«^v,- 
 
 HIBMEY OF CONGRESS. # 
 
 ! UNITED STATES OP AMERICA, f 
 
A SUMMER'S DAY 
 
 HAMPTON COURT. 
 
CARDINAL WOLSEY'S HALL IN THE PALACE OF HAMPTON COURT. 
 
SUMMER'S DAY 
 
 AT 
 
 HAMPTON COURT, 
 
 BEING A GUIDE TO THE 
 
 PALACE AND GARDENS ; 
 
 frllu-gttatttje Catalogue nf ti)e ^irturtig 
 
 ACCORDING TO THE NEW ARRANGEMENT, INCLUDING THOSE IN 
 THE APARTMENTS RECENTLY OPENED TO THE PUBLIC. 
 
 By EDWARD JESSE, Esq., 
 
 SimVEYOR OF HER MAJESTy's PARKS AND PALACES. — AUTHOR OF 
 ' GLEANINGS IN NATURAL HISTORY.' 
 
 LONDON: 
 JOHN MURRAY, ALBEMARLE STREET. 
 
 MDCCCXXXIX. 
 
 (3^ 
 
LONDON : 
 
 Printed by William Clowes and Sok& 
 
 Stamford Streets 
 
 
TO 
 THE RIGHT HONOURABLE 
 
 THE VISCOUNT DUNCANNON, 
 
 ^c, 4"c. 8fc, 
 
 My Lord, 
 
 The recent regulation, by which the public are 
 freely admitted to view whatever is curious or inte- 
 resting within the walls of Hampton Court Palace, 
 is chiefly owing to your Lordship's exertions. In- 
 fluenced by the knowledge of this circumstance, I 
 requested and obtained permission to dedicate this 
 little work to your Lordship. 
 
 That the privilege conferred on the pubHc is duly 
 estimated by them, is proved by the great accession 
 of visitors who daily avail themselves of the indul- 
 gence. The most laborious have their moments of 
 leisure, and to such more especially your Lordship 
 has opened a source of innocent recreation, by afi*ord- 
 ing them opportunities of contemplating many works 
 of art and genius, from which they were formerly in 
 a great degree excluded. 
 
VI DEDICATION. 
 
 Your Lordship in this instance has achieved an 
 object always deemed important by all legislators, by 
 adding to the sum of human enjoyment, and doing 
 what must eventually tend to refine the manners, and 
 raise a taste for higher objects of pursuit among the 
 working-classes of the community. 
 
 The claims of this little volume are not of a very 
 high order. Should its contents, however, in any 
 degree tend to interest and improve a class for which 
 it was more particularly designed, I shall feel that I 
 have been instrumental in furthering your Lordship's 
 wishes, and that the task has not been undertaken in 
 vain. 
 
 I have the honour to be, 
 
 Your Lordship's 
 
 Very faithful and obedient servant, 
 
 Edward Jesse. 
 
 Hampton Courts 
 July 25, 1839. 
 
*j,t* I cannot submit this Volume to the public without 
 offering my grateful acknowledgments to those who have 
 kindly assisted me in preparing it. 
 
 I am indebted, to Richard Westmacott, jun., Esq., R.A., 
 for his remarks on the ancient Tapestries in Wolsey's with- 
 drawing-room, 
 
 Mr. Samuel Tymms, the author of that useful compilation 
 • The Family Topographer,' in conjunction with Mr. Nichols 
 of Parliament Street, wrote the interesting description of the 
 Tapestries above mentioned. I have also to thank Mr. T. 
 Hudson Turner, whose antiquarian researches are of no ordi- 
 nary kind, for the information he has afforded me of new and 
 interesting facts, taken from documents in the British Museum, 
 relative to the escape of Charles I. from Hampton Court. 
 
 Hampton Court, 
 August 5, 1839. 
 
vui 
 
 CONTENTS. 
 
 
 
 
 
 Page 
 
 A Drive to Hampton Court .... 
 
 1 
 
 Hampton Court — Cardinal Wolsey 
 
 
 
 
 12 
 
 Anecdotes of Cardinal Wolsey 
 
 
 
 
 28 
 
 Wolsey's Palace .... 
 
 
 
 
 35 
 
 The Chapel 
 
 
 
 
 49 
 
 Wolsey's Courts .... 
 
 
 
 
 50 
 
 Henry VIII 
 
 
 
 
 53 
 
 Charles I 
 
 
 
 
 61 
 
 William and Mary 
 
 
 
 
 lb 
 
 Catalogue of the Pictures 
 
 
 
 
 78 
 
 LIST OF ILLUSTRATIONS. 
 
 / Cardinal Wolsey's Hall — Frontispiece. 
 
 V River Front of old Hampton Court, as built by Wolsey 12 
 
 H ampton Court in the time of Wolsey . . . 18 
 
 Esher — Gateway of Wolsey's Palace . . . 'i'i 
 
 .; Archway and Steps leading to Wolsey's Hall . . 36 
 
 The Chapel 49 
 
 Proposed Screen in the Clock Court .... 50 
 Bay Window in the Presence Chamber from the Kitchen 
 
 Court . . . • . . ... 51 
 
 ' King Charles's Swing . . . » • , 7Q 
 
A DRIVE 
 
 HAMPTON COURT. 
 
 " 111 suits the road with one in haste : but we 
 Play with our time ; and, as we stroll along. 
 It is our occupation to observe." — Wordsworth. 
 
 The free access now given to the public to see the 
 pictures and gardens at Hampton Court will bring 
 many visitors to that celebrated place. The drive 
 thither from London is not without its interest ; and 
 we will therefore place ourselves by the side of some 
 stranger who is going there for the first time, and point 
 out to him, as we proceed, such objects as may be 
 worthy of his notice during our excursion. 
 
 For this purpose, we will conduct him on our route 
 through Knightsbridge, and point out to him, soon 
 after he has passed the Barracks, Kingston House, 
 now remarkable for its large and conspicuous green- 
 house. This was the residence of the eccentric and 
 profligate Duchess of Kingston *. The house is now 
 occupied by that great statesman and scholar, the 
 Marquis Wellesley. 
 
 * It was here she invited a large assemblage of people to her celebrated 
 ball, and when they met she had made her escape to Calais. 
 
 B 
 
2 A DRIVE TO HAMPTON COURT. 
 
 To the left of the entrance to Kensington, and 
 nearly opposite the palace-gates, there is a large red 
 house. This was the residence oi|the famous Duchess 
 of Portsmouth, the French mistress of Charles II., 
 and where he supped the night before he was seized 
 with the illness of which he soon afterwards died. 
 
 Kensinpfton Palace was the favourite residence of 
 
 o 
 
 William III., who enlarged and in a great measure 
 rebuilt it. He purchased it of the Earl of Notting- 
 ham, son of the celebrated Sir Heneage Finch, after- 
 wards Earl of Nottingham and Lord Chancellor of 
 England. Here Queen Mary, his consort, died of the 
 smallpox, and the king's attachment to the Palace 
 seems to have increased, from the circumstance of its 
 having been the scene of the last acts of the queen, 
 who was justly entitled to his affection. When he died, 
 bracelets composed of her hair were found upon his 
 arm' ; and he said of her, what few husbands can say of 
 their wives, that, although he had been married to her 
 seventeen years, he had never known her guilty of a 
 want of discretion. He is said to have drunk intem- 
 perately after her death. 
 
 After his horse fell with him in the park at 
 Hampton Court, King William returned to Kensing- 
 ton, where he soon afterwards gave the royal assent to 
 that act which secured the succession of the crown 
 to the house of Brunswick. The next day the Arch- 
 bishop of Canterbury administered the sacrament to 
 him, which he received with great devotion ; and three 
 hours afterwards, while sitting by the side of his bed, 
 he reclined a little backwards, and, closing his eyes, 
 
KENSINGTON — HOLLAND HOUSE. 6 
 
 immediately expired in the fifty-second year of his 
 age. 
 
 Queen Anne, and her husband^ George Prince of 
 Denmark, occasionally resided at Kensington, and they 
 both died there. The former added thirty acres to the 
 gardens. 
 
 George I., the next possessor of Kensington Palace, 
 made some alterations and improvements in it. George 
 
 II. and Queen Caroline also resided here, and the latter- 
 added three hundred acres to the grounds, which were 
 taken out of Hyde Park, and employed the celebrated 
 Capability Brown to put them in order. The Palace 
 was enriched by her taste, as much as the grounds 
 were enlarged and improved by her liberality. The 
 state apartments have remained unoccupied since the 
 death of George II., which took place in 1760. 
 
 After quitting Kensington, Holland House is seen 
 to the right on a rising ground. It was built (1607) 
 by Sir Walter Cope, whose daughter married Rich, 
 created Lord Holland by James I. On the death of 
 Rich, last Lord Holland and Warwick, it descended 
 by females to William Edwardes, created Lord Ken- 
 sington, and was sold by him to Henry Fox, whose de- 
 scendants take their title from it. It is an interest- 
 ing specimen of the style of building of the time 
 of James I. At Holland House Addison breathed his 
 last ; and within its walls the wits of the reigns of George 
 
 III. and IV., the cotemporaries of Fox, used to meet. 
 We now proceed to Hammersmith, and near the 
 
 Broadway of that village is a house in which a Bene- 
 dictine Nunnery exists, established probably at the 
 
 B 2 
 
4 A DRIVE TO HAMPTON COURT. 
 
 suppression of Studley Priory, Oxfordshire, by Henry 
 VIII. An ancient wooden cross, and some good 
 pictures, are said to belong to this nunnery. 
 
 Bubb Doddington, afterwards Lord Melcombe, 
 celebrated for his wit, lived in this village. Branden- 
 burg House, where Queen Caroline died, was also 
 situated in it. This house was formerly purchased 
 by Prince Rupert, for Mrs. Margaret Hughes, who 
 was one of the first who acted in female characters 
 after they ceased to be performed by men. Queen 
 Catherine of Braganza, the wife of Charles II., also 
 lived at Hammersmith, and gave musical parties there 
 after the death of the king. To the left the road leads 
 to the beautiful suspension-bridge over the Thames ; 
 but we prefer crossing the river at Kew, in order to 
 point out what is worthy of notice at that place. 
 
 In passing over the green, the old palace may be 
 seen to the right, which has many historical recollections 
 connected with it. It was a favourite residence of 
 George III., and perhaps the happiest part of his life 
 was passed in it. He here first heard of the death of 
 his grandfather, George II., and it was here that many 
 of his children were born and educated. Queen 
 Charlotte died here in 1818. 
 
 In Edward VI. 's time Sir Henry Gate had a 
 mansion at Kew called the '' Dairie House," afterwards 
 occupied by Robert Dudley, Earl of Leicester. Charles 
 Brandon, Duke of Suffolk, also lived here after his 
 marriage with Mary, the widow of Louis XII. Sir 
 Peter Lely occasionally resided at Kew during the 
 latter part of his life. 
 
KEW. O 
 
 Tlie churchyard on the green is interesthig from 
 the circumstance of Gainsborough, ZofFany, and 
 Meyer having been buried in it. It is somewhat of a 
 reproach to this country that no appropriate monument 
 has been erected to the memory of Gainsborough, 
 perhaps the best, and certainly the most pleasing, 
 painter of scenes from nature whom we have had in this 
 kingdom. 
 
 The botanic gardens at Kew are full of subjects of 
 interest, and the Arboretum contains some fine speci- 
 mens of trees. These gardens, as well as the pleasure- 
 grounds, which are of considerable extent^ are open to 
 the public on the Thursday and Sunday of each week. 
 The grounds were laid out under the directions of the 
 Princess Dowager, the mother of George III., and the 
 temples, of which there are several, were built by Sir 
 William Chambers. The Chinese pagoda is more to be 
 admired for its singularity than its beauty. There is 
 also an imitation of an ancient ruin, of which Horace 
 Walpole remarks that " a solecism may be committed 
 in architecture, as the ruin in Kew Gardens is built by 
 Act of Parliament bricks." In the meadows attached 
 to the grounds stands an Observatory, a pretty building* 
 in which there is a fine collection of astromomical anj 
 other instruments, under the care of Mr. Rigaud * 
 and Mr. Demainbray. It did contain a collection 
 of ores from the late king's mines in Germany. 
 
 * Since this was written, the amiable and ingenious Mr. Rigaud, the 
 Professor of Astronomy at Oxford, has died suddenly, to the deep regret 
 of all who knew him. 
 
6 A DRIVE TO HAMPTON COURT. 
 
 From Kew we proceed to E^ichmond ; and whether 
 this place is seen from the centre of its bridge, or 
 from the beautiful terrace on its hill, it cannot fail to 
 fill every beholder with delight. Its original name 
 was Skene, or Beautiful : its ancient palace formerly 
 stood near the green ; and indeed a small portion of 
 it still remains. Edward III. and Henry V. made 
 additions to it. It was the residence occasionally of 
 Henry VII., who held here a grand tournament, in 
 which a knight was killed. In 1498, while the king 
 was at his palace, it was destroyed by fire, but he 
 rebuilt it in 1501, '^ in a style of much Gothic mag- 
 nificence and eleorance.'* It was on this occasion 
 that he changed the name of the place from Shene to 
 that of Richmond, he having been Earl of Richmond, 
 in Yorkshire, at the time of his accession to the 
 throne. Here Henry VII. died in 1509. Henry VIII. 
 kept his Christmas in this palace the first year after he 
 came to the throne, and held a tournament, on which 
 occasion he for the first time took a part in the 
 exercises. Some of the public instruments of Queen 
 Mary and Queen Elizabeth are dated from the Palace 
 of Richmond, and the latter died in it. Charles I, 
 resided here occasionally. During the usurpation the 
 palace was sold by the Commissioners of the House 
 of Commons. It was afterwards restored to the 
 Queen Dowager. The son of James II. is said 
 to have been nursed in it, and soon afterwards the 
 palace was pulled down. One of the most interesting 
 scenes in Sir Walter Scott's novels is supposed to 
 
RICHMOND. 7 
 
 have taken place at Richmond — the Interview of 
 Jeannie Deans, accompanied by the Duke of Argyle, 
 with Queen CaroHne. 
 
 The view from Richmond Hill is one of the most 
 beautiful in England; and who that has ever seen the 
 inimitable landscape, and the silvery Thames winding 
 through verdant meadows, will ever forget them ? Poets 
 have sung its praises, and one of them in the follow- 
 ing strain, which contains an accurate description of the 
 fine scenery that is to be seen from the terrace in 
 Richmond Park, a continuation of the one from the 
 hill. 
 
 " Kichmond ! ev'n now 
 Thy living landscape spreads beneath my feet. 
 Calm as the sleep of infancy ; the song 
 Of nature's vocalists,— the blossom'd shrubs, — 
 The velvet verdure and the o'ershadowing trees, — 
 The cattle wading in the clear smooth stream, 
 And environ'd on its surface, — the deep glow 
 Of sunset, — the white smoke, and yonder church 
 Half hid by the green foliage of the grove, — 
 These are thy charms, fair Richmond; and thro' these 
 The river, wafting many a graceful bark. 
 Glides gently onward like a lovely dream. 
 Making the scene a paradise." 
 
 We must not forget to mention that Thomson the 
 poet resided in the neighbourhood of Richmond, in 
 the villa, now the residence of Lady Shaftesbury, and 
 is buried in its church. There — 
 
 *"Mid scenes he loved so well. 
 Meek nature's child, the gentle Druid sleeps.'* 
 
 Collins, who resided here during Thomson's lifetime, 
 says of Richmond : — 
 
8 A DRIVE TO HAMPTON COURT. 
 
 " Remembrance oft shall haunt the shore, 
 
 When Thames in summer wreaths is drest ; 
 And oft suspend the dashing oar. 
 To bid his gentle spirit rest.'* 
 
 Richmond Park contains many objects of interest ; 
 but it is out of our way to Hampton Court, to which 
 place we will now proceed. 
 
 After passing the bridge, the house immediately to 
 the left was formerly the residence of Richard Owen 
 Cambridge, Esq., the friend of Dr. Johnson, Sir 
 Joshua Reynolds, and many celebrated men of their 
 day. 
 
 A little farther on, to the left, is Marble Hill ; and 
 whoever has read the letters of the celebrated Coun- 
 tess of Suffolk, the mistress of George H. and the 
 correspondent of Pope, will recollect that many of 
 them were dated from this place, which was adorned 
 and improved by her good taste. 
 
 Lady Mary Wortley Montagu occasionally resided at 
 a large house at the end of Montpelier-row, and which 
 immediately adjoins Marble Hill. She was an ex- 
 traordinary mixture of talent, profligacy, finery, and dirt. 
 It is to be regretted that the recent very interesting life 
 of her by her noble relative leaves us still in the dark 
 respecting many points of her curious character. She 
 hated Pope, and Pope had no great affection for her. 
 
 In Twickenham church Pope is buried with a taste- 
 less epitaph by Warburton. 
 
 The present King of France resided in a house with- 
 in the walls which are passed on the left in approaching 
 Twickenham church, and also in a smaller one nearly 
 
TWICKENHAM POPE S VILLA. \) 
 
 opposite the end of Montpelier-row, already mentioned. 
 At the extremity of Twickenham, where two roads 
 branch ofF to the right and left, a fine cedar-tree may 
 be seen. This stands in the grounds formerly occupied 
 by the eccentric and mercurial Duke of Wharton, whom 
 Pope satirized as follows : — 
 
 " Wharton ! the scorn and wonder of our days, 
 W^hose ruling passion was the lust of praise : 
 Born with whate'er could win it from the wise. 
 Women and fools must like him, or he dies : 
 Though wondering senates hung on all he spoke. 
 The club must hail him master of the joke. 
 Bless'd with each gift of nature and of art. 
 And wanting nothing but an honest heart, 
 A tyrant to the wife his heart approves; 
 A rebel to the ■'•ery king he loves. — 
 Ask you why Wharton broke through every rule ? 
 'Twas all for fear that knaves should call him fool." 
 
 The Duke of Wharton's house has been recently 
 pulled down. 
 
 The fourth house as we pass alons^ the left-hand road 
 just mentioned is, or rather was, the celebrated villa of 
 Pope. Every admirer of that great poet will regret that 
 so little of what was occupied by him should now re- 
 main to gratify his curiosity. Even the grotto, notwith- 
 standing Pope's anathema against any one who should 
 alter or injure it, has not escaped spoliation. A large 
 straggling house has been erected on a spot which no 
 admirer of genius, poetry, and wit will ever pass without 
 having his enthusiasm awakened — a spot where Pope 
 said poetry was his business, and idleness his pleasure, 
 and where he sweetly sang those verses which will do 
 everlasting honour to his country. We like to fancy that 
 we can see him gently carried in his sedan-chair to the 
 
10 A DRIVE TO HAMPTON COURT. 
 
 bottom of his lawn, and then placed with his chair in a 
 boat, letting down a window to inhale the soft air, 
 and see the smiling prospect, while his boat glided on 
 the clear and unruffled surface of his favourite river. 
 
 Proceeding onwards a few hundred yards, Strawberry 
 Hill will be seen to the right on a gently rising ground. 
 This celebrated spot, a mixture of good and bad taste, 
 was the residence of Horace Walpole, afterwards Earl 
 of Orford. He was a man of genius, but sceptical, 
 vain, and selfish, and, we may add, a voluptuary. 
 There are many articles of great historical and literary 
 curiosity in the house. They are all strictly entailed ; 
 and it is curious that a man who professed republican 
 principles, and was an avowed enemy to the law of pri- 
 mogeniture, should himselfhave entailed his own house, 
 a mere lath-and-plaster residence, and its contents, with 
 more than usual caution and strictness. 
 
 Either of the two roads near Strawberry Hill will 
 lead to Hampton Court. The left-hand road is, how- 
 ever, the pleasantest, although rather longer. The 
 Thames is seen to great advantage, and also the 
 high grounds of Richmond Park. The first house to 
 the right is Little Strawberry Hill, once the residence 
 of the celebrated Mrs. Clive. We soon afterwards 
 arrive at the pretty and well-regulated village of 
 Teddington. This village affords an instance of what 
 may be effected by a combination of good sense, 
 activity, and benevolence. No one can pass through 
 it without observing not only an absence of all poverty, 
 but an appearance of cheerfulness and prosperity which 
 do credit to its inhabitants. 
 
BUSHY PARK. 11 
 
 After quitting Teddington, we enter the noble 
 avenue of Bushy Park, planted by William III. It is, 
 however, seen to the greatest advantage when the 
 horse-chestnut trees are in full blossom. This avenue 
 is one mile and 40 yards in length, and there are four 
 others on each side of it. The breadth of these nine 
 avenues is 563 feet, and the quantity of ground com- 
 prised in them is 67 acres. These avenues are 
 perhaps unequalled for extent and beauty in Europe. 
 
 On entering Bushy Park, the residence of Queen 
 Adelaide is seen immediately to the right. Here his 
 late Majesty William IV. lived for thirty-six years 
 like a country gentleman, superintending his farm and 
 entertaining his neighbours with great hospitality. 
 The house has nothing remarkable about it. 
 
 At nearly the extremity of the avenue is a circular 
 piece of water, called the Diana Water, from a fine 
 bronze statue of that goddess, seven feet in height, 
 placed in the centre of it. It stands on a block of 
 fine statuary marble, and the small figures which 
 surround it are also of bronze. This fountain formerly 
 played, and it is to be regretted that it does not do so 
 at present. 
 
 On quitting the Diana Water, the noble gates 
 leading into the grounds of Hampton Court Palace 
 are very conspicuous ; and, as we have now conducted 
 our companion to that place, we will endeavour to 
 excite his interest in what he is going to see by giving 
 him an account of the founder of that noble pile of 
 building:. 
 
12 
 
 HAMPTON COURT. 
 
 " Close by those meads, for ever crown'd with flowers, 
 Where Thames with pride surveys his rising towers, 
 There stands a structure of majestic frame. 
 Which from the neighb'ring Hampton takes its name. 
 Here Britain's statesmen oft the fall foredoom 
 Of foreign tyrants, and of nymphs at home ; 
 Here thou, great Anna, whom three realms obey. 
 Dost sometimes counsel take, and sometimes tea." 
 
 CARDINAL WOLSEY. 
 
 As so great a number of visitors annually, or it might 
 be said daily, resort to Hampton Court, for the purpose 
 of viewing the splendid palace at that place, an 
 account of it cannot be uninteresting. There are, 
 perhaps, few places, the history of which produce in 
 the mind a greater crowd of recollections, which are 
 at the same time mournful as well as instructive. Nume- 
 rous affecting incidents which are connected with this 
 palace during a period of nearly two centuries, must 
 always cause it to be regarded as a place of peculiar 
 interest. Spacious and splendid, however, as the 
 palace may be, it is on that account more calculated 
 to convey a striking lesson on the mutability of human 
 greatness. That lesson is laid before us in the life of 
 the founder of this enormous pile of building, and 
 that founder was the celebrated Cardinal Wolsey. 
 
-iitf^ 
 
 '.;jlr 
 
CARDINAL WOLSEY. 13 
 
 It is generally supposed that an ordinary manor- 
 house only formerly stood on the site of the present 
 palace, untill the reign of Henry VIII., when the 
 house and manor were granted to Cardinal Wolsey. 
 
 The manor of Hampton, or as it was formerly 
 called, Hamutone, was, about the beginning of the 
 thirteenth century, vested in the Knights of St. John 
 of Jerusalem. In the early part of the reign of Henry 
 VIII., Cardinal Wolsey became lessee of the manor, 
 under the prior of that foundation *. Some idea of 
 the vast extent of this manor may be formed, when 
 the reader is made aware that it comprised within it 
 the manors of Walton-upon-Thames, Walton Legh, 
 Byflete, Weybridge, West and East Moulsey, Sandon, 
 Weston, Imworth, Esher, Oatlands, together with the 
 manors within the limits of Hampton Court Chase, 
 and also the manors of Hampton, Hanworth, Feltham, 
 and Teddington, and even Hounslow Heath, which 
 was supposed to have extended from Staines to Brent- 
 ford Bridge. Lonof Ditton, and the neia^hbourhood 
 of Kingston, were also said to have been included in 
 this manorial Chase f- Well might it be said — 
 
 " , . . . O many 
 Have broke their backs with laying manors on them." 
 
 A domain of such an extent seemed to require a 
 
 * A copy of the lease to Wolsey, from the Cottonian manuscript, was 
 inserted in the " Gentleman's Magazine" of January, 1834, and is followed 
 by a list of the furniture left in the ancient manor-house upon the estate 
 when Wolsey took possession. His name is spelt Wulcy in the lease, 
 which is dated January 11th, 15L4. 
 
 ■f The right of free warren over these manors is still exercised by the 
 crown. 
 
14 HAMPTON COURT. 
 
 house, or rather a palace, to correspond with It ; and 
 such a palace Cardinal Wolsey determined to build. 
 Before I describe it, let me give a short sketch of this 
 extraordinary man. 
 
 Cardinal Wolsey was " an honest poore man's sonne" 
 of Ipswich, and was born in 1471, and this poor man 
 was generally supposed to have been a butcher. On 
 referring to '* Fiddes' Life of Wolsey/' this circumstance 
 may fairly be doubted. Shakspeare, however, calls 
 Wolsey "this butcher's cur;" and a painting of a 
 dog gnawing the blade, or, as it was properly called, 
 the spade-hone of a shoulder of mutton, was placed 
 in a window at Oxford for the purpose of mortifying 
 the future Cardinal. Be this as it may, the talents of 
 Wolsey soon set all the disadvantages of his birth at 
 defiance, and he proved this truth, — that birth was not 
 necessary to qualify a man for distinction, even at that 
 period, in the world. He soon distinguished himself, 
 taking his bachelor of arts deoree at Oxford when he 
 was only fourteen years old. He afterwards became tutor 
 to the sons of the Marquess of Dorset, who presented 
 him to the living of Lymington, in Somersetshire. 
 While he was in residence at that place he was put 
 into the stocks by Sir Amias Pawlet, a justice of the 
 peace, on a charge of getting drunk and making a 
 riot at a fair. Fiddes seems to hint that he was hardly 
 used on the occasion. For this indignity, however, 
 Wolsey revenged himself when he became Lord Chan- 
 cellor of England, by keeping the justice in close 
 confinement in the Temple for several years. 
 
CARDINAL WOLSEY. 15 
 
 Wolsey was also said to have got himself into diffi- 
 culties by misappropriating the funds of Magdalen 
 College, for the purpose of building the noble tower of 
 that college. If this be true, it affords a strong proof 
 of the Cardinal's great and enterprising mind, and of 
 that fondness for beautiful architecture which will 
 carry down his name to the latest posterity. The present 
 occupier of the see of Canterbury seems to have imbibed 
 Wolsey's taste and magnificence in architecture, softened 
 by the refinement of the age, and kept in due bounds 
 by that prudence and modesty for which he is so con- 
 spicuous. 
 
 Having been made chaplain to Henry VHI. Wol- 
 sey obtained great preferment, and acquired that 
 ascendancy which is generally possessed by strong 
 minds over those which are either weak, voluptuous, or 
 indolent. His royal master gave him several bishop- 
 rics ; and at length he w^as made Archbishop of York, 
 Lord Hiorh Chancellor of Enorknd, and Prime Minis- 
 ter. In this situation he might be considered as 
 the arbiter of Europe. Pope Leo X. created him a 
 Cardinal, and the Kings of France and Spain loaded 
 him with favours, in order to gain him over to their re- 
 spective interests. In the height of this greatness he 
 built his sumptuous and extensive palace of Hampton 
 Court, which was then much larger than we see it at 
 present. The building was composed of brick, and 
 consisted of five courts, two of which only remain, 
 so that but little idea can be formed of the extent of 
 the palace. 
 
 The apartments which are left were principally 
 
16 HAMPTON COURT. 
 
 used as domestic offices. We can, therefore, have but 
 an inadequate conception of the former splendour of 
 Hampton Court, except as it may be judged of by the 
 annexed print. It was Wolsey's province to give such 
 a character and inclination to the arts of his country as 
 have had an important eiFect on the taste of each sue- 
 ceeding age. He had evidently meant to construct at 
 Hampton such a splendid specimen of Grecian correct- 
 ness as might give a new bias to the architecture of 
 this island. It is probable that he was unable to con-- 
 tend with the still lingering relics of prejudice, and 
 therefore we have to regret that the Gothic and Grecian 
 styles were blended in the CardinaFs magnificent 
 building with equal bad taste and impropriety. 
 
 The situation chosen for the edifice was very desir- 
 able, according to the taste of the age, which perhaps 
 made Wolsey esteem the fertile quality of country 
 its greatest recommendation. The vicinity of the 
 Thames was also a circumstance of unequivocal ad- 
 vantage. 
 
 Leland thus speaks of the Cardinal's edifice :— 
 
 " A place which nature's choicest gifts adorn, 
 
 Where Thames* kind streams in gentle currents turn. 
 The name of Hampton hath for ages borne. 
 Here such a palace shows great Henry's care 
 As Sol ne'er views from his exalted sphere. 
 In all his tedious stage." 
 
 Hentzner also describes the appearance of the palace 
 in the reign of EHzabeth (1398) : — " Hampton Court 
 is a royal palace, magnificently built with brick by 
 Cardinal Wolsey, in ostentation of his wealth, where 
 he enclosed five ample courts, consisting of noble edi- 
 
CARDINAL WOLSEY. 17 
 
 Hces, in very beautiful work. Over the gate in the second 
 area, is the Queen's device, a golden rose, with this 
 motto, ' Dieu et mon droit/ On the inward side of 
 this gate are the effigies of the twelve Roman emperors, 
 in plaster. The chief area is paved with square stone : 
 in its centre is a fountain which throws up water, co- 
 vered with a gilt crown, on the top of which is a sta- 
 tue of justice, supported by columns of black and white 
 marble. 
 
 '* The chapel of his palace is most splendid, in 
 which the Queen's closet is quite transparent, having 
 its windows of crystal. There are two chambers called 
 the presence, or chambers of audience, which shine with 
 tapestry of gold and silver, and silk of different colours. 
 Under the canopy of state are these words, embroidered 
 in pearl, — Vivat Henricus Octavus. 
 
 '^ Here is also a small chapel richly hung with ta- 
 pestry, where the Queen performs her devotions. In 
 her bed-chamber her bed was covered with very costly 
 coverlids of silk. At no great distance from this room, 
 we were shown a bed, the tester of which was worked 
 by Anne Bullen. 
 
 '' All the other rooms being very numerous are adorned 
 with tapestry of gold, silver, and velvet, in some of which 
 were woven history pieces ; in others Turkish and Ame- 
 rican dresses, all extremely natural. In one chamber 
 are several excessively rich tapestries, which are hung 
 up when the Queen gives audience to foreign ambas- 
 sadors. All the walls of the palace shine with gold and 
 silver. Here is likewise a certain cabinet called Pa- 
 radise, where, besides that everything glitters so with 
 
 c 
 
18 HAMPTON COURT. 
 
 silver, gold, and jewels, as to dazzle one's eyes, there is a 
 musical instrument made all of glass, except the strings. 
 
 " Afterwards, we walked into the gardens, which are 
 most pleasant. Here we saw rosemary, so planted 
 and nailed to the walls as to cover them entirely, which 
 is a method exceedingly common in England/' 
 
 These ancient buildings are extremely interesting. 
 Their structure is of red brick, interlaced with dark-co- 
 loured bricks in diagonal lines, the windows and cor- 
 nices, with their ornaments, being of stone. This cir- 
 cumstance conveys an appearance of meanness to the 
 eye of the spectator, which the beauty of its propor- 
 tions fails to remove. Wolsey appears to have employed 
 the Warden and certain members of the Freemasons as 
 his architects in building his palace, and also Christ 
 Church at Oxford (originally termed Cardinal's Col- 
 lege). All the documents relative to the expense of 
 these buildings are to be found in the Chapter House 
 at Westminster. In removing last year (1838) one of 
 the old towers built by Wolsey, a number of glass bot- 
 tles were dug out of the foundation. They were of a 
 curious shape, and it is probable that they were buried 
 to denote the date of the building, as bottles, similarly 
 situated, have recently been found in the corners of 
 old buildings both at Windsor and Kingston upon- 
 Thames. 
 
 In order to give an idea of the state kept up by 
 Wolsey during this period of his power, it will be only 
 necessary to mention that he had 280 silk beds in 
 his palace for visitors alone, and that he maintained 
 nearly 1000 servants, amongst whom were several lords, 
 

CARDINAL WOLSEY.* 19 
 
 fifteen knights, and forty esquires. His master cook 
 was attired daily in velvet, and wore a gold chain. 
 Well might Dr. Johnson call it 
 
 " The liveried army, and the menial lord." 
 
 Such an establishment shows Wolsey's great wealth 
 and resources ; and his sumptuous mode of living cor- 
 responded to it. Shakspeare says of him — 
 
 " This night he makes a supper, and a great one, 
 To many lords and ladies : there will be 
 The beauty of this kingdom. 
 That churchman bears a bounteous mind indeed, 
 A hand as fruitful as the land that feeds us : 
 His dews fall every where." — King Henky VIII. 
 
 The whole of this enormous palace was covered 
 with lead, some of which remains on it, and is 
 supposed to have been sufficient, formerly, to have 
 covered three acres of land. In order to supply it with 
 the finest water, several conduits were built on the high 
 grounds of Coombe Warren, nearly three miles from 
 Hampton Court, on the opposite side of the river 
 Thames, and the water was conveyed to it by means of 
 leaden pipes. Each foot of this lead weighed twenty-six 
 pounds, so that an estimate m.ay readily be made of 
 the weight and cost of the pipes from the two conduits. 
 The water is of the purest description, and is collected 
 into the reservoirs by means of drains dug across the 
 brow of the hill — a mode of obtaining water practised by 
 the Romans. Wolsey also conveyed a branch of the 
 river Colne ten miles, as an additional supply of 
 water for his palace. These two works alone afford a 
 
 c2 
 
20 HAMPTON COURT. 
 
 proof of the vast resources of the Cardinal, as the 
 expenses of them must have been enormous. In 
 addition to this, the reader has only to refer to the long 
 catalogue and great value of Wolsey's plate in the 
 ^* Collectanea Curiosa" to enable him to form some 
 idea of his great riches. 
 
 So highly was this palace thought of in former 
 times, that Grotius says, if any Briton is ignorant of 
 vrhat is wealth, let him repair to Hampton Court, 
 and there, after having viewed all the palaces of the 
 earth, he will say " These are the residences of kings, 
 but this of the gods." It was indeed the last instance 
 of the magnificence of the household establishment of 
 a priest who held the highest civil appointment under 
 the crown. Wolsey lived here in more than regal 
 state. His town residence, also, York Place, was 
 scarcely less magnificent. He had a large household 
 in daily attendance on him, for whom were daily pro- 
 vided eight tables for the chamberlains and gentlemen 
 officers ; and two other tables, one for the young lords, 
 and another for the sons of gentlemen who were in his 
 suite. Previous to his departure to attend the term in 
 Westminster Hall, Wolsey summoned his retinue to 
 his privy chamber, where he was arrayed in red like a 
 cardinal. Before him was carried the great seal of 
 England, and the cardinal's hat by some lord, " or 
 some gentleman of worship, right solemnly." On 
 descending to the hall of his palace he was preceded 
 by additional officers, and, on arriving at his gate, he 
 mounted his mule, " trapped all in crimson velvet." 
 
 It is probable that the grandeur of the place, or 
 
CARDINAL WOLSEY. 21 
 
 some other cause, of which we have no certain account, 
 induced Wolsey to resign his palace to Henry VIII. 
 in the year 1516, although he occasionally resided in 
 it afterwards. Henry appears to have gone on with 
 the buildings for several years previous to his death, 
 and it subsequently became a favourite royal residence. 
 It is impossible to imagine a circumstance more 
 galHng to a man of Wolsey's pride and ambition, than 
 his being obliged to relinquish a palace upon which 
 he had exhausted so much money, and which he 
 had ornamented in many respects with such exquisite 
 taste. One only wonders that a man of his strong 
 sense and knowledge of the human mind should not 
 have been better prepared against the fickleness of such 
 a king as Henry VIII., and should not have borne it 
 with more firmness. 
 
 The remainder of Wolsey's history is well known. 
 He fell a sacrifice to his own ambition, and his great 
 and paramount desire to be made pope ; to the envy 
 excited by his enormous wealth and power ; and, above 
 all, to the hatred of a woman. Dr. Johnson has finelv 
 described his fortunes and his fate in his ^ Vanity of 
 Human Wishes:' — 
 
 *• In full-blown dignity see Wolsey stand, 
 Law in his voice, and fortune in his hand : 
 To him the church, the realm, their powers consi<,'n ; 
 Through him the rays of regal bounty shine ; 
 Turn'd by his nod the stream of honour flows ; 
 His smile alone security bestows ; 
 Still to new heights his restless wishes tow'r. 
 Claim leads to claim, and pow'r advances pow'r; 
 Till conquest, unresisted, ceased to please. 
 And rights submitted left him none to seize. 
 
22 HAMPTON COURT. 
 
 At length his sovereign frowns, the Irain of state 
 Mark the keen glance, and watch the sign to hate. 
 Where'er he turns, he meets a stranger's eye. 
 His suppliants scorn him, and his followers fly ! 
 Now drops at once the pride of awful state. 
 The golden canopy, the glitt'ring plate. 
 The regal palace, the luxurious board. 
 The liveried army, and the menial lord. 
 With age, with cares, with maladies opprest, 
 He seeks the refuge of monastic rest : 
 Grief adds disease, remember'd folly stings. 
 And his last sighs reproach the faith of kings." 
 
 Johnson then goes on to apply the moral of Wolsey's 
 fate : — 
 
 •' Speak thou, whose thoughts at humble peace repine. 
 Shall Wolsey's wealth with Wolsey's end be thine ?" 
 
 Which shows the folly of trusting to the smiles of 
 kings, the vanity of worldly prosperity, and the misery 
 occasioned by misapplied wealth ; and proves that true 
 happiness consists in piety and contentment. 
 
 Perhaps, however, few passages are more affecting 
 than the words which Shakespeare puts into the mouth 
 of Wolsey when he finds that his power, his wealth, 
 his palates, and his friends, had all vanished at the 
 frown of an ungrateful master, whom he appears to 
 have served with zeal and ability. The latter part of 
 those words was "really uttered by Wolsey on his death- 
 bed. They were addressed to Sir William Kingston : 
 — " Master Kingston, had I but served God as 
 diligently as I have served the king, he would not 
 have given me over in my grey hairs. But this is the 
 just reward that I must receive for my diligent pains 
 and study, not regarding my service to God, but only 
 to my prince." 
 
CARDINAL WOLSEY. 23 
 
 Whatever faults Wolsey may have had, it is impos- 
 sible not to feel for him in his reverse of fortune, es- 
 pecially as that reverse was brought upon him* by his 
 conscientious refusal to sanction the king's divorce. In 
 this respect he certainly showed inflexible virtue and 
 constancy, and sacrificed his great fortune, his power, 
 and his ambition, to a faithful discharge of what he con- 
 sidered to be his duty, thus proving himself to have 
 been a man of honour and probity. It is certain also 
 that, during Wolsey's power, he kept his royal master 
 from committinor those enormities which afterwards so 
 much diso^raced his character as a man and a kino^. 
 This fact should not be lost sight of; and it is but fair 
 to presume that, had the Cardinal's power continued, he 
 would have curbed the violent passions of Henry. 
 Fiddes tells us that he was ever regular in his de- 
 votional duties, and that, notwithstanding the multipli- 
 city of affairs wherewith the Cardinal was taken up, and 
 all the pageantry with which he was surrounded, he 
 never omitted at the usual hours, regularly, and after a 
 pious manner, to perform his public and private devo- 
 tions. At his death it was found that, instead of the 
 " soft raiment which persons wear in king's palaces,'* 
 he had a shirt of hair next to his body. There is also 
 a general concurrence in the writers of his history, 
 whether friends or enemies, that he acquitted himself in 
 his judicial capacity as chancellor as a man of virtue 
 and honour should have done. 
 
 It is to be regretted that the '^ good and elegant 
 Erasmus,'* as he was called, should have been capable 
 of abusing in adversity the man whom he had extoUed 
 
24 HAMPTON COURT. 
 
 when surrounded by influence and almost unbounded 
 wealth. As a proof of his adulation he thus ad- 
 dresses the Cardinal when in power : — " Your High- 
 ness, in the happy administration of the most flourishing 
 kingdom upon earth, is not less necessary to the king 
 your master than Theseus was formerly to Hercules, 
 and Achates to ^neas." And on another occasion he 
 observes : " The Cardinal hath settled every thing in the 
 republic of letters on a better footing, encouraging all 
 persons of learning to be studious." When the Car- 
 dinal lost his power, the same writer produced this 
 comment on his downfall — " This is the play of for- 
 tune ! From being a schoolmaster, he was, in a manner, 
 advanced to the royal dignity, for he might more truly be 
 said to reign than the king himself. He was feared by 
 all persons, but beloved by few, if indeed by anybody." 
 It should also be recollected that, when Wolsey was 
 arrested on the charge of high treason, what principally 
 affected him, and for which he most refused to be com- 
 forted, was the generous reflection that he had nothing 
 left to reward his true and faithful servants. That he 
 was kind to his poor neighbours cannot be doubted, for 
 we are told that, " when he was ready to set forward on 
 his journey to London, the porter had no sooner opened 
 the gates of his palace, but there were seen assembled 
 before it a multitude of people, in number above 3000, 
 crying out with a loud voice, ^ God save your Grace ! 
 Evil be to them that have taken you from us !'— And 
 then they ran after him through the town of Caywood, 
 for he was there well beloved both by rich and poorc 
 In keeping a Maundy, he washed and kissed the feet 
 
CARDINAL WOLSEY. 23 
 
 of fifty-nine poor people, and, after he had dried, gave 
 to every one of them twelve pence, with three ells of 
 good canvas to make them shirts, a pair of new shoes, 
 and a cask of herrings." On his way to London, partly 
 from the fatigues of his journey, partly from the agita- 
 tion of his anxious mind, he was seized with a disorder 
 which turned into a dysentery, and he was able, with 
 some difficulty, to reach Leicester Abbey. When the 
 Abbot and the monks advanced to receive him with 
 much respect and reverence, he told them that he was 
 come to lay his bones among them ; and he imme- 
 diately took to his bed, from whence he never rose 
 more. 
 
 Havino^ thus endeavoured to ofive the reader some idea 
 of the character of Wolsey, we may add that historians 
 appear to have loaded his memory with violent re- 
 proaches, unmindful of the obstinate, rapacious, and ar- 
 bitrary disposition of the master he served, whose reign 
 was much more criminal after the death of his former 
 favourite. When w^e reflect on Wolsey's origin, we 
 should also recollect his great abilities, and that he ex- 
 ercised almost absolute powder in the church as well as 
 in the state. When this is considered, it may excite 
 surprise, in these times, that his enemies have not had 
 more to allege against him. It still remains a matter 
 of opinion whether justice has yet been done to his 
 character, and in estimating it we must keep in mind 
 his humble birth, the times in which he lived, and the 
 power, wealth, and influence with which he was sur- 
 rounded. How few, indeed, under these circumstances 
 would have acted as nobly as Wolsey did in many of the 
 
 /I r/^^ 
 
26 HAMPTON COURT. 
 
 vicissitudes of his extraordinary life. We have shown 
 that he lost his enormous wealth and power by follow- 
 ing the dictates of his conscience, and we know that he 
 made a good use of them, by erecting two colleges, one 
 at Oxford and the other at Ipswich, the place of his 
 nativity. To supply the chairs of these colleges, 
 he sought all over Europe for learned men ; and in 
 order to bestow endowments on them, he suppressed 
 some smaller monasteries, and distributed the monks 
 into other colleges. Under his auspices, also, architec- 
 ture assumed a new character in this island ; and he en- 
 deavoured to ameliorate the manners of his countrymen 
 by an example of splendid interior arrangement quite 
 new to them. His taste in this respect was refined, 
 and his conceptions classical, although it is evident that 
 he sought in vain for architects of sufficient knowledge 
 and ability to carry his ideas into execution. 
 
 We may have formed an erroneous idea of Wolsey's 
 character, but we cannot help considering it to be one 
 of the most splendid class. Haughty, perhaps, and am- 
 bitious, he was at the same time masterly and magnificent. 
 If he was not always judicious, he was uniformly great. 
 His exterior was dignified, his demeanour courtly, his 
 discernment rapid, his eloquence commanding, and 
 his comprehension vast and sagacious. The number, 
 variety, and magnitude of his public trusts, in all of 
 which he was eminently distinguished, are proofs of 
 the elastic powers of his mind, and the versatility of his 
 talents for business. His avidity to amass wealth was 
 contrasted with an expenditure so generous, that it lost 
 the name of avarice, and deserved to be dignified with 
 
CARDINAL WOLSEY. 27 
 
 that of ambition. His ostentation, arising partly per- 
 haps from the habits of the times in which he lived, 
 was so richly blended with munificence and hospitality, 
 
 that it ouorht to be ascribed rather to the love of dis- 
 ci 
 
 tinction than to vanity ; and his pride was so nearly 
 allied to the sense of honour and justice, that it seemed 
 to be essential to his accomplishments as a statesman. 
 Those who delight to contemplate the blemishes of the 
 most illustrious characters, will see in the errors of 
 Cardinal Wolsey much to condemn ; but minds of more 
 generous feeling will consider his faults as obsolete 
 topics, for, in the opinion of such, the merits and the 
 virtues of the great are all that should attract the atten- 
 tion of posterity. And they will not refuse to allow 
 that, whether estimated by his talents, accomplishments, 
 fortune, or designs, this celebrated man was one of those 
 extraordinary personages who only shine conspicuous 
 in times of change or commotion, surprising the world 
 by the splendour of their actions ; and w^ho, having 
 agitated and altered the frame of society by their influ- 
 ence, are commemorated as the epochal characters of 
 history. It appears certain that his ungrateful master 
 never ceased to regret the death of the Cardinal ; and 
 that often, in the perplexities which afterwards troubled 
 his reign, he had sufficient cause to lament the loss of 
 Wolsey. 
 
 We cannot conclude this sketch of his character 
 better than by quoting what Shakespeare says of him : — 
 
 " From his cradle 
 He was a scholar, and a ripe and good one : 
 Exceeding wise, fair spoken, and persuading : 
 Lofty and sour, to them that loved him not ; 
 
28 HAMPTON COURT. 
 
 But to those men that sought him sweet as summer. 
 And though he were unsatisfied in gettinjr, 
 (Which was a sin,) yet in bestowing, madam. 
 He was most princely. Ever witness for him 
 Those twins of learning that he raised in you, 
 Ipswich and Oxford." — Heney VIII. 
 
 ANECDOTES OF CARDINAL WOLSEY. 
 
 It may enable the reader to form a better estimate of 
 the character of Wolsey by introducing some historical 
 anecdotes of him from Dr. Fiddes and other writers, 
 who have supplied some of the materials for the fore- 
 going observations. 
 
 Wolsey was sent so early to the University of 
 Oxford, that he took his bachelor's degree in arts 
 when he was fourteen years old. His precocity of 
 talent and early acquirements procured him the appel- 
 lation of the boy 'bachelor. 
 
 There is an oral report in the Society of Magdalen 
 College, that Wolsey, while burser, endeavoured to 
 possess himself of money from the Treasury, for the 
 purpose of furthering the erection of the great tower of 
 Magdalen College. From the silence of his enemies 
 on this subject, during the whole period of his life, 
 Dr. Fiddes doubts its being correct. If it be true, it 
 is a proof at least of Wolsey's early fondness for the 
 arts. 
 
 Wolsey's first preferment was the rectory of Lym- 
 ington. It was here that he was placed in the stocks, 
 by order of Sir Amias Pawlett, on account, as is 
 believed, of disorderly behaviour and intoxication. 
 
ANECDOTES OF CARDINAL WOLSEY. 29 
 
 When Wolsey became Lord Chancellor, he sent for 
 Sir Amias, and, after a severe expostulation, ordered 
 him into confinement, where he remained for ^ye or six 
 years. The knight was detained in the Temple, and 
 in order to prepare the way for the recovery of his 
 liberty, he adorned the gateway next to the street with 
 the arms, hat, and other honorary appendages of the 
 Cardinal. 
 
 The graces of Wolsey's person appear to have 
 facilitated his progress at Court. Though of middling 
 stature, his air is described as naturally dignified and 
 commanding. To this habitual superiority of deport- 
 ment Fiddes ascribes a portion of the pride imputed 
 to Wolsey, by those who were obliged to seek favour 
 from his power. When we recollect on what slight 
 grounds men usually form opinions concerning those 
 in an elevated and enviable sphere, it is far from un- 
 likely that the supposition is correct. Archbishop 
 Parker, who said many severe things of the Cardinal, 
 tells us that he was '' Doctus et oratione dulcis," and 
 add:j, " Corporis etiam gestu et habitu concinnus *." 
 
 Wolsey's celerity of action is characteristically dis- 
 played in the account given of his embassy to the 
 Emperor, the object of which was a treaty of marriage 
 between Henry VII. and Margaret Duchess of Savoy. 
 Having received his despatches, Wolsey set forward 
 from Richmond ; about four in the afternoon he reached 
 London, where he found a barge from Gravesend 
 ready to receive him. In less than three hours he 
 
 * There is no portrait extant of Wolsey that is not a profile. This is 
 supposed to have been occasioned by his having only one eye. 
 
30 HAMPTON COURT. 
 
 was at Gravesend, at which place he stayed no longer 
 than while post-horses could be provided for his 
 furtherance to Dover. He arrived at Dover the next 
 morning, and took advantage of a passage-boat that 
 was just going to set sail for Calais, to which place he 
 came long before noon, and proceeded forward with 
 such expedition, as brought him that night to the 
 imperial court, which was then in Flanders. Having 
 opened his credentials to the Emperor, he made it his 
 humble request, for reasons respecting the special service 
 of both courts, that his return might be expedited, to 
 which request the emperor was so favourable, that the 
 next morning he received his despatches, wherein every 
 thing was agreed to, that had been proposed on the part 
 of his master. Upon this, he immediately took post 
 for Calais, at v/hich place he arrived at the opening of 
 the gates, and found the passengers ready to put to 
 sea in the same boat which lay so conveniently for him 
 when he arrived in his way forward at Dover. Fortune 
 continued his friend, and he reached Richmond that 
 night. In the morning he threw himself at the king's 
 feet, as his majesty came first out of his bed-chamber 
 to hear mass in his closet. The king, not expecting to 
 see him there, and supposing he had not gone on his 
 embassy, gave him a severe rebuke for his neglect of 
 the orders wherewith he had been charged, upon 
 which, to the king's great surprise, he presented the 
 letters from the Emperor. 
 
 The origin of Wolsey's quarrel with the unfortunate 
 Duke of Buckingham is thus described. The cardi- 
 nal once, when the duke was present, washing his 
 
ANECDOTES OF CARDINAL WOLSEY. 31 
 
 hands in the same water after the king, the duke con- 
 ceived so orreat indio^nation at the bold and unbecominor 
 
 DO O 
 
 freedom he took, that he threw the water upon his 
 feet. The Cardinal, being provoked in his turn, 
 threatened to sit upon the duke^s skirts. The duke, 
 in contempt of this threat, or to ridicule him for so 
 vulgar an expression, appeared the next day at court, 
 before the king, in a dress without any skirts, and 
 told the king he did so to prevent what the cardinal 
 had threatened. 
 
 The king's wishes concerning Anne Boleyn cer- 
 tainly accelerated (if indeed they did not altogether 
 occasion) the disgrace of the Cardinal. An interview 
 on this subject took place between the king and Wol- 
 sey, when his majesty alleged several things in defence 
 of what he proposed, and particularly represented the 
 effects of his royal displeasure. It does not appear 
 what answer was returned by Wolsey, but it is certain 
 that he was so severely reproached and menaced by the 
 king, that, upon his withdrawing, he discovered a most 
 sensible disorder and consternation of mind, for when 
 the Bishop of Carlisle, who upon his return to West- 
 minster attended him in his barge, observed it was a 
 very hot day, the Cardinal answered — *' If you had 
 been as well chafed as I have been within this hour, 
 you would then say you were indeed very hot.'* 
 
 On quitting London in his disgrace, Wolsey went to 
 his house at Esher, w^here he was in want not only of 
 the conveniences, but what, by persons of condition, 
 would be thought the necessary comforts of life : for, 
 according to the account of Cavendish, who attended 
 
32 HAMPTON COURT. 
 
 him in that place, they had neither beds, sheets, table- 
 cloths, or dishes to eat their meat in ; nor money where- 
 with to buy any. It was at this time that Cromwell 
 took occasion to remind him that it was proper he 
 should consider that no competent provision had been 
 made for several of his servants, who had never for- 
 saken him (such were his words) in weal or woe. To 
 which the Cardinal answered, ^' Alas, Tom ! you 
 know 1 have nothing to give you, nor them, and am 
 ashamed and sorry that I cannot requite your faithful 
 services.'' Cromwell, who appears to have been a man 
 that knew the world, and was not to be diverted from 
 his point, then proposed that the Cardinal's chaplains, 
 whom he had preferred to rich benefices, should seve- 
 rally contribute towards the relief of the present exi- 
 gency. 
 
 Upon this representation, the Cardinal, in his epis- 
 copaj habit, called together all his gentlemen, yeomen, 
 and chaplains. He then went with his chaplains to the 
 upper end of his chamber, where was a great window, 
 and Cavendish says that, '' Beholding his goodly num- 
 ber of servants, he could not speak to them until the 
 tears ran down his cheeks ; which being perceived by 
 his servants, caused fountains of tears to gush out of 
 their sorrowful eyes, in such sort as would cause any 
 heart to relent. At last my Lord spake to them to 
 this effect and purpose : — 
 
 '' Most faithful gentlemen, and true-hearted yeo- 
 men ! I much lament that in my prosperity I did not 
 so much forgive as I might have done. Still, I consi- 
 der, that, if in my prosperity I had preferred you to the 
 
ANECDOTES OF CARDINAL WOLSEY. 33 
 
 king, then should I have incurred the king's servants' 
 displeasure, who would not spare to report behind my 
 back that there could no office about the court escape 
 the Cardinal and his servants ; and by that means, I 
 should have run into open slander of all the world ; but 
 now is it come to pass that it hath pleased the king to 
 take all that I have into his hands, so that I have now^ 
 nothing to give you. For I have nothing left me^ hut 
 the bare clothes on my back.'^ 
 
 Henry appears to have had some compunctions of 
 conscience on account of his treatment of Wolsey. 
 That the king sent him a ring while he was at Esher, 
 as a token of his friendship, is w^ell knovvn. Queen 
 Anne Boleyn was present when his majesty took the 
 ring from his finger. '' Good sweet-heart," said Henry 
 to his consort, " as you love me, send the Cardinal a 
 token, at my request, and in so doing you shall deserve 
 our thanks.'' The queen then took a tablet of gold that 
 hung by her side, and gave it to Dr. Butts, to be de- 
 livered to Wolsey in a friendly manner. 
 
 When the Cardinal was indicted for having exercised 
 his Legatine commission without the king's authority, 
 one of the judges w^as sent to Esher to receive his an- 
 swer to this sham.eless accusation. The reply of Wolsey 
 was proud and melancholy. " I am,'* said he, '' now 
 sixty years old, and the best of my days have been 
 spent in his majesty's service, in which my whole en- 
 deavour was to please him: and is this that heinous 
 offence for which I am deprived in old age of my alL 
 and driven as it were to beg my bread ? I expected 
 some greater charge against me ; not that I am guilty, 
 
 D 
 
34 , HAMPTON COUHT. 
 
 but because his majesty knows how ill it becomes the 
 magnanimity of a kmg to condemn, without a hearing, 
 a servant who was greatest in his favour, and to inflict 
 for a slight fault a punishment more cruel than death. 
 What man is he that would not die rather than witness 
 those whose faithful service he has long experienced 
 starving around him ?" After some further conversation, 
 he desired the judge to tell the king to remember that 
 there is both a heaven and a hell. 
 
 When all Wolsey's possessions and moveables were 
 forfeited to the crown, the fate of his colleges gave 
 him most pain. He had indulged a fond expectation 
 that they would have been his monuments with pos- 
 terity, as a patron of knowledge, and a benefactor to 
 his country, a feeling for which we cannot but admire 
 him. When he found they were confiscated, he wrote 
 humbly and with weeping eyes to the king, to spare 
 the college at Oxford ; but no answer was returned. 
 
 His adherent Cromwell ably defended Wolsey in 
 the House of Commons, and acted with such open 
 and manly intrepidity in the cause of his deserted 
 master, that he won the esteem of all parties by his 
 ofenerous conduct. 
 
 Bishop Corbet, in allusion to the obscurity of the 
 cardinal's grave, thus refers to it in the ' Iter Boreale' — 
 
 •• Although from his own store Wolsey might have 
 A palace oi- a cottage for his grave. 
 Yet here he lies interr'd, as if that all 
 Of his to be remember'd were his fall ; 
 Nothing but earth to earth, nor pompous weight 
 Upon him but a pebble or a quoit." 
 
85 
 
 WOLSEYS PALACE. 
 
 Alluit Hamptoniain celebrem quae laxior urbis 
 Mentitnr formara spatiis ; hanc condidit aulam 
 Purpureas pater ille gravis, gravis ille sacerdos 
 Wolsaeus, foriuna favos cui felle repletos 
 Obtulit, heu tandem fortuase doiia dolores. 
 
 Tam^ et I sis connubium. 
 
 It will add to the interest of the visitor at Hampton 
 Court Palace, if he bears in mind that it was the last 
 instance in this country of the magnificence of the 
 household establishment of a priest who held the 
 highest offices in church and state. Here Wolsey lived 
 in more than re^al state, and when it is considered 
 that he had nearly one thousand persons in his suite, 
 we shall be less surprised at the vastness of his palace. 
 The part of Wolsey's palace which still remains 
 consists of the first and second quadrangles, and some 
 smaller courts- and passages to the right and left of them. 
 If the original palace had five courts, which it is gene- 
 rally supposed to have had, it must have been nearly 
 as large again as we see it at present. The third 
 court next the gardens was rebuilt by William III., 
 and stands upon only a small part of the original site of 
 the old palace. In looking at what remains of the 
 latter we shall perceive an effect, in the old English 
 ecclesiastical character of building, that delights the 
 imagination, and seems congenial with our native 
 feeling. The small part, however, which remains of 
 the original building can convey but a very in- 
 
 D 2 
 
36 HAMPTON COURT. 
 
 adequate idea of the former splendour of the place^ as 
 the apartments which are now standing were supposed 
 to have been only used as domestic offices. Perhaps 
 the best idea that can be formed of the extent of the 
 old palace is by passing along the tennis-court lane, 
 and inspecting the north front from the gateway to 
 the tennis-court. This is all Wolseyan, with the excep- 
 tion of the modern windows and a projecting building. 
 The old chimneys may here be seen, and their ample 
 space and solidity will allow us to form some idea of 
 the hospitality and good cheer which took place in the 
 cardinal's establishment. Each of these fireplaces is 
 large enough to roast an ox, being nineteen and a half 
 feet in width, and eight and a half feet in height. It 
 is evident that the attendants were not allowed to enter 
 the kitchens, as each of them has a large square 
 opening communicating with the several passages, 
 which was closed until the dinners were dressed, when 
 a large wooden flap was let down, and the dishes 
 placed upon it, which were then removed by servants 
 on the outside. When we consider that Wolsey*s 
 palace is stated to have contained fifteen hundred 
 rooms, we shall find that these enormous kitchens and 
 fireplaces were not out of proportion to the number of 
 his attendants and g^uests. 
 
 The Hall. 
 
 In the middle court is Wolsey's hall, which Evelyn 
 calls a " most magnificent roome,'' and here we can 
 fancy him entertaining his ungrateful master with all 
 the splendour which his wealth and resources enabled 
 
ARCHWAY AND STEPS LEADIMG TO WOLSEVS HALL, 
 HAMPTON COURT. 
 
WOLSEY*S HALL. 37 
 
 him to employ. In this hall he maintained three 
 boards, with three several officers ; a steward, who was 
 a priest ; a treasurer, who was a knight ; and a comp- 
 troller, who was an esquire ; also a confessor, a doctor, 
 three marshals, three ushers of the hall, and two 
 almoners and grooms. 
 
 In the hall kitchen were two clerks, a clerk comp- 
 troller, and a surveyor of the dresser ; and clerk of the 
 spicery ; also two cooks with assistant labourers and 
 children turn-spits, twelve persons : four men of the 
 scullery, two yeomen of the pastry, and two paste-layers 
 under them. 
 
 In his own kitchen was a master-cook, who was 
 attired daily in velvet or satin, and wore a gold chain ; 
 under whom were two cooks and six assistants. In 
 the larder, a yeoman and a groom ; in the scullery, a 
 yeoman and two grooms ; in the buttery, two yeomen 
 and two grooms ; in the ewry, two yeomen and two 
 grooms ; in the cellar, three yeomen and three pages ; 
 in the chandry, two yeomen ; in the wafery, two yeomen ; 
 in the wardrobe of the dormitory, the master of the 
 wardrobe and twenty assistant officers ; in the laundry, 
 a yeoman, groom, and thirteen pages, two yeomen 
 purveyors, and a groom-purveyor ; in the bakehouse, 
 two yeomen and two grooms ; in the wood-yard, one 
 yeoman and a groom ; in the barn, one yeoman ; at 
 the gate, two yeomen and two grooms ; a yeoman of 
 his barge, and a master of his horse ; a clerk of the 
 stables, and a yeoman of the same ; a farrier and a 
 yeoman of the stirrup; SLmaltour and sixteen grooms, 
 every one keeping four horses. 
 
38 HAMPTON COURT. 
 
 In his great chamber and in his privy chamber were 
 the chief chamberlain, a vice chamberlain, and two gen- 
 tlemen ushers. There were also six gentlemen- waiters 
 and twelve yeomen-waiters ; at the head of these, who 
 ministered to the state of this mighty prelate, nine or 
 ten lords, with each their two or three servants, and one 
 had five. There were also gentlemen-cup-bearers, gen- 
 tlemen-carvers ; and of sewers for both chambers forty 
 persons ; besides six yeomen ushers, and eight grooms 
 of his chamber. In addition to these were, in attend- 
 ance upon his table, twelve doctors and chaplains, 
 the clerk of the closet, two secretaries, two clerks of the 
 signet, and four counsellors learned in the law. 
 
 He had also a riding clerk, a clerk of the crown, a 
 clerk of the hamper, and a chaffer ; a clerk of the 
 cheque for the chaplains, and another for the yeomen 
 of the chamber, fourteen footmen, "garnished with 
 rich riding coats :" — he had a herald- at-arms, a ser- 
 jeant-at-arms, a physician, an apothecary, four min- 
 strels, a keeper of his tents, an armourer, and instructor 
 of his wards, an instructor of his wardrobe, and a keeper 
 of his chamber : also a surveyor of York, with his as- 
 sistants. There were besides numerous priests and 
 attendants in the chapel and vestry. 
 
 All these were in daily attendance ; for whom were 
 continually provided eight tables for the chamberlains 
 and gentlemen-officers ; and two other tables ; one for 
 the young lords, another for the sons of gentlemen who 
 were in his suite, all of whom were attended by their 
 own servants, in number proportioned to their respective 
 ranks. 
 
wolsey's hall. 39 
 
 From the above list, which it is hoped will not be 
 found uninteresting, the visitor will be able to form an 
 idea of the use made of Wolsey's hall, and of the persons 
 who filled it. On entering it, it is impossible not to be 
 struck with its fine proportions, and the beauty of the 
 roof, the workmanship of which is most elaborate, con- 
 sisting of carvings in wood. The hall of Christ- 
 church, Oxford, built also by Wolsey, is said to be 
 more chaste and impressive, although many persons 
 give the preference to that of Hampton Court. This 
 hall is one hundred and six feet in leno:th, and fortv in 
 breadth, and the east and west ends have each a gable 
 window, more remarkable for purity of taste than for 
 richness. The sides are lighted by seven lofty, well- 
 proportioned windows, placed at a considerable height 
 from the floor, as was usual formerly in all great halls, 
 in order that the walls might be hung with tapestry on 
 festive occasions. There is a dais, or platform, at the 
 upper end of the hall, and one side of it is a window, 
 the ceiling of which is one of the most beautiful of 
 the kind in this country, and perhaps unique with 
 respect to the taste and richness of its workmanship. 
 It was upon one of the panes of glass of this window 
 that Henry Howard, Earl of Surrey, so famous for 
 the tenderness and elegance of his poetry, and for his 
 martial exploits, wrote some lines w4th a diamond on 
 the fair Geraldine, * which excited the jealousy of 
 Henry VHT., and perhaps assisted in bringing the 
 
 * The fair Geraldine, it is now known, was Elizabeth, second daughter 
 of Gerald Fitzgerald, Earl of Kildare, by Margaret, daughter of Thomas 
 Grey, Marquis of Dorset, and the third wife of Edward Clinton, earl of 
 Lincoln. 
 
40 HAMPTON COURT. 
 
 high souled and hot-tempered Surrey to the block in 
 1547. 
 
 It is a curious fact, if it can be depended on, that 
 the first play acted in the hall was that of Henry VIII. , 
 or the fall of Wolsey, it being represented on the very 
 spot which had been the scene of the cardinal's 
 greatest splendour. Shakspeare is said to have been 
 one of the actors in this play. 
 
 Wolsey's Withdrawing-Room. 
 
 This room is entered by a doorway from the centre 
 of the dais in the hall, and is equally curious and beau- 
 tiful. Its proportions also are perfect. It is 61 feet 
 10 inches in length, 29 feet 5 inches in breadth, and 20 
 feet high. It is said that when Sir Walter Scott saw it, 
 he was so much struck with it, that he built one some- 
 what resembling it at Abbotsford. It is always pleasing 
 to see this sort of tribute paid by one great genius to 
 the works of another, w^ho, perhaps, is only known by 
 this relic of his talents. 
 
 The ceiling is decorated with pendent ornaments, 
 between which are the cognizances of the fleur-de-lis, 
 the rose, portcullis, and other badges, with coats of 
 arms. The ribs are of oak, and were formerly elabo- 
 rately painted and gilt. From these moulded ribs, 
 which are divided into compartments, the small pen- 
 dents descend at the intersections, and are intermixed 
 with carvings, consisting of the fleur-de-lis, portcullis, 
 and other badges and coats of arms. The oriel win- 
 dow is very unusual in its form, being semi-circular, and 
 has some stained glass in it of cognizances, the same as 
 those on the ceilinof, 
 
wolsey's withdrawing-room. 41 
 
 Perhaps, however, the most curious and interesting 
 things in this room are the ancient Tapestries. Inde- 
 pendently, however, of the interest which is attached 
 to them from the fact of their having formed part of 
 the original decoration of Hampton Court, when the 
 eminent founder of it was in the zenith of his glory and 
 power, and high in the favour of his royal master, they 
 are remarkable in many respects for the merit they 
 possess as examples of design. Allowance must of 
 course be made for the style of art of the period,' and 
 the peculiar manner of the school which produced 
 them. They are characterised by a Gothic taste, and 
 by a somewhat lengthy and stiff proportion and form in 
 the figures, which is found in almost all the earlier, and 
 in many of the later works of the Flemish designers (for 
 these tapestries may be certainly attributed to that 
 school) . It is even found much later than the age of 
 one of its most distinguished ornaments, Albert Durer ; 
 and he, it is known, lived some years after a very im- 
 proved school had been established in Italy by RafFaelle, 
 &c. The rules of perspective are often disregarded ; 
 figures being placed over figures, and little or no at- 
 tempt made to distinguish what should be distant from 
 near objects, although the nature of the w^ork and the 
 material may in some measure account for this defect, 
 as far as it might be remediable by colour, and light and 
 shadow. Propriety of costume is also set at defiance, 
 and correctness of dates with respect to persons or events 
 represented totally uncared for. Yet, with all these 
 drawbacks, these Tapestries possess qualities which 
 the real artist and connoisseur will immediately recog- 
 
42 HAMPTON COURT. 
 
 nise as worthy of study and attention. The vigour of 
 some of the groups and single figures, the expression of 
 many of the heads, the feehng for simple and often ele- 
 gant form, and also the exceeding grace and beauty of 
 disposition and arrangement of many of the draperies, 
 to say nothing of the bold, though it must be admitted, 
 often strange, conception of the allegories— afford fair 
 compensation for many defects which arise out of igno- 
 rance of, or want of practice in, true drawing, and the 
 absence of a grander and purer stjde. They prove also 
 that the authors of such desio^ns were artists of no mean 
 power, however inferior they must be considered to 
 the mighty Master Spirit, from whopi emanated those 
 splendid compositions of a more severe and refined 
 school, which, designed also for tapestries, are preserved 
 in another apartment of the palace. 
 
 Mr. John Carter, the celebrated antiquary, in the 
 Gentleman's Magazine for March, 1812, says that 
 " the walls of this room are covered with tapestry, 
 exhibiting a series of historical subjects highly in- 
 teresting by the fine drawing, and costume instruction 
 they convey." 
 
 As I am not aware that the ancient tapestries of this 
 interesting room have hitherto been described, an ac- 
 count of them may not be unacceptable to those who 
 feel inclined to inspect them, which may be done on 
 application to the housekeeper. In writing the de- 
 scription it is but fair to add that it was no easy task to 
 make out the designs, and more particularly to decipher 
 the inscriptions, from the injury which some of the ta- 
 pestry has experienced through the lapse of centuries. 
 
WOLSEY S WITHDRAWING-ROOM. 
 
 43 
 
 The following sketch of the ground-plan of this part of 
 the palace will render ihe description more intelligible : — 
 
 si. 
 
 VJohevs Rail 
 
 
 D 
 
 The Eastern side of the apartment exhibits three 
 compartments of tapestry representing the Influence of 
 Destiny^ which is personated by the figures of the Parcae, 
 or the Three Destinies, — Clotho, who presided over 
 the moment of Birth, and is known by the distafF; 
 Lachesis, who presided over Futurity; and Atropos, 
 who cut the thread of Life. The first compartment 
 (marked No. 1 on the plan) exhibits CHASTETE 
 (attended by her maidens) on a car drawn by four Uni- 
 corns, and attacked by the Destinies riding on Bulls, 
 ATROPOS throwing the fatal dart. 
 
 By the side of the car is LUCRECE, with her train 
 held by BONVOLONTE, who offers to her the knife 
 with which she destroyed herself after violation by the 
 Tarquin. Venus is being trampled under foot by the 
 Unicorns of the Car of Chastity, and Cupid appears 
 
44 HAMPTON COURT. 
 
 bound at the foot of Chastity. A Figure on Horse- 
 back, with a hat resembling that of a cardinal, has this 
 name CHIPIONLAFICAN ; and a warrior on foot 
 bears two clubs, persecution and consomacion and 
 the spear of grevance. Over the whole these explana- 
 tory verses in the old English character, in two lines : — 
 
 '* Cobien que lome soit chaste tout pudiuqz 
 Les senes fatalles par leur loy autetiqz 
 Traehet les nerfz etfilletz de la vie 
 Ace la la mort tous les uiuans aouil." 
 
 The second compartment represents the Destinies 
 seated on a triumphal car (drawn by four bulls 
 ringed at the nose), with CH ASTETE recumbent at 
 their feet ; and multitudes of figures of men and women 
 sinking under their influence. The car is drawn over 
 the bodies of prelates, kings, &c. 
 
 On the car this verse* in capital letters : — 
 
 - *' CLOTO. COLOM. BAIVLAT. NET. 
 LACHESIS. ATROPOS. OCCAT." 
 
 Preceding the Car is an armed figure brandishing 
 the javelin of Maltheoz and carrying on his shoulder 
 the Clxyb fortudio . 
 
 Of these two subjects there are duplicates (marked 
 Nos. 3 and 4 on plan) with some trifling varieties. 
 The figure bearing the club has the name COVRON, 
 and the club is Fortutudio, 
 
 * This verse, descriptive of the occupations of the three Destinies, exhi 
 bits a diflfeient readinj,' from the ancient Latin verse :— 
 
 " Clotho colum retinet. Lachesis netet, Atropos occat." 
 
wolsey's withdrawing-room. 45 
 
 Above No. 2, these verses : — 
 
 ' Le chaste an fort pi. sainemet peiilt niure 
 Qui se ireuue de gras. vices delure. 
 Mais a la fin it ny a roy ne pape 
 Grat ne petit gin de ses les echappe." 
 
 The next piece of tapestry (marked No. 5 on the 
 plan) follows Atropos, the last of the Destinies, in her 
 career ; showing that, after Destiny has destroyed, Fame 
 or RENOMEE can still cause heroes, &c. to live. 
 Renown is sounding her trumpet, and a host of 
 heroes, &c. (among whom appear the names of ROI 
 PRIAM, PARIS, HERCULES, MENELA. 
 GAL AT.), appear disputing the destructive influence of 
 Atropos, who is falling from her car. Above are these 
 verses : — 
 
 " La Moit mord tout mais clere Renomee 
 Sur moit triuplie et la tiet deprimee 
 Dessoubs, lespieols mais apres les effors 
 Fame susule les hautes fais de grs.mors." 
 
 The story is continued on the south wall of the 
 apartment. -The figure of Renomee (marked No. 6 
 on the plan) stands on a car drawn by five elephants. 
 At her feet appears Atropos seated. A multitude cf 
 figures surround the car. Among them appear 
 TORQUAT, CATHON, MARTIAS, and FA- 
 BIRUS MAXIMUS. Above are these verses :— 
 
 " Qui par \irtu ont merit egloire 
 
 Qu' apres leur mort de leurs fais soit memoire 
 Indite fame neultiaraais congoisace 
 De Lesens le grant lac doublia,nce." 
 
 The piece of tapestry (marked No. 7 on the plan) 
 represents Renomee seated on her car drawn by 
 
46 HAMPTON COURT. 
 
 elephants, and surrounded with figures on horseback 
 and on foot ; but this piece of tapestry is so injured 
 tliat very little of the detail can be made out. These 
 verses surmount the whole : — 
 
 " Quoique fame indite et honore 
 Apres la Mort soit de longue duree 
 Cleie etluysant neatmoins tout le parse 
 Tout s'oblie par temps et bogues passe." 
 
 Continued on the western side appears (marked 
 No. 8 on the plan) a car drawn by four flying 
 horses with the figure of Renown seated in front, at 
 the feet of Time, who is depicted with crutches, flow- 
 ing beard, and wings. 
 
 Over these two stories (Nos. 7 and 8) are three 
 of the signs of the Zodiac, Gemini, Cancer, and Leo, 
 with the sun in full splendour entering Leo, and the 
 Hours (female figures) in swift flight. Above No. 8 
 these verses : — 
 
 ** Lonquiniet viure taura proufRte, 
 Quat te seras es latebres geete 
 De ce viet temps qui tout rouge et alfme 
 Et dure apres que fame meurt z fine." 
 
 Over the doorway leading to and from the Hall are 
 the royal arms, quarterly, France and England, sup- 
 ported by a Lion and a Griffin, and the badge of a 
 Tudor rose, surmounted by a crown. 
 
 Between the doorway of the fireplace is a large 
 piece of very fine tapestry (marked No. 9 on the plan), 
 representing, in two rows, eight different groups. The 
 upper groups are, (1) Four men on horseback ; one 
 with a vizored-helmet advancing towards (2) a king, 
 
WOLSEY'S WITHDRAWING-ROOM. 47 
 
 holding a purse in his hand, riding on a griffin tram- 
 pling upon a man. This figure may be either setting 
 the horseman at defiance, or spiriting them to some ex- 
 ploit by the exhibition of the guerdon. (3) An angel 
 holding a chalice, as if offering it to (4) a group of two 
 men, two women and a child. The foremost figure has 
 his right hand on his heart, and a club in his left one. 
 One of the females is stooping to pick up some things 
 from the ground ; while the other is giving a fruit to 
 her child. The lower series of groups are (1) two 
 females and three or four soldiers on foot. (2) A lady 
 on horseback, attended by a driver with a switch. (3) A 
 man on horseback and three on foot, probably atten- 
 dants on (4) a king on horseback, with the orb in his 
 left hand and sword in his ng-ht. The drawinof of this 
 piece of tapestry is very good. 
 
 Over the fireplace are (1) the royal arms, as over 
 the doorway. (2) The fleur-de-lis, surmounted by a 
 crown. (3) The arms of Cardinal Wolsey, being the 
 ancient arms .of the see of York, impaling sable, on a 
 cross engrailed argent a lion passant guardant gules, 
 between four leopards' faces azure ; on a chief argent a 
 rose gules between two Cornish choughs, proper : 
 Wolsey, Supporters, angels kneeling. (4) The an- 
 cient arms of the see of York, impaling two keys en sal- 
 tire. (5) Arms, as No. 3. (6, 7, 8) By the sides of 
 (3, 4, 5) are labels, with the words " Dusmichi adjutor." 
 Beyond the fireplace is a tapestry (marked No 10 
 on the plan), being part of a series of subjects from the 
 story of Hercules. The first compartment represents 
 the hero returning with the captured Mares of Dio- 
 
48 HAMPTON COURT. 
 
 medes, which was the eighth labour enjomed to Her- 
 cules by his brother Eurjstheus. 
 
 Over these verses in old English characters : — 
 
 " Diomedes. a. les. chevaux. donnat. sang, estrangier 
 
 fclux. Hercules, le. fist. lui. propre. a. les. chuaulx mengier." 
 
 The next compartment represents the Death of Her- 
 cules. The giant Hero is on his funeral pile, with the 
 skin of the Nemsean lion, and his club : on this pile, 
 raised by him as an altar to Jupiter, he threw himself in 
 the midst of his agony occasioned by the poison of the 
 tunic of the Centaur Nessus, which his wife Dejanira 
 had sent him. His friends Lychas and Philoctetes are 
 with him ; and above may be seen Dejanira in the act 
 of destroying herself after perceiving the fatal effect of 
 the tunic. Above are these verses : — 
 
 ** Dianira, pour. li. oster. di. oeuurel la chemise, lui. 
 
 Transmist. par. Licas. 
 - Quit. mist, a mort. et. le. plus, preux. du. monde. fina. 
 Les. jours, par. ce. malheureux. cas. 
 
 The north end of the apartment is covered with a 
 very large and singularly beautiful specimen of tapestry 
 (marked No. 11 on the plan). The story appears to 
 turn upon the offering, by a female kneeling accom- 
 panied by her maids, of a chalice to three queens seated 
 on thrones, with sceptres in their hands. 
 
 Behind these personages are a range of windows, 
 whence many male and female attendants look upon the 
 scene. There are many courtiers, dressed in rich and 
 curious costume ; musicians ; and others in dalliance. 
 The attention of the whole of the principal figures is 
 
CHAPEL IN HAMPTON COURT PALACR. 
 
THE CHAPEL. 49 
 
 directed to the lady ofFering the cup. They form an 
 excellent study for the dresses of the time, which are 
 doubtless as early as the reign of Henry VII. Over 
 the door, on this side of the apartment, are the royal 
 arms, and the Tudor badge, the Portculhs surmounted 
 by a Rose. 
 
 THE CHAPEL. 
 
 It is supposed that the Chapel was not entirely built 
 at the time of Wolsey's disgrace, but that it was com- 
 pleted by Henry VIII. in 1536. His arms, impaled 
 with those of Seymour, and the initials H. I. joined to- 
 gether by a true lover's knot, several times repeated, 
 occur on each side of the door, and are not a little curi- 
 ous. Before the civil war, this chapel was ornamented 
 with stained glass and pictures, which were demolished 
 in 1643, as appears by the following paragraph taken 
 from a weekly paper of that date : '' Sir Robert Harlow 
 gave order (according to the ordinance of Parliament) 
 for the putting down and demolishing of the popish 
 and superstitious pictures in Hampton Court, where 
 this day the altar was taken down, and the table brought 
 into the body of the church, the rails pulled down, and 
 the steps levelled, and the popish pictures, and super- 
 stitious images that were in the p^lass windows were also 
 demolished, and order given for the new glazing them 
 with plain glass ; and, among the rest, there was pulled 
 down the picture of Christ nailed to the cross, which 
 was placed right over the altar, and the pictures of 
 
 E 
 
50 HAMPTON COURT. 
 
 Mary Magdalen, and others, weeping by the foot of the 
 cross ; and some other such idolatrous pictures were 
 pulled down and demolished." , 
 
 The chapel is paved with black and white marble, 
 and fitted up with oak. There are some beautiful 
 carvings by Gibbons. The present roof is the one 
 which was originally put up, and is a plain Gothic pat- 
 tern, with pendent ornaments, elaborately worked. The 
 whole effect on entering the chapel is very striking. 
 On ascending the staircase leading to the royal pew, a 
 portion of the original ceiling of Wolsey*s time, and 
 which is still found in other parts of his palace, will 
 attract the attention of the visitor by its beauty and 
 workmanship. 
 
 WOLSEY'S COURTS. 
 
 Although, as has been stated, only two of Wol- 
 sey's principal courts are now in existence, and these 
 probably were used only as dom.estic offices, there is 
 much to admire in them. The first court is perfect, 
 and remains as it was built by the Cardinal ; but the se- 
 cond, or middle court, is disgraced, with reference to the 
 admixture of a different style of architecture, by a colon- 
 nade, supported by pillars of the Ionic order, designed 
 by Sir Christopher Wren. This screen would be hand- 
 some in any other situation, but it destroys the effect of 
 the beautiful court in which it is placed, and effectually 
 conceals one side of it, as well as some beautiful Gothic 
 windows behind it. The accompanying print will show 
 
BAY WINDOW IN THE PKESENCE CHAMBER, FROM THE KIICHEN COURT 
 H AMP! ON COURT. 
 
wolsey's courts. 51 
 
 the effect which might be produced by removing the 
 screen, and making a covered v^ay in character with the 
 other parts of Wolsey's palace. Every person of good 
 taste must wish to see this alteration made. 
 
 The roof of the archway between the two courts is 
 very beautiful, and well worthy of inspection. On the 
 turrets, on each side of the archways, there are busts of 
 the Roman emperors, which were sent to Wolsey by 
 Pope Leo X. for the purpose of ornamenting his palace. 
 The embattled parapets over the entrance-tower have a 
 very light and beautiful effect. 
 
 In the middle court there is a curious astronomical 
 clock over the gateway, now under repair. It was put 
 up in the year 1540, as appears from an inscription af- 
 fixed to it, and it is said to be the first of this kind ever 
 fabricated in England. On this clock are represented 
 the twelve signs of the Zodiac, with the rising and 
 setting of the sun, the various phases of the moon, and 
 other ornaments and indices of time.* 
 
 The round kitchen court is worth seeing, as it con- 
 tains specimens of Wolsey's architecture. The north 
 front of the palace, as seen in passing along the tennis- 
 court lane, will enable any one to form a good idea of 
 the vast extent of the original palace. The old chim- 
 neys, some of which have been recently restored, the 
 cupolas, and some of the old stone ornaments, are well 
 worthy of attention. 
 
 The front of the original palace, looking into the gar- 
 dens, is very striking, and will give an idea of its extent 
 
 * For further particulars of this clock, see letters of the Paston family, 
 vol. 2, 2iid edition, page 31. 
 
 E 2 
 
52 HAMPTON COURT. 
 
 and splendour, and of the style of Wolsey's architecture. 
 That Wolsey's taste in architecture was good cannot be 
 doubted. The beautiful simplicity and just proportion 
 of that noble structure, the tower of Magdalen College, 
 Oxford, so universally admired, is a proof of it, to say 
 nothing of Christ Church. To the shame of that col- 
 lege, no monument has been erected in it to com- 
 memorate the munificence of Wolsey, or the gratitude 
 of those who are reaping the benefit of it. 
 
 Aubrey tells us that " the Cardinal was a short, 
 lusty man, not unlike Martin Luther, as appears by 
 the paintings that remain of him ; and that few ever 
 fell from so high a situation with less crimes objected 
 to him than Wolsey.'' This is no faint praise, when 
 we recollect how apt wealth and power are to debase 
 the human mind. 
 
 We trust that this account of Cardinal Wolsey and 
 his palace will not be found uninteresting. We will 
 conclude it by quoting some lines from a scarce poem, 
 by Thomas Storer, a student of Christ Church, pub- 
 lished after the death of Wolsey, and consequently 
 when there could be no suspicion of flattery ; which 
 will serve to shew the reader what was thought of him 
 at that time. The poem is entitled " The Life and 
 Death of Thomas Wolsey, Cardinal, divided into 
 three parts : His Aspiring, Triumph, and Death." 
 
 " This silvertongue,methought,was never made. 
 
 With rhetoricke skill to teach each common swaine ; 
 These deepe conceits were never taught to wade 
 In shallow brookes, nor this asphiug vaine. 
 Fit to converse among the shepheard's traine : 
 
HENRY VIII. 53 
 
 I could not quit me like a worthlesse groome. 
 In coarser garment, woven of country loome. 
 
 " Just cause I saw my titles to advance, 
 
 Virtue my gentry, priesthood my discent, 
 Saints my allies, the crosse my cognizance, 
 Angeils my guard that watcht around my tent, 
 Wisdome that usher'd me where ere I went : 
 These are our honours, though the word withstand. 
 Our lands and wealth are in another land. 
 
 " Yet as through Tagus' faire tranparent streames. 
 The wandering marchant sees the sandy gold, 
 Or, like as Cynthia's half obscured beames 
 ■ In silent night the pilot doth behold 
 Through misty clowdes and vapors manifold; 
 So through a mirror for my hop'te forgaine 
 I saw the treasure which I should obtaine." 
 
 In the last portion, entitled " Wolseius Moriens," 
 we find his celebrated exclamation, afterwards inserted 
 by Shakspeare in his play of Henry VIII., who might 
 have derived it from this source : — 
 
 " And had the dutie to my God been such. 
 As it was faithful serving to the king, 
 Then had my conscience free from feare or touch 
 Mounted aloft on Cherubin's swift wing, 
 That now %%-ith heavy weight is overspread. 
 And with my body wishes to be dead." 
 
 HENRY VIII, 
 
 When Wolsey died, his palace at Hampton Court 
 was not completed. This was done by Henry VIII., 
 who occasionally resided in it. Banquets and masques, 
 so prevalent in his reign, were nowhere more mag- 
 nificently ordered than at this place. He also held 
 tournaments on ground adjoining the palace, hence 
 
54 HAMPTON COURT. 
 
 called ^' toying" ground, and from which, probably, the 
 celebrated '' Toy Inn" derived its name. 
 
 Edward, Duke of Cornwall, afterwards Edward VL, 
 youngest son of Henry VIII., by his third wife, Lady 
 Jane Seymour, who died soon after his birth, was born 
 at Hampton Court. Henry married his sixth wife, 
 Lady Catherine Parr, at Hampton Court. She 
 narrowly escaped the fate of some of his other wives, 
 Henry having signed a warrant for her committal to 
 the Tower, which he afterwards revoked. 
 
 The following list of persons who resided in Hampton 
 Court Palace when it was occupied by Henry VIII., 
 will not be uninteresting, as showing the great number 
 of people that composed his court, and affording a 
 proof of the extent of the palace : — 
 
 (From Bibl. Cotton. Vespasian c. xiv. p. 90.) 
 
 Lodgingp: IK Hampton Courte, vsed to be appointed by 
 THE Gentlemen Vsher; about the year 1546, 
 
 In the Inner Courte beside the Chappell, the Princes 
 
 Lod^inge.* 
 At the lower ende of that doohle Lodginge, where the 
 
 Coansell Chamber was wontt to be. 
 Vnderneathe the Princes Chamber a faire dooble Lodginge. 
 Vnder his bed-chamber a faire dooble Lodginge. 
 Behinde the Tennys plaie, a dooble Lodginge, where the 
 
 Ladyes of the Privie Chamber laye. 
 Vnder the Counsell Chamber a double Lodginge. 
 
 In the Seconde Courte. 
 Att the kinge stayerfoott twoo faire dooble Lodginges. 
 Nextt to them II, dooble Lodginge. 
 Mr. Hennage. Mr. Dennye. 
 
 *EdwardVL. 
 
HENRY VIII. 55 
 
 Nexte Mr. Dennye a double Lodginge, whereas the r/iaydes lye. 
 Vp the same stayer one dooble Lodginge. 
 Att the stayer foote 1 dooble Lodginge. 
 My Ladye Margaret *. 
 Over that a faire dooble Lodginge. 
 My Ladye Maries Grace f. 
 Nexte to that a dooble Lodginge. 
 The Mr. of the Horse. 
 Nexte that a faire dooble Lodginge. 
 My Lorde Great Master. 
 
 Over the Gatt in the Inner Corte a faire dooble Lodginge. 
 Lo. Privie Seale. 
 
 IntheVtter Cortte. 
 
 In the Gallerie on the righte hande one dooble Lodginge. 
 
 In the same Gallerie another dooble Lodginge. 
 
 In the same another dooble Lodginge. 
 
 In the same Gallerie one Single Lodginge. 
 
 In the same Gallerie another Single Lodginge. 
 
 In the same Gallerie another Single Lodginge. 
 
 Att the Ende of the Gallerie 1 dooble Lodginge. Mr, Awen, 
 
 Vp the Stayer, over the Gatt, 1 dooble Lodginge. Mr. 
 
 Treasurer. 
 Over Mr. Treasurers Lodginge, on the same side, II. dooble 
 
 Lodginge. 
 Vnderneathe the same Gallerie, on the righte hande, one 
 
 dooble Lodginge. 
 In the same lowe Gallerie another dooble Lodginge. 
 In the same lowe Gallerie another dooble Lodginge. 
 In the same lowe Gallerie another dooble Lodginge. 
 In the same lowe Gallerie another dooble Lodginge. 
 In the same lowe Gallerie another dooble Lodginge. 
 In the same lowe Gallerie another double Lodginge. 
 
 * Lady Margaret Douglas, the king's niece, daughter of the Princess 
 Margaret, his majesty's sister, by her second husband, Archibald Douglas. 
 Earl of Angus. 
 
 t The Princess, afterwards Queen Mary. 
 
56 HAMPTON COURT. 
 
 Att the Stayer heade^ on the leafte hande of the Gate, one 
 dooble Lodglnge. Mr. Cromer. 
 
 Over Mr. Cromers Lodginge 11. dooble Lodginge. 
 
 Vnderneathe II. wardrobes, I. dooble Lodginge. 
 
 In the Gallerie, on the Leafte hande, one dooble Lodginge. 
 Mr. Paget. 
 
 In the same Gallerie another dooble Lodginge. Mr. Peter. 
 
 In the same Gallerie another dooble Lodginge. 
 
 In the same Gallerie another dooble Lodginge. 
 
 In the same Gallerie a single Lodginge. 
 
 Three Single Chambers where the Grooms, Porters, Pitcher- 
 house, and Poticarie lye. 
 
 In the Courte where Mr. Comptroller lyeth, V. dooble Lodg- 
 inge, wherein lyeth Mr. Comptroller, Mr. Cofferer, IlII. 
 Mrs. of householde, Gierke of the Grene clothe. 
 
 Besides, in the same Courte. 
 
 The Spicerie, Jewell House, ScooUerie, Counting HousCy 
 
 Chaundrie, Confectionarie. 
 Over against the Dresser a dooble chamber where Mr. Gierke 
 
 of the Kitchen lyeth. 
 Over him V. Single Lodginge where lyeth the Queues Groome 
 
 Porter, II. Surgeons and the Wafrie. 
 In the Towers w*^. owte the gate X Lodginge. 
 
 The Ordinary to be accustomed to be lodged with 
 in the Kings Majesties house, 1546. 
 
 THE COUNSELL CHAMBRE. 
 
 The Lorde of Cantorbury. The M. of Horse. 
 
 The Lorde Chancelor. The Vize Chamberlayn. 
 
 The Lorde of Norff. Mr. Secretarie Paget. 
 
 The Lorde Privey Seale. Mr. Secretarie Petre. 
 
 The Lorde of Hertforde. Mr. Riche. 
 
 The Lorde Chamberlayn. Mr. Chauncellor of the 
 
 The Lorde of Essex. Tenthes. 
 
 The Lorde Admiral. Mr. Sadleyr. 
 
 The Lorde of Winchestre. The Bishopp of Westm.. 
 
 The Lorde of Duresme. Mr. Wootton. 
 
HENRY Vni. 
 
 57 
 
 THE PaYVEY CHAMBRE. 
 
 Mr. Hennege. 
 
 Mr. Denny. 
 
 Mr. Garden. 
 
 Mr. Gates 
 
 The Lorde Herbert. 
 
 Mr. Harbert. 
 
 Mr. Darsy. 
 
 Mr. Seymer. 
 
 Mr. Bryan. 
 
 Mr. Knevet. 
 
 Mr. Long. 
 
 Mr. Sseke. 
 
 Mr. Haston. 
 Mr. Belingliam. 
 Mr. Mewtas. 
 Mr. Sellinge. 
 Mr. Hobbey. 
 Mr. Barkley. 
 The Groomes. 
 Mr. Edmunds. 
 Mr. Philipp. 
 The Robes. 
 Mr. Owen. 
 Mr. Cromer. 
 
 Officers of the Chambre. 
 
 The Treasorer of the Cham- 
 bre. 
 
 Mr. Havre. 
 
 Sqyers for the body. 
 
 The fower Gentlemen hush- 
 ers. 
 
 The Poticary. 
 
 The Surgeons. 
 
 The Grome Portre. 
 
 The Warderope of ye Boddy. 
 
 The Mr. Cooke. 
 
 The Householde. 
 
 The Lorde Greate Mr. 
 
 Mr. Treasorer. 
 
 Mr. Comptroller. 
 
 Mr. Cofferrer. 
 
 Mr. Thynn. 
 
 Mr. Weld on. 
 
 Mr. Gage. 
 
 Mr. Shelley. 
 
 Mr. Sutton. 
 
 Mr. Pakenharn. 
 
 Mr. Birk. 
 
 Mr. Curson. 
 
 Mr. Brycket. 
 
 Mr. Warde. 
 
 Mr. Wentfoorthe. 
 
 Mr. Darrell. 
 
 The Counting-house 
 
 The Jowell-house. 
 
 The Seller. 
 
 The Buttry. 
 
 The Pantry. 
 
 The Wey. 
 
 The Chaundry. 
 
 The Confec. 
 
 The Picher-house. 
 
 The Waverey.. 
 
 The Squillery. 
 
 The Clerk of the Coiinsaill 
 
 and Signet. 
 The Singers. 
 
58 
 
 HAMPTON COURT. 
 
 The Queenes Ordinary, accustomed to be lodged with- 
 in the King's Ma'ties house. 
 
 The Lady Marys Grace. 
 The Lady Elizabeths Grace.* 
 The Lady Margaret. 
 The Lady Fraunc.f 
 The Ladye Elenor.| 
 The Lady of Suss. 
 The Lady of Arundell. 
 The Lady Lane. 
 The Lady Tyrwit. 
 The Lady Carowe. 
 The Maydes. 
 The Lady Kempe. 
 The Lord Chambrelayn to 
 the Queene. 
 
 The Vize Chambrelayn to 
 
 the Queene. 
 The Queenes Robes. 
 The Queenes Phisicons. 
 The Queenes Gentlemen 
 
 Ushers. 
 Mr. Webbe. 
 The Queenes Warderobe of 
 
 the Boddy. 
 The Queenes Grom-portre. 
 The Queenes Payges. 
 The Lady Maris Robes. 
 
 The Ladyes, Ordinary and Extraordinary, attendant at the 
 Courte. 
 
 My Lady Maryes Grace. 
 My Lady Elizabeths Grace. 
 j\Iy Lady Margarete Dow- 
 
 gles. 
 My Lady Ffraunces. 
 My Lady Elinoure. 
 The Duchese of SufF.§ 
 
 The Countess of Arundell 
 
 Ladye Ordinarye. 
 The Lady Wrethesley, do. 
 The Lady Harbert. 
 The Lady Lane. 
 The Lady Tyrghwhet. 
 The Lady Kempe. 
 
 * The Princess, afterwards Queen Elizabeth. 
 
 + The Lady Frances, another of the King's nieces, being a daughter of 
 Charles Brandon, Duke of Suffolk, by Mary, Queen Dowager of France, 
 sister of Henry VIII. She married Henry Grey, Duke of Suffolk, and 
 was mother of Lady Jane Grey. 
 
 t The Lady Elenor, another daughter of the Duke of Suffolk, by Mary, 
 Queen of France. She married Henry Clifford, Earl of Cumberland. 
 
 § Probably Catherine, daughter and heir of William Lord Willoughby of 
 Eresby, and fourth and last wife of Charles Brandon, Duke of Suffolk. 
 
HENRY VIII. 59 
 
 The Queenes Highness Maides Ordinary. 
 
 The Counties of Harforde. The Lady Paget. 
 
 The Lady Lisle Viscounties. The Lady Knevet. 
 
 The Lady San Johns. The Lady Longe. 
 
 The Lady Russell. The Lady Hennage. 
 
 The Lady Anne Grey. The Lady Barkeley. 
 
 The Lady Wingfeede. The Lady Garden. 
 
 The Lady Denney. The Lady Pastone. 
 
 Laydes of the Household lodged within the House with 
 their Househonds. 
 
 My Lady Anne of Cleaves The Lady Fewater. 
 
 Grace. The Lady Latymer. 
 
 The Duches of Richer- The Lady Clynton. 
 
 mounde. The Lady Tailebuse. 
 
 The Counties of Oxforde. The Lady Baynton. 
 
 The Counties of Susseckx. The Lady Kingestone. 
 
 The Lady Haworde wife to 
 
 Lo. the Wilton. 
 
 Ladyesof the Householde Extraordynarye attendante at 
 this tyme. 
 
 Edward VI. resided at Hampton Court : in con- 
 sequence of some fear that his person would be seized, 
 the inhabitants of Hampton armed themselves for the 
 protection of the young king. 
 
 It was probably owing to this circumstance that 
 Edward VI. relieved this and some neighbouring 
 parishes from the burthen of deer, by dechasing 
 Hampton Court chase, stating as a reason, that it was 
 made in the latter days of Henry VIII. 's reign, when 
 " His Highness waxed heavy with sickness, age, and 
 corpulency of body, and was constrained to seek to 
 have his game and pleasure ready at hand." 
 
 Queen Mary and Philip of Spain passed their honey- 
 
 Si^* 
 
60 HAMPTON COURT. 
 
 moon at Hampton Court, Here also they entertained 
 the Lady Elizabeth, afterwards Queen of England, on 
 which occasion the great hall was brilliantly illuminated. 
 It was from this place that passports, signed by 
 Queen Mary, but not filled up, were in readiness to be 
 sent off to announce the birth of a son or daughter, as 
 the case might be, when she fancied herself with child. 
 Some of these passports are in the State Paper Office. 
 
 When Elizabeth became queen, Hampton Court 
 occasionally exhibited scenes of festivity, as she held 
 the grand festivals of Christmas there in 1572 and 
 1593. There is an unauthenticated tradition that 
 Shakspeare made his' first appearance as an actor 
 before Queen Elizabeth, in the hall of Hampton Court 
 Palace. 
 
 James I. had a grand festival at this place which 
 lasted fourteen days. His queen, Anne of Denmark, 
 died here in 1618. 
 
 A circumstance took place at Hampton Court, in 
 the same reign, which will always add to its interest. 
 It was here that the celebrated conference took place 
 between certain divines of the Church of England and 
 the presbyterians, before James I., who acted as mode- 
 rator, and which eventually occasioned an improved 
 translation of the Holy Scriptures. 
 
61 
 
 CHARLES I. 
 
 We now arrive at a period when Hampton Court 
 became the scene of many an eventful history. It 
 witnessed, perhaps, some of the happiest and most 
 miserable days of the unfortunate monarch, Charles I. 
 Here he passed his honeymoon, and here he witnessed 
 some of the last external appearances of being a king. 
 The latter period is thus described : — 
 
 ^* The king w^as now come to Hampton Court, with 
 the Parliament Commissioners, at this time attending 
 upon him, and some of the army for his guard. He 
 dines abroad in the presence-chamber, with the same 
 duty and ceremonies as heretofore, where any of the 
 gentry are admitted to kiss his hand. After dinner he 
 retires to his chamber, then he walks into the park, or 
 plays at tennis *. Yesterday he killed a stag or a buck, 
 and dined with his children at Sion, where they remain 
 as yet, and he returned." 
 
 The following notes of the escape of Charles I. from 
 Hampton Court are taken from the newspapers of the 
 time, and furnish a more detailed account of his flight 
 than any notice, perhaps, that has yet appeared. The 
 letter to Colonel Whaley is very interesting, exhibiting 
 Charles's fondness for pictures, and the facility with 
 w^hich he would stoop to the arrangement of trifles,! 
 amidst the dangers and embarrassments which sur- 
 rounded him at the time it was written. Colonel Wha- 
 ley' s tract, from which these extracts have been taken, 
 
 * Charles played at tennis the daybefoiehe escaped fiora Hampton 
 Court. 
 
62 HAMPTON COURT. 
 
 is SO very rare, that the only known copy of it is said 
 to be that in the British Museum : — 
 
 (From the Merauriiis Anti-Pragmaticus, from Thursday, 
 
 Nov. 11, to Thursday, Nov. 13, 1647.) 
 "'^ An exact and perfect relation of his Majesties private de- 
 parture from Hampton Court, the eleventh of November at 
 five of the clock in the afternoone, received from the mouth 
 of Sir John Cooke. 
 
 *^ His Majesty, the day before his departure, was noted not 
 to look with so cheerfull a countenance as he was wont ; to 
 be somewhat heavie and pensive, and on the day he departed, 
 about two of the clock in the afternoone, six men in different 
 habits, leading in their hands six lusty horses, were ferried 
 over from Long Ditton to Hampton Court, and were seene to 
 take an hill neer adjacent to his Majesty." 
 
 (From the Moderate Intelligencer, impartially communicating 
 Martial Affaires to the Kingdome of E norland, — from 
 Thursday, Nov. 11, to Thursday, Nov. 18, 1647.) 
 
 ^*' Nov. 11. This day will be famous in aftertimes, because 
 towards the end of his Majesty escape, a kind of restraint 
 under which he was at Hampton Court, and according to the 
 best relation, thus : he, as was usuall, went to be private a 
 little before evening prayer ; staying somewhat longer then 
 usuall, it was taken notice of, yet at first without suspition ; 
 but he not coming forth, suddenly there were fears, which 
 increased by the crying of a greyhound again and again 
 within, and upon search it was found the king was gone, and 
 by the way of Paradice, a place so called in the garden, in 
 probability suddenly after his going in, and about twilight. 
 He left a Paper to the Parliament, another to the Commis- 
 sioners, and a third to Col. Whaley, which take at large. 
 [The letter to the Parliament has been often printed.] 
 
 "Hampton Court, 11 November, 1647. 
 *' Colonel Whaley, 
 
 *' I have been so civilly used by you and Major Huntington, 
 that I cannot but by this parting farewell ackn wledge it 
 
CHARLES I. 63 
 
 uuder my hand ; as also to desire the continuance of your cour- 
 tesie, by your protecting of my houshold stuffe and movables 
 of all sorts, which I leave behinde me in this house, that 
 they be neither spoiled nor imbesled : Only there are three 
 pictures here which are not mine, that I desire you to restore ; 
 to wit, my wives picture in blew, sitting in a chaire, you must 
 send to Mistris Kirke ; my eldest daughters picture, copied by 
 Belcam, to the Countess of Anglesey, and my Lady Stannop's 
 picture to Gary Rawley ; there is a fourth which I had almost 
 forgot, it is the original of my eldest daughter (it hangs in 
 this chamber over the board next to the chimney), which you 
 must sent to my Lady Aubigny. So, being confident that 
 you wish my preservation and restitution, I rest 
 
 '^ Your Friend, 
 
 " Charles B. 
 
 '• P.S. I assure you it was not the letter you shewed me to 
 day, that made me take this resolution, nor any advertisement 
 of that kinde *, But I confess that I am loath to be made 
 a close prisoner, under pretence of securing my life. / had 
 almost forgot to desire you to send the black grew bitch to the 
 Duke of Richmond.''^ 
 
 There is a scarce tract, printed in 1647, entitled *^ Hamp- 
 ton Court Conspiracy, with the downfall of the Agitators and 
 Levellers, &c. Together with the horrid resolution of one 
 George Greenland Corporal, who, in the space of three days, 
 did undertake to murder his Majesty at Hampton Court." 
 
 The following couplet is on the title-page : — 
 
 " Move then King-catching herein you may spy, 
 King-killing Hampton Court's Conspiracy." 
 
 The first part of this pamphlet is an abusive dialogue con- 
 cerning the Parliament and its officers, particularly Cromwell. 
 One of the speakers A, B. says, ^^ Neither is Cromwell such 
 an al crusty conditioned fellow as I tooke him for," To which 
 T. S. replies, •' For I conjecture that he would willingly pre- 
 
 * Alluding to a plot to assassinate him. 
 
64 HAMPTON COURT, 
 
 serve the Prerogative, so it were in the salt j)ick|e of Inde- 
 pendency;" and proceeds to give several instances in support 
 of his opinion; but at length A. B. observes of them, *' What, 
 is all this but a meere Jesuitical jugling against the poore king 
 of Hampton Courts and Kirke.^'' 
 
 " A more full relation of the manner and circumstances of 
 His Blajesties departure from Hampton Court. Written by 
 Colonel Whaley, at the demand of the Speaker of the 
 House of Commons, to whom it was lately sent, for the 
 better satisfaction of the Parliament and Kingdome." 
 London, 1647. 
 
 EXTRACTS. • 
 
 *^ Mr. Speaker — What I spake in the House (according to your 
 
 command) I present you in writing, as followeth, to my best 
 
 remembrance. 
 
 * * * ^j * 
 
 ^^ The place, the guards, and commands that lay upon mee 
 considered, makes it no wonder the King should be gone. 
 The king was never declared to me to be a prisoner. I was not 
 to restrain him from his liberty of walkin<jf, so that he miirht 
 have gone whither he had pleased : neither was I to hinder 
 him from his privacy in his chamber, or any other part of the 
 house ; which gave him an absolute freedom to go away at 
 pleasure. The house is vast, hath 1500 rooms, as I am in- 
 formed, in it, and would require a troop of Isorse upon per- 
 petuall duty to guard all the out-goings. So that ^11 that 
 could be expected from mee, was to be as vigilant over the 
 King as I could in the day-time ; and when after supper he 
 was retired into his bed-chamber, to set sentinels about him, • 
 which 1 constantly performed, as is well known to the Com- 
 missioners and others. But for some fifteen weeks 1 had Mr. 
 Ashburnham's engagement for the king's safe abiding with 
 me : and truly I must do him so much right as to declare, that 
 he dealt honestly, and like a gentleman with me : For about 
 three weeks ago he came to me, and minded me of his engage- 
 ment, which was to continue no longer then he gave me warn- 
 ing : He told me he now did, and would stand engaged no 
 
CHARLES I. 65 
 
 longer. I demanded of him the reason. He replyed, the 
 Court was so much Scottified, that be feared there would he 
 workings to get the King away. Whereupon I presently sent 
 away a despatch to his Excellency Sir Thomas Fairfax, ac- 
 quaintmg him with it; not long after went myself to the head- 
 quarter at Putney, at what time his Excellency and the offi- 
 cers sate in Councell. I there again, before the whole Coun- 
 cell, acquainted his Excellency with Mr. xlshburnham's dis- 
 engaging himself, and, vvithall, both myself and friends ear- 
 nestly solicited for a dismission from that great charge, that 
 had been long imposed upon me ; which was not the first 
 time that openly I had desired it : I gave divers reasons for it : 
 one was, that I had been two or three and twenty weeks upon 
 that careful and hazardous duty, and I thought it was but 
 reasonable now to have some relaxation, and that some others 
 should b^ put upon it. Another, that if they did look upon 
 the King's safe abiding with us as a concernment to the good 
 of the kingdom, it was impossible for me, the King having that 
 liberty, and such bedchamber-men about him (as were), to 
 keep him. One of them was Colonel Legg, once governor 
 Oxford under the King : the other, though they were gentle- 
 men of honour and quality put in by the parliament, yet 
 they were his ancient servants ; and, though perhaps they 
 would not put him upon any designe of going away, yet 
 probably would not crosse him, nor disclose any. Therefore I 
 conceive, if the parliament did expect the generall should 
 safeguard his Majesties person, that the generall should desire 
 leave of the par lament to put such bedchamber-men about 
 the king as he himself would be responsible for, and might 
 confide in. And, indeed, I did there declare I was very 
 jealous of Mr. Mawle. The third reason that I gave to be 
 discharged was this: Should the king go away (for I cannot 
 term it an escape, because he never was in custody as a pri- 
 soner), I should not only run the hazard of losing some repu- 
 tation myself, but divers of my neer related friends, eminent 
 officers in the army, would have jealousie cast upon them, 
 being by some already suspected upon lesse grounds than that 
 would be. But , say what I could, or my friends for me. I must 
 
 F 
 
66 HAMPTON COURT. 
 
 not go off. It was long debated^ and by all concluded^, that I 
 could no more keep the King, if he had a minde to go, than a 
 bird in a pound: yet I must continue my charge. But, truly, 
 I conceive both the general, officers, and I am sure myself, 
 did muche relye upon his majesties engagement. His Ma- 
 jesty was pleased freely to promise me, when I waited upon 
 him at Newmarket, that he would not go from me till he 
 first gave me warning. When he came to Wooburn, observ- 
 ing my guards, he told me, ' Colonel JVhaley, your guards are 
 strong : but do you think you could keep me if I had a minde to 
 go away T I answered, with these commands 1 had, I could 
 not. ^Nof ' saith the king, ' though you had Jive times as many 
 more^ or to that purpose. I replyed, ^ Your Majesties en- 
 gagement was a greater force upon you than all the guards I 
 could put,' or to the same purpose. His Majestie answered, 
 f His^ engagement was in case he might go to one of his own houses : 
 but, however, I do now freely and absolutely engage myself to 
 you, that I will not stir from you till I give you warning ; and if 
 I do, I will give you leave to say I am, an infamous fellow P — 
 
 '^ And whereas (Mr. Speaker) you do demand of me to 
 know whether the King did take himself off from his engage- 
 ment, I can tell you no otherwise than thus: About a fort- 
 night agoe the King's children came to him, [and] staid with 
 him three or four days. The Princesse Elizabeth was lodged 
 in a chamber opening to the long gallery, in which two sen- 
 tinels stood for the safeguard of the King: the Princesse 
 complained to his Majesty that the souidiers disquieted her : 
 the King spake to me that it might be remedied. I told the 
 King, if the souidiers made any noise, it was contrary to my 
 desire and commands ; I should double my commands upon 
 them, and give them as strict a charge as I could not to dis- 
 quiet her Highnesse : which I did. Notwithstanding, a second 
 complaint was made. I told his Majestic, stricter commands 
 I could not give ; and the souidiers ensured me, they came so 
 easily through the gallery, and made so little noise, that they 
 conceived it was impossible for the Princesse to hear them. 
 However, I told his Majestie, if he would be pleased to renew 
 his engagements, I should place the sentinels at a more remote 
 
CHARLES I. 67 
 
 distance. The King answered, ^ To renew his engagements was 
 a point of honor ; you had my engagement ; I will not renew it ; 
 keep your guards.' 
 
 " And as for the manner (Mr. Speaker) of the King's going 
 away, it was thus. Mondayes and Thursdayes were the Kino-'s 
 set dayes for his writing letters to be sent into foreign parts : 
 his usual time of coming out of his bed-chamber on those 
 dayes was betwixt five and six of the clock : presently after 
 he went to prayers, and about halfe an hour after that to sup- 
 per, at which times I set guards about his bed- chamber, because 
 he made no long stay after supper before he retired himself 
 thither. About five of the clock I came into the roome next 
 his bed-chamber, where I found the Commissioners and bed- 
 chamber-men : I asked them for the King : they told me he 
 was writing letters in his bed-chamber. I wayted there with- 
 out mistrust till six of the clock : I then began to doubt, and 
 told the bed-chambermen, Mr. Mawle and Mr. Murry, I won- 
 dred the King was so long a writing : they told me, he had 
 (they thought) some extraordinary occasion. Within halfe an 
 hour after I went into the next room to Mr. Oudart, told him 
 I marvelled the King was so long a writing : he answered, he 
 wondred too, but withall said, the King told him he was to 
 writ letters both to the Queen and Princesseof Orange; which 
 gave me some satisfaction for the present. But my feares with 
 the time increastid: so that, when it was seven of the clock, I 
 again told Mr. Mawle I exceedingly wondred the King was so 
 long before he came out. He told me he was writing : I re- 
 plyed, posibly he might be ill : therefore I thought he should 
 doe well to see, and to satisfie both my selfe and the House, 
 that were in fear of him. He replyed, the King had given him 
 strict commands not to molest him, therefore durst not : besides 
 he had bolted the doore to him. I was then extreame rest- 
 lesse in my thoughts, lookt oft in at the key-hole to see whether 
 I could perceive his Majestic, but could not: Prest Mr. Mawle 
 to knock very oft: that I might know whether his Majestic 
 were there or not ; but all to no purpose : he still plainly cold 
 me, he durst not disobey his Majesties commands. When it 
 drew towards eight of the clock, I went to Mr. Smiths, the 
 
 F 2 
 
68 HAMPTON COURT. 
 
 keeper of the privy lodgings, desiring him to go along with me 
 the back-way through the garden, where I had sentinels, and 
 we went up the staires, and from chamber to chamber till we 
 came to the next chamber to his Majesties bed-chamber, where 
 we saw his Majesties cloake lying on the midst of the floore, 
 which much amazed me : I went presently back to the Com- 
 missioners and bedchamber-men, acquainting them with it, 
 and therefore desired Mr. Mawle again to see whether his 
 Majestie was in his bed-chamber or not : he again told me, he 
 durst not. I replyed, that I would then command him, and 
 that in the name of the Parliament, and therefore desired him 
 to goe along with me. He desired I would speak to the 
 Commissioners to go along with us, I did : we all went. 
 When we came into the room next the Kmg*s bed-chamber, 
 I moved Mr. Mawle to go in : he said he would not, except 
 I would stand at the door : I promised I would, and did. Mr. 
 Mawle immediately came out, and said, the King was gone. 
 We all then went in, and one of the Commissioners said, It 
 may be the King is in his closet : Mr. Mawle presently re- 
 plyed, and said he was gone. I then, being in a passion, told 
 Mr. Mawle, I thought he was accessary to his going : for that 
 afternoon he was come from London ; it being a rare thing for 
 him ta be from Court : 1 know not that he hath been two 
 nights away since I came to wait upon his Majesty. 
 
 '^ I presently sent out parties of horse and foot to search 
 the lodge in the park ; I sent dispatches immediately away to 
 the General,* and Lieutenant-General *, who sent me orders 
 presently to send out parties of horse every way both from 
 my guard and regiment: but I had done it before. I sent 
 to search Mr. Ashburnham's house at Ditton (a mile from 
 Hampton) ; but my souldiers, when they came thither, found 
 the house empty. Mr. Ashburnham was gone three or four days 
 before, his household goods two days, and four horses the night 
 before. I set guards round the house, and searcht that, 
 which was as much as I could do. 
 
 ^^ And whereas (Mr. Speaker) you demand of me what 
 
 * Cromwell, 
 
CHARLES I. 69 
 
 that letter was that I shewed the King the day he went away, 
 the letter I shall shew you ; but, with your leave, I 
 shall first acquaint you with the authour, and the ground of 
 my shewing it to the King, The authour is Lieutenant- 
 General Cromwell ; the ground of my shewing it was this : 
 The letter intimates some murderous designe, or at least some 
 fear of it, against his Majestie. When I read the letter I was 
 much astonisht, abhorring that such a thing should be done, 
 or so much as thought, byany that bear the name of Christiaus* 
 When I had shewn the letter to his Majesty, I told him I was 
 sent to safeguard, and not to murther him; I wished him to 
 be confident no such thing should be done, I would first 
 die at his foot in his defence ; and I therefore shewed it him, 
 that he might be assured, though menacing speeches came 
 frequently to his ear, our generall officers abhorred so bloudy 
 and villanous a fact. Another reason was, that I might get 
 a neerer admittance to his Majesty, that so I might the better 
 secure him, 
 
 '^ And last of all, (Mr. Speaker,) whereas you desire to 
 know who were with the King two or three days before his 
 going, I know very few, but them that were appointed to 
 wait on him. The Lord Lanerick was with him on Monday 
 morning, but stayed not; on Tuesday all the Scots Com- 
 missioners, who went away likewise that night ; on Wednesday 
 night the Earl of Southampton, and the Earl of Chichester ; 
 on Thursday morning Colonel Legge went away, 
 
 *' Mr. Speaker, I have delivered to you a true narrative of 
 what you desired, and I hope satisfactory; in testimony 
 whereof I have subscribed my name. 
 
 " Edward Whale y." 
 
 The Mercurius Anti-Pragmaticus from Thursday, Nov. 11, 
 to Thursday, Nov. 18, 1647, says that "• some confidently 
 report that his Majestie, with those of his conduct, came to Bag- 
 shut that night, and^ it being very darke j prof ered twenty pounds 
 fur a guide, ''^ 
 
 Another paper of the same date observes it was at first 
 
70 HAMPTON COURT. 
 
 believed the King had gone to London, as he departed in his 
 shoes and stockings only** 
 
 There appears to be no doubt but that the flight of 
 the king from Hampton Court was effected by Crom- 
 well's connivance and co-operation. The exultation 
 Cromwell felt on this occasion was perhaps only 
 equalled by that which he exhibited when he spirted 
 in the face of a fellow-regicide the ink remaining in 
 the pen with which he had signed the death-warrant 
 of his king. The king was accompanied in his flight 
 by Sir John Berkeley, Mr. Legge, and Mr. Ashburn- 
 ham. There may be great doubts whether the latter 
 was a traitor, but, if he was not a traitor, he must have 
 been a fool. 
 
 It may not be uninteresting in this place to relate 
 an anecdote connected with the residence of Charles 
 I. at Hampton Court, especially as it has become a sort 
 of tradition still occasionally mentioned in the neigh- 
 bourkood. 
 
 It is said that the king was one day standing at one 
 of the windows of the palace, surrounded by his 
 children, when a gipsy or beggar woman came up to 
 it, and asked for charity. Her appearance excited 
 
 * In the " Archseologia,'' vol. vii.. is a paper on the ** Progress of 
 Gardening, by the Hon. Daines Barrington," containing some curious 
 information concerning Hampton Court Gardens. It was written in 1782. 
 
 In the same collection, vol. xi. p. 181, is printed " A Survey of the 
 several Gardens near London, in 1691, by J. Gibson"--in which that of 
 Hampton Court is shortly described as it then was. 
 
 Among the maps and drawings in the King's Library in the British 
 Museum are several views of Hampton Court Gardens in their old con- 
 dition, say a century ago : there is also a very curious drawing of the 
 palace as it was in the time of Henry VIII. Also a description of the 
 house, and all the paintings and statues preserved there, in 1741. 
 
CHARLES I. 71 
 
 ridicule, and probably threats, which so enraged the 
 gipsy that she took out of her basket a looking-glass, 
 and presented it to the king : he saw in it his own 
 head decollated. Probably with a natural wish to con- 
 ciliate so prophetical a beggar, or for some other reason, 
 money was given to her. She then said that the 
 death of a doof in the room the kinof was then in 
 would precede the restoration of the kingdom to his 
 family, which the king was then about to lose. It is 
 supposed that Oliver Cromwell afterwards slept in the 
 room referred to. He was constantly attended by a 
 faithful dog, who guarded his bed-room door. On 
 awakening one morning he found the dog dead, on 
 which he exclaimed, in allusion to the gipsy's prophesy 
 which he had previously heard, " The kingdom is 
 departed from me." Cromwell died soon after, and 
 the subsequent events are sufficiently known. 
 
 The rooms in which Charles I. was confined, and 
 the little chapel adjoining them, are perhaps more in- 
 teresting on that account than anything in the palace. 
 The chapel, in particular, in which Charles offered up 
 his prayers to that Being who supported him through so 
 many troubles, and enabled him to meet death with 
 firmness and resignation, is curious from its architecture 
 and full of interest from the circumstances connected 
 with it. The ceiling is beautifully w^orked, and the 
 walls are nearly covered with paintings in fresco taken 
 from Scripture subjects. There is a little oratory in the 
 corner of the chapel, in which we may suppose the 
 king's devotions were offered up. It is now too pro- 
 bably the receptacle of pickles and preserves. One 
 
72 HAMPTON COURT. 
 
 must regret that this chapel cannot be seen either by 
 the historian or the antiquary, or indeed by the public 
 generally, which certainly ought to be the case. I also 
 regret that I have not been enabled to give an engraving 
 of it for this work. 
 
 After the death of Charles I. Hampton Court be- 
 came the occasional residence of Oliver Cromwell, who 
 used frequently to hunt in the neighbourhood, and a 
 part of Bushy Park was formed by him into a pre- 
 serve for hares. His third daughter, the Lady Mary 
 Cromwell, was married at Hampton Court to Lord 
 Falconbridge in 1657, and his favourite daughter, Mrs. 
 Claypole, died there. In her delirium she is said to 
 have taxed her father with his crimes, and that this 
 hastened his death. It was at this place he was at- 
 tacked with his last illness. 
 
 Before Hampton Court was occupied by Cromwell 
 it had been intended to sell it, as appears from the fol- 
 lowing extract from the Parliamentary Journals of 26th 
 Sept. 1653 : " Ordered, that the house called Hamp- 
 ton Court, with the out-houses and gardens thereunto 
 belonging, and the little park wherein it stands, be 
 stayed from sale, until the Parliament take further 
 order." 
 
 Cromwell is said to have built the old Toy Inn, 
 as a dormitory for his Round-head soldiers, not 
 liking to admit them into the palace, and the present 
 cavalry barracks in the Palace-yard for his body-guards. 
 
 On the restoration of Charles 11. Hampton Court 
 palace was given to George Monk, Duke of Albe- 
 marle, who had brought about that event without 
 
CHARLES I. 73 
 
 bloodshed or confusion. He accepted a sum of money 
 in lieu of it, and Charles II. afterwards occupied the 
 palace. We find in Evelyn's memoirs an interesting 
 account of a visit he made to Hampton Court to see 
 Charles's new queen. '' May 25, 1662. — I went this 
 evening to London, in order to our journey to Hamp- 
 ton Court to see the new queen, who, having landed 
 at Portsmouth, had been married to the king a week 
 before by the Bishop of London. May 30. — The queen 
 arrived with a train of Portuguese ladies in their mon- 
 strous fardingals or guard-infantos, their complexions 
 olivador, and sufficiently unagreeable. Her Majesty in 
 the same habit, her foretop long, and turned aside very 
 strangely. She was yet of the handsomest countenance 
 of all the rest, and, though low of stature, prettily shaped, 
 languishing and excellent eyes, her teeth wronging her 
 mouth by sticking a little too far out ; for the rest 
 lovely enough. 
 
 '' 31. — I saw the queen at dinner; the judges came 
 to compliment her arrival, and after them the Duke o^ 
 Ormond brought me to kiss her hand. 
 
 '' Hampton Court is as noble and uniform a pile, 
 and as capacious, as any gothique architecture can have 
 made it. There is incomparable furniture in it ; espe- 
 cially hangings designed by Raphael, very rich with 
 gold ; also many rare pictures, especially the Caesarian 
 triumphs of Andreas Mantegna, formerly the Duke of 
 Mantua's ; of the tapestry's I believe the world can 
 shew nothing nobler of the kind than the storys of 
 Abraham and Tobit. The gallery of homes is very 
 particular, for the vast beames of stags, elks, ante- 
 
74 HAMPTON COURT. 
 
 lopes, &c. The queen's bed was an embroidery of sil- 
 ver or crimson velvet, and cost 8000/., being a present 
 made by the states of Holland when his majesty re- 
 turned, and had formerly been given by them to our 
 king's sister, the Princess of Orange, and, being bought 
 of her againe, was now presented to the king. The 
 greate looking-glasse and toilet of beaten and massiv^e 
 gold was given by the queene-mother. The queene 
 brought over with her from Portugal such Indian cabi- 
 nets as had never before been seen here. The greate 
 hall is a most magnificent roome. The chapell-roof ex- 
 cellently fretted and gilt. I was also curious to visite 
 the wardrobe and tents and other furniture of state. 
 The park, formerly a flat naked piece of ground, now 
 planted with sweete rows of lime-trees, and the canall 
 for water now more perfected: also the hare-park. In 
 the garden is a rich and noble fountaine, with syrens, 
 statues, &c., cast in copper by Fanelli, but no plenty of 
 water. The cradle-walk of hore-beame in the garden 
 is, for the perplexed twining of the trees, very observ- 
 able. There is a parterre which they call Paradise, in 
 which is a pretty banquetting-house set over a cave or 
 cellar. All these gardens might be exceedingly im- 
 proved, as being too narrow for such a palace.' 
 
 James II. occasionally resided at Hampton Court, 
 and the canopy is still to be seen there under which he 
 received the Pope's nuncio, a circumstance which 
 tended not a little to alienate the affections of his pro- 
 testant subjects. 
 
HAMPTON COURT. 75 
 
 WILLIAM AND MARY. 
 
 Hampton Court owes much of its present splendour 
 to William III. He employed Sir Christopher Wren 
 as his architect, and he built the present state-rooms, 
 the two great staircases, and made various other altera- 
 tions, which need not be enum.erated, as his style of ar- 
 chitecture is perfectly distinct from that of Wolsey's. It 
 is to be regretted perhaps that his palace was ever in- 
 terfered with. The pleasure-gardens were laid out by 
 William III., and are in the Dutch style» The terrace- 
 walk is half a mile in length, and the first view of it is 
 ,very striking. 
 
 Queen Anne also resided here, and this place was the 
 scene of Pope's Rape of the Lock. The Poet describes 
 himself as walking for hours in the gardens wdth the 
 maids of honour, one of whom was the famous Miss 
 Lepel, afterwards Lady Hervey. 
 
 George I. and George 11. occasionally held their 
 courts at Hampton Court, and it was afterwards occu- 
 pied by Frederick Prince of Wales. Since that time 
 various persons have had the use of apartments in the 
 palace, the crown of course reserving to itself the right 
 of re-occupying them at any moment. 
 
 Hampton Court (or the Home) Park immediately 
 adjoins the Palace-gardens. It is about ^ve miles round. 
 The canal is from half to three-quarters of a mile in 
 length, and forty yards in breadth, having fine avenues 
 
76 HAMPTON COURT. 
 
 of lime-trees on each side of it. Another canal to cor- 
 respond was partly excavated by William III., and the 
 spot is still pointed out where the accident happened 
 which cost him his life. The Stud-house is in the 
 centre of the park, and the noble occupier of it is 
 distinguished by his kindness and hospitality to all 
 around him. 
 
 Some lines of fortification may still be seen in the 
 park, which were originally made to teach that art to 
 William Duke of Cumberland when a boy, who be- 
 came so celebrated afterwards in the troubles of 1745. 
 
 There is a fine old oak-tree well worth looking at 
 near the upper deer-pen in the park. It is 38 feet in 
 circumference. There is also an elm near the Stud- 
 house, known by the name of King Charles's swing, 
 which is peculiarly curious from its shape, and interest- 
 ing in consequence of the name which has been handed 
 down to us. The avenues in this park were planted 
 by William III. 
 
 In a garden, known by the name of the Private 
 Garden, the celebrated Great Vine may be seen. It 
 is one hundred and ten feet long, and has generally 
 from two to three thousand bunches of grapes upon it. 
 On approaching the vine, two large green-houses are 
 passed, which contain some orange-trees and other 
 plants. Amongst them is the orange-myrtle said to 
 have been brought to this country by William III. 
 Some zealous Orangemen occasionally ask for a sprig 
 from it 
 
KING CHARLES'S SWING, KAMPION COURT PAKK. 
 
WILLIAM AND MARY. 
 
 77 
 
 On the opposite side of the palace there is a large 
 space of ground called the Wilderness, planted and 
 laid out by William III. In this place is a labyrinth 
 or Maze, which affords much amusement. A plan of 
 
 it is here given. 
 
 ' A mighty maze ! but not without a plan.'' — Pope. 
 
78 
 AN ILLUSTRATIVE CATALOGUE 
 
 OF THE 
 
 PICTURES 
 
 IN 
 
 HAMPTON COURT PALACE. 
 
 THE GRAND STAIRCASE. 
 
 This beautiful staircase was painted by Verrio, He 
 had a free and ready pencil, and little else can be said 
 in his favour as an artist. He wanted elegance ; and 
 the propriety of his taste may be estimated by the 
 fact of his having introduced himself and Sir Godfrey 
 Kneller, in long periwigs, as spectators of our Saviour 
 healing the sick. 
 
 At the top, on the left side as you enter, are 
 Apollo and the nine Muses, at whose feet sits the god 
 Pan, with his unequal reeds ; and a little below them, 
 the goddess Ceres, holding a wheat-sheaf in her left- 
 hand, and pointing to several loaves of bread with her 
 right, in which she has a chaplet of flowers. Near 
 her are the river-gods, Thame and Isis, with their 
 urns ; and behind them two river-nymphs. A table 
 is placed in the middle, with a large quantity of rich 
 o-ilt plate upon it, adorned with flowers. This part of 
 the painting is intended to represent the marriage of 
 the rivers Thame and Isis, in allusion to the palace 
 having been built near the river, which takes its name 
 
PICTURES IN HAMPTON COURT PALACE. 79 
 
 from the union of those streams : Pan and Ceres have 
 allusion to the beautiful fields and meadows about 
 Hampton Court, and Flora to its gardens. 
 
 On the ceiling are painted Jupiter and Juno, seated 
 on a rich throne, with Ganymede riding upon Jupiter's 
 eagle, and presenting him the cup. Juno's peacock 
 is in the front, and one of the Fatal Sisters is w^aiting, 
 with her scissors in her hand, ready to cut the thread 
 of life should Jove give her orders. The whole is 
 covered with a fine canopy, surrounded by the signs of 
 the Zodiac, and several Zephyrs, with flowers in their 
 hands. This was intended as a compliment to William 
 and Mary; the peacock being an emblem of their 
 grandeur — the Destiny denotes their influence over 
 their subjects — and the Zephyrs represent their mild 
 and courteous disposition towards them. 
 
 Underneath is a beautiful figure of Venus, with her 
 legs on a swan, and Cupid near her, while Mars is 
 making his addresses to her as a lover. 
 
 On the right hand are Pluto and Proserpine, Coelus 
 and Terra. Neptune and Amphitrite are in the front, 
 and two attendants offering them nectar and fruits. 
 
 On the left are Bacchus and his attendants. He 
 has a leopard's skin thrown over his shoulders, and a 
 crown of grapes upon his head. He leans on a rich 
 ewer, and his left hand rests on Silenus' head, who 
 sits on an ass that has fallen down, and seems to catch 
 at a table to which the goddess Diana, above, is point- 
 ing. The table is supported by eagles. On one side of 
 it sits Romulus, the founder of Rome, who looks up to 
 Jupiter. There is a wolf by his side, in allusion to the 
 fable of his having been suckled by that animal. 
 
80 CATALOGUE OF THE PICTURES 
 
 On the other side of the table is Hercules resting 
 on his club. In another compartment is Peace, with a 
 laurel in her right hand, and in her left she holds a palm 
 over the head of ^neas, who stands near her, and 
 seems to invite the twelve C^sars to a celestial banquet. 
 The Genius of Rome is hovering over their heads 
 with a flaming sword, the emblem of destruction, and 
 a bridle, the symbol of government, both in her right 
 hand. 
 
 In another pannel is Julian the Apostate, writing 
 at a table, with Mercury, the god of eloquence, attend- 
 ing upon him, in allusion to his fine writings. He 
 was, however, an inveterate enemy to the Christian 
 religion, notwithstanding his education in it. 
 
 Under the painting now mentioned there are thirty- 
 six pannels representing trophies of war and other 
 decorations, all finely painted. 
 
 THE GUARD-CHAMBER. 
 
 This is a well-proportioned room, being sixty feet 
 long, and about forty feet wide. It contains arms for 
 a thousand men, and halberts for the yeomen of the 
 guard. The arms are disposed in various forms, and 
 were done so originally by a man of the name of Harris, 
 who was a common gunner, and was allowed a pension 
 from the crown for his arrangement of these arms, and 
 of those in the little armoury in the Tower of London. 
 The following pictures may be seen in this room. 
 
 A battle piece, — by Giulio Romano. 
 
 Six portraits of English Admirals, by Bockman. 
 
 Queen Elizabeth's Porter, said to have been 7 feet 6 
 inches in height, by Zucchero, 
 
IN HAMPTON COURT PALACE. 81 
 
 Eight battle- pieces, by Rugendas, 
 
 The ruins of the Colosseum, by CanalettL 
 
 THE FIRST PRESENCE-CHAMBER. 
 
 On the left hand of the entrance is a picture, about 
 18 feet by 15, of William III. in armour, on horseback. 
 Mercury and Peace are overhead in a cloud, supporting 
 the king's helmet decorated with laurel. Lower down 
 there is Neptune, with his attendants, by the side of a 
 rock, who seems to welcome the king on shore. There 
 are some ships in the distance, with a serene, blue sky. 
 In the front is Plenty, with her cornucopia, offering a 
 branch of olives, and Flora presenting flowers. This pic- 
 ture was painted by Sir Godfrey Kneller. His female 
 portraits, of which there are eight in this room, the 
 beauties of William's Court, have a pleasing simplicity 
 and great elegance ; but there is too great a similarity in 
 their countenances, and too great a sameness in their 
 general appearance. Sir Godfrey Kneller was bom in 
 1648 — died in- 1723, and was buried at Twickenham, 
 
 Queen Mary, — by Wissing. 
 
 Duchess of St. Albans 
 
 Countess of Essex 
 
 Countess of Peterborough 
 
 Countess of Ranelagh 
 
 Miss Pitt / ^^^ by Knelier. 
 
 Duchess of Grafton 
 
 Countess of Dorset 
 
 Lady Middleton 
 
 Over the fire-place is a whole-length picture of the 
 
 G 
 
82 CATALOGUE OF THE PICTURES 
 
 Marquis of Hamilton, Lord Steward of the Household 
 to Charles I., said to be painted by Mytens, 
 
 Sir John Lawson, by Sir Peter Lely, 
 
 Portrait, by Pordenone. 
 
 Overthrow of Pharoah in the Red Sea — Jordaens. 
 
 Portrait of an old woman — Holbein, 
 
 Portrait — Dobson. 
 
 St. William — Giorgione, This painter is supposed 
 to have found out some secret to keep his colours fresh 
 and lively, especially the greens. His works are held in 
 the highest esteem. He was born in 1478. 
 
 Saint's head — Lanfranco. 
 
 Landscape — Schiavone. 
 
 Man reading — A, Catalani. 
 
 Portrait — Titian . 
 
 Voxtxdiit— Giorgione, 
 
 Portrait — L. da Vinci, 
 
 Calumny— an allegory — Taddeo Zucchero, He was 
 born in 1529, and died in 1566. He afforded an 
 instance that poverty and distress may be overcome by 
 perseverance. He was in so miserable a situation, 
 as to be obliged to sleep under the porticoes of some 
 of the palaces in Rome, but his fortitude preserved 
 him from despondency. He afterwards distinguished 
 himself and was much patronised. A most beautiful 
 and interesting series of drawings by Zucchero was in 
 the possession of the late Sir Thomas Lawrence, describ- 
 ing the whole history of his life from his first leaving his 
 parental home, to the full establishment of his fame as a 
 painter. One particularly, in which he is represented 
 in the act of painting the outside of a house in Florence, 
 
IN HAMPTON COURT PALACE. 83 
 
 while M. Angelo and RafFaelle are looking on with ap- 
 probation, is a drawing of peculiar elegance and interest. 
 Portrait — P. Bordone, His portraits are greatly 
 admired. He was born in 1513, and died in 1588. 
 Portrait — Bassano . 
 
 Portrait — Tintoretto. His real name was Robusti, 
 but he was the son of a dyer, and was therefore distin- 
 oruished by the appellation of Tintoretto. He was born 
 in 1512, and died in 1594. He painted with such 
 rapidity, that he was called II Tintoretto furioso, the 
 impetuous Tintoretto. He was preferred by many 
 both to Titian and Salviati. It is certain, however, 
 that had he possessed more patience, he would have 
 approached nearer than he did to those great masters. 
 Portrait of Basmno — by himself. 
 St. George — Tintoretto, 
 
 Augustus consulting the Sibyl — P. de Cortona. 
 
 Virgin and Child — P. Veronese, 
 
 Sea-port and Shipping — Percellis. 
 
 St. Matthew called from the receipt of custom — 
 
 Jean da Mabuse. This is, perhaps, one of the most 
 
 curious pictures in the collection. It is carefully painted 
 
 and highly finished. The colouring has a polished 
 
 smoothness, and the brilliant colours we see must have 
 
 been prepared with great care, as they have stood the 
 
 test of time. Mabuse was born in 1499, and died in 
 
 1562. He is censured for his immoderate love of 
 
 drinking ; and it is said of him that having received from 
 
 his patron, the Marquis of Veren, a piece of brocade 
 
 for a dress in which to appear before the Emperor, 
 
 Charles V., he sold it at a tavern, and painted a paper 
 
 G 2 
 
84 CATALOGUE OF THE PICTURES 
 
 suit SO exceedingly like it, that the Emperor could not 
 be convinced of the deception till he had felt the paper, 
 and examined it with his own hands. 
 
 The Genius of Poetry — Gennari, 
 
 Over the doors, Architectural Ruins — Rousseau. 
 
 The canopy of King William's throne is in this 
 room. 
 
 SECOND PRESENCE-CHAMBER. 
 
 Over the doors, Ruins — Rousseau, 
 
 Doge of Venice in the Senate-house — Fialetti. 
 This picture will always interest those who have 
 read Izaac Walton's delightful Life of Sir Henry 
 Wotton. Sir Henry is seated on the right hand of the 
 Doge, presenting his credentials to him as Ambassador 
 from this country. This picture, and some others in 
 the collection, were bequeathed to Charles H. by Sir 
 Henry Wotton. 
 
 Jupiter and Europa — Giulio Romano. 
 
 Bandinelli, the Sculptor, a picture of great delicacy 
 — Antonio da Correggio. This illustrious painter 
 was born in 1494, and died in 1534. He was said 
 to be the first who brought the art of fore-shorten- 
 ing figures to the utmost perfection. Possessing great 
 talents, and taking nature for his guide, he has been 
 placed in the highest rank of merit by all who under- 
 stand the art of painting. 
 
 Mrs. Lemon — Vandyke, She was his mistress, 
 and was almost as famous in her time as Vandyke 
 himself. 
 
 Portmit—Bassano. 
 
IN HAMPTON COURT PALACE. 85 
 
 Portrait — Pordenone, 
 
 Holy Family — Francesco Vanni. Died in 1610. 
 
 The Annunciation — Paul Veronese. This sreat 
 
 o 
 
 master was born in 1528 and died in 1588. 
 
 St. Michael — Sir Joshua Reynolds. Copied from 
 a picture by Guido. This picture is said to have 
 been considered by Sir Joshua as one of his best 
 paintings. 
 
 Our Saviour in the Pharisee's house — Bassano. 
 
 Portrait — Parmeggiano. His name was Francesco 
 Mazzuoli, born in 1504 and died in 1540. 
 
 Portrait — Giorgion e . 
 
 Artemisia Gentileschi — by herself. She was the 
 daughter of Orazio Gentileschi, and was considered 
 superior to him in portrait painting. 
 
 Alexander de Medici. Titian^ or properly Vecellio, 
 He was born in 1480, and died in 1576, aged 96 years. 
 The excellence of this illustrious painter is more re- 
 markable in his portraits and landscapes, than in his 
 historical compositions. Many of his portraits are 
 finished with exquisite care, and in a manner peculiarlv 
 his own. 
 
 Viro^in and Child — Bronzino. Born in 1511 and 
 died in 1580. His works are held in great estimation ; 
 and it should be recorded of him that the many ami- 
 able qualities of his mind engaged the affections of all, 
 and made his memory beloved after his death. 
 
 The Seasons — Breughel and Rothenamer. 
 
 The Last Supper — Giacopo Palma, called the 
 Younger. He was born in 1544, and died in 1628. 
 After the death of Tintoretto and Bassano, he held the 
 
86 CATALOGUE OF THE PICTURES 
 
 first rank at Venice amongst the artists of his time. 
 His works are not often to be purchased, and when 
 they are, they bring large prices, especially if they are 
 of his best time and manner. 
 
 Charles I. on horseback — Vandyke. This is a 
 duplicate of the picture at Windsor. 
 
 Philip IV. of S^sin— Velasquez. Born in 1594; 
 died in 1660. His compositions are remarkable for 
 strong expression, for a freedom of pencil, for a spirited 
 touch, and a tone of colour almost equal to nature 
 itself. 
 
 Jacob's Departure from Laban — Filippo Laura or 
 Lauri. Born in 1623 ; died in 1694. His works are 
 much valued for correctness of outline, for the delicacy 
 of his touch, and for that spirit which enlivened all his 
 compositions. 
 
 Joseph and Mary — Gerard Honthor^t, called De la 
 Notte, from the frequency of his representing the effect 
 of candle or torch-light in his compositions : painted 
 with great effect of light and shadow. 
 
 Judith and Holofernes — said to be by Teniers after 
 P. Veronese. 
 
 Conversion of St. Paul — Vincentio Malo. 
 
 Tobit and the Angel — Schiavone. 
 
 Cupids and Satyrs — Poll dor o da Carravaggio. 
 
 Diana and Actseon — Titian. 
 
 Guercino — by himself. " Very animated though very 
 dark in the shadows." Born in 1590, died in 1666. 
 
 Marriaore of St. Catherine- — P. Veronese. 
 
 o 
 
 St. Francis — Carlo Maratti, Born in 1625 ; died 
 in 1713. His designs were grand, and his manner of 
 
IN HAMPTON COURT PALACE. 87 
 
 thinking and composing was truly noble, as vvell as 
 judicious. 
 
 Christian the IVth, King of Sweden — Vansomers. 
 The King of Sweden was brother to Queen Anne, 
 wife of James I., and visited this country in 1606. 
 
 Jacob, Rachel, and Leah — Guido Cagnacci. Born 
 in 1600, and died in 1680, He studied painting in 
 the school of Guido. 
 
 Jacob's Journey — Bassano. 
 
 Portrait of Peter Oliver, the Painter. This beauti- 
 ful portrait was painted by John Hanntman. He 
 was born in 1611, and died in 1680. He formed his 
 taste by copying the works of Vandyke, and his copies 
 were executed with such exactness, and so much free- 
 dom, as to be frequently mistaken for originals. 
 
 Portrait — Vander Heist, 
 
 AUDIENCE-CHAMBER. 
 
 In this room there are five pictures by Sebastian 
 Ricci. He resided in England ten years, and executed 
 these and several other large compositions, for which he 
 was liberally rewarded. Ricci's fame spread through 
 every country in Europe. He was born in 1659, and 
 died in 1734. 
 
 The picture of the Woman taken in Adultery will 
 always be admired by every lover of the arts. 
 
 Nursing of Jupiter — Giulio Romano^ This and the 
 companion are considered fine specimens of this master, 
 whose works are now rarely met with. 
 
 Ignatius Loyola — Titian. 
 
 Jupiter and Juno — G. Romano, 
 
88 CATALOGUE OF THE PICTURES 
 
 Portrait — Titian, 
 
 Birth of Jupiter — G. Romano, 
 
 A Ruin — Ottavio Viviani smdJan Mi el. 
 
 Battle of Forty — Pete?' Snayers, or probably 
 Esaias Vandevelde. Born in 1593, and died in 1670. 
 This picture belonged to William III., and represents 
 a battle fought between twenty French and twenty 
 Italian cavaliers with their leaders, and is mentioned in 
 some old romances. 
 
 Departure of Briseis — Schiavone, 
 
 Venus and Cupid. Said to be painted by Rubens 
 in imitation of Titian. 
 
 Queen of Bohemia, daughter of James I. — G. Hon- 
 thorst. 
 
 Two Landscapes — Herman Swanefeld, called the 
 Hermit of Italy— born in 1620 ; died in 1680. He 
 was a pupil of Claude's, studied nature incessantly, and 
 his pictures are a proof of it. 
 
 Venus and Cupid — Titian. 
 
 Death and the last judgment — Martin Heemskirk. 
 Born in 1498 ; died 1574. This is a curious, but not 
 a pleasing picture. 
 
 Diana and Actaeon — Giorgione. 
 
 The Shepherds' OiFering — Palma. 
 
 Expulsion of Heresy — Tintoretto. 
 
 A Spanish Lady, ^' in a green dress with white on 
 the slashed sleeves." Truly fine. The tone of the flesh 
 is cool and grey in the shadows. It shows great delicacy 
 in the feeling and execution. — Sebastian del Piombo. 
 
 The heads of St. Peter and Judas — /. Lanfranco* 
 Born in 1581 ; died in 1647. 
 
IN HAMPTON COURT PALACE. 
 
 8& 
 
 Virgin and Child — Andrea del Sarto. Born in 
 1488, died in 1530. His boys have been said to have 
 been scarcely inferior to those of Raffaele. 
 
 A Holy Family — Correggio. 
 
 The Virgin and Child — /. de Mahuse. 
 
 A Madonna and Child, over each door — Parmeg- 
 giano. 
 
 The state canopy in this room is said to be the one 
 imder which James II. received the Pope's nuncio. 
 
 THE king's drawing-room. 
 
 David, with the head of Golisith—Domenico Feti. 
 Born in 1589; died in 1624. The head of Goliath is 
 of a pale dead colour. 
 
 Holy Family — Dosso Dos si. 
 
 The Family of Pordenone — by himself. Giovanni 
 Antonio Licinio Pordenone was born in 1484, and died 
 in 1540. He had no particular instructor, but his 
 genius and his love of painting, added to his study of 
 Nature, caused him to become an artist of the first 
 rank, and he was universally considered as one of the 
 best painters of his time. This is a rich picture, care- 
 fully executed and finely coloured. 
 
 Our Saviour's agony in the Garden — Nicolas 
 Poussin. Born in 1594, died in 1665. The great 
 fault, if we may venture to say so, of this eminent 
 painter, was his neglect of the study of nature, which 
 occasioned a want of that variety which so perpetually 
 entertains and delights us, when nature is the guide. 
 His attitudes however are always orraceful, and his 
 costume strictly correct. N. Poussin is said to have 
 
90 CATALOGUE OF THE PICTURES 
 
 Studied his peculiar effects of light and shade by the 
 aid of terracotta casts by lamplight ; hence the peculiar 
 sharpness of his outline. 
 
 The Angel appearing to the Shepherds — N, Poussin. 
 
 Edward, Duke of York — Dance, 
 
 Cupid's Gambols — Polidoro. ' 
 
 Apotheosis of a Saint — Bassano. 
 
 A Venetian Senator — Pordenone. 
 
 A Knight of Malta — Tintoretto. 
 
 E^tner and Ahasuerus — Tintoretto. This and the 
 companion are unquestionably fine specimens. 
 
 The Wise Men's Offering — Carletto Cagliari. He 
 was the son of Paul Veronese, and died at the early age 
 of 2Q^ in the year 1596. He had gained a high repu- 
 tation when he was only 18 years of age, and died in 
 consequence of his incessant application to his profes- 
 sion. • 
 
 The offering of the Magi — Luca Giordano. Born 
 in 1629, died 1705. This great painter had a fine 
 imagination, and a surprising freedom of hand, but it 
 is to be regretted that so great a genius should have 
 stooped to imitate others. He copied Titian, Guido, 
 and Bassano so exactly, that many of the pictures in 
 the best collections in England called after those mas- 
 ters, were in fact painted by Giordano. 
 
 The Cornaro Family, by Henry Stone, after Titian. 
 This artist was commonly known by the name of 
 Old Stone, to distinguish him from his brother. He 
 died in 16d3, and was an excellent copyist of Titian. 
 The original of this picture is in the possession of 
 His Grace the Duke of Northumberland. 
 
IN HAMPTON COURT PALACE. 91 
 
 The Muses — Tintoretto This fine picture would 
 do honour to any gallery in Europe. 
 
 Joseph and Potiphar's wife — Orazio Gt^ntileschi. 
 Born 1563, died 1647. He painted several pictures for 
 Charles I., and this before us was probably one of them 
 Oliver Cromwell sold nine of these pictures for six hun- 
 dred pounds, a large sum in those turbulent times. A 
 capital picture. He has represented this event in the 
 costume, and otherwise quite in the manner, of his age ; 
 but the painting is verv careful, the colouring powerful, 
 and the effect very striking. The head of Potiphar's 
 wife is greatlv admired. 
 
 Georc^e III. reviewing the 10th Hussars — Sir Wil- 
 Ham Peechy. The Prince of Wales is on the right, 
 the Duke of York on the left. Sir William Fawcett 
 standing ; the other two persons are General Golds- 
 worthy and Sir David Dundas. 
 
 A Holy Family — Parmeggiano. 
 
 A Holy Family — Giorgione, 
 
 KING WILLIAM III.'s BED-ROOM. 
 
 The bed in this room was worked by the orphan 
 daughters of clergymen, for Queen Charlotte, whose 
 charities were much more extensive than is generally 
 known. The ceiling was painted by Verrio. The 
 clock goes twelve months without winding up, and 
 was made by the celebrated Daniel Quare. The 
 portraits are those of The Beauties of the Court of 
 Charles II ,— 
 
 Anne, Duchess of York — Sir Pete?' Lely. She 
 
92 CATALOGUE OF THE PICTURES 
 
 was the wife of James II. and daughter of Edward 
 Hyde, Earl of Clarendon. 
 
 Lady Byron — Sir Peter Lely, 
 
 Princess Mary — Sir Peter Lely. 
 
 Queen Catherine- — Sir Peter Lely, 
 
 Mrs. Knott — Simon Verelst. 
 
 Duchess of Portsmouth — Henry Gascar. He was 
 patronised by her, and in consequence was much en- 
 couraged. His style was said to be tawdry, perhaps 
 the fault of the age in which he painted. 
 
 Evelyn says of the Duchess of Portsmouth, that she 
 had a childish, simple, and baby face. She must, how- 
 ever, have been very beautiful ; for Voltaire, who saw 
 her when she was seventy, describes her as still being 
 surprisingly handsome. She was of a noble family in 
 France, and came to this country as Maid of Honour 
 to Henrietta, Duchess of Orleans, sister of Charles II., 
 who was afterwards poisoned in so horiible a man- 
 ner at Paris. Mademoiselle de Querouaille became 
 the mistress of Charles II., and had a son by him, who 
 was created Duke of Richmond, and Earl of March. 
 
 Duchess of Richmond — Sir Peter Lely. She was 
 possessed of exceeding beauty, but at the same time was 
 shallow, frivolous, and cold in her temper. She appears 
 to have married the Duke of Richmond to get rid of 
 the importunities of Charles II. Her character, how- 
 ever, did not escape censure, although it is but fair to 
 add, that, coquette as she was, history affords no con- 
 firmation of her want of virtue. 
 
 Nell Gwynne — Sir Peter Lely, Her character is 
 sufficiently well known. It has been said of her that 
 
IN HAMPTON COURT PALACE. 93 
 
 she was pretty, witty, merry, open-hearted, and extremely 
 charitable. She had a natural turn for goodness, which 
 survived all her excesses, and a degree of popularity was 
 attached to her name, which even now is not forgotten. 
 
 Countess of Rochester — Sir Peter Lely. She was 
 the grand-daughter of that extraordinary man known in 
 history as the great Earl of Cork, who went to Ireland 
 a needy adventurer, and lived to see himself and five 
 of his sons peers of England or of Ireland. Lady 
 Rochester died in her 42nd year, deeply regretted by 
 all who knew her. 
 
 Duchess of Somerset — Verelst, It is very difficult 
 to say of which of the three Duchesses of Somerset this 
 is a portrait. 
 
 Mrs. Lawson— F(?re/^^. She is called Mrs. Law- 
 son, but was Miss Lawson, one of the daughters of 
 the brave Admiral Sir John Lawson ; and she appears 
 to have maintained her innocence in the corrupt court 
 of Charles II. 
 
 Countess of Northumberland ~*Sir Feter Lely. She 
 w*as distinguished by her uncommon grace and beauty, 
 and her blameless life. 
 
 Lady Denham — Sir Peter Lely, She married Sir 
 John Denham, celebrated for his poem of '' Cooper's 
 Hill." He was very jealous of her, and with some rea- 
 son. Pepys describes James IL, when Duke of York, fol- 
 lowing Lady Denham up and down the presence-cham- 
 ber ''like a dog." She died in her 21st year, and it 
 was believed at the time that she took poison in a cup 
 of chocolate. Her husband w^as suspected of having 
 administered it. 
 
94 CATALOGUE OF THE PICTURES 
 
 Countess of Sunderland — Sir Peter Lely. She was 
 the second daughter of George Digby, Earl of Bristol. 
 All writers concur in exhibiting her character in the 
 most amiable and respectable light. 
 
 The Countess de Grammont — Sir Peter Lely, Her 
 beauty was of the most captivating description, and her 
 virtue shone conspicuous in the profligate court of 
 Charles II. The picture before us is universally ad- 
 mired, and was considered the finest effort of Lely*s pen- 
 cil, both as a painting and a resemblance. It has more 
 spirit and intellect than his beauties in general exhibit. 
 
 Duchess of Cleveland — Sir Peter Lely. She was 
 one of the mistresses of Charles II,, and was cele- 
 brated for her beauty as well as her profligacy. 
 
 Countess of Ossory. Sir Peter Lely. She was 
 gentle, blameless, of extreme beauty, the daughter and 
 wife of a hero, as she was also the mother of heroes. 
 She had shed around her person that lustre which best 
 becomes a woman — the lustre reflected from the glory 
 and the virtues of her husband. He died in his 46th 
 year, leaving behind him a character which poetry 
 cannot embellish, nor flattery exaggerate. It was on 
 Lord Ossory that his father, the Duke of Ormond, pro- 
 nounced that affecting eulogy : — " I would not exchange 
 my dead son for any living son in Christendom." 
 
 Lady Whitmore — Sir Peter Lely. 
 
 Mrs. Middleton — Sir Peter Lely. She is often al- 
 luded to in contemporary memoirs, and was admired for 
 her beauty. Little, however, is known of her life or her 
 family. She was one of De Grammont's equivocal 
 heroines. 
 
IN HAMPTON COURT PALACE. 95 
 
 There are thirteen small portraits in this room, copied 
 by Russell from Vandyke. The flower-pieces over the 
 doors are by Baptiste. 
 
 We cannot quit this beautiful and interesting room 
 without referring to Sir Peter Lely. He was born in 
 1617, and died in 1630. He was state painter to 
 Charles II. ; and his portraits are universally admired. 
 His heads and figures are graceful, and his draperies 
 have an aorreeable nesiliorence. He orave a look of 
 blended sweetness and drowsiness to the eyes of his 
 females, which is observable in most of his portraits, 
 
 THE king's dressing-room. 
 
 The ceiling is painted by Verrio. 
 
 Shepherd and Shepherdess companion — Collins. 
 
 Charity — Carlo Cignani, 
 
 Cupid and Psyche — Vandyke. This is an interest- 
 ing picture, and is said to be the last this great artist 
 ever painted. 
 
 Vulcan and Thetis — Antonio Balestra. He was 
 bom in 1666, and died in 1720. 
 
 Landscape — Gerard Edema. Born 1652; died 1700. 
 
 Landscape — John Loten — died 1681. He studied 
 nature, and had great success in the romantic beauty, 
 as well as in the variety of the scenes which he painted. 
 His colouring, however, is cold. 
 
 Landscape — Edema. 
 
 Poultry — Melchior Hondekoeter. — Born in 1636 ; 
 died 1695. Nature was his chief instructor, and he 
 painted his animals with such truth, expression and life, 
 
96 CATALOGUE OF THE PICTURES 
 
 and the feathers of his fowls with such a swellhig soft- 
 ness, as almost to equal nature itself. His works are 
 in great request, and bring a large price. 
 
 Achilles presented to the Centaur — A. Balestra. 
 
 Virgin and Child — C. Cignani. 
 
 Mother and two Children — C. ignani. 
 
 Head of a Warrior — Guercino, 
 
 A Sibyl — A. Gentilesfhi. 
 
 A Magdalen's Head — Sasso Ferrato. 
 
 THE king's writing-closet. 
 
 Still Life — John David De Heem, Born 1600; died 
 1674. Every thing he painted was said to have been 
 not only truly, but elegantly exact. 
 
 Villiers, Duke of Buckingham, and his family — G. 
 Honthorst. This is a curious historical picture. 
 
 A Village Repast — G, F, Cepper, 
 
 The Triumph of Flora — S. Ricci. 
 
 A Painter in his study — Cepper, 
 
 Two Flower Pieces — J, Baptiste, 
 
 A Sea-piece — Monamy, 
 
 Judith, with the head of Holofernes — called a 
 Guido. 
 
 Still Life — Maltese. The subjects he painted were 
 fruit, shells, or musical instruments placed on Turkish 
 carpets, and he gave every object a roundness and 
 relief wonderfully strong. 
 
 Poultry and two Flower Pieces — James Bogdane. 
 He was employed by Queen Anne, and was exact in 
 copying nature. 
 
IN HAMPTON COURT PALACE. 97 
 
 QUEEN mart's CLOSET. 
 
 A Sacrifice — Giulio Romano. Born 1492; died 
 1546. He was the first and favourite disciple of Raf- 
 faelle, and some of his works have the grace and dignity 
 of his master. 
 
 Two daughters of PhiHp II. of Spain — Sir Antonio 
 More. Born in 1519, died in 1575. He imitated 
 nature closely ; his manner is strong, true, and firm, and 
 his portraits have character and life. 
 
 Still J.\k—Willia7n Kalf. Born 1630; died 
 1693. His usual subjects were vases of gold, silver, 
 glasses, &c., which he copied from nature, and gave 
 them an extraordinary lustre. 
 
 James II. when young — G. Honthorst, 
 
 A Boy with Puppies. Artist unknown ; probably 
 Castiglione. 
 
 Singinfr by Candlelight — Honthorst. 
 
 Prince Rupert when a boy — Mytens. He was prin- 
 cipal painter to Charles I. before the arrival of Van- 
 dyke in England, whom he imitated so successfully, 
 that several of the pictures of Mytens have been taken 
 for the work of that more famous master. 
 
 Duke of Gloucester — Sir Peter Lely, 
 
 A Landscape— Pa?// BrilL Born 1544, died 1626. 
 
 A Landscape — Adrian Hennin, He painted in 
 this country for Charles II., and little is known of him 
 except that he adopted the manner of Gaspar Poussin. 
 His manner of painting is charming : his scenery, situa- 
 tions, and distances are admirable, most of them being 
 taken from nature. His small landscapes are generally 
 beautifully and exquisitely finished. 
 
98 CATALOGUE OF THE PICTURES 
 
 A Man*s head — Bassano. 
 
 A Boy laughing — Frank Hals. Born 1584 ; died 
 1666. Vandyke said of him that he would have been 
 the best in his profession, if he had given more tender- 
 ness to his colours, for, as to his pencil, he knew not 
 one who was so perfectly master of it. He gave to his 
 portraits a strong resemblance, a lively expression, and a 
 true character. 
 
 Queen Xhomyris receiving the head of Cyrus. — ■ 
 Russel, 
 
 Martyrdom of St. Bartholemew — L, Nottery, 
 
 Children — Francis Floris. Born 1520 ; died 1570. 
 He was called the RafFaelle of Flanders. He had a 
 bold, strong, though dry manner ; but he invented and 
 composed with ease. 
 
 A Holy Family, said to be by Titian. 
 , St. Catherine — P. Veronese. 
 
 Daughter of Herodias, with the head of John the 
 Baptist — called a Leonardo Da Vinci, 
 
 Infant child and St. John — Carlo Mar afAi. 
 
 David and Goliah, a sketch — Titian. 
 
 A Peacock — James Bogdane, 
 
 A Landscape — Van Ever ding en. 
 
 Martyrdom of St. Sebastian — Lucas Van Ley den. 
 Born in 1494 ; died in 1533. He was both a painter 
 and an engraver. 
 
 Joseph bound — L. Van Leyden. 
 
 Hercules and the Centaur — B. Lens. 
 
 THE queen's gallery. 
 
 This gallery is eighty feet long, and twenty-five feet 
 
IN HAMPTON COURT PALACE. 99 
 
 wide, and was sometimes called the tapestry gallery, 
 from seven pieces of tapestry taken from the history 
 of Alexander the Great from paintings by Le Brun. 
 These tapestries were much faded, and lost much of 
 their interest. They have now given place to the pre- 
 sent interesting and well-arranged collection of pictures. 
 
 Portraits of William III. and Queen Marv over 
 the doors — William Wissing. Died 1687. He was 
 principal painter to James II., and sent by him to the 
 Hague to paint William and Mary, by which perform- 
 ances he gained great reputation. 
 
 Henry VIII. and his family — Hans Holbein. 
 Born in 1498, died 1554. This great painter was 
 admired by all Europe for his forcible colouring, and 
 his exquisite finishing. His paintings in this gallery 
 are perhaps unequalled for their historical interest, and 
 their fine execution. 
 
 The Elizabethan group immediately under the 
 picture just mentioned cannot fail of interesting the 
 spectator. W^e have first — 
 
 A portrait of Queen Elizabeth when a child — 
 Holbein. 
 
 Queen Elizabeth when about twelve year? of age — 
 Holbein. This is a most interesting picture, and 
 perhaps one of the most curious in the collection. The 
 young princess has an agreeable, childish expression of 
 countenance, and at the same time much sense. The 
 mouth is pretty, and the hair reddish. Over a white 
 petticoat, richly embroidered with gold, she has a 
 crimson dress, adorned at the waist and neck with 
 jewels and pearls, and a cap of the same colour. In 
 
 li 2 
 
100 CATALOGUE OF THE PICTURES 
 
 her long, thin hands, she holds a prayer-book. The 
 picture is most elaborately finished throughout. 
 
 Queen Elizabeth, an allegorical picture — Lucas de 
 Heere. 
 
 Queen Elizabeth — Zucchero. 
 
 Queen Elizabeth — Marc Guerardo or Garrard. 
 Died in 1635. His portraits are generally neat, the 
 rufFs and habits stiff, and rich with pearls and jewels. 
 This is said to be the last portrait painted of the 
 Queen. The pictures which surround this Elizabethan 
 group, are portraits of some of the great and wise men 
 of her Court, such as Nottingham, Walsingham, Bacon, 
 &c. They are copies. 
 
 King and Queen of Bohemia dining in Public — 
 Van Bass an. 
 
 Charles I. and his Queen dining in Public — Van 
 Bassan, This and its companion are curious histori- 
 cal pictures. 
 
 Lady Vaux — Holbein, Probably the wife of 
 Nicholas, Lord Vaux, a great ornament to the courts 
 of Henry VII. and VIII. 
 
 Portrait — Gonzales. 
 
 Queen Mary when a child — Holbein, 
 
 Portrait — Ant. More, 
 
 Portrait of a Young Man — Albert Durer. Born 
 1471 ; died, 1328, This memorable artist was an 
 universal genius. His imagination was lively, his 
 compositions grand, and the finishing of his pictures 
 remarkably neat. The one before us is admirably and 
 carefully painted. The date 1506 is upon it, and the 
 initials. 
 
IN HAMPTON COURT PALACE, 101 
 
 Sir Theodore Mayerne — Rubens *. 
 
 The two large pictures above the smaller ones 
 represent the embarkation of Henry VIII. at Dover, 
 and the meeting of that king and Francis I. of France 
 in the field, called the Cloth of Gold, near Calais. 
 These pictures are not only historically very interesting, 
 but a curious fact is connected with one of them. 
 
 After the death of Charles I., the Commonwealth 
 were in treaty with a French agent, who had expressed 
 his desire of purchasing these pictures for the King of 
 France. Philip, Earl of Pembroke, who was a great 
 admirer, and an excellent judge of painting, and con- 
 sidered these valuable pictures an honour to an English 
 palace, came privately into the royal apartments, cut 
 out that part of the picture where King Henry's head 
 was painted, and putting it into his pocket-book, re- 
 tired unnoticed. The French agent, finding the picture 
 mutilated, declined purchasing it. After the Restora- 
 tion, the then Earl of Pembroke delivered the muti- 
 lated piece to Charles II., who ordered it to be replaced. 
 On looking at the picture in a side light, the insertion 
 of the head is very visible. 
 
 It may fairly be doubted whether Holbein painted 
 these pictures. They are too coarse ; besides, he 
 did not arrive in England till six years after the in- 
 terview depicted, and therefore could not have taken 
 the many excellent English portraits which are intro- 
 duced into the pictures, at that time. It is, however, 
 
 * Mayerne was a native of Geneva, and was physician to four kings 
 
 namely, Henry IV. of France, James I. of England, and the two Charleses. 
 He had a great reputation. 
 
102 CATALOGUE OF THE PICTURES 
 
 immaterial, as their intrinsic merit, and historical 
 interest, will always demand attention. 
 
 James II. — Russel. 
 
 Countess of Sunderland — Russel. 
 
 The Father and Mother of Holbein^ painted at the 
 age of 14. In the background one of the gates of 
 Basle, his native place^ — Holbein. 
 
 Henry, Prince of Wales — painter unknown. This 
 hopeful prince was brother of Charles I., and died in 
 his 19th year, regretted by every one but his own 
 father. He had a great fondness for the fine arts, and 
 several of the pictures in this gallery are said to have 
 been collected by him. 
 
 Philip II. of Spain— S/r Ant. More. 
 
 Henry VIII.'s Jester — Holbein. A curious and 
 valuable picture. 
 
 Elizabeth Woodville, the unfortunate wife of Ed- 
 ward IV. 
 
 John de Bellini — ^by himself. Born in 1422, died 
 in 1512. He is accounted the founder of the Venetian 
 school, by introducing the practice of painting in oil, 
 and teaching his disciples to paint after nature. 
 
 Portraits of Ladies of the Court of Henry VIII. — 
 Lucas Cornelisz. Born in 1495. He came to this 
 country, and was principal painter to Henry VIII. , by 
 whom he was much encouraged. 
 
 Portrait — Holbein. 
 
 Frobenius, the printer of Erasmus's works — 
 Holbein. This is a remarkably fine portrait, and its 
 authenticity cannot be doubted. 
 
 Sir Henry Guldeferde, in a dress of gold brocade — 
 
IN HAMPTON COURT PALACE. 103 
 
 Holbein. The original sketch of this painting is 
 among Holbein's drawings in the Royal Collection. 
 Sir Henry was one of the ornaments of the Court of 
 Henry VIII. 
 
 Two Portraits of Henry VHL — Holbein, 
 
 Mary, Queen of Scotland — Francois Clonet, called 
 Janet, This is probably the last portrait painted of 
 that beautiful and unfortunate queen. It is marked 
 on the back as having belonged to Charles I., and as 
 having been placed in his closet. These circumstances 
 alone give the picture great historical interest. 
 
 Near it is a pleasing and delicately-finished portrait 
 of her first husband, Francis II. of Fran-ce, when a 
 child, also by Janet. 
 
 Lord Darnley, consort of the Queen of Scots ; and 
 his Brother— L. de Heere, Born 1534 ; died 1584. 
 He was remarkable for having so retentive a memory, 
 that if he saw any person but once, he could paint his 
 likeness as strong as if he had him before his eyes. 
 His manner was stiff. 
 
 James I. — Paul Vasomemer, 
 
 Anne, of Denmark, Queen of James I. — Vansomer. 
 
 Portrait — Bassano, 
 
 Queen of Francis I. of France — Janet, This is a 
 beautiful and interesting portrait. 
 
 Francis I., and the Duchess of Valentino. 
 
 Portraits of Erasmus — Holbein. Two exquisitely 
 painted pictures. 
 
 Reckemar — Holbein, An admirably painted picture. 
 
 Francis I. of France — Holbein. 
 
 The Battle of Pavia — Holbein (?) This curious 
 
104 CATALOGUE OF THE PICTURES 
 
 picture is crowded with figures, one of which is Francis 
 I., bravely fighting with some of the soldiers of 
 Charles V., by whom he was taken prisoner. This 
 picture is appropriately placed near the portrait of 
 Francis. 
 
 Portrait of James Crichton. He was born in 1561, 
 and is commonly called " the admirable Crichton." 
 His father w^as Lord Advocate of Scotland. The son 
 took his deo^ree of Master of Arts at the aore of 14. 
 At 17 he distinguished himself in public disputations 
 at Paris, Rome, and Venice. He was treacherously 
 killed by his pupil, Vincentio di Gonzaga, whose life he 
 had spared. Many romantic stories are told of him. 
 He died in his 22nd year. In the " Deliciae 
 Poetarum Scotorum" are two copies of verses by him. 
 
 Holbein — -by himself. 
 
 King and Queen of Bohemia — Cornelius Janssen. 
 This painter died in 1665, and was employed by 
 James I. His portraits have a peculiar softness about 
 them, and may be distinguished by their clear, smooth, 
 and delicate tints, and also by their high finish. 
 
 The Children of the King and Queen of Bohemia — 
 Cornelius Poelemb erg. Born 1586 ; died 1660. He 
 surpassed all his contemporaries in the delicacy of his 
 touch, in the sweetness of his colouring, and in th€ 
 choice of agreeable objects and situations. He was 
 invited by Charles I. to the Court at London, where 
 he painted many curious pictures. He was highly 
 esteemed by Rubens. 
 
 Henry Vlll. when a Boy — his brother Prince 
 Arthur, and his sister, Margaret, Queen of Scotland — 
 
IN HAMPTON COURT PALACE. 105 
 
 John de Mabuse. This is another very interesting 
 historical picture. Unfortunately the reddish tints of 
 the flesh have faded away, so that the lights appear 
 pale, and the shadows grey. It is, however, highly 
 finished. It was painted in 1499, and this shows us 
 the time Mahuse was in Enorland. 
 
 o 
 
 Lord and Lady Clarendon — Russel. 
 
 Charles II. — Russel. 
 
 Robert TFalker, the Painter — by himself. 
 
 Portrait — Quintin Matsys. He was a blacksmith 
 at Antwerp, but was said to have turned painter in 
 order to obtain the hand of the beautiful daughter of 
 Floris, an artist at that place. His best-known picture 
 is that of the " Two Misers'' in Windsor Castle. 
 
 The Meeting of Henry VIII. and the Emperor 
 Maximilian I. — Holbein {?) This is another very 
 curious historical picture. Maximilian, in order to 
 sooth the vanity of Henry VIII., served under him as 
 a common soldier, for a hundred crowns a day, at the 
 siege of Terouenne. Henry, however, was very near 
 being egregiously duped by him afterwards. 
 
 Virorin and Child — Tintoretto. 
 
 A Medallion of Henry VIII. — Torrigiano. He 
 executed the beautiful tomb of Henry VII. in West- 
 minster Abbey. 
 
 Cleopatra — Ludovico Caracci. Born 1555 ; died 
 1619. 
 
 Buildings — Steenwyh. 
 
 Landscape — Francis Paul Ferg or Fergue. Born 
 1689; died 1741. His colouring is always sweet, 
 clear, and agreeable, his touch light and delicate, his 
 
106 CATALOGUE OF THE PICTURES 
 
 composition full of spirit, and his figures have expres- 
 sion and elegance. A series of misfortunes overwhelmed 
 him when he was in this country, and he is said to 
 have died of cold, want, and misery, at the door of his 
 wretched lodging. 
 
 St. Peter in Frison—Sleenwyk. 
 
 A Sorceress — Adam Elzheimer. Born 1574 ; died 
 1620. The minutest parts of the pictures of this 
 master will endure the most critical inspection, and the 
 whole together is inexpressibly beautiful. 
 
 A Landscape — Paul Brill . 
 
 Two Landscapes — Poelemberg. 
 
 The discovery of Calisto — Breughel. 
 
 The Battle of Spurs— Holbein (?) Another most 
 interesting historical picture. 
 
 The Tribute Money-— Dieirici. The Woman taken 
 in Adultery, the companion. 
 
 Pair of Dead Game — John Weeninx, Born 1644 ; 
 died 1719. He studied nature incessantly, and arrived 
 at much perfection in his art. 
 
 A Hermit — John Peter Van Slingeland. Born 
 1640; died 1691. He is ranked among the number 
 of the best Flemish painters. 
 
 Youth, and, farther on, Age — Ballhasar Denner. 
 Born 1685 ; died 1747. He finished his portraits in a 
 manner inconceivably neat. As a specimen of his 
 abilities, he brought with him to London the portrait 
 of an old woman, so wonderfully painted, that it not 
 only procured him honour and employment, but he 
 refused five hundred guineas for it. It was purchased 
 for a greater sum by the Emperor Charles VI., who 
 
IN HAMPTON COURT PALACE. 107 
 
 was SO careful of it, that he kept the key of the cabinet 
 where it was deposited, and he afterwards gave Denner 
 the same price for a companion to it. 
 
 Venus and Adonis — Benedetto Gennari. He came 
 to this country, and w^as employed by Charles II. He 
 died in 1715. 
 
 Dead Game, and Implements for Hunting — Van 
 Aelst. 
 
 Inside of a Farm-house — Tenters. 
 
 Lions and Landscape — Roland Savery . Died 1639. 
 He was an excellent master, and his works are highly 
 esteemed. 
 
 Sketch of a Lady — Vandyke, 
 
 A Sea-piece — William Vandervelde. 
 
 A Man in Armour — Correggio. 
 
 Portrait of a Child. 
 
 Portrait — Bassano, 
 
 A Labyrinth — Tintoretto. 
 
 Mary Magdalen at the tomb of our Saviour — 
 Holbein. 
 
 St. Catherine, after Correggio, 
 
 A Sybil— P. Bordone, 
 
 Moses striking the Rock — in the school of Salvator 
 Rosa, Born 1614 ; died 1673. This great painter had 
 an enlarged and comprehensive genius — a lively, fertile, 
 and poetic imagination. He studied nature, and always 
 chose to represent her in her utmost grandeur and mag- 
 nificence. His genuine works are rare and valuable. 
 
 Infant Salutation — L. da Vinci. 
 
 Landscape, with Cattle — Vandervelde. 
 
 Fruit and Still Uie— Albert Cuyp. Born 1606. 
 
108 CATALOGUE OF THE PICTURES 
 
 He sometimes painted fruit, and excelled in everything 
 that he attempted to represent. 
 
 A small Landscape — Holbein. This is one of the 
 few landscapes painted by this master. 
 
 A Landscape — John Wynants^ with figures by 
 Lingelback^ Born 1600, died 1670. His works are 
 in great esteem, and bring large prices. 
 
 A Turk on Horseback — Ferrara. 
 
 Nymphs at an Egyptian Bath — Dietrici. 
 
 An Interior — Lady and Person acting — C. Poelem- 
 herg. This picture belonged to Charles L, and it is to 
 be regretted that the subject of it is not known. 
 
 Hungarians at the Tomb of Ovid — John Henry 
 Schoonefeld. Born 1619 ; died 1689. His figures 
 are designed with elegance, and his subjects disposed 
 with judgment and art. 
 
 The Marquis del Guasto, and Page — Titian. 
 
 Nymphs and Satyrs — N. Poussin. 
 
 St. Catherine — B. Luini. 
 
 St. Peter in Prison — Henry Steenwyk, the younger. 
 Born in 1589. Vandyke introduced him to Charles I., 
 and he met with much encouragement in this country. 
 
 A Battle-piece — Wouvermans 
 
 The Dying Saint — Vandyke. 
 
 The Assumption of the Virgin — Denis Calvert. 
 Born 1555 ; died 1619. He was the instructor of 
 Guido and Domenichino and had great merit as a 
 painter. 
 
 Rape of the Sabines — John Rothenhamer. Born 
 1564; died 1604. Paul Brill and Breughel fre- 
 quently painted the landscapes and backgrounds of his 
 
IN HAMPTON COURT PALACE. 109 
 
 compositions. His small pictures are much admired, 
 and are agreeably coloured. 
 
 A Saint's Head — Gerhard Douw. Born 1613 ; 
 died 1674. 
 
 Lot and his Daughters — Godfrey Schalcken. Born 
 1643 ; died 1706. He was a disciple of Gerhard Douw, 
 and his pictures, like his master's, are finished with 
 exceedinor neatness. He imitated nature with sincjular 
 exactness, both in his colouring, and in the masses of 
 his light and shadow. 
 
 The Shepherds' Offering — 5. Ricci. 
 
 Dutch Boors — Egbert Heemskerk the Younger. 
 Died 1704. He had great humour, and a lively and 
 whimsical imagination. He lived in London, and his 
 compositions at that time were much esteemed. 
 
 A Female by candle-light — Schalcken, 
 
 Lucretia — Titian* 
 
 Portrait — Tintoretto. 
 
 Sophonisba — Scipio Gaetano. Died 1588. He 
 finished his pictures with great neatness and care. 
 
 Flower-piece— 71/ana Van Osier twyk. Born 1630 ; 
 died 1693. She studied nature attentively, and gave 
 her works the utmost finishing, so that she finished 
 but few, and her paintings therefore are scarce and 
 very valuable. William II L gave her nine hundred 
 florins for one picture, perhaps the one before us. 
 
 Landscape — Poelemberg. 
 
 March of an Army — Giacomo Cortesi, called also 
 Borgognone. Born 1621 ; died 1676. This admirable 
 artist served in the army, and there formed his animated 
 ideas from actions he had seen in the field. His 
 
110 CATALOGUE OF THE PICTURES 
 
 pencil is uncommonly bold, and his designs show great 
 elevation of thought. He was so expert an artist^ 
 that he did not make even a sketch of the subjects 
 he intended to paint. 
 
 Landscape — Rubens. 
 
 A Jewish Rabbi — Rembrandt. Born 1606 ; died 
 1674. His real name was Gerretsz, but he is also 
 known by the name of Van Ryn, from having been 
 born on the banks of the Rhine. He formed his manner 
 by studying and imitating nature. The genuine works 
 of this great master bring incredible prices, and his 
 etchings are collected with great care and expense for 
 the cabinets of the curious . 
 
 An Old Woman — G, Douw. His pictures are 
 usually of a small size, so exquisitely painted, so trans- 
 parent, so wonderfully delicate, as to astonish as well 
 as please. Everything that came from his pencil is 
 prcjcious, and vast sums have been given, and are still 
 given, for his pictures, even in his own country. 
 
 St. Peter in Prison — Steenivyk. 
 
 Flowers — Daniel Seghers. Born 1590, died 1660; 
 His flowers generally have the freshness and bloom of 
 nature, which he studied diligently. His genuine 
 pictures are highly valued. 
 
 Two Landscapes — Poelemberg. 
 
 A Boar's Head — Snyders. Born 1579 ; died 1657. 
 In painting animals he was so exact, that he made 
 even their skins and hair appear to be real ; and their 
 actions, attitudes, and all their movements have life, 
 spirit, and expression. 
 
 Flowers — I). Seghers, 
 
IN HAMPTON COURT PALACE. Ill 
 
 A Dutch Lady — Rembrandt. 
 
 Hay-stack — Wouvermans. 
 
 St. Francis — Tenters. 
 
 Interior of a Church — Peter Neefs. Born 1570; 
 died 1651. He drew his subjects, with all their rich 
 decorations, with such neatness, truth, and patience as 
 to produce a surprising effect. 
 
 Military in a Landscape —5or^ogr7ZO/ie. 
 
 A Woman Milking a Goat — N. Berghem. 
 
 Flowers —Ostertivyk. 
 
 A Boy paring Fruit — Bartholomew Murillo. 
 Born 1613, died 1685. He was called a second Paul 
 Veronese by the Italians. He had an exquisite 
 pencil, and there is a striking character of truth and 
 nature in all his paintings. 
 
 VoTixBits—Bassano. 
 
 Nymphs Sleeping, and Dead Game — Sir Peter 
 Paul Ruhms. Died in 1640, aged 63. The fine 
 picture now under our notice is generally admired. 
 The works of Rubens are so well known in this coun- 
 try, and indeed in every part of Europe, that any re- 
 marks upon them are unnecessary. 
 
 Between the windows are representations of heathen 
 Gods and Goddesses by S. Ricci. 
 
 THE queen's bed-room. 
 
 In this room is the State Bed of Queen iVnne. 
 The ceiling was painted by Sir James Thornhill. 
 James I. — his Queen, and his son Henry, Prince of 
 Wales, by Vansomer, 
 
 Christian, Duke of Brunsv/ick — Honthor4. 
 
112 CATALOGUE OF THE PICTURES 
 
 A Princess of Brunswick. 
 
 An Italian Ijady— Par meg giano. 
 
 Jacob stealing the blessing — Andrea Schiavone. 
 Died 1 582. He was one of the finest colourists of the 
 Venetian school. 
 
 A Sea-port — Claude. 
 
 St. Francis, with the infant Jesus — Guido. 
 
 Venus and Cupid. The outline of this picture was 
 drawn by Michael Angeio, and a celebrated living artist 
 gave it as his opinion on seeing the picture, that Michael 
 Angelo was the only painter who could have drawn such 
 an outline. The picture was painted by Giacomo 
 Caracci da Puntormo. Born in 1493, and died in 
 1558. Michael Anofelo, on seeinor some of the works 
 of Puntormo, painted before he was twenty years old, 
 said that such a genius, at such years, would carry the 
 art of painting to its highest pitch. His taste of design 
 was grand, and his colouring excellent. George II. 
 gave one thousand guineas for this picture. 
 
 Dogs — Snyders. 
 
 The Shepherds' Offering — Giacomo Palma, called 
 the Old. Born 1548; died 1596. His paintings are 
 in great esteem, and they are coloured with extraordi- 
 nary strength and brightness. 
 
 A Landscape — Lucas Van TJden. Born 1595 ; died 
 1660. He was a diligent observer of nature, and spent 
 his time in the fields when he was not painting. He 
 was considered one of the most delicate painters of land- 
 scape in the Low Countries. 
 
 The Judgment of Midas — Andrea Schiavone. 
 
 The Delude — Bassano. 
 
IN HAMPTON COURT PALACE. 113 
 
 -The Shepherds' Offering — Giorgione, 
 
 Virgin and Child — Giorgione. 
 
 Virgin and Child — Titian. 
 
 Twelve pictures, history of Cupid and Psyche — L. 
 Giordano. George III. gave one thousand pounds for 
 these pictures. 
 
 Mary of Este, Queen of James II. — Sir G. Kneller. 
 
 THE queen's drawing-room. 
 
 The ceiling is painted by Verrio. All the pictures 
 in this room are by Benjamin West, P.R,A. 
 
 George III. and Queen Charlotte. 
 
 Prince of Wales and Duke of York. 
 
 Duke of Clarence and Duke of Kent. 
 
 Prince Octavius and Prince Alfred, who died young. 
 
 Duke of Cumberland and two Princesses. 
 
 Dukes of Cumberland, Sussex and Cambridsfe, and 
 three Princesses. 
 
 Queen Charlotte and the Princess Royal. 
 
 The Oath of Hannibal. 
 
 Peter denying our Saviour. 
 
 The Departure of Regulus. 
 
 The Death of General Wolfe. 
 
 St. George and the Dragon. 
 
 Two historical subjects relating to Cyrus. 
 
 THE queen's audience-chamber. 
 
 Faith, Hope, and Charity — Gennari, 
 The Duchess of Luneberg^ — My tens. 
 A Magdalen — Titian. 
 
 The Apostles Peter, James, and John — Michael 
 
 I 
 
114 CATALOGUE OF THE PICTURES 
 
 Angela da Caravaggio, Born 1569, died 1609. He 
 took nature for the model of everything he introduced 
 into his compositions : some of his pictures are very fine, 
 and admirably finished. 
 
 Nymphs — Giuseppe Chiari. Born 1654 ; died 1727 ; 
 He painted an extraordinary number of subjects from 
 sacred and profane history, and these spread his fame 
 through every part of Europe. He was a correct and 
 elegant painter. 
 
 St. John — Giuseppe Ribera, called Spagnoletto. 
 Born 1 589 ; died 1656. This great master had a strength 
 of expression and a force of colouring quite extraordi- 
 nary. His natural turn was to paint subjects which 
 excite horror ; and he expressed pain and agony so 
 powerfully as to produce a strong impression on the 
 imagination. 
 
 Pilate delivering up our Saviour — Andrea Schiavoiie. 
 
 Margaret, Countess of Lennox. She was niece to 
 Henry VIII. — Holbein > 
 
 The Death of the Chevalier Bayard. He received a 
 wound from a musket-ball in 1524, on the banks of 
 the Sessia ; and, being unable to continue any longer 
 on horseback, he ordered one of his attendants to place 
 him under a tree, with his face towards the enemy : then, 
 fixing his eyes on the guard of his sword, which was held 
 up to him to kiss instead of a cross, he addressed his 
 prayers to God ; and in this posture, which became his 
 character both as a soldier and as a Christian, he calmly 
 waited the approach of death. This painting represents 
 the interview between the Dying Chevalier ('' sans peur 
 et sans r^proche") and the Constable Bourbon. See 
 
IN HAMPTON COURT PALACE. 115 
 
 Robertson's Charles V. The picture is painted by B. 
 West, and there is a fine print from it. 
 
 Peter the Great, Emperor of Russia — Kneller. 
 
 Frederick VI. , Duke of Wirtemberg, styled the 
 " Magnanimous" — Mytens. 
 
 The Death of Epaminondas — West, 
 
 Philip III. of Spain. 
 
 Charles I. returning from Spain — Percellis. 
 
 Ernest, Count Mansfeld — M-ytens, 
 
 Margaret, Queen of Scotland. This is a very good 
 picture, but the painter is unknown. This spirited queen 
 was the wife of James IV. and mother of James V. 
 Kinor of Scotland. Her second marriaore was with 
 Archibald Douglas, Earl of Angus. She was divorced 
 from him, and married Henry Stuart, brother to the 
 Lord Avindale. 
 
 Nabob of Arcot — Willison. 
 
 The Continence of Scipio — S. Ricci. 
 
 Holbein and his Wife, in water-colours — Holbein. 
 
 Venus at her Toilet — Paul Veronese, Is a fine 
 picture by^this great master. 
 
 Duke of Brunswick — Mytens, 
 
 The Emperor Charles VI. — Kneller. 
 
 Duchess of Brunswick — Mytens, 
 
 A Holy Family — /. Romano after Raphael. 
 
 Venus and Adonis — G, Chian. 
 
 Cupid with his Bow — Farmegiano, 
 
 THE PUBLIC DINING-ROOM. 
 
 In this room are three models of palaces, viz. Buck- 
 ingham House ; a design for a palace in Hyde Park, 
 
 I 2 
 
116 CATALOGUE OF THE PICTURES 
 
 by Kent ; and the third for Richmond Gardens by Sir 
 William Chambers, 
 
 The nine pictures round the room are the Triumphs 
 of Julius Csesar by Andrea Mantegna. Born 1451, 
 died 1517. They are painted in distemper, and were 
 brought to England in the time of Charles I., and were 
 sold at his death by the Parliamentary Commissioners 
 for one thousand pounds, a large sum in those days. 
 After the restoration they were repurchased by Charles 
 II. and placed in Hampton Court. They were origin- 
 ally designed to form a continued procession 81 feet in 
 length. As works of art, they are perhaps second 
 only to the Cartoons of Raphael, and will be ad- 
 mired as long as they exist by every person of taste 
 and genius. When we examine the tall, noble, and 
 powerful figures before us, and contrast them with 
 the delicate, slender, and youthful ones, we shall at once 
 perceive that no works of modern art can be compared 
 with them. We see here freedom and animation, and 
 great variety and beauty in the several positions, espe- 
 cially perhaps of the hands. In the execution, we do 
 not know whether most to admire the inexpressibly rich 
 and elegant details, or the light and spirited touch of 
 the pencil. 
 
 Dr. Waagen, in his interesting work on Art and Art- 
 ists in England, has asserted that these pictures were 
 coarsely painted over by Laguerre in distemper in the 
 time of William III. We have reason to believe that 
 this statement is perfectly erroneous. 
 
 These Triumphs of Julius Caesar were painted by 
 Mantegna for the Marquis of Mantua, whose entire 
 
IN HAMPTON COURT PALACE. 117 
 
 collection was purchased by Charles I. Hence many 
 paintings are called Mantua pieces^ in the old cata- 
 logue of the Whitehall Collection. 
 
 A Magdalen — Palma the young. 
 
 John Duns, named Scotus — Spagnoletto. Duns 
 Scotus died in 1308. He was a native of Northum- 
 berland, and studied at Merton College, Oxford. His 
 manuscripts are reposing in the library of that college. 
 It has been said that it would require one-half a man's 
 life to read the works of this profound doctor, and the 
 other to understand his subtleties. He was the head 
 of a sect called Scotists. 
 
 Ganymede — Michael Angela. 
 
 Adam and Eve — John de Mabuse. It is to be re- 
 gretted that these two very fine and valuable pictures 
 are not placed in a better light. 
 
 Ruins — Ottavio Viviani and Jan MieL 
 
 The Family of De Bray, by himself. 
 
 We next enter a room called the Queen's private 
 chapel, and in the closet beyond it are the followino- 
 pictures : — 
 
 Portrait — L. Bassano. 
 
 Portrait — G. Pens. 
 
 An Italian Market — Peter Van Laer^ called Bam- 
 boccio, from the uncommon shape of his body. He 
 was held in great esteem as a painter, and his pictures 
 are excellently designed, happily executed, and gene 
 rally highly finished. 
 
 A Landscape — after Poussin. 
 
 Jupiter and Europa — after P. Veronese. 
 
 An Act of Mercy — after A, Carracci, 
 
118 CATALOGUE OF THE PICTURES 
 
 Boaz and l^uth—Bassano. 
 
 Tcbit restored to sight. 
 
 David and Abigail. 
 
 Sketches of Heads. 
 
 Frederick? Prince of Wales, by Van loo, 
 
 Christ brought before Pilate, by Tintoretto. 
 
 Children with a goat, by Amiconi. 
 
 Virgin and Child. 
 
 THE PRIVATE DINING-ROOM. 
 
 In this room are the state beds of William and Mary. 
 
 Landscapes- — Henry Bankers. Charles II. em- 
 ployed this artist to paint views of all the sea-ports in his 
 dominions, and he was considered a good painter. 
 
 Caroline, Queen of George II. 
 
 Fisher, the Composer, by Gainsborough, 
 
 Queen of James I.—- Fansomer. 
 
 The Good Samaritan — Bassano. 
 
 Judas betraying our SaLYiouv'—Pordenone. 
 ' The Wise Men's Offering — P. Veronese, 
 
 Venus and Cupid — Giacomo da Pontormo. 
 
 St. John, by L. Spada. 
 
 WiUiam III. 
 
 Dutch Pastimes — Cepper. 
 
 The Stoning of St. Stephen — Roihenamer. 
 
 A Sea-piece — Percellis. 
 
 A View of Florence — Patch, 
 
 In the next closet are twelve portraits of Romish 
 Saints — Domenico Feti, There is a great deal of 
 force and good painting in these pictures. 
 
IN HAMPTON COURT PALACE. 119 
 
 Our Saviour Healing the Sick — A. Verrio. In this 
 picture Yerrio has introduced himself and Sir Godfrey 
 Kneller, as spectators of the miracle, in long periwigs. 
 
 THE king's dressing-room. 
 
 The bed in this room was George IT/s. 
 
 The tapestry represents the Battle of Solebay. 
 
 The beautiful carving over the fire-place is by Grin- 
 ling Gibbons. He died in 1721. He was patronised 
 by that beneficent man Mr. Evelyn, who, with Sir Peter 
 Lely, recommended Gibbons to Charles II. The king 
 gave him a place in the Board of Works, and employed 
 him in ornamenting his palaces, especially Windsor, 
 where there are many fine carvings executed by him, 
 
 Four Doges of Venice — Fialetti. These are some 
 of the pictures bequeathed by Sir Henry Wotton to 
 Charles II. 
 
 Mary and Elizabeth — C. Maraiti. 
 
 GEORGE THE SECOND's PRIVATE CHAMBER. 
 
 Flower Pieces — John Baptist. Born 1635 ; died 
 1699. He came to this country, and was employed, in 
 conjunction with Rousseau, by the Duke of Montague, 
 to embellish Montague House, now the British Museum, 
 where there are some fine performances of his. 
 
 Fruits— Ez;er^ Van Aelst, Born 1602; died 1658. 
 He acquired a great reputation by the true and striking- 
 resemblance of nature which he gave to his dead game 
 and fruit. 
 
 Grapes — Caravaggio, 
 
 Tw^o Flower-pieces — Mario Muzzi, called Da Fioii; 
 
120 CATALOGUE OF THE PICTURES : 
 
 died 1673. He imitated nature with so beautiful an 
 exactness, and bestowed so much labour and study on 
 his pictures, that they were greatly esteemed, and he 
 was ranked among the greatest artists of his style of 
 painting. 
 
 A Flower-piece — J, Bogdane, 
 
 Flower-pieces, with Insects — Wlthoos. 
 
 We now enter 
 
 THE CARTOON GALLERY, 
 
 Where the spectator will see those splendid works 
 of art, which have been called the glory of this country , 
 and the envy of the other nations of Europe. They 
 w^re painted by that sublime and astonishing genius^ 
 RalFaelle Sanzio, called d'Urbino, from the city which 
 gave him birth. He was born in 1483, and died in 
 1520. Yasari, in his Life of RafFaelle, says that he 
 painted all these Cartoons with his own hands, in the 
 last two years of his life, or in the 36th and 37th years 
 of his age — a period in which we may suppose his 
 knowledge of the art which has immortalized him, and 
 the grace, truth, and sublimity which are shown in his 
 works, had arrived at the height of perfection. 
 
 The writer of this notice heard the late Mr. Hollo- 
 way, some of whose fine engravings from the Cartoons 
 may be seen in the gallery, make the following 
 remarks : — " I have made drawings of these Cartoons, 
 and studied them for thirty years, and during that time 
 I have every day discovered new beauties, but never 
 detected a defect." The peculiar genius of Raffaelle 
 is evidenced in these miracles of art, m various re- 
 spects, in the most extraordinary degree. His power 
 
 J5 
 
THE CARTOONS. 121 
 
 of invention appears in the most brilliant light, and no- 
 where do we so correctly feel how deeply RafFaelle had 
 penetrated into the pure spirit of the Bible, as in these 
 designs, in which the few and simple words of Scripture 
 have been developed in his creative fancy into the 
 richest pictures, but w^hich correspond in all their parts 
 wath the sense of their words. 
 
 In examining the Cartoons, the purpose for which 
 they were destined should ahvays be borne in mind, 
 namely, to be wrought in tapestry. This occasions 
 the compositions to be simplified, the masses to be 
 large, and the several figures to be distinct from each 
 other. The colours also are expressly chosen, so that 
 the variety, splendour, and depth might be taken ad- 
 vantage of, w^hich are peculiar to the various shades of 
 dyed w^ool and silk used in tapestries. 
 
 It is to be regretted that these glorious works have, 
 in part, sustained very serious damage. Considering, 
 however, the dangers to w^hich they have been exposed 
 since they were painted, it is a matter of wonder that 
 they are not in a far worse condition than they really are. 
 When they were sent to Arras in order that tapestries 
 might be worked from them, the weavers began the de- 
 struction of the Cartoons by cutting each of them perpen- 
 dicularly into six or seven slips, in order to work more 
 conveniently after them. While the tapestries were 
 admired at Rome, the Cartoons themselves remained for 
 a whole century in total oblivion at Arras, and it is said 
 were deposited in a cellar. Rubens, who knew their 
 value, at length called the attention of Charles I. to 
 them, when only seven were to be found in such slips. 
 
122 THE CARTOONS, 
 
 The others appear to have been torn to pieces in that 
 state, for only some miserable fragments of them have 
 ever come to light. Charles I. bought these seven, partly, 
 it is supposed, v^ith the intention of having tapestry 
 woven after them. However that mav have been, it is 
 certain that they were roughly treated until William 
 III. first took the precaution of having the slips joined 
 together, and put in stretching frames, to rescue them 
 from gradual destruction, and to enable the public to en- 
 joy them in the present gallery which he built for them. 
 
 A wish has been sometimes expressed, by those who 
 look only to the public convenience, that these inesti- 
 mable productions of RafFaelle's genius should be 
 removed from their present situation to the National 
 Gallery in London : but when we consider how com- 
 modiously they are arranged at present, in a room built 
 purposely for them ; when we acknowledge that the 
 light by which they are seen is liable to little objection ; 
 that the air is not, like that of the metropolis, filled with 
 particles that would be most injurious to water-colours, 
 and that every possible facility is given to inspect or to 
 copy them ; and when we further find from the evi- 
 dence of the Artists examined before the House of Com- 
 mons, that it would be necessary, if they were exhibited 
 in London, to have them placed in glass-cases, for their 
 protection, — we must consider that no sufficient reason 
 has been given for their removal from Hampton Court. 
 
 The first Cartoon is 
 
 The Death of Ananias. 
 This is one of the Cartoons which RafFaelle is sup- 
 
IN HAMPTON COURT PALACE. 123 
 
 posed to have painted entirely himself, and is eminently 
 distinguished by all the qualities which constitute and 
 mark the genius of painting. 
 
 Among the seven Cartoons at Hampton Court, 
 Ananias struck Dead by the words of St. Peter 
 appears one of those which we may think, with 
 Vasari, that RafFaelle alone could have touched. 
 This Cartoon is eminently distinguished by all the qua- 
 lities which constitute and mark the genius of paint- 
 ing. The painter has caught the living interest of the 
 subject. St. Peter appears to be the apostle whom 
 the MaHer has chosen for the head of his spiritual 
 legation. Inspired by the Holy Ghost, he pronounces 
 sentence on Ananias. The sternness in his attitude, 
 the severity of his countenance, the composed, but 
 energetic action of his gestures, all announce the 
 Interpreter of Divine vengeance. We hear him say, 
 '• Thou hast not lied unto men, but unto God.'' 
 He has spoken, and the punishment follows. The 
 apostle, who stands near him, holds up his right arm ; 
 and his finger, pointing up to Heaven, shows whence 
 issued the decree of death. Nothing can be more 
 conducive to the illustration of the subject and its 
 picturesque effect, than the platform upon which the 
 apostles are elevated ; nor can we too much admire the 
 manner in which the fall of Ananias is delineated. 
 That it was violent cannot be mistaken ; the attitude 
 of the whole figure, especially of the head, expresses 
 this, and we also see that it was sudden. RafFaelle 
 alone had the secret of portraying the successive 
 events of an action — though painting can seize but 
 
124 THE CARTOONS, 
 
 one rapid instant. The two figures behind Ananias 
 are designed to explain to the spectators the crime 
 which has been punished. One, pointing to the apostle, 
 reproaches Ananias with having deceived them ; the 
 other, by the attitude of his body, and his arms, which 
 seem to speak, expresses these words, '' Thou hast 
 deceived, thou hast deserved this." 
 
 Ely mas the Sorcerer struck blind by St. Paul. 
 
 This sorcerer opposed the preaching of St. Paul' 
 and endeavoured to deter the Proconsul from embracing 
 
 o 
 
 the Christian religion. The scene of action is the 
 Pretorium, in the middle of which we behold a recess, 
 where the tribunal of the Proconsul is elevated, and the 
 recess, in which the judge with his assistants appear, 
 divides the scene, the action, and the spectators into 
 two groups. On one side stands St. Paul, whose 
 threatening gesture announces that he has just obtained 
 vengeance from above against the enemy of God — ^on 
 the other, and opposite to St. Paul, advances the 
 Sorcerer Elymas, who has just lost his sight. The 
 effect of this sudden blindness is wonderfully repre- 
 sented by the most expressive signs. The unhappy 
 man in profound darkness extends his hands, seeks a 
 supporter and walks cautiously. The Proconsul and 
 his assistants are struck with astonishment. Elymas, 
 says Richardson, is blind all over ; his feet are inclined 
 inwards, like one who is groping in the dark ; while 
 the figure of the Proconsul Sergius has a greatness 
 and grace superior to his character, and equal to what 
 
IN HAMPTON COURT PALA^CE. 125 
 
 one can suppose Caesar, or Trajan, or the greatest of 
 the Romans, to have had. 
 
 The Lame Man restored by St. Peter and St. John. 
 
 It is supposed that Giulio Romano had a consider- 
 able share in the execution of this Cartoon, wherein are 
 unquestionably many noble and beautiful figures ; but 
 the attention is principally engrossed by the contrast 
 between them and the two lame beggars, which frightful 
 reality seems a concentration of all the deformities 
 which can afflict a human being. The St. Peter 
 and St. John healing the Cripple is, in all the parts of 
 its execution, a much more perfect work than any of 
 the others : the shaded parts are broad, tender, well 
 expressed, and happily softened by the reflex light, 
 which gives them a fine relievo and convexity. By the 
 use of the pillars which divide the composition into 
 three parts, Raffaelle obtained a suitable frame-work 
 for the pleasing episodes, without disturbing the main 
 action of the picture. The view of a bright landscape 
 between the pillars has a very charming effect. 
 
 The Miraculous draught of Fishes, 
 
 It is supposed that, though RafFaelle composed all 
 the designs for the Cartoons, he entirely executed only 
 some, and worked more or less at the others ; and 
 even in those w^hich he reserved for his sole execution, 
 he may have employed the pencil of his pupils on the 
 subordinate parts ; and it has been conjectured that 
 Giovanni d'Udine, who in the Loggie at the Vatican, 
 
126 THE CARTOONS, 
 
 and at the Casino Farnese, was intrusted with the 
 painting of the flowers, fruits, and animals, may in this 
 picture have executed the landscape, aquatic birds, &c. 
 This Cartoon, though it contains some figures, and is 
 less rich in motion and expression, and less dramatic 
 than the others, yet displays many striking beauties. 
 The drawing is accurate, and the colouring has great 
 freshness and brilliancy. With regard to the small- 
 ness of the boats, of which so much has been said and 
 written — we beg to observe, that art has to contend 
 with many difficulties, in its endeavours to imitate 
 nature in a confined space, and with very different mate- 
 rials : on that account it is sometimes obliged to deviate 
 from its model in order to produce the effects which 
 it intends. Had the boat been as large as the size of 
 the figures requires, it is evident that it would have 
 filled so large a space, as to impair if not destroy the 
 lightness and beauty of the whole composition. In 
 this apparent deviation from truth, Raphael was 
 supported by the great example of the ancients. 
 
 87. Paul and St. Barnabas at Lystra. 
 
 Writers, says Lanzi, like to quote this Cartoon, as 
 a proof and example of the particular talent of RafFaelle 
 in rendering his subject intelligible by choosing those 
 circumstances, and delineating those peculiarities, which 
 will represent the action most clearly and most forcibly. 
 The miracle of the man, a cripple from his birth, to whom 
 those two apostles had restored the use of his legs, had 
 struck the people of Lystra with astonishment. They 
 looked on them as gods, and were preparing to offer 
 
IN HAMPTON COURT PALACE. 127 
 
 sacrifices to them. On one side of the painting we 
 behold the multitude, leading the victims ; the altar 
 and the sacrifice are ready? and the axe is raised. 
 Among the crowd we distinguish one figure who 
 puts forth his hand and seems to oppose the comple- 
 tion of the sacrifice. It is a disciple sent by the apostles 
 to prevent the stroke. On the other side, St. Paul is 
 indignantly protesting against the sacrilege. No 
 character can be more dignified and impressive ; and he 
 contrasts finely with the figure of St. Barnabas, who, 
 placed behind him, with folded hands, implores Heaven 
 to stop the preparation. The variety of characters, 
 sentiments, and affections displayed in this composition 
 must be the subject of continual admiration. 
 
 St, Paul preaching at Athens. 
 
 Always ingenious in his choice of situations, Raffaelle 
 has selected a space surrounded by beautiful edifices : 
 the apostle is elevated by standing on the steps of a 
 temple, and round this tribunal his auditors have 
 placed themselves in a circle, where the figures are 
 disposed with uncommon skill, and much variety is 
 introduced into the different groups. This arrange- 
 ment, which separates the sacred orator by bringing 
 him into the front of the picture, gives to his whole 
 figure an augmentation of size, and thus dignifies the 
 authoritative action by which he subdues his hearers. 
 In the circle of auditors several groups, if we may thus 
 denominate them, are to be remarked of opposite 
 affections, vrhich alternate expression indicates all the 
 dispositions of the human mind. Behind the apostle 
 
128 THE CARTOONS, 
 
 are three men, whose deportment and countenance 
 betray simple admh'ation. The party of men seated 
 near the centre discover, by their agitation, the dis- 
 cordance of their opinion. Next comes a group, at 
 the head of which stands a figure, whose attitude, 
 attention, look, and head slightly bowedy denote a 
 conviction of the truths which the apostle is enforcing, 
 and which appear to penetrate his very soul. Next to 
 him are two old men : one of them, with his head and his 
 hand leaning on a crutch, listens, but with obstinacy 
 and hard-heartedness. His neighbour seems to fear 
 being convinced. The passionate admiration and 
 devotion of perfect conviction are portrayed by the 
 most affecting signs, in the persons grouped at the 
 other extremity of the picture, with the female figure, 
 who, on this side, terminates the composition. This 
 Cartoon may be considered in itself as a school of art. 
 
 The Last Charge to Peter. 
 
 In this collection, this Cartoon, in which our Lord, 
 after having given the keys to St. Peter, points out 
 figurativelv the flock with which he intrusts him, is 
 one remarkable for purity of design and effect. The 
 different feelings of the apostles seem adapted to the 
 peculiar character of each, and display it to our obser- 
 vation. The general expression of this picture is 
 composure; the harmony is gentle, the effect clear, 
 and the design and execution correspond by their purity 
 wdth the greatness of the subject, and with the charm 
 of the situation in which the scene is laid. The 
 apostles are all collected together in one compact 
 
IN HAMPTON COURT PALACE. 129 
 
 group, as would naturally happen when any hnportant 
 communication was expected ; and the Saviour, both by 
 his majestic simplicity of action, and by his detached 
 situation, is evidently the principal figure of the piece. 
 St. Peter kneels with joyful reverence to receive the 
 awful and sacred charge ; while St. John, the beloved 
 disciple, presses forward with enthusiasm, as if to show 
 that in zeal and affection he yields to none ; and the 
 figures of the rest of the apostles are varied, both in 
 attitude and expression, with an extraordinary felicity. 
 
 ANTE-ROOM AT THE END OF THE CARTOON 
 GALLERY. 
 
 A fine drawing, by Casanova, of RafFaelle's cele 
 brated picture of the Transfiguration. 
 
 A picture, by Michael Wright, of John Lacy, the 
 comedian, in three different characters. 
 
 Louis XIV. on horseback. 
 
 The Woman of Samaria — Palma, 
 
 The Tomb of Lord Darnley — L. de Heere, 
 
 Judith with the head of Holofernes. 
 
 A Magdalen. 
 
 Lot and his Daughters. 
 
 THE PORTRAIT GALLERY. 
 
 William, Prince of Orange — Sir G. Kneller, 
 Dobson and his Wife — William Bohson. He was 
 born in London in 1610, and died in 1646. A picture 
 of his having been exposed in the window of a shop on 
 Snow-hill, Vandyck, passing by, was so struck with it, 
 that he inquired after the author, and found him at 
 
 K 
 
130 CATALOGUE OF THE PICTURES 
 
 work in a poor garret. Vandyck soon delivered him 
 from a situation so unworthy of his merit, and gene- 
 rously furnished him with everything requisite for his 
 appearance in a character suitable to his talents. He 
 afterwards recommended him to Charles I., who took 
 him into his service, and distinguished him by the 
 name of the English Tintoret. He was one of the most 
 eminent painters of his time, and an honour to his native 
 country. Had he studied painting in Italy, he would 
 probably have raised himself to the highest excellence. 
 
 Mary, Queen of James II. — Vei^elst. 
 
 John Locke — Sir G. Kneller, 
 
 The Right Honourable Spencer Perceval — Joseph. 
 
 Sir Isaac Newton, called the Prince of Philosophers 
 —-Kneller, 
 
 Richard Brinsley Sheridan. 
 
 Duke of Gloucester, son of Queen Anne — Kneller. 
 
 James Stuart, son of James II., when a boy. This, 
 and the portrait of him at a more advanced age, and 
 that of Pope Benedict XIV., were left by Cardinal 
 York to George III. 
 
 George, Prince of Denmark — DahL 
 
 Robert Boyle — Kersehoom. Boyle seems to have 
 inherited the penetrating genius of that illustrious phi- 
 losopher, Lord Bacon. His extensive knowledge was 
 only equalled by his exalted piety. 
 
 Mrs. Elliott — Riley, 
 
 Pope Benedict XIV. — P. Battone. 
 
 James Stuart, commonly called the Pretender — B* 
 Luti. 
 
 Charles XII. of Sweden. 
 
IN HAMPTON COURT PALACE. 131 
 
 Christian VII. of Denmark. 
 
 Frederick the Great of Prussia. 
 
 C. G. Abel, the Composer. 
 
 Caroline, Queen of George II., and her son William. 
 
 Duke of Cumberland — Kneller. 
 
 George II. — Kneller, 
 
 George I. — Kneller, 
 
 Sir Jeffrey Hudson — Mytens. This diminutive 
 creature, when he was about seven or eight years of age, 
 was served up to table, in a cold pie, at Burghley-on- 
 the-Hill, the seat of the Duke of Buckingham, and, as 
 soon as he made his appearance, presented by the 
 Duchess to the Queen, who retained him in her ser- 
 vice. At that time he was only eighteen inches in 
 height, and he is said not to have grown any taller 
 till after thirty, when he shot up to three feet nine 
 inches. Soon after the breaking out of the civil wars 
 he was made captain in the royal army. He afterwards 
 killed a Mr. Crofts in a duel. 
 
 Duke of Richmond and Lennox — Vansomer. 
 
 Sd[|i^-Lord ZoMc\ii-Mytens. Lord Zouch was 
 one of the peers who sat in judgment on Mary, Queen 
 of Scots. He was also the well-known friend of Sir 
 Henry Wotton and Ben Jonson. 
 
 James I. — Vansomer. 
 
 Lord Falkland, after C. Jans sen, 
 
 William of Nassau, Prince of Orange, great grand- 
 father of Wilham III. 
 
 Villiers, Duke of Buckingham — C. Janssen. 
 
 A Portrait — Mirevelt, 
 
 Henry, Prince of Wales, son of James I. ; and Lord 
 Harrington — L. de Heere, K 2 
 
132 CATALOGUE OF THE PICTURES 
 
 The Queen of James I. — Vansomer, 
 
 Lord Darnley and his brother — Z. de Heere. Lord 
 Darnley was the husband of Mary, Queen of Scots, 
 and had very little to recommend him besides the beauty 
 of his person. He was almost totally devoid of every 
 good and amiable quality, and treated Mary not merely 
 with neglect, but with such insolence as none are capable 
 of but iOToble minds. 
 
 Queen Elizabeth in a fantastic dress — JP. Zucchero. 
 Queen Elizabeth was in the habit of wearing dresses of 
 every country. In the picture before us her romantic 
 turn appears. She is drawn in a forest, a stag behind 
 her, and on a tree are inscribed these mottoes, which, as 
 we know not on what occasion the piece was painted, 
 are not easily to be interpreted :— - 
 
 Injusti justa querela. 
 
 Mea sic mihi. 
 
 A little lower, 
 Still lower. 
 
 Dolor est medecina dolori. 
 
 And on a scroll at the bottom are these verses : — 
 
 The restless swallow fits my restlesse mind, 
 In still revivinge, still venewinge wrongs ; 
 Her just complaints of cruelty unkinde 
 Are all the musique that my life prolonges. 
 With pensive thoughts my weeping stag I crown, 
 Whose melancholy teares my cares expresse ; 
 His teares in sylence and my sighes unknowne 
 Are all the physicke that my harmes redresse. 
 My onley hopes was in this goodly tree, 
 Which I did plant in love, bring up in care. 
 But all in vaine, for now to late I see 
 The shales be mine, the kernels others are. 
 My musique may be plaintes, my musique teares, 
 If this be all the fruite my love tree beares. 
 
IN HAMPTON COURT PALACE. 133 
 
 It is generally supposed that these verses were Queen 
 Elizabeth's own composition. We may fairly acquit 
 Spenser of having written them, though they have been 
 attributed to him. 
 
 Sir John Gage. He held various offices under 
 Henry VIH., Edward VL, and Queen Mary. The 
 latter appointed him Lord Chamberlain of her house- 
 hold, and restored to him the office of constable of the 
 Tower, in which situation he had the painful duty of 
 attending Dudley and his family to the block. It is 
 said that Lady Jane Gray, upon the scaffold, gave Sir 
 John Gage her tablets, in which she had just written 
 certain sentences in diffisrent languages, suggested by 
 the sight of the dead body of her husband. Lord 
 Guilford Dudley. The princess EHzabeth was com- 
 mitted for a time to the charge of Sir John Gage. 
 
 Portrait, said to be of Shakspeare. 
 
 Countess of Derby — L, de Heere, 
 
 Sir George Carew — Holbein. 
 
 Portrait of a female — Sir A. More. 
 
 Mary de Medicis — Pourhus, 
 
 Henry Howard, Earl of Surrey — Holbein. Lord 
 Surrey was famous for the tenderness and elegance of 
 his poetry, in which he excelled all WTiters of his time. 
 The great and shining talents of this accomplished no- 
 bleman excited the jealousy of Henry VIII., vrho caused 
 him to be executed, after the formality of a trial, in ]547_ 
 The fair Geraldine was rendered celebrated by his 
 chivalrous attachment to her ; and his pen and his 
 lance raised the fame of her beauty throughout Europe. 
 
 Edward IV. — John Van Belcamp. 
 
134 CATALOGUE OF THE PICTURES 
 
 Alderman Lemon. 
 
 Henry VII. and Elizabeth of York, Henry VIH. 
 and Jane Seymour — copied by Remee, for Charles 
 II., from a picture by Holbein, The original picture 
 was painted on the wall of the Privy Chamber at White- 
 hall, and was consumed when Whitehall was burned- 
 Remee received 150/. for the picture before us. He was 
 a scholar of Vandyck, and died in 1678. 
 
 Fair Rosamond. — She was the daughter of Walter 
 Lord Clifford, and mistress of Henry II. She is said 
 to have died by poison in 1177, administered by Queen 
 Eleanor through jealousy. 
 
 The Children of Henry VIL, viz. Prince Arthur, 
 Prince Henry, and the Princess Margaret. This is a 
 curious historical picture, and said to have been painted 
 by J. Mabuse, about the year 1496. 
 
 James III. and his Queen, Margaret of Denmark. 
 These two curious historical pictures are on each side 
 of the door, and are said to have been painted by 
 Mabuse, They have been engraved. 
 
 Jane Shore. She was mistress to Edward IV., and 
 was the wife of a citizen of London. She was a 
 woman of great beauty and extraordinary accomplish- 
 ments; but her courtly behaviour, agreeable conversa- 
 tion, and ready wit, were said to be more attractive than 
 her person. She employed her interest with the king in 
 relieving the indigent, redressing wrongs, and rewarding 
 merit. After the death of Edward, she met with cruel 
 treatment, and lived in great poverty and distress. 
 
 Edward HI. 
 
 Duke of Cambridge. 
 
IN HAMPTON COURT PALACE. 135 
 
 Louis XV. when young. 
 
 Anne, Duchess of York — Sir Peter Lely, 
 
 North, Bishop of Winchester — Dance, 
 
 Mrs. Delany — Opie. 
 
 Daughters of George II. — Maringaud, 
 
 WilUam III. when young — Hannaman. 
 
 The rest of the portraits in this gallery are unknown. 
 
 On quitting the Portrait Gallery, the Queen's stair- 
 case is descended. The ceiling was painted by Kent, 
 and also the ornaments on each side of it. The large 
 picture was painted by Vick. The Duke of Bucking- 
 ham is therein represented as Science, in the habit of a 
 Mercury, introducing the Arts and Sciences to Charles 
 II. and his Queen, Katherine. 
 
 In conclusion it may be observed that the state 
 apartments are open to the public on every day of the 
 week, except Friday, when they are closed for the pur- 
 pose of being cleaned. The hours are from ten o'clock 
 in the morning until six o'clock in the evening from 
 the 1st of April to the 1st of October, and the re- 
 mainder of the year from ten until four. 
 
 *^* Persons may obtain permission to copy the pictures on 
 application to the Chief Commissioner of Her Majesty's 
 Woods, or to the Author of this volume at Hampton Court. 
 
 THE END. 
 
 London : Printed by W. Clowes and Sons, Stamford Street. 
 
other Works by Mr. Jesse. 
 
 I. 
 GLEANINGS IN NATURAL HISTORY. 
 
 By Edward Jesse^ Esq., 
 
 Surveyor of Her Majesty's Parks and Palaces. 
 
 Fourth Edition of the Three Series. Compressed into 2 vols., with 
 Woodcuts, 
 
 Fcap.Svo. 12*. 
 John Murray, Albemarle Street. 
 
 II. 
 
 In post 8vo., price 10s. 6d. cloth, 
 
 AN ANGLER'S RAMBLES. 
 
 By Edward Jesse, F.L.S., 
 Author of * Gleanings in Natural History.' 
 
 Contents : — 
 
 Thames Fishing — Trolling in Staffordshire— Perch Fishing-Club — Two 
 Days' Fly-fishing on the Test — Luckford Fishing-Club — Grayling Fishing 
 — A Visit to Oxford — The Country Clergyman. 
 
 " Our readers are well acquainted with Mr. Jesse, and the present work 
 is in his own peculiar and pleasant style ; there is the same love of Nature^ 
 the same good feeling, and the same variety of anecdote, told in his own 
 lively manner," — Literary Gazette. 
 
 John Van Voorst, 1, Paternoster Row. 
 
i