance, it most likely is due to the roots having travelled into the bed 
 of the river, which is not more than 60 ft. from the end of the Vine-House. 
 
 This vine, which has often been spoken of as the largest in Europe, if 
 not in the world, is anything but unique in this particular, even in England. 
 Those at Cumberland Lodge, Sillwood Park, Manresa House, and Kinnel 
 House, Breadalbane, are all larger. 
 
 The Vine-House, which is built against the garden wall, near the south- 
 west corner of the building, has a south-east aspect. It has been enlarged 
 several times. 
 
 Itltierness ant) wkw> 
 
 NTIL William III.'s alterations, this plantation, which lies be- 
 ; tween the Tilt Yard and the Great Fountain Garden, was known 
 as " The Ould Orchard." By his directions, however, it was 
 I laid out with " espaliers, so high," says De Foe, " that they 
 effectually took off all that part of the old building which would have been 
 offensive to the sight." The formal narrow walks which then intersected 
 it are indicated in the old engravings ; but it appears to have undergone 
 some alterations in George II.'s time, and its appearance now is almost com- 
 pletely transformed. Nevertheless, some traces remain of 5FtOJ() Cotolt, 
 a place so called in the middle of the plantation, where is now a large cir- 
 cular space, with an old yew tree in the centre and seats around. The site 
 of the (S5rtobe, another retreat in the Wilderness of former days, is now 
 occupied by some green-houses, and the steam fire-engine. 
 
 J$a$e. Annexed is a plan of this, the chief popular attraction of 
 Hampton Court, which is near the " Lion Gates " in the Wilderness. Its 
 walks are half a mile long, though the space it covers is barely half an acre. 
 Switzer, the gardener we have quoted several times, complains that there 
 
128 
 
 Lion Gates. 
 
 are only " three or four false steps, or methods, to lose or perplex the 
 Rambler in his going in," whereas in one of his own design there were 
 above twenty. 
 
 The Maze is first mentioned in the reign of William III., and it was pro- 
 bably made at that time. The "British Magazine" for 1747 contains 
 a plan of it and a moral poem on it. 
 
 WfyZ HiOH (JBrflteiEl, which are so called from the great lions of carved 
 stone on the piers, were put up by Queen Anne, whose initial is carved 
 between the columns, and they form one of the principal entrances to the 
 Palace. The iron-work is worthy of notice, and is doubtless by the same 
 hand as the gate-screens (see page 118). In the upper panel the initial "g" 
 has replaced the " a ". 
 
 $3u£>j)P|) $Jai'{\. The great avenue, exactly opposite which the Lion 
 Gates are placed, appears to have been planted in William III.'s reign. 
 The Great Basin or Diana Fountain was made in 1699. The park con- 
 
 tains about 1,000 acres. 
 
 CHISWICK PRESS :— C. WHITT1NGHAM AND CO., TOOKS COURT, CHANCERY LANE. 
 
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 Vol. I. In Tudor Times. Second Edition. Price 21s. 
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