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 zentroduction. 
 
 AMPTON Court, the largest and in some respects the finest of 
 all the Royal. Palaces in England, was originally founded by 
 1 Cardinal Wolsey in 1515, when on the threshold of his career of 
 mieg greatness, and here he dwelt in more than regal splendour for 
 fifteen years, attended by an enormous household of some five hundred 
 retainers, and dispensing a most splendid hospitality. 
 
 He frequently received at banquets and other festivities Henry VIII. 
 and Catherine of Arragon, and here in 1527 he entertained for two or 
 three days the French Ambassador and the whole of his retinue of 400 
 _~* gentlemen, in the most sumptuous manner. Previously to this, however, 
 [Sis he had handed Hampton Court with all its appurtenances and all its 
 PY contents to Henry VIII.—assuredly the most magnificent gift ever 
 BS bestowed by a subject on his sovereign. 
 
 5 After Wolsey’s disgrace, in 1529, Henry entered at once into possession 
 * of the Palace, and taking a great liking to the place, he enlarged and 
 Poa it a great deal; though curiously enough all his additions, except 
 the Great Hall and one or two other rooms, were afterwards demolished by 
 William III. 
 
 ‘= At Hampton Court Henry VIII. passed much of his time with his six 
 = wives, first with Catherine of Arragon, then with Anne Boleyn, and next with 
 x ~ his third wife, Jane Seymour, who died here in October, 1537, soon after 
 
 _ ~ giving birth to Edward VI.. Anne of Cleves was also eve on a flitting 
 8 visit during her brief married life, and immediately after her departure 
 
 = Henry brought down with him to the Palace his fifth wife, Catherine 
 
 Howard, who was privately married to him in the very rooms where fifteen 
 So months after she was arrested on the charge of high treason and hurried to 
 ». the Tower. It was in the Chapel of this Palace also that Henry took to 
 ~~ himself his sixth wife, Catherine Parr. 
 
 Edward VI. frequently stayed at Hampton Court, and during one of 
 his visits, under the Protectorate of his uncle the Duke of Somerset, the 
 ~ Palace was fortified against an expected attack from the opposing faction. 
 
 ~ Somerset, however, did not venture to await their arrival; but in the dark- 
 «ness of the winter’s night hurried his little nephew to Windsor, whence, a 
 = few days after, the once proud Protector was removed to the Tower. 
 
 = Queen Mary passed her gloomy honeymoon with King Philip at 
 
 2 — foll43? 
 
 
 
 4 
 x 
 ~~ 
 
4 Introduction. 
 
 
 
 
 Hampton Court, and it was during her second sojourn here in the 
 following year that, believing she was about to become a mother, a 
 proclamation was prepared announcing “from our house at Hampton 
 Court” her “happy delivery of a Prince”—who was never destined to be 
 born! Here, about the same time, she was reconciled to her sister 
 Elizabeth, who after her own accession to the throne frequently took up 
 her abode at Hampton Court, and entertained her Court and distinguished 
 foreigners with hunting parties, balls, banquets, masques and plays. 
 
 In James I.’s reign this Palace was often visited by the Court, and in 
 January, 1604, the King presided here as Moderator over the famous 
 ‘‘Hampton Court Conference” between the Episcopalians and the 
 Puritans. 
 
 At Hampton Court Charles I. spent with his wife and children some of | 
 his happiest days, and it was to this Palace that he was brought, as a 
 prisoner, in August, 1647, remaining here three months under a very mild 
 restraint, until he escaped and fled to the Isle of Wight. 
 
 A few years after we find Oliver Cromwell installed here; while soon 
 after the Restoration Charles II. arrived here to spend his honeymoon with 
 Catherine of Braganza. 
 
 William and Mary both took a great fancy to Hampton Court, and 
 Wren was commissioned by them to build the existing suite of State 
 apartments, in emulation of the splendour of Versailles. It was in the 
 park here that William met with the fall from his horse from which he 
 died in 1702. 
 
 Queen Anne came to Hampton Court a good deal, and here took 
 place the “ Rape of the Lock,” the subject of Pope’s famous poem. 
 
 During the ponderous reigns of the first two Georges the Court was 
 frequently at Hampton Court; but George III. never resided here after 
 his accession, so that the Palace, thus ceasing during his long reign to be 
 one of the Royal residences, gradually came to be divided into suites of 
 private apartments, which were allotted by the King as dwellings, chiefly 
 for members of aristocratic families, to whom this privilege was granted by 
 Royal grace and favour—sometimes in recognition of public services. ‘To 
 this use the bulk of the Palace, comprising about a thousand rooms, and 
 embracing about five-sixths of the whole building, has been devoted ever 
 since, the number of private apartments being at the present day about 
 forty- ‘five, each comprising from fifteen to twenty rooms. 
 
 For along series of yearsthe State Apartments and grounds were neglected 
 and forlorn, and it was not till the accession of her present Most Gracious 
 Majesty Queen Victoria, that the Palace was thrown open to the paeue 
 
L[ntroduction. 5 
 
 without fee or restriction. This favour, one of the first acts of her reign, 
 has been amply appreciated by her subjects, it being reckoned that 
 during the last fifty years no less than ten million persons have passed 
 through the State rooms. The highest record was in the Exhibition years : 
 350,800-in 1851, and 370,000 in 1862. In 1885 the numbers were 
 198,777, and in 1886, 220,000. 
 
 Hampton Court, with its parks, grounds, and contents, though of course 
 the private property of the Crown, is maintained by the State, with the 
 rest of the Royal Palaces, in consideration of the surrender by the Queen 
 of the revenue of the Crown lands to the nation. 
 
 
 

 
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 The State Apartments are open to the Public every day in the week, ex- 
 cept Fridays, throughout the year; the hours being from 1o in the morning 
 until 6 in the evening, from the rst of April to the 30th of September, both 
 days inclusive; and from 1o till 4 during the winter months. They are 
 closed on Christmas Day. 
 
 N.B.—They are open on Sundays, but not till 2 o’clock. 
 
 * 
 

 
 [BXing’s 
 
 ‘aay State Rooms, was designed by Sir Christopher Wren and 
 ar roy finished about the year 1700. Its decoration—so meretriciously 
 magnificent—is a good specimen of that gaudy French taste 
 which was first imported into England by Charles II. and his courtiers, 
 
 and finally triumphed in the reign of William and Mary over our less pre- 
 tentious, but purer and more picturesque, native style. It is 43 feet long, 
 by 35 feet wide, and about 40 feet high. 
 
 The Patnting“of the walls and ceiling was executed by Verrio, who 
 at first refused to serve William of Orange at all, on account of his politics 
 and religion, but at length condescended to work for him here ; though he 
 painted this staircase “as ill,” says Walpole, “as if he had spoilt it out of 
 principle.” Perhaps the King thought so too, for we find Verrio complain- 
 ing to Queen Anne that, though he had promised him £1,800 for this 
 ceiling and one in the little bed chamber, he had only received 4,600, and 
 that he was reduced to great extremity. 
 
 But Verrio, though always most handsomely paid for what he did, 
 receiving from Charles II. as much as £8,000 for his painting at Windsor 
 alone, seems to have been usually hard up. On one occasion in the 
 Presence Chamber at this Palace, when he could not approach the King, 
 he called out loudly to him for more money. Charles smiled, and said he 
 had but lately ordered him £1,000. “Yes, Sir,” replied he, “but that 
 was soon paid away, and I have no gold left. ” “At that rate,” said the 
 King, ‘you would spend more than I do to maintain my family.” ‘“ True,” 
 answered Verrio, “but does your majesty keep an open table as I do?” 
 
 His performances were in his day held in very high estimation. Evelyn 
 thought “his design and colouring and exuberance of invention are com- 
 parable to the greatest old master, or what they do in France ;” while 
 others grew so enthusiastic that they gave vent to their feelings in verse :— 
 : . ‘*Great Verrio’s hand hath drawn 
 
 The Gods in dwellings brighter than their own.’ 
 His fame, however, was short-lived, and Pope’s iat — 
 **On painted ceilings you devoutly stare, 
 Where sprawl the saints of Verrio and Laguerre,” 
 has given the cue to all criticism since. 
 This staircase displays in a startling degree the tasteless exuberance of 
 
 
 
 » 
 
8 Catalogue of Pictures. 
 
 his pencil: Gods and Goddesses, Nymphs and Satyrs, Muses and Baccha- 
 nalians, Virtues and Attributes, Zephyrs and Cupids, A‘neas and the twelve 
 Ceesars, Julian the Apostate with Mercury as his secretary, Juno and her 
 peacock, Romulus and the wolf, Ganymede and the eagle, Hercules with 
 
 
 
 his club, all jostle one another in amazing confusion, in inconceivable atti- 
 tudes and wonderful attire, floating on clouds, sailing between columns, and 
 reclining beneath canopies of.rainbows, flowers, and Zephyrs’ heads. 
 
 The North Wall is on the left as you enter. Just above the wainscot, 
 is Flora, and opposite her a Nymph or Fortune, with a cornucopia; behind 
 them are Cupids and Iris, and on both sides are River Gods and Nymphs. 
 Above them, poised on clouds, is Ceres, attended by Cupids; above her 
 
 * 
 
Flampton Court Palace. 9 | 
 
 is the god Pan with his unequal reeds; and still further up, on the 
 cornice, are Apollo and the Nine Muses, playing on various musical instru- 
 ments. 
 
 Ohe Ceiling represents the Banquet of the Gods. Jupiter and Juno are 
 seated at table, attended by Ganymede riding on the eagle, and by Nymphs 
 who hand nectar and ambrosia; behind them are Juno’s peacock and one 
 of the Parcze; while above them are an arc with the signs of the Zodiac, 
 Cupids scattering flowers, Fame blowing her trumpet, and Zephyrs’ heads 
 breathing soft airs. Below are the other Gods and Goddesses banquetting: 
 to the left Venus and Mars, to the right Neptune, and the rest in the centre. 
 
 Che Wast UeAall, whichis opposite the entrance, is painted in continua- 
 tion of the subject on the ceiling. Just below the cornice, to the left, is 
 Bacchus with his left hand on the head of Silenus. Above, in the centre, 
 is Diana reclining on her crescent. Below is a marble table supported on 
 two-headed eagles, with wings displayed, themselves resting on clouds. 
 Below is Hercules, with his club, and also a winged figure of Peace, with 
 -an olive branch; near her is A‘neas, standing. He is pointing to the 
 middle, where are seen the twelve Czesars, amidst whom is the soothsayer 
 Spurina. Above them is Romulus, with the wolf, while to the right the 
 Genius of Rome hovers over them. 
 
 he South Gall shows a man (Julian the Apostate?) seated at a 
 table, and turning round to Mercury. 
 
 [Ming's Siuard kel bamber. 
 
 =2===jHIS room, one of the finest of the suite, being 604 feet long, 
 Nou a 372 feet broad, and 30 feet high, is curiously decorated with 
 eh old arms; they were so arranged by a common gunsmith, 
 eg SE} named Harris, for William III. Harris had decorated the Guard 
 Chambers at the Tower and Windsor in this fashion, and Sir Christopher 
 Wren, in his estimate laid before William III. , suggested a like arrange- 
 ment here. The author of ‘ Apelles Britannica, ” 1740, says that Harris 
 received a pension from the Crown for his ingenuity. The arms are nearly 
 3,000 in number. 
 
 The panel door, to the left of the fireplace, opens into a small room 
 called by Wren ‘The Smoaking Roome.” The door in the opposite corner 
 leads on to the ‘“‘ Beauty Staircase,” which itself goes upwards to the top 
 storey, and downwards to the “‘ Beauty Passage,” and ‘‘ Beauty Room.” 
 
 
 
 
 
IO Catalogue of Pictures. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Hing’s Guard Chamber, 
 To assist hurried visitors in their inspection of the 1,000 pictures here, 
 the more important are distinguished by prominent type. This, however, 
 is not always to be taken as indicating artistic value; for attention is 
 
 thus drawn to many pictures, which are worthless as works of art, but 
 interesting on historical or other grounds. 
 
 Ope Wictures. 
 
 1 Bringing in Prisonersand Wounded . . . . . . . . RUGENDAS. 
 
 2 Foraging Party going out . . . .. =. =.=. +. . . RUGENDAS. 
 
 3 Entry intoa Town aftera Battle . . . . . . . . . RUGENDas. 
 
 4. Besieginga Town . 0. 0.005. |. one 
 These represent scenes from Marlborough’s campaigns in the Netherlands. 
 
 5 Lord Anson)... we. bk. ol rr 
 6 Admiral'Sir;Thomas.Dilks i”. 40.0.» ) BocKMAN. 
 
flampton Court Palace. II 
 
 7 Sir John Lawson (killed in 166 5) SWEAY aa harieat rar a LELY. 
 3 Halt ofan Army. . ay Ghplon doe Contd 8 bio Danbas 
 9 The Colosseum at Rome ie. Hoe wailed it CANALESTO. 
 1o Admiral John Benbow (died in 1702) dfs leh Pall bh gia!) | OME Aa. 
 1r Edward Montagu, Earl ofSandwich . ..... . . SiR P. LELy. 
 12 Soldiers attacking a Foraging Party ... . . . . RUGENDAS. 
 13 Admiral Edward Russell, Earl of Orford. . . . . . KNELLER. 
 14 Admiral Sir G. Byng (now placed after No.26). . . .  BOCKMAN. 
 15 Admiral Sir John Gradin (xow placed after No. 30) . .  BOCKMAN. 
 Served in the reign of Queen Anne, and was dismissed for over-caution. 
 MEEOMOESOMIKEN SG  , .w gs ee kl et we NANI. 
 17 Admiral Beaumont . . ae DOCK MAN, 
 Perished in the storm ‘‘ such as Sal: late o’er rae Britanaia passed,” in 1703. 
 18 Admiral Sir John Jennings . . . . .. . =. + + BOCKMAN, 
 19 A Weddingin Camp . one eee aes NR UGENDAS. 
 20 Queen Elizabeth’ Ss Giant Porter. eee < \F. ZUCCHEROP 
 
 This portrait is life-size, his height being 83 feet, and his hand 17 inches long. 
 ** Anno 1580” is on the canvas, in the upper right- hand corner. It is probably 
 the famous porter who kept the gate at ‘‘the Princely Pleasures of the Court of 
 
 Kenilworth. 
 feeeowtaeor otaliord Fairbourne. . . . .. « «=... . BOCKMAN. 
 @eeeimmescorge Churchill . 3... .. =. =. . +». BOCKMAN. 
 23 Raising Earthworks againsta City . . . . . . . . RUGENDAS. 
 meeerrremeiscount Keith. .95. 9... eee ee) Ce PHILEIPS, 
 
 N.B.—Visitors are required, for the general convenience, to pass from 
 room to room in one direction only. 
 
 eR ay Vee 
 ANatiam ttt.’S Presence ESS pamber. 
 
 
 
 
 
 =a ACING the entrance to this room hangs the @anopy of State, 
 yNy4 under which was formerly the Chair of State. Here the king 
 Atv gave audience to ambassadors and statesmen. The canopy is of 
 e274 crimson damask; at the back the arms of William III. and his 
 motto, “Je main tien dray,” are embroidered in silver, and round the 
 valance are the crown and the cypher W #, and the rose, harp, fleur-de-lys, 
 and thistle, likewise crowned. 
 The carving is by Grinling Gibbons, who was specially employed by 
 William III. to decorate his new Palace. Nothing can exceed the lightness 
 
r Catalogue of Pictures. 
 
 and delicacy of the festoons of flowers and fruits in lime weed over the Bre 
 place and doors in this and other rooms. > 
 
 Between the windows are three old- fasnioned laokine-aeene in gilt 
 frames, with bevelled edges. These and the stools are part of the original 
 furniture of the room ; the gilt stands in the corner are later, having the 
 monogram G.R. on their tops. A fine silver chanvdelter hangs from the 
 centre of the ceiling; it has the harp, thistle, &c., on it, and probably was 
 hung here in William III.’s time. The mantelpiece, with the two pieces of 
 Oriental ware on the high shelf—part of Queen Mary’s collection,—should 
 be noticed. The fire-back is of cast iron, and shows the royal arms and 
 I. R. 1687 on it. 
 
 be Dampton Clourt Beauties. 
 
 In this room are now placed the well-known collection of the Beauties of 
 the Court of William and Mary, painted by Sir Godfrey Kneller, and called 
 the ‘‘Hampton Court Beauties.” This name was given them from their 
 being placed in this Palace by Queen Mary, and also in order to distinguish 
 them from Lely’s Beauties of Charles II.’s Court, formerly at Windsor, and 
 thence called ‘‘The Windsor Beauties,” but which are now hung here in 
 “The King’s Bed Chamber.” (See Nos. 185-207.) 
 
 Of the beauties of Hampton Court, Horace Walpole remarks, in his 
 “Anecdotes of Painting,” that ‘‘the thought was the Queen’s during one of 
 the King’s absences; and contributed-much to render her unpopular, as I 
 have heard from the authority of the old Countess of Carlisle, who remem- 
 bered the event. She added that the famous Lady Dorchester advised the 
 Queen against it, saying: ‘Madam, if the King was to ask for the portraits 
 of all the wits in his court, would not the rest think he called them fools?’” 
 
 The Queen, however, would not be dissuaded; and Kneller, on his part, 
 entered thoroughly into the spirit of the idea. He was knighted for his 
 performance, and received besides a medal and a chain worth £300. 
 
 An anecdote connected with them is told by Horace Walpole in a letter 
 to Sir Horace Mann, dated August 31st, 1751 :—‘‘As you talk of our 
 beauties, I shall tell you a new story of the Gunnings. They went the 
 other day to see Hampton Court; as they were going into the Beauty-room, 
 another company arrived ; the housekeeper said, ‘ This way, ladies ; here 
 are the Beauties.’ The Gunnings flew into a passion, and asked her what 
 she meant; that they came to see the palace, not to be showed as a sight 
 themselves.” 
 
flampton Court Palace. 13 
 
 25 Ruins and Landscape . . » ROUSSEAU. 
 26 Lady Diana de Vere, Duchess of St. Albans . « KNELLER, 
 r4 Admiral SirG.Byng . .. . Heels | YBOCKMAN. 
 28 Cupids, with Boat and Swans . . . . P. DA CARAVAGGIO. 
 29 William III. landing at Margate, 1697 Stee. 2h RN NELEER: 
 
 This large allegorical picture is 18 feet by 15. The King is represented in 
 armour on a white horse, trampling on the emblems of war, by which lies a 
 flaming torch. Above are Mercury and Peace in a cloud supporting the King’s 
 helmet, decorated with a laurel wreath, while a Cupid holds a scroll. Neptune, 
 with attendants, welcomes him to British ground. In front, Plenty, with her cor- 
 nucopia, offers a branch of olives, and Flora presents flowers. In the distance are 
 some ships, whose sails are swelled with the east wind. The hair of the figure of 
 Plenty is ingeniously ruffled, and blown in the same direction. 
 
 30 Lady Mary Bentinck, Countess of Essex . . . KNELLER. 
 z5 Admiral SirG. Gradin .. . PM.) °s: SBOCKMAN. 
 32 Cupids witha Boat . . . P. DA CARAVAGGIO. 
 33 Carey Fraser, Countess of Peterborough Mie ae IONE LLER. 
 34 Christian VII. of Denmark (aged ey eat han ates SoU in, ate LANCE, 
 
 SuvamQld;Man’s Head... . eit eee. OD AOENNER: 
 36 An Old Woman’s Biba dite sc. . 3B. DENNER. 
 37 Lady Margaret Cecil, Countess of Ranelagh <i sage aN Bet nies 
 38 William III. Embarking from Holland ... . Unnamed. 
 
 ** He went,” says Macaulay, ‘‘ on board a frigate called ‘ The Brill.’ His flag was 
 immediately hoisted. It displayed the arms of Nassau quartered with those of 
 England. The motto, embroidered in letters three feet long, was happily chosen, 
 The house of Orange had long used the elliptical device, ‘I will maintain.’ The 
 ellipsis was now filled up with words of high import, ‘ The liberties of England and 
 the Protestant religion.’ ”’ 
 
 39 Figures in Landscapes, Sketches . . et aie: SCHTAVONE. 
 40 Miss Pitt, afterwards Mrs. Scroop . eee, IR Gy IGNELLER. 
 804 Supposed portrait of Fair Rosamund . . . . . . . unnamed. 
 42 Headof St. Jerome . . . .  LANFRANCO. 
 43 “Old Man in a red garment reading with spectacles” i’. ‘CATALANI. 
 44 James, 2nd Marquis of Hamilton. . .  MytTeNs. 
 
 Holding the white wand of his office—the Lord- Stewardship of the Household 
 to JamesI. On his breast are the insignia of the Garter. 
 
 45 Cupids witha Boat . . . «+ P. DE CARAVAGGIO. 
 46 Lady Isabella Bennet, Duchess of Grafton. . . KNELLER. 
 47 Margaret Lemon, Vandyck’s Mistress -.....°. . : VANDYCK. 
 
 Mas. Lemon was ie RE the most beautiful and celebrated, though far from 
 be my the only, mistress of Vandyck. She lived with him at his house at Black- 
 friars, which became the fashionable resort of all the wits and dandies of the 
 
14 Catalogue of Pictures. 
 
 town. Among them was the well-known Mr. Endymion Porter, Gentleman of 
 the Bedchamber to Charles I. When Vandyck married, Margaret Lemon is 
 said to have been so enraged, that she took a knife and endeavoured to cut the 
 wrist of his right hand, but not succeeding in her attempt, retired in disgust to 
 
 the continent. fi 
 . oi 
 
 48 Hleadtof St.cPeter=& wo). 00) a 3). Sele ee - . LANFRANCO. 
 49 HeadofJudas. . . . .  LANFRANCO. 
 _ 50 Lady Mary Compton, Countess of Dorset . . . KNELLER. 
 
 51 Landing of William III. at Brixham, Torbay. . unnamed. 
 He landed on the 5th of November, 1688 ; the ‘scroll on this picture says 5th of 
 February, 1689, which is certainly an error. Every incident of the landing de- 
 tailed by Macaulay is depicted here: we see the fragment of rock on to which he 
 stepped, and which is still preserved by the reverential townsmen of Brixham ; 
 the horses for which he called on landing, are being brought forward, and his 
 
 flag is seen floating from the castle. 
 
 52 Landscapes, with figures. .‘.°.. . °. |) 0 
 58 Lady Middleton. . . . .) 3 J) )° 
 S08 Portraitofa Gentleman ... .. . . 5 . | | ‘unmamel. 
 se Youths %. 2 5 2 06 ee ed 
 ADEN S oe 8 a oe ae ar 
 57 Peter the Great, ‘Czar of Russia Be og ae roe 
 
 58 Family of Villiers, Duke of Buckingham - . HONTHORST. 
 
 Curious as having ben painted just before Buckingham’s assassination. It 
 
 was during those four months that Buckingham’s unpopularity reached its highest 
 
 pitch : he was continually exposed to insult from the populace, and London was 
 
 placarded with a paper inquiring: ‘‘Who rules the Kingdom?—The King. 
 
 Who rules the King?—The Duke. Who rules the Duke?—The Devil!” He 
 
 himself was filled with forebodings of his approaching end. He begged Laud 
 
 to ‘‘put his Majesty in mind to be good to my poor wife and children,” and 
 remarked that, ‘‘ against popular fury a shirt of mail will avail nothing.” 
 
 59 Portrait of the Duke of Wirtemberg . . . . . . . . MYVTENs. 
 60 Head of a Man, ina Black Cap .. . . . . . +. GiTORGIONE?P 
 61 Portrait of a aiiGuan with Flowers . . . oo» Sn DAWING? 
 62 Charles II. taking leave of the Dutch States . . unnamed. 
 63 Portrait of a Man in Black, with a Tablet . . . . ©. JD Ae Viens 
 64 Infant Christ caressing St.John . .. . ¥) ) Seer 
 
 65 Marie Beatrix of Modena, Queen of James II. . KwNerizr. 
 66 Jacob de Brag and his Family representing the Banquet of 
 
 Cleopatra... 4.:. ¢ ep lel e+). 9s eile tna an 
 6, Architectural Subject . |...) «1+ 6 +) © 79 se 
 
a ¢ 
 “< 
 a 
 
 Flampton Court Palace. 15 
 
 S econd (Gresence (EE LSlnamver. 
 
 HE carvings are, like those in the last room, by Gibbons. On 
 yy Baty a door which leads into the lobby to the King’s or Cartoon 
 3 oy xD, Gallery is a lock with decorative brass work, cupids holding the 
 € 263 crown over the letters W. JZ. RX. arranged in a monogram. 
 
 
 
 68 Ruins ina Landscape . . Bo ee eT KC OUSSEAU, 
 69 Esther fainting before Ahasuerus . . hes DS LINTORETTO. 
 ‘¢ One of the most admirable specimens of this anedual master.” 
 70 Portrait of a Lady ina Green Dress . . . S. pet Prompo? 
 71 A Lady Playing on the Me ae . . BERNARDINO LICINIO. 
 72 Portrait ofa Sculptor. .. . . . LEANDRO Bassano. 
 MeprmiramerActeOn . wee wg lw ve 4 ~Gtorgione? 
 Geeeememeera Gentleman © 2). 2. 2. 2... unnamed, 
 muemmereeeath Of Lucretia... .. ..... . . Trrtan. 
 feeeeaiawoaien, or Mater Dolorosa;. ... .:. ... .. . after Titian. 
 77 The Nine Musesin Olympus. . . a) 40, jy LINTORETIO: 
 This picture is universally considered one of his masterpieces. 
 VoumeWominican Monkp . .°. . . . . . . .GraAcopo Bassano. 
 79 Holy Family .. ert) into alee. © HARMAN VECCHIO: 
 80 Portrait ofa Gentleman Mee, aoa be. 5 ae)! DOSSONDOSSI. 
 Riper Landscape. . . .. .. + «> « i.) ROUSSEAU, 
 eerie Of Pain|. . 9... 2 2 Se...  \ . VELASQUEZ. 
 83 A Manin Armour . . ee ee en. |) CORREGCIO? 
 84 Portrait of a Venetian Senator aetwear se te, oe te . PORDENONE ? 
 @ivisgeries 1.0m Horseback. .....,.... } .. .VaANDYCK. 
 
 By his side stands M. St. Antoine, equerry. 
 
 This is at any rate a very fine replica, and by some is believed to be the original. 
 There are many other replicas extant. 
 
 Saumgdonoa and Child, . . =»... . unnamed. 
 Bena an ACteCOn ge es . after Titian by Pau VERONESE P 
 MOMENI ADSCL oe kg a oe) bean) et jou +  SCHIAVONE 
 89 Worshipping the Host . . way. afte RAN 
 90 Elizabeth de Bourbon, Queen of Philip Te . VELASQUEZ P 
 
 ‘Her cheeks whisper that the pencil and rouge-pot, the bane of Castilian 
 beauty, were not banished from her toilet. Ladies, in fact, seem to have been even 
 fonder of ‘‘ enamelling” in those days than now, for they did not confine their 
 
16 | Catalogue of Pictures. 
 
 embellishments to their faces only, but went so far as to paint their hands, ears, 
 shoulders, and necks. 
 
 91 Portrait ofa Knight of Malta. . ~ « wale 9 DOMeerO. 
 92 Portrait of a Man with a Red Girdle . . . . PORDENONE. 
 93 Vision of St. Francis. . . . , . . UD RCARMO REAR Ars. 
 94 Head ofan Old Man...) . ss.) 
 95 The Good Samaritan . 2) 6 00S) rer 
 96 Portrait of a Venetian Gentleman . . . . . . .  TINTORETTO. 
 97 A Holy Family .. iw «ob te SSS: 
 98 Christian IV. King of Denmark co. oO aoa: ” 
 
 Painted when Christian IV. was on a visit to England in 1606. James, who. 
 was not himself averse to a little joviality, thought the visit of his brother-in-law, 
 who was a. boisterous jolly fellow, a good pretext for a regular ‘‘ fling.” A letter- 
 writer of the time remarks :—‘‘I think the Dane hath strongly wrought on our 
 good English Nobles ; for those whom I could never get to taste good English 
 liquor, now follow the fashion and wallow in beastly delights. The ladies abandon 
 their sobriety, and are seen to roll about in intoxication.’ 
 
 99 Cupids and Satyrs . . MPa nO in 
 100 Jacob, Rachel, and Leah . te ee ey Se eas aT 
 101 A Shepherd witha Pipe . .-. 1:4. 59.) [3Gio@Reronee 
 102. An Italian Knight. . . . .. 4... see eee 
 108 Headiof Giorgione? . ........ «> 4) Se 
 104 Family of Pordenone? .. . . . . BERNARDINO LICINIO. 
 
 Though long attributed to Giovanni Antonio Licinio, called Pordenone, this is 
 decidedly by his scholar and kinsman (some call him his brother) Bernardino 
 Licinio, and is one of his earlier works. There is the same composition, with 
 slight variations, in the Borghese Palace at Rome. 
 
 tos ‘Architectural ‘Subject’ +. secs <i oe ee - ROUSSEAU. 
 
 [SMing’s PMupience kel pamter, 
 
 Oram ROM the centre of the ceiling is suspended an elaborate 
 
 gases chandelier covered with cut-glass, arranged in pendants, roses, 
 44 and small festoons. The fire-back is curious ; it is a rude re- 
 44 presentation of the Sacrifice of Isaac. ; 
 
 106 A Triptych—The Passion . . ; Lucas VAN LEYDEN? 
 (Removed to the Queen’s Private Chamber.) 
 
 
 

 
 
 ar! 
 
 flampton Court Patace. 
 
 107 Holy Family with Four eae yTot rit th a ted Me 5G AREOLA) 
 
 ‘108 Portraitofa Man .. . a ike Riettks SLU IT ORT Saree 
 109 Portrait of a Man, in Armour , 5 ak ELASTASE 
 
 10 Mary Magdalen anointing the Feet of Christ te Sc OKs 
 This and other scriptural subjects in these rooms were painted by Sebastian Ricci 
 
 after 1726, the date of his return from England to Venice. They are unusually 
 good examples of his manner, and show how completely he succeeded in his 
 imitations of Paul Veronese, which indeed were sometimes so successful as to be 
 
 sold for original works of the master and deceive, if possible, even the critics. La 
 Fosse, the painter, when he found he had been imposed upon, retaliated with the 
 sarcasm : ‘“Take my advice, paint nothing but Paul Veroneses, and no more Riccis.” 
 
 111 Portrait of Titian. . . . after Titian. 
 112 Madonna and Child, with Tobit and the ‘Angel Ape UANe 
 118 Portrait misnamed St. Ignatius Loyola . . . TINTORETTO. 
 114 Portrait ofa Gentleman. . . »« LAuRENzo LoTTo. 
 115 Madonna and Child, adored by Saints . . Parma VECCHIO. 
 This beautiful little picture is one of the best at Hampton Court. 
 116 Supposed portrait of Titian’s Uncle . . . . . . Timuan. 
 $117 Portrait of Giovanni Bellini . . ... .. . . by himself? 
 118 Madonna and Child, with the Donors. . . . . . P BoRDONE? 
 119 A Venetian Gentleman Ae BARS pins. Up ile? a 1d) ASSN Ely 
 TOG Man, | | wk ee ee. , LL BASSANO, 
 121 Christ healing the Sick . . Upmann hes. dpa OCK 
 122 The Marquis del Guasto? and Page. OT Mara oa TTT AN. 
 123 Landscape with Figures . . . : . . SCHIAVONE. 
 124 Venus, Marsand Cupid . . dee ass School of P. BORDONE? 
 125 Head of a Man in a black Cap Sere ec akee se GCIORCIOME DS 
 _ 126 Jacob’s Journey. . 2 EA ha Ry tetas It BASSANO. 
 127 The Wise Men’s Offerings Bi CRED VERONESE. 
 128 Elizabeth, Queen of Bohemia, ‘daughter of James I. Full- 
 length, with afanoffeathers .. . . HONTHORST. 
 
 She was married in 1613, inthe Banquetting House’ at Whitehall, to the Elector 
 Palatine Frederick V. ; the festivities on the occasion were of the greatest splendour, 
 and cost £100,000. 
 
 ST emememerimerarriscisy . 62°, 3. . SCHIAVONE. 
 [ape eeeevounc) Woman. foo . On . unnamed, 
 131 The Woman taken in Adultery. . . .. . 155, ee 
 132 David and Goliath. . . BR eae Fe School of SCHIAVONE. 
 133 Mystic Marriage of St. Gatherings dork ie SN MIN OS Mopper 
 144sfacop stealing the Blessing. . . ...°..... +.) SCHIAVONE, 
 185 The Shepherd’s Offering rr 3 neo CKRTANT ? 
 136 Portrait of Jacopo da Ponte (1 Bassano) . . « oy himself. 
 
 Cc 
 
18 Catalogue of Pictures. 
 
 507 Senators of Venice in the Senate House . . . . . . FYALETTI. 
 386 Holy Family with Saints .. . . unnamed. 
 187 Christ and the Woman of Samaria Ginel placed after No. 169) 
 BONIFAZIO. 
 188 Warriorin Armour. . . se | SS Se to vO. 
 It is a replica of a portrait in the Tone! 
 189 Holy Family, withtwo Donors . . . » t SRABSAVOLDD. 
 
 A characteristic example of Savoldo, an excellent artist in his way, who has 
 been persistently ignored, and whose works are usually assigned to other painters. 
 
 
 
 140 Small half-length Portrait of a Gentleman . ... ee ? 
 141 Susannah and the Elders’ .: . . .° .° ASR eee 
 2rz Continence of Scipio . | #07... >. 37). Se | 
 160 The Deluge. . . . err Cae Ae 
 142 Jacob’s Journey (mow placed after. No. 210) . eR BASS Ae 
 143 Mars, Venus, and Cupid . . . .  PAuL VERONESE. 
 TARSAL ONGErL Sa. . LoRENzO LOTTO? 
 
 145 St. Catherine, with ‘three other figures, at the Altar . .P. VERONESE. 
 146 The Shepherds’ Offerings Oe nee mie lVo.159) BONIFAZzIO. 
 147 An Old Man’s Head. . . . . L. BASSANo, 
 148 Portrait of Andrea Odoni . « « fone glee See sO Tae 
 This magnificent portrait has for centuries been erroneously attributed to Cor- 
 
 reggio, and denominated Baccio Bandinelli the sculptor. Dr. Waagen was the 
 
 first to designate Lorenzo Lotto as the true painter, and his opinion, which was 
 emphatically endorsed by Messrs. Crowe and Cavalcaselle, has recently been con- 
 firmed by the discovery in the lower left-hand corner of the signature :—‘‘ Laurentius 
 
 ltls, 27> 
 149 Portrait of Alessandro de’ Medici?. . .. . . .TiTIAN. 
 150 Madonnaand Child ... . . 4 6 SA Ae 
 iSving 8 irawing SOOM, 
 151 David with the Head of Goliath. . . . . Dominico Fett. 
 152.Christ before Pilate,a study =.)..”.. . See TINTORETTO, 
 153 Boaz and Ruth, withmenreaping .. . . . . . It BASSANo. 
 154 The Expulsion Ob enesyr a. & . PALMA GIOVINE? 
 
 155 Lodovick Stuart, Duke of Richmond and Lennox MyTENSs. 
 156 Goat and Cupid . 2 0.) ws) nf ne 
 
Le ampton Court Palace. 19 
 
 157 Glorification ofa Saint. . of 81 Te AEB ASSANO. 
 158 A Venetian represented as a Saint. . . . . GIORGIONE? 
 eo) Christ at the: Pool of Bethesda... .. . 1. . . +. )BASSANO. 
 146 The Shepherds’ Offering. . . tbe: esp DONIRAZIO. 
 160 The Deluge (ow placed after No. r4) PA SOLAR ASSANG, 
 161 Mary Magdalene . . : ditt MeN ota free LULTAN. 
 162 Madonna and Child with St, John WS JE et See Se TEN ANS. 
 163 The Shepherds’ Offering . . . . It Bassano. 
 164 Venus Recumbent . . after the Darmstadt ere by TITIAN. 
 165 The Annunciation. . . . . : . .P. VERONESE. 
 166 St.John witha Lamb . . 4 SRS: SPAGNOLETTO ? 
 167 The Madonna teaching Our Lord to reads oritstitle ve 132 C. CIGNANI. 
 169 Christ in the House ofthe Pharisee . . . . It Bassano. 
 187 The Woman of Samaria. . . annuus SBONIFAZIO. 
 942 Holy Family .. ; AR Pi adk eB OWS | ORO OT. MNO Ed. 
 171 Madonna and Child . Pas ott e Co pelGis. lic) EL ENTOREETO. 
 172 The Annunciation. . . . « It BASSANO. 
 173 A Gentleman in armour and a Lady with a flute. . . GIORGIONEP 
 174 An Italian Lady with an Orrery and ce . .PARMIGIANO? 
 175 The Judgment of Midas. . . . «  SCHIAVONE. 
 176 The Assumption of the Blessed Virgin SR ah Ste eh aon A Se ASSANO. 
 Bemerereoenercurms the Plague! .).. 3). .. °. |... .. TINTORETTO?P 
 Paste OL t..Catherine . ... . . . . .. +.PAUL VERONESE. 
 ae roan. or Faith... 9. Se. ew ee we) 6S.RICCI. 
 180 Portrait of a Venetian Gentleman. Mew cad oS treme we DASGANO. 
 181 St. George and Princess Cleodolinda .. . . . . TINTORETTO. 
 182 Portrait ofanItalian Lawyer. .. . . . ..P. BORDONE? 
 183 St. William taking off his Armour. ... . . . . . GIORGIONE? 
 Foss) udit® with the lead of Holophernes:. . .°. . . CC. ALLORIP 
 
 
 
 aavtliam tt. saltate eG stoom. 
 IR CHRISTOPHER WREN specially designed the decoration 
 | Gexwe of this room, as appears from the original estimate in his own 
 wm # handwriting, ‘preserved in the Record Office. Its dimensions 
 a ~of are 33 feet 9 inches long, by 23 feet 7 inches broad; and its 
 nie is 30 feet, and includes the half-storey. 
 
 
 
20 Catalogue of Pictures. 
 
 The ceiling, which is one of Verrio’s best efforts, and is appropriately 
 painted with designs emblematic of Sleep, shows, in one part, Endymion 
 reposing in the lap of Morpheus, while Diana, in her crescent, admires him 
 as he slumbers ; and, in the other part, a fine figure of Somnus with his 
 attendants. 
 
 The bed is not William III.’s, but the state bed of Queen Charlotte, 
 George III.’s Queen. ‘The embroidery, on lilac satin, is said to have been 
 worked by the Clergy Orphan School, and is an exceedingly fine specimen 
 of English needlework. William III.’s bed, which used to be here, is 
 now in a room further on, called the Private Dining-Room. Near the 
 bed is an oly clock, made by the celebrated Daniel Quare, which goes 
 for one year ; it is still in good repair, but no longer wound up. It has 
 been in this room in its present position nearly 200 years. On its face are 
 two small dials, which tell the day of the month, &c. In the corners of 
 this room are also two old barometers, one made by Tompion. 
 
 Between the windows is a fine ptet=glass, which dates from William’s 
 time ; it is ornamented with a border of cut blue glass, and the edges are 
 bevelled. In the centre is the monogram W.R. surmounted by the crown, 
 in blue and white glass. Over the fire-place is a similar looking-glass, and 
 some oak shelves, with pieces of Queen Mary’s collection of china. 
 The carvings are more elaborate than in the other rooms, especially the 
 fine border of fruits, flowers, and birds, by the hand of Gibbons. 
 
 i 
 
 Beauties of Clharies tis Clourt. 
 
 But the chief attraction of this room is the famous collection of pictures, 
 by Sir Peter Lely, of Charles II.’s beauties, formerly known as the “ Windsor 
 Beauties,” because they hung in the Queen’s bedchamber at Windsor Castle, — 
 whence they were removed early in this century to this room. 
 
 No more appropriate place could have been selected. Itis a real delight 
 to sit in the window-sill here, before the tramping crowds have invaded the 
 quiet, and contemplate these charming portraits with Pepys’s Dzary or 
 Grammont’s Memoirs in one’s hand; or, better still, Mrs. Jameson’s 
 Beauties of Charles JI. One can imagine one’s self for a moment trans- 
 ported into that mixed society of frail, but lovely and interesting women— 
 “the professional beauties” of the time. “La Duchesse d’York,” says 
 Hamilton in his Mémoires de Grammont, “voulut avoir les portraits des 
 plus belles personnes de la Cour. Lely les peignit; il emploia tout son art 
 
ffampton Court Palace. 21 
 
 dans l’execution. I] ne pouvait travailler 4 de plus beaux sujets. Chaque 
 portrait parut étre un chef-d’ceuvre.” 
 
 It must be confessed that he has succeeded in giving that voluptuous ex- 
 pression of blended drowsiness and sweetness, and that air of tender lan- 
 guishment which are so much in harmony with the characters of these 
 beautiful and charming creatures. Their “‘night-gowns fastened with a 
 single pin,” and the ‘‘sleepy eye that spoke the melting soul,” would have 
 sufficiently told us their history if the memoir writers had failed to supply it. 
 
 For further particulars as to the “ Beauties,” see the author’s “ Historical 
 Catalogue.” 
 
 184 Flower-piece, Lilies and Poppies, in panel over the door BAPTIsTE. 
 185 Lady Bellasys in the character of St. Catherine. . LELy. 
 
 There has been much dispute, during the last 130 years or so, as to whom this 
 picture, which is the most striking in this room, really represents :—it was at one 
 time known as Elinor, Lady Byron; but it is more probably Susan Anne, the 
 widow of Sir Henry Bellasys, and mistress of the Duke of York. On the death of 
 Anne Hyde, the Duke wished to marry Lady Bellasys, but was dissuaded from 
 doing so by the King, who told him, ‘‘at his age it was intolerable that he should 
 think to play the fool again.” 
 
 186 Jane Kelleway, or Princess Mary as Diana. . ay LELY. 
 187 Dorothy Sidney, first Countess of Sunderland Cosy by A. RUSSELL. 
 188 The second Lord and Lady Clarendon . . . Copy dy A. RUSSELL. 
 189 Copies of Ladies’ Portraits, by Vandyck and Lely . . A. RUSSELL. 
 190 Anne Hyde, Duchess of Noiae et oP CNN bys Free te PES LAY} 
 IETESE SR eM a So. MISSING, 
 She is supposed to have been one of the few virtuous ladies of Charles’s court. 
 192 William, Duke of Gloucester . . ee oT NELEER, 
 193 Copies of Ladies’ Portraits, by Vandyck and Lely , ibe Ae USSELL, 
 194 Duchess of Portsmouth, as Flora . .. . . . VARELST. 
 
 Louise Renée de Penencovet de Quéroualle came from a good family of im- 
 poverished means, and had been maid of honour to Charles’s sister, the Duchess 
 of Orleans. On her death, by the joint intrigue of the French King and the Duke 
 
 _ of Buckingham, she was sent over to England to become the mistress of Charles II., 
 with the double object of binding him to the disgraceful French alliance, and of 
 displacing Barbara, Duchess of Cleveland, an enemy of the Duke’s. Soon after 
 her arrival Evelyn notes in his Dzary :—‘‘I now saw that famous beauty, the new 
 French Maid of Honour, but in my opinion she is of a childish, simple and baby 
 face. She was made a duchess both by Charles and Louis XIV., acquired 
 immense influence over the King, and lived in more than regal splendour at White- 
 hall.” ‘‘ Following his Majesty this morning through the gallery,” writes Evelyn, 
 *¢] went with the few, who attended him, into the Duchess of Portsmouth’s 
 dressing-room within her bedchamber, where she was in her morning loose gar- 
 
22 Catalogue of Pictures. 
 
 ment, her maids combing her, newly out of her bed, his Majesty and the gallants 
 standing about her; but that which engaged my curiosity was the rich and splen- 
 did furniture of this woman’s apartment, now twice or thrice pulled down and re- 
 built to satisfy her prodigality and expensive pleasures.” 
 
 195 Frances Stewart, Duchess of Richmond. . eV. 
 
 She was the daughter of Captain Walter Stewart, son of Lord ‘Blantyes and, by 
 all accounts, the most lovely woman of the Court. Everyone, from the King down- 
 wards, was passionately in love with her. 
 
 Of her consummate loveliness there seems to have been but one opinion. ‘* Her 
 features were faultless and regular, her complexion dazzling, her hair fair and 
 luxuriant. Her figure, which rose above the common height, was well-proportioned, 
 though slender: she danced, walked, dressed, with perfect elegance, and sat her 
 horse with peculiar grace.” To her Parisian education she owed that ‘‘ airde 
 parure,” which excited Hamilton’s admiration as being so truly French. Of her 
 childish disposition, which perhaps added to her charms, numerous anecdotes are 
 
 related ; and ‘‘she was never known to speak ill of any one.’ 
 
 Miss Stewart’s beauty has been perpetuated in a more enduring, or, at any rate, 
 more popular, monument, than Lely’s canvas or the rhapsodies of her lovers ; for 
 she sat, by express direction of the king, for the emblematic figure of Britannia on 
 our pennies—‘‘on the reverse our Beauty’s pride.” 
 
 196 Marie d’Este? misnamed NellGwynne. . .. . . . . LELY? 
 
 This picture has, since it came here, about fifty years ago, from Buckingham 
 Palace, been misnamed “ Nell Gwynne.” It is certainly not her, to whom it bears 
 no sort of resemblance, her face being round, while this lady’s is long; her hair 
 being light auburn, while this lady’s is very dark. 
 
 (197 Henrietta Boyle, Countess of Rochester ... . LEty. 
 198 Elizabeth Percy, Duchess of Somerset . . . . . . .  WISSING. 
 
 This is probably ‘‘ the beautiful Duchess,” who married ‘‘ the proud Duke.” 
 
 199 Mrs. Middleton ... tie ae Re a 
 
 Mrs. Jane Middleton was the anne of Sir Roger Needham, and became, 
 after her marriage, one of the most renowned beauties of the day. Wherever she 
 went she was the centre of observation and admiration, whether in the Park, at 
 Court, at balls, or at the play; and Pepys even confesses his ‘‘ great delight 
 . have the fair Mrs. Middleton at our church, who is indeed a very beautiful 
 ady.’ 
 
 De Grammont was one of her admirers and made desperate love toher. ‘‘La 
 Middleton,” says Hamilton, ‘‘ fut la premiére qu'il attaqua. C’etoit une des plus 
 belles femmes de la ville, peu connue encore a la cour; assez coquette pour ne 
 rebuter personne ; assez magnifique pour vouloir aller de pair avec celles qui 
 Vetoient le plus ; mais trop mal avec la fortune pour pouvoir en soutenir la dépense.” 
 ‘<Elle était bien faite, blonde et blanche, et avoit dans les maniéres et le discours 
 quelque chose de precieuse et d’affecté. L’indolente langueur dont elle se paroit, 
 n’etoit pas du gofit de tout le monde. Ons endormoit aux sentimens de délicatesse 
 quwelle vouloit expliquer sans les comprendre.” At one time he showered presents 
 on her ; but ‘‘ I] s’appergut que la belle prenait volontiers, mais quelle ne donnait 
 
Flampton Court Palace. 23 
 
 que peu,” so he left her to her numerous other lovers, who were more easily grati- 
 fied, or more fortunate. 
 
 Of My. Middleton no notice was ever taken, nor any mention made; he is 
 known to us only as ‘‘ the great beauty’s husband.”’ In the days of her mature age 
 and charms she devoted herself to gambling. 
 
 200 Mrs. Lawson, in red ;<,... - .  WISSING. 
 901 Frances Brooke, | afterwards Lady Whitmore ine a LELY. 
 
 This Miss Brooke was the younger of the two daughters of Sir William Brooke, 
 who were nieces of Digby, Earl of Bristol. When they were respectively sixteen 
 and seventeen years old, their uncle, who was anxious to ingratiate himself with 
 Charles, introduced them at Court to captivate that amorous monarch. With this 
 object in view, he used to give little supper parties, at which his young and beau- 
 tiful nieces, —‘‘ qui €toient toutes deux faites pour donner de V’amour et pour en 
 prendre,’’—were sedulously brought under the notice of the king. ‘*‘ Le luxe et la 
 délicatesse regnoient dans ces repas nocturnes, qui font l’enchainement des autres 
 voluptés:”’ and all was in good train, when the affair was discovered, and at once 
 put a stop to, by Lady Castlemaine. 
 
 902 Elizabeth, Countess of Northumberland .. .. _ LELy. 
 203 Countess of Falmouth, mszamed Countess of Ossory .  LELY. 
 904 Elizabeth Brooke, Lady Denham ...... .._ LELy. 
 
 She was married off at eighteen to old Sir John Denham the poet, a widower of 
 seventy-nine, and described as ‘‘ ancient and limping.” She was supposed, but on 
 inadequate grounds, to have been poisoned. 
 
 905 Barbara, Duchess of Cleveland, as Minerva. . ._ LELy. 
 
 When Catherine of Braganza came to England, she had firmly resolved not to 
 receive Lady Castlemaine. No sooner, however, did Charles and his new queen 
 come to this palace to spend their honeymoon, than Lady Castlemaine established 
 herself here also, and within two days of her arrival forced herself into the queen’s 
 presence. Her majesty was so overcome at this indignity, that she burst into tears, 
 and was carried fainting from the room. Afterwards she was constrained to make 
 her one of her ladies of the bedchamber, and treat her with the greatest 
 
 deference. 
 206 Anne, Countess of Sunderland ....... .. Lgsty. 
 907 Miss Hamilton, Countess de Grammont. .. . .  LELY. 
 
 This picture is the finest and most interesting of the whole series, and we are 
 told in Grammont’s Mémoires that Lely bestowed all his art on it, and confessed 
 he had taken a special delight in painting it. At Court it made a great sensation, 
 and the Duke of York, who had before paid assiduous attention to Miss Hamilton, 
 ‘en eut a la regarder, et se mit a lorgner tout de nouveaux loriginal”—much te 
 the alarm of Le Chevalier de Grammont, who had just made her acquaintance, and 
 was already her ardent lover. 
 
 Nevertheless, De Grammont seems to have been of so volatile a nature, that he 
 was leaving England hastily, without performing his engagements to Miss Hamilton, 
 when he was pursued and met by her two brothers in an inn at Dover. ‘‘ Chevalier 
 de Grammont,” cried they aloud, ‘‘n’avez vous rien oublié 4 Londres?” ‘‘ Par- 
 
24 Catalogue of Fictures, 
 
 donnez moi, messieurs,” replied he, ‘‘j’ai oublié d’epouser votre sceur.” He ac- 
 cordingly returned, and about December, 1663, ‘‘ pour le prix d’une constance quwil 
 n’avoit jamais connue auparavant, et qu’il n’a jamais pratiquée depuis, il se vit en 
 fin possesseur de Mademoiselle d’Hamilton.” They appear to have left England 
 about 1664. In France, where she resided the rest of her life, she was appointed 
 ‘<Dame du Palais ;”’ but she was not popular, at least with the ladies, who desig- 
 nate her as ‘affected and haughty,” ‘‘ plus agréable qu’aimable,” and “‘ Anglaise 
 insupportable.”’ | 
 
 ) 
 
 208 Flower-piece,in panel . . . . - 4» s) «) oA 
 
 [Ming's Pressing loom. 
 
 *ROBABLY this room was not quite finished till Queen Anne’s 
 cu Hn; as the ornamental brass-work on the door bears the initials 
 @ A. R. 
 
 ai The @etling, which is another of Verrio’s, represents Mars 
 reposing in the lap of Venus. The corner fiveplace,—with its marble 
 chimney-piece, its antique cast-iron fire-back, showing Neptune and atten- 
 dant nymphs (date about 1702), and the curious oak mantel-piece, with 
 diminishing shelves rising one above another, and decorated with lime- 
 ‘wood carving,—is characteristic of old times. Here are placed some more 
 
 pieces of Queen Mary’s china. The barometer in the corner was con- 
 sidered a curiosity even in 1741. 
 
 
 
 
 210 Men in Armour, fighting with Bears . - . GIACOMO BASSANO. 
 Tg2Jacob’sxJOUMEYs y.45 64, eR IL BAssANo. 
 6r2 Diana and her Nymphs Reposing . . RusBENs aud SNYDERS. 
 912 Robbers in a Cave dividing their Spoil . . . . S,. Rosa. 
 234 Cleopatra dying from the biteofan Asp . . . . . L. Caracci? 
 
 216 Cupid Shaving his Bow. . ... . . . « @f@aPARMIGIANG: 
 937 Moses Striking the Rock. .. . . . . . SALVATOR Rosa. 
 218 Judas betraying Christ ..)... 66) 4) i 4s) |) ee 
 219 Salome with the Head of John the Baptist » « Unnamed. 
 
 239 Small Landscape . .0 je fone cie nse) +) om ue oe 
 221-2 Heads of Christ and the Madonna, ina small oval . . wanamed. 
 223 The Tnbute Money... 0.) 2 6s i) eheiee tee Gee 
 924 The Marriage of Joseph and Mary . GrroLamo pa TREVISo? 
 225 ‘A piece with a Doe, a Stork, and a Brass Pan in it” . Spa sLR 
 
Hampton Court Palace. 25 
 
 [EXting’s AM viting FE lloset. 
 
 3 PPOSITE the windows in this little room is a door in the wain- 
 i scot, leading to a private staircase, at the bottom of which isa 
 f private way into the garden, so that the King could go out 
 @.j) unobserved. 
 The looking-glass over the chimney-piece is so arranged as to afford a 
 view in vista of all the rooms on the south side of the state apartments. 
 
 
 
 
 
 
 225* Flowers in a Brass Vase—a panel-piece .-. . . JAMES BOGDANI. 
 226 Artemisia Gentileschi at her Easel, painting. . By herself. 
 
 She came over to England with her father, but did not remain long. Her 
 popularity was not confined to England. lLanzi speaks of her as ‘‘ famed through- 
 out Europe,” and her master, Guido, held her in high esteem. She passed most 
 
 of her life at Naples, where, if we are to believe the gossips, she was ‘‘as cele- 
 brated for her amours as her painting.” She certainly does not seem to have 
 cared much about her husband, for we find her asking in one of her letters with the 
 most perfect indifference, whether he is still alive or dead ! 
 
 SEs bys st ke fe iy» td)», ORAZIOsGENTILESCHL 
 
 Orazio Gentileschi was a native of Pisa and a disciple of his half-brother,* 
 Aurelio Lomi. ‘The very considerable reputation he had earned abroad, induced 
 Charles I. to invite him to London in 1626, and treat him with the greatest libe- 
 rality. He gave him an annuity of £100 a year (equal to at least £600 in these 
 days), bore the whole expense of the education and travelling of his sons in Italy, 
 employed him in painting ceilings at Greenwich, paid very large sums for his. 
 pictures, and furnished him a house from top to toe at a cost of more than £4000 ! 
 
 228 Colossal Head of a Warrior . ale . .  .GUERCINO. 
 229 Joseph and Potiphar’s Wife er oe, * Orazi0 GENTILESCHI. 
 pemmearren ae vouns Man 9.7 ee CC. CIGNANT, 
 UU TETRIS PERUGINO? 
 214 A Holy Family. . . . . . FRANCESCO VANNI. 
 215 Nymphs and Cupids sporting in 1 Clouds eats . CHIARI. 
 235 Lucretiaand Tarquin. . . . after Palma Vecchio, P. BORDONE. 
 217 Christ in the House of Martha and Mary . . . G1acomMo Bassano. 
 238 Martyrdom of St. Bartholomew . . aie Spagnoletto, L. NOTTERY ? 
 220 Two Nymphs Kissing .... . ; ~ | « HIARI. 
 240 ASibyl?. . BILL t BoRDONE? 
 
 241 Salome with the Head of John the Baptist . 2 LAINE 2 
 
26 Catalogue of Pictures. 
 
 242 Head,aSibyl . . . oe oe tr 
 243 A Peacock, Cocks, and Gens oe eG i 
 244 Triumph of Spring over Winter . . . ox. SMRESGL 
 245 Marriage of St. Catherine . after the Louvre original by CORREGGIO. 
 
 246 Flower-piece—Lilies, &c:—in a Brass Vase . .. . J. BoGpanl. 
 
 ) ‘3 
 
 Cueen Marys Boset 
 
 meen UEEN MARY’S closet is not a very appropriate designation of 
 \P¥e\# this room; for, as it was not floored till four or five years after 
 149 Ai her death, she could never have been in it at all. It seems to 
 seamen have got this name from having been formerly hung with 
 pepe leavanic executed by her; the chairs and screens also being described 
 as “the work of the same pious hand,” and “extremely neat, and the 
 flowers very well shadowed.” ‘They were all removed some years ago. 
 Artistic needlework, indeed, seems to have been the chief occupation by . 
 which Mary beguiled the weary hours of her husband’s long absences, 
 varied with the interest of her choice collection of exotics and her orange 
 trees,—the remnant of which can be seen from the windows here,—and her 
 curious specimens of china, which are seen in every room. In an old 
 building called “‘The Water Gallery,” which stood on the brink of the 
 river, but was taken down after her death, she formed a retreat which 
 would do credit to any “‘ zesthetic” lady of the present day. The decora- 
 tion of her rooms was superintended by Sir Christopher Wren. It included 
 ceilings painted by Verrio; richly carved doorways and cornices, with 
 delicate festoons of fruits and flowers in limewood, by Grinling Gibbons ; 
 oak dados, hangings of fine needlework, and corner fireplaces, with 
 diminishing shelves above, on which were ranged her most valued specimens 
 of blue china. Here she spent most of her time, surrounded by those 
 beautiful maids of honour whose features she made Kneller transmit to 
 us (see “‘ King’s Presence Chamber ”) ; sometimes plying her needle on the 
 fragile balcony of beautiful wrought iron, which overhung the then un- 
 cockneyfied Thames, and watching the barges sail to and fro; sometimes 
 superintending the laying out of the new gardens; and sometimes sitting 
 at work beneath the shade of the curious intertwined trees still known by 
 the name of “Queen Mary’s Bower.” 
 
 247 Two Females sacrificing toa Statue. . . . . . . G. ROMANO, 
 248: Charity). .)ia\ha tees 0 Lo uk he a he 
 
 
 
Flantpton Court Palace. a7 
 
 249 Madonna and Child. . : dei UG, BRONZINO? 
 250 Holy Family, St. Catherine and St. Joseph . . . Luca CAMBIASO. 
 251 The “ Madonna della Quercia’”’ . after Raphael, G. RoMANo. 
 252 Thetis presenting Achilles to Cheiron the Centaur . . A. BALESTRA. 
 253 The Roman Daughter and her Father. . . . ; unnamed. 
 254 St. John the Baptist in the Desert . . oo tus “LIONELLO SPADA. 
 255 Vulcan giving Thetis Armour for Achilles . » gest Ac BALESTRA. 
 256 Madonnaand Child... . . at Ries oie MC IGNANI. 
 257 A Roman Emperor on Horseback . . . . . . . G. RoMANo. 
 258 A Female with Flowers, called “ Flora” . tee unnamed. 
 259 Saint Catherine with a Palm and Wheel . . B. Lurnt. 
 260 Old Woman warming her Hands with Charcoal . . . G. Nocari. 
 261 Madonnaand Child. . . CR ko unnamed. 
 262 Madonna and Child, with St. John ote 9 a tael eee es V. MALO. 
 263 Portraitofa Man. . pees Wa : NoGarl. 
 264 The Infant Christ attended by ‘Angels . . 4. CARLO MaRATTI. 
 265 Madonna and Child and St. Joseph. . Be hb V. MALO. 
 267 Sophonisba preparing to take Poison, . . .  GaxrrANo? 
 
 a y 
 
 CJucen’s ‘Chauery. 
 
 FTE ej U RIN G Queen Anne’s reign this room, which is one of the finest 
 
 Sife) of the suite, being 81 feet long by 25 feet broad, and having 
 Ay if seven large windows, was hung with Mantegna’s “ Triumph.” 
 ome ‘The amateur of blue-and-white jars and bowls will observe 
 some very interesting specimens, made especially for William and Mary, 
 and mostly bearing the Royal arms, with the cypher W.4Z.R. and the 
 Nassau motto, Je main-tien-dray, and the rose, harp, thistle, &c. The 
 finest are the great flower-vases standing about four feet high, and composed 
 of some eight different parts, placed one above another, and tapering 
 upwards. ‘They bear effigies of William III. and various devices. There 
 are also some old teapots, which remind us how in the palace, and doubt- 
 less in this room, 
 
 
 
 
 ‘* Thou great Anna, whom three realms obey, 
 Dost sometimes counsel take and sometimes tea.”’ 
 
 CQhimnep=ptece. This is particularly handsome, being of dark grey 
 marble, with a bust of Venus on the top, two doves billing beneath her, and 
 
 es eee 
 
Se ‘ 
 
 | “s 
 
 : .t 
 
 28 Catalogue of Pictures. ‘* 
 
 ih 
 
 
 
 two Cupids on the sides ; in the centre is a looking-glass, ornamented w 
 
 brass work. The fireback shows James II.’s arms and his initials, I. R- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1687: it was a strange piece of economy on William of Orange’s part to 
 make use of his dethroned father-in-law’s arms for the fireplaces in his new 
 palace. | 
 
 ‘Mbe CLapestries—bistory of Aleranvder, 
 
 THESE are a series of seven pieces of tapestry from the celebrated designs 
 of Charles Le Brun, illustrative of the Life of Alexander. Very little is 
 known of their history beyond the fact that they were bought by General 
 Cadogan, in Flanders, for a very small sum, in George I.’s reign, and set up 
 here by order of the king. They were worked either at Brussels, or at the 
 Gobelin manufactory. 5 
 
Me 
 s Flampton Court Palace. 29 
 The seven pieces here are only a part of the whole series, and are not 
 arranged in chronological order. Their now faded condition gives but a 
 faint idea of their pristine splendour. 
 
 1. Alexander’s Triumphal Entry into Babylon. 
 He entered Babylon in 331 B.C., after the battle of Arbela and the flight of 
 Darius, and was received by the inhabitants as a deliverer. 
 
 Ry The Last Fight of Porus, King of India. 
 
 Porus is on his elephant in the centre of the picture, hurling a javelin. The 
 contest was fought in 326 B.c., after Alexander had forced a passage across the 
 Hydaspes. 
 
 3- Alexander and his Horse Bucephalus. 
 
 Alexander, after turning the horse, has just dismounted, and is being embraced 
 
 by his father Philip, who on this occasion exclaimed that ‘‘ Europe,would be too 
 small for such a spirit.” 
 
 4. Alexander and Diogenes. 
 5. Alexander meeting the Chaldean Prophets as he enters Babylon. 
 6. The Battle of the Granicus. 
 
 Alexander is about to strike Spithridates, the Ionian Satrap ; behind the King, 
 coming to his assistance with a battle-axe, is Clytus, who saves his life. 
 
 7. Alexander Entering the Tent of Darius’ Wife. 
 Alexander, after the battle of Isaus, is entering, accompanied by Hepheesstion, the 
 tent of Sisigambis, the wife of Darius. She at first took Hepheestion for the 
 King, and prostrated herself before him to kiss his feet. 
 
 268 Landscape with four small Figures . . . » ADRIAN HENNIN. 
 
 269 Twelve Classical Subjects (moved to various rooms) . JE COL aes, 
 270 A Boy playing with Puppies . . . . . . . . 3B. CASTIGLIONE. 
 
 
 
 Jue F&nnes [SienT loom. 
 
 Ef UEEN ANNE’S bed, with its stools, &c., to match, appropriately 
 gq furnishes this room. The hangings of the bed are of fine silk 
 gy velvet, worked with an elaborate pattern of architectural designs 
 ea and conventional vases and flowers, in orange and crimson on a 
 white ground. The material has suffered much with age, but, when closely 
 inspected, it discloses a workmanship of great delicacy. It is said to have 
 
 
 
™~ 
 ~ 
 
 30 Catalogue of Pictures. 
 
 
 
 come from Spitalfields. In George I.’s reign, this room was occupied a 
 Princess Caroline, wife of the Prince of Wales. 
 
 Che Ceiling was painted for her by Sir James. Thornhill, who had 
 succeeded Verrio and Laguerre as a decorator of palaces and public 
 buildings. It was by Halifax’s influence that he was employed. “The 
 Duke of Shrewsbury, Lord Chamberlain,” says Horace Walpole, ‘‘ intended 
 it should be executed by Sebastian Ricci; but the Earl, then First Com- 
 missioner of the Treasury, preferring his own countryman, told the Duke 
 that if Ricci painted it he would not pay him.” The design shows Aurora 
 rising out of the ocean in her golden chariot, drawn by four white horses, 
 and attended by Cupids ; below are Night and Sleep. In the Wormice are 
 the following portraits :—George I. with the crown, over the bed; Princess 
 Caroline, over the fireplace; \George II. as Prince of Wales, opposite his 
 wife ; and Frederick, Prince of Wales, as a boy, over the windows. 
 
 The chandelier is silver, elaborately decorated with glass balls. Near 
 the bed are two large blue bowls, which probably belonged to Queen Mary. 
 The cast-iron fireback has a rude representation of the Worship of the 
 Brazen Serpent. ‘The size of this room is 30 by 253 ft.; its height 30 ft. 
 
 271 St. Peter; so called (xow placed after No: 470) unnamed. 
 272 Head of an Old Man ( ,, * % _ 773) unnamed. 
 273 Queen Mary Coe nde 2 sve KNELLER, 
 274 Venus embracing Adonis G. CHIARI. 
 975 St. Francis and the Infant Jesus” : GuIDo?P 
 276 Holy Family with St. James . CORREGGIO ? 
 277 St. Sebastian pierced with arrows . . FRANCIA? 
 
 278 Offerings of the Magi 
 279 Venus and Cupid . ; 
 280 Burning of Rome by Nero . 
 
 L. GIORDANO. 
 . F. Poursus? 
 after G. ROMANO. 
 
 981 Saint Catherine reading CoRREGGIO. 
 282 Madonna and Infant Jesus : A. DEL SARTO ? 
 266 Chiron teaching Achilles the use of the Bow . G. Romano. 
 283 A Dead Christ : unnamed. 
 284 Head of a Man SCHIAVONE. 
 
 985 The Apostles eae James and John 
 
 . M. A. CARAVAGGIO. 
 
 286 Birth of Apollo and Diana) >. G. RoMANo. 
 987 Fortune on a Shell oared by Tritons G. Romano, 
 288 & 292 History of Cupid and ade GIORDANO. 
 289 Christ brought before Pilate SCHIAVONE. 
 
 290 A Roman Emperor on Horseback 
 
 GIULIO ROMANO. 
 
rT 
 
 ¥ Hampton Court Palace. 31 
 ot 
 
 The Nursing of Jupiter . . Ja PO. PERF GUrio R.omMANo, 
 292 The History of Cupid and Poyche [See No. 288.] | _L. GrIorDANo. 
 293 Jupiterand Europa... . ety AMATI ED OR GER OMANO. 
 294 Portraitofa Gentleman. . . “SSS PRG . NoGari? 
 295 Portrait of a Lady in a red bodice ey Ree ts School of FRANCIA. 
 296 Portrait ofa Gentleman. . . Ah. . unnamed. 
 297 Ganymede carried to Heaven by Jupiter ee after Michael A ngelo. 
 298 Madonna and Child . . Bere, bres : . unnamed. 
 299 Judith with the Head of Holofernes sieaeo 7e! after C. Allore. 
 
 300 Venus and Cupid . after M. Angelo by PonToRMO or BRONZINO. 
 
 This grandly beautiful though hardly attractive composition, was designed by 
 Michael Angelo. The copy before us is probably by Bronzino. ‘‘It was brought 
 to England in 1734, and exhibited at ‘Essex House, Essex Street, Strand ;’ 
 subsequently it was purchased in the name of the King for £1000.” 
 
 301 Judith with the Head of Holofernes ... . . . GuiDo. 
 302 Jupiter and Juno taking possession of Heaven . . . G. RoMANO? 
 @emmeicatmenanMacdalen: we fee) we Ofter Sasso Ferrato. 
 aGeeeeemare saint with aCross.. . ... ..« » School of Fransta. 
 305 A Mermaid andher Young. ...... .. . G.RoMANo. 
 306 Portrait of an Italian Lady... .. . . . PARMEGIANO. 
 mieeeeronibaptising Christ. : . . .* ...,. . F. FRANcIA. 
 
 This beautiful picture, one of the finest specimens in England of this great 
 master, must have been acquired by Charles I. with the Mantuan collection. 
 Between that date and about thirty years ago, when it was discovered in a lumber- 
 room in this palace, there is no record of it. 
 
 eee >) KRNELLER. 
 
 Hucen | Fa nines Gdawing IS oom. 
 
 eed EING the central room of the East Front, this is one of the finest 
 ) Cea) W of the suite; it is 41 feet long, 35 feet wide, and 30 feet high. 
 
 qsay y As it was not decorated till the reign of Queen Anne, for whom 
 @3 Verrio executed the painting on the ceiling, the visitor can Judge 
 of the real taste of that age, which was nothing better than a poor imitation 
 of the bastard-classic of Louis XIV., as distinguished from the so-called 
 “Queen Anne Style,” which never had any existence at all, except an 
 imaginary one in the brains of modern china-maniacs. 
 
 Ceiling. This represents Anne in the character of Justice, with scales 
 in one hand, and a sword in the other; her dress is purple, lined with 
 
 
 
32 Catalogue of Pictures. 4 
 ermine. )ver her hea a crown is held by Neptune and Britannia; while 
 surrounding her, and floating in the clouds, are various allegorical figures 
 representing Peace, Plenty, &c. ‘On the sides of this room,” we are told, 
 in 1741, ‘are more paintings of Verrio, representing the British Fleet, and 
 Prince George of Denmark pointing to it; and the four parts of the world, 
 shown by four figures; but these were thought so indifferent that they are 
 now concealed and covered over with hangings of green damask.” A flock 
 paper now replaces the old hanging; but the painted walls behind them 
 remain as they were. All the gilt furniture, tables, stools, and stands, in 
 this room are Georgian: the cypher G. R. being carved on most of the 
 pieces. 
 
 Queen Anne, who resided occasionally at Hampton Court, used to give 
 levées in this room, and Swift mentions his attending one here. 
 
 The View from the windows here is very strikingly beautiful. It shows 
 the whole of the Public or Great Fountain Garden, and a large portion of 
 the House Park (sometimes erroneously called the HYome Park, in imitation 
 of the one at Windsor); and the middle window is the centre point towards 
 which all the lines of the walks and avenues converge. The Gardens were 
 laid out in their present form by William III. ; but Charles II. had begun the 
 alterations, and in his time the Long Canal was dug, and the great avenues 
 planted. The Long Canal is about three-quarters of a mile long, and the 
 side diverging avenues about the same length; the vista of one is closed 
 by the picturesque old tower of Kingston Church, the vista of the other by 
 those revolting brickwork abortions, the Surbiton waterworks. 
 
 CPAest Pictures, 
 
 This room is now exclusively hung with the paintings of West, all of 
 which were executed for George III., who greatly admired them, and 
 extended to him a most liberal patronage. He was equally in favour with 
 the public, who lauded his performances to the skies, and with his fellow- 
 artists, who made him President of the Royal Academy. We now hardly 
 know which to wonder at most—an obscure lad from the wilds of Pennsylvania, 
 who took his earliest lessons in painting from a tribe of Cherokees, accom- 
 plishing what he did; or the English fetish, Public Opinion, having been 
 so deluded as to regard his efforts as masterpieces of Art. The deprecia- 
 tion which has overtaken him may be judged when we hear that an 
 “ Annunciation,” for which £800 was originally paid, was knocked down 
 in 1840 tor £10. 
 
rm Hampton Court Pala’ 33 
 
 E J 
 309 Duke of Cambridge, and Princesses Charlotte and Augusta. .;. WEsT. 
 310 Dukes of Cumberland, Sussex, and Cambridge, and the Princesses 
 
 Augusta-Sophia, Elizabeth,and Mary . .. . . . . WEsT. 
 $11 The Death of the Chevalier Bayard .. ae wih one WREST. 
 312 Hannibal Swearing never to make Peace with Rome Ca WEST. 
 313 Armenius’ Wife brought Captive to Germanicus. . gee VVESS 
 314 St. Peter Denying Christ . . ivr ales neath MALL ESI. 
 315 Cyrus liberating the Family of Astyages BBS hehe. epee 5.8 ate ae Wile Be 
 316 Queen Charlotte and the Princess Royal . . . . . . . WEST. 
 317 The Death of Epaminondas . . . WEST. 
 
 318 George III., aged 40; Lords Amherst and Lothian behind . Wesr. 
 
 ik otnden? observed the Duke of Sussex, while passing through the apart- 
 ments at Hampton Court, ‘‘in which of these rooms it was that George the Second 
 struck my father. The blow so disgusted him with the place that he never after- 
 wards could be induced to think of it as a residence.” 
 
 319 St. George and the Dragon. . eitet ts ie emniee i cone VV ESE. 
 320 The Death of General Wolfe Ey en Woe TeV RST, 
 321 Queen Charlotte, aged 36, with her thirteen children . . WEST. 
 322 Prince of Wales (George IV.), and Duke of York . . . . West. 
 323 The Final Departure of Regulus from Rome. . . . . . WEST. 
 324 Duke of Clarence (William IV.), and Duke of Kent . . . West. 
 
 325 Apotheosis of the Infant Princes Octavius and Alfred . . . West. 
 
 dues Flunience Elpamver. 
 
 FAN N the wall hangs an old Canopy of State of red damask, of the 
 y fae \ time of Queen Anne, who no doubt often sat under it. The 
 ena A walls were formerly hung with tapestry. The @hanvelier is very 
 e753 handsome. The fireback represents the Rape of Europa. 
 
 
 
 
 
 
 Pa2oeour Lorsaits of Lyoges of Venice) 2%) ve. er eee > RIALETTI. 
 327 Don Guzman, Spanish Ambassador. . . . . . . . MYyTENsS? 
 2291 Obits, Hather restored:to.sighty .:).0..%. 5. 5 9... M. DE Vos. 
 
 B2u bare ofthe Forty. .5.0 6%. 0.50... . <) PIETER-SNAVERS. 
 
 There are exactly forty horsemen, who are distinguished by their scarves ; twenty 
 wearing red ones round their waists, and twenty with green ones on their left arms, 
 It is stated to represent a, contest in the Spanish Netherlands between two rival 
 commanders, which took place about 1621, before Bois-le-Duc. 
 
 D 
 
34 Catalogue of Pictures. 
 
 335 St. Michael and Satan . . after Gurpo, dy Sir J. REYNOLDs 
 331 Meeting of Henry VIII. and Maximilian I. . . unname 
 
 ._ This is a highly curious contemporary picture representing several incidents i 
 the siege of Terouenne, undertaken by the joint armies of Henry VIII. and th 
 Emperor Maximilian. In the foreground, the first meeting of the Sovereigns 
 which took place on the 9th of August, 1513, on the east side of Terouenne, i 
 shown. On the right is Henry VIII. in gold armour and visor. 
 
 Tournay surrendered on 24th of September, and early on Sunday morning, th 
 25th, Henry entered the town. The sun was shining brightly, and it must hav 
 been a splendid sight to see the youthful monarch, then the finest man in the whol 
 army, riding at the head of his troops through the grand old Gothic town, the sun 
 light glistening on his golden helmet and cloth-of-gold trappings, and playing o 
 the spears of the sturdy men-at-arms. All the houses by which they passed wer 
 hung with costly tapestries ; the great bells were rung; and the burgesses, in thei 
 civic attire, came to welcome the King with magnificent gifts, attended by th 
 townspeople carrying torches and sounding a triumphal march. Thus they pr 
 ceeded up to the market-place, where he was greeted by the populace with enthu 
 siastic vociferations of ‘‘ Vive le Roi;” then, all sounds being hushed, he passe: 
 into the cathedral to render, in a grand high mass, his thanksgivings to Almight: 
 God 
 
 
 
 
 
 
 
 
 332 Daughter of Frederick II. of Denmark. . . . . . . wnmame 
 333 Christ curing the Sick . + 2) (9) Se 
 334 Embarking from Schevening . ... . . . PaLamepEs 
 559 Margaret Douglas, Countess of Lennox . | 
 
 Margaret Douglas was the daughter of the Earl of Angus and Margaret Tudo 
 (see No. 558), and was thus a niece of Henry VIII., at whose court she most]: 
 resided in her youth. But her fondness for flirting moved the displeasure of he 
 uncle Henry, who directed Cranmer ‘to call apart my Lady Margaret Douglas 
 and declare to her how indiscreetly she hath demeaned herself, first with the Lor: 
 Thomas, and secondly with Charles Howard, in which part ye shall with discretio: 
 charge her with over-much lightness, and finally give her advice to beware th. 
 third time, and wholly apply herself to please the King’s Majesty.” 
 
 We find her as one of the bridesmaids at Katharine Parr’s wedding in th 
 chapel here. In 1543 she married the Earl of Lennox, by whom she becam: 
 mother of Lord Damley, and thus is an ancestress of the present royal line 
 When Edward VI. came to the throne she tried to get apartments here ; they wer. 
 refused, but the King lent her £200 instead. 
 
 
 
 e e ° 
 
 336 Edward, twelfth Lord Zouch . . . . .. .. +. . Myvrens 
 337 Embarkation of Henry VIII. from Dover, on 31st of May 
 1520, to meet Francis I. at the Field of the Cloth o 
 Cold! teh aa, 2 hin My as her Nae + ce Saga Oe 
 
 The view in this old contemporary picture is taken from the south-west of Dove 
 Harbour, extending across the harbour eastward to the Castle, so that the town o 
 Dover is left in the bay to the north. The ship, the “ Henri Grace-de-Dieu,” o 
 **Great Harry,” which was built expressly for the King, is represented as just sailin; 
 
‘ Flampton Court Palace. ei 
 
 out of the harbour, having her sails set. On the main deck stands the King. In 
 the distance is seen the coast of France. In the foreground on the right are two 
 circular forts, communicating with each other by a terrace, with cannons firing a 
 a salute, and spectators, billmen, officers, and a person of distinction dressed in 
 green and yellow with a black coat—probably Sir Edward Poynings, Constable of 
 Dover Castle, and Lord Warden of the Cinque Ports. On the hill opposite is seen 
 Dover Castle. 
 
 The number of those who embarked with King Henry on this occasion was very 
 large, including, besides the” great nobles and their followers, 4,334 men with 1,637 
 horses. Cardinal Wolsey’s retinue alone consisted of 12 chaplains, 50 gentlemen, 
 238 servants, and 150 horses. 
 
 338 Sea-Piece—The Bay of St. Lucar? . . . . . . JAN PARCELLES. 
 Boe emereattic of the Spurs, 1513 wy ee se 
 
 This represents the defeat of the French before the walls of Terouenne on the 
 16th August, on which occasion they made more use of their spurs than their 
 weapons. The English are shown on the left charging the French ; the figure in 
 the centre in a gold helmet, with his vizor up, fighting valiantly, is probably meant 
 for Henry VIII. 
 
 340 Henry VIII. and his Family sickle loner OCHO Of ELOLBEIN. 
 
 On the King’s left is seated his queen, Catherine Parr, and next to her Princess 
 Elizabeth, standing. She is identified by the jewel she wears, in which is the 
 letter A, the initial of her mother. On the other side is the Princess Mary witha 
 jewel representing a cross. Behind her, in the doorway, is ‘‘Jane the Fool ;” 
 while in the corresponding doorway on the right side is Will Somers, Henry VIII.’s 
 
 
 
 
 
 jester. 
 341 Sir John Gage in the Garterrobes . . . « unnamed. 
 342 Meeting of Henry VIII. and Francis I, at the Field of the 
 Cloth of Goldin1520. .. . itty! ; ; ? 
 
 In this curious contemporary painting we find every incident of the famous in- 
 terview between the two sovereigns depicted with the most minute and elaborate 
 historical accuracy. It is needless to say that it has no pretensions at all to being 
 a work of Holbein’s, to whom it is ascribed. 
 
 Left-hand side of the Picture. 
 
 On this side is shown the arrival of the English cavalcade, which, having landed 
 at Calais on the 31st of May, removed to Guisnes on June 4th. 
 
 In the foreground is the chief part of the procession, prominent in which is King 
 Henry himself, who, as the chronicler, an eye-witness of the scene, tells us, 
 *“ showed himself some deal forward in beauty and personage, the most goodliest 
 Prince that ever reigned over the realm of England : his Grace was apparelled in 
 a garment of cloth of silver of damask ribbed with cloth of gold, so thick as 
 might be, the garment was large and pleated very thick.” The head of Henry VIII. 
 in this picture and in No. 339 has been at some time or other, probably during the 
 
 » Civil Wars, cut out. This may be detected by a close inspection of the canvas in 
 a side light. 
 
36 Catalogue of Pictures. 
 
 By the side of the King is Wolsey, in violet-coloured velvet, riding a mule, and 
 attended by pages who carry his cardinal’s hat, &c. In front of the King is the 
 Marquis of Dorset with the sword of state ; behind come many other officers of state. 
 
 Right-hand side of the Picture. 
 
 In the middle background is seen the plain of Ardres, studded with 2,800 tents, 
 amidst which is Henry VIII.’s, all of cloth of gold, with two flags. Beyond is 
 that of Francis I. ‘‘ Amidst golden balls, and quaint devices glittering in the 
 sun, rose a gilt figure of St. Michael, conspicuous for his blue mantle, powdered 
 with golden fleurs-de-lys, and crowning a regal pavillion of vast dimensions, sup- 
 ported by a single mast. Inside, the roof of the pavillion represented the Canopy 
 of Heaven, ornamented with stars and figures of the zodiac.” Here the first 
 interview of the two chivalric monarchs took place, and we see them inside it, in 
 this picture, affectionately embracing one another. 
 
 More in the foreground is the famous palace, which was an exact square of 328 
 feet, but of which, being seen in a foreshortened position, we can form but a very 
 inadequate idea from this picture. ‘‘On the castle green,” says Mr. Brewer, 
 ‘within the limits of a few weeks, and in the face of great difficulties, the English 
 artist of that day contrived a summer palace, more like a vision of romance, the 
 creation of some fairy dream, than the dull every-day reality of clay-born brick and 
 mortar. No ‘palace of art’ in these beclouded climates of the West ever so truly 
 deserved its name ; the imagination of the age prepared to realize those visions of 
 enchanted bowers and ancient pageantry on which it had fed so long in the fictions 
 and romances of the Middle Ages.” 
 
 Outside the palace gate on the green sward stand two gold fountains spouting 
 wine. The French chronicler tells us there were large silver cups for any one to 
 drink, ‘‘ qui estoit chose singuliére,” and that the English and French toasted each 
 other, ‘‘et disoient ces parolles : Bons amys, Francoys et Angloys, en les repetant 
 plusieurs foys en beuvant lung a laultre de bon couraige.”” We see some of the 
 results of this good cheer depicted in this picture to the right. 
 
 In other parts are shown other incidents of the meeting; thus, to the right are 
 the lists, half-way between Guisnes and Ardres, with the galleries of the kings and 
 queens, and the great Zerrvon or tree of nobility, the trunk made of cloth of gold, 
 and the leaves of silver and Venetian gold, on which the shields of all the cormba- 
 tants were suspended. 
 
 Lower down are the kitchens, where no less than 200 cooks were employed, 
 while more towards the foreground is a tent with people dining init. Inthe upper 
 left corner is a dragon, probably meant for the artificial salamander which we are 
 told by the French chronicler suddenly appeared in the sky, while the cardinal, 
 attended by bishops as deacons, was singing the grand high mass, ‘‘ De Trinitate.” 
 Beyond -is the old town of Ardres, where 10,000 persons had collected in its. 
 ruined houses to be present at the great festivities. Around is the camp of 
 Francis’s followers. 
 
 348 Portrait of Isabella Clara Eugenia, Infanta of Spain, and 
 Archduchess of Austria . . . F. PourRBUS THE YOUNGER ? 
 
 She was married to her cousin the Cardinal Archduke Albert of Austria, and 
 was present in person at the famous siege of Ostend in 1601, and was so vexed at 
 its gallant resistance, that she swore never to change her linen till the town was 
 
Flampton Court Palace. 37 
 
 reduced. It is not stated at what precise period this vow was made, but as the 
 siege lasted three years, three months, and three days, it is not surprising that her 
 underclothing eventually attained that sort of tawny hue that has ever since been 
 known as ‘‘ couleur Isabelle.” 
 
 798 Sir Jeffrey Hudson the Dwarf. ..... . . MYTENS. 
 
 ** He was born at Oakham in Rutland in 1619, and about the age of seven or 
 eight, being then but eighteen inches high, was retained in the service ofthe Duke 
 of Buckingham, who resided at Burley-on-the-Hill. Soon after the marriage of 
 Charles I., the King and Queen being entertained at Burley, little Jeffrey was 
 served up to table in a cold pie, and presented by the Duchess to the Queen, who 
 kept him as her dwarf. From seven years of age till thirty he never grew taller ; 
 but after thirty he shot up to three feet nine inches, and there fixed.” ‘‘A poem, 
 called Feffreidos was written by Davenant on a battle between him and a 
 turkey-cock ; he was celebrated in a diminutive little book called 7%e Newe Yeares 
 Gift ; and employed by the Queen on a mission to France. Jeffrey, thus made of 
 consequence, grew to think himself really so. He had borne with little temper 
 the teasing of the courtiers and domestics, and had many squabbles with the 
 King’s gigantic porter. At last, being provoked by Mr. Crofts, a young gentleman 
 of family, a challenge ensued, and Mr. Crofts, coming to the rendezvous armed 
 only with a squirt, the little creature was so enraged that a real duel ensued, and 
 the appointment being on horseback, with pistols, to put them more on a level, 
 Jeffrey, with the first fire, shot his antagonist dead.’”? He was afterwards taken 
 
 _ prisoner by a Turkish rover, sold as a slave into Barbary, made a captain in the 
 King’s army, and imprisoned on account of the Popish plot. 
 
 3846 Anne of Denmark, Queen of JamesI.. . . . VANSOMER. 
 
 The Queen used to go out with a cross-bow and shoot at the deer from a stand ; 
 though her only recorded exploit is killing the King’s favourite dog. 
 
 This portrait must have been painted in the autumn of 1617, when she made a 
 long stay at Oatlands for her health, which was then beginning to decline. In the 
 autumn of 1618, having become much worse, she moved to Hampton Court; and 
 the King used to come down three times a week to see her. But she grew rapidly 
 weaker, and on the night of the 2nd of March, 1619, as the old clock struck four, she 
 passed away. Ever since then, it is said, the clock always stops whenever a death 
 occurs in the palace ; and those curious in such coincidences being able to cite seve- 
 ral undoubted cases of its occurrence within the last few years, the superstition has 
 somewhat revived. 
 
 Bust of Henry VIII. by the sculptor Torrigiano. 
 
 $49 Queen Elizabeth in afanciful dress . . . . ZUCCHERO? 
 
 On a tree by her are inscribed the following mottos or verses :—‘‘ Iniufti iufta 
 querela ;” beneath that :—‘‘ Mea fic mihi,” and still lower :—‘‘ Dolor ef medecina ed tort 
 (? dofori).”” At the bottom of the picture on the other side is a scroll, or rather 
 tablet, on which are the following verses, probably by herself :— . 
 
 The reftles [wallow fits my refiles minde, With penfive thoughtes my weepinge fagg I crowne, 
 In fill revivinge, fill renewinge wronges ; Whofe melancholy tears my cares expre(fe; 
 Her juft complaintes of cruelty unkinde Hes teares in fylence, and my fighes unknowne, 
 
 Are all the mufique that my life prolonges, Are all the phyficke that my harmes redreffe. 
 
38 Catalogue of Pictures. 
 
 My onely hope was in this goodly tree, 
 Which I did plant in love, bringe up in care 
 But all in vaine, for now to late I fee, 
 
 The fhales be mine, the kernels others are, 
 
 My mufique may be plaintes, my phyfique teares, 
 If this be all the fruite my love-tree beares. 
 
 Elizabeth’s vanity is so well known that no one will be surprised to learn that 
 in 1563 she issued a proclamation, reciting that as ‘‘ hitherto none hath sufficiently 
 expressed the natural representation of her Majesty’s person, favour, and grace, 
 but for the most part also erred therein, ” therefore no one should take her portrait 
 except ‘‘a special cunninge paynter.” ‘“‘ Cunning,” in the modern sense of the 
 word, the painters certainly were; for they always represented her in front, and 
 not in profile, which would have sho'yn her hooked nose. 
 
 The strange Persian-looking costume she wears here, exemplifies her extraordi- 
 nary love of variety in dress. She told Sir James Melville that she had ‘‘ clothes 
 of every sort ; which,” he adds, ‘‘every day so long asI was at court, she changed. 
 One day she had the “English weed, another the French, and another the Italian, 
 and so forth.” At her death, according to Hume, no less than 3,000 robes of all 
 sorts were found in her wardrobe. 
 
 VS Ke 
 
 (uric Shining LBMOOM, 
 PASE EORGE II. used occasionally to dine in public in this room. 
 J San ‘‘ After dinner the King always took off his clothes, and reposed 
 Van: N himself for an hour in bed, of an afternoon. In order to accom- 
 an y modate himself to this habit, Mr. Pitt, when, as Secretary of 
 State, he was sometimes necessitated to transact business with the King 
 during the time he lay down, always knelt on a cushion by the bedside.” 
 
 The decoration of the room dates from about 1740. 
 
 
 
 
 
 351 Portraits of two Gentlemen . . . WiL~L1aAmM Dosson 
 352 Johann Christian Fischer, the oboe- player GAINSBOROUGH. 
 358 Portrait of Colonel St. Leger. . . . . . GAINSBOROUGH. 
 354 George III. Reviewing the Tenth . . . . Sir W. BEEcHEY. 
 355 Portrait of Francis, 5th Duke of Bedford . . . . . J. HOPPNER. 
 358 Francis Hastings, Earlof Moira. . . . die EIR: 
 359 Mrs. Jordan, the Actress, as the Comic Muse ™ (omaha HOPPNER. 
 360 The Shah Zumeen, King of Oude, receiving Tribute . . . Hog. 
 361 The Family of Frederick, Prince of Wales . . . . . KWNAPTON 
 
 362 Nabob Walajah of Arcot . . .. . Ga cee 
 
Hampton Court Palace. 39 
 
 363 Portrait of Friedrich von Gentz. . . . . . . LAWRENCE. 
 364 Portrait of Richard Brinsley Sheridan. . . » + . unnamed. 
 365 Portrait of Robert Walker, the Painter . . . « by himself. 
 366 A Rabbi. . . . after Rembrandt, by GAINSBOROUGH. 
 
 367 Portrait of Hurd, Bishop ‘of Worcester. . . . . GAINSBOROUGH. 
 368 Portrait of John Hely, Lord Hutchinson. . . T. PHILLIPS, R.A. 
 369 John Lacy, the Actor, in three characters . . M. Wricur. 
 
 In the lower right-hand corner is the inscription :—‘‘ John Lacy, one of His 
 Maj**s Comedians, representing Parson Scruple in the ‘ Cheats, Sandy in the 
 ‘ Taming of the Shrew,’ and Monsieur De Vice in the *‘ Country Captaine,’” 
 
 370 A Man’s Portrait . SRT ea tte ee falc EO ESON: 
 $71 Richard Hurd, Bishop of Worcester . . + GAINSBOROUGH. 
 372 Portrait of Mrs. Fi Miottas. chan is oP asd: mish p) OFEN, RILEY; 
 373 Portrait of Spencer Perceval . . . . ‘ oF Wire a7 OSEPH. 
 
 This is a posthumous likeness, taken from a nae anet death, but considered by 
 all who knew him to be a faithful resemblance. When Queen ‘Charlotte went to 
 see it, and the curtain which covered it was withdrawn, she was so struck with its 
 truth, that she burst into tears. 
 
 374 Brownlow North, Bishop of Winchester . . . . . after DANCE. 
 375 Mary Granville, Mrs. Delany a... Mah T ye Peialy oi ih -dyia PIE 
 376 Dobson the Painter and his Witte: Ate beHOn: by himself. 
 5z2 Queen of William I. of Prussia(?) . . . . . . ANTON GRAFF? 
 523 Frederick the Great, when young .. . . . . ANTOINE PESNE. 
 
 Shine of OE 
 lzrince of MMBates’ Waresence KS: bamber. 
 =) HIS and the two rooms that follow formed part of the apartments 
 allotted to Frederick, Prince of Wales, when he lived here. 
 
 It was from this Palace and from these very rooms, that he 
 secretly conveyed the Princess of Wales to London, just at the 
 
 hour she was about to become a mother, in spite of her entreaties, so that 
 his father should not be present at the birth, as he had arranged. 
 
 377 Count Gondomar, Spanish Ambassador .. . MyrTENs? 
 
 Of Gondomar’s “ witty prankes and merrie jestes,” many are recorded by the old 
 writers, who complain of his arrogance, and that these “ proper conceits ” “set him 
 up so high on his tiptoes.” ‘* At the departure of one of his agents into Spain, he 
 facetiously bade him commend him to the sun, for he had seen none here for a long 
 while.” Wilson also records that he had ‘‘as free access to the King as any courtier 
 of them all (Buckingham excepted), and that the King took delight to talk with 
 
 
 
40 Catalogue of Pictures. 
 
 him ; for he was full of conceits, and would speak Latin falsely on purpose in his 
 merry fits to please the King, telling the King plainly: ‘he spake Latin like 
 a pedant, but I speak it like a gentleman.’ ” 
 
 Gondomar was not loved by the populace, especially the London “ buys” as he 
 called them, who used to pelt him with stones and call him nicknames. He hated 
 them cordially in return, remarking that in England ‘‘ the flour (meaning the aristo- 
 cracy) was very choice and fine, but the brand (the common people) was very coarse.” 
 
 442 Mockery of Christ crowned with Thorns . a Rubens or Vandyck. 
 
 378 The Repentant Thief onthe Cross . . . . . P. DEL VaGA. 
 379 The Unrepentant Thiefon the Cross . . . . . . P. DEL VAGA. 
 450 A Country Woman carrying Holly ... . . . . WHEATLEY. 
 380 Nymphs and Satyrs and Cupids. . . . NicHoLas PoussiN. 
 $81 Head of an old Jewish Rabbi . . . . . . . REMBRANDT. 
 982 Portrait ofa Jewish Lady . .. . . . . . REMBRANDT. 
 383 Joseph and Mary by Lamplight . . . . ... . G HONTHORST. 
 384 A Skirmish ona Bridge. . . .  . BORGOGNONE. 
 385 Adam and Eve in the Garden of Eden . | [a eer, 
 387 Samson and Delilah . . . hi oo) uh eRe IMBC 5 
 388 Portrait of a Knight of the Garter 0 8. tl ee ee 
 389 Portrait of an Old Man,aScholar . ... .. . . Q. Matsys?P 
 390’ Pack of Hounds on the Scent’. >...) 2) 9) 1) 
 391 Destruction of Pharaoh and his Host . . . . HANS JORDAENS. 
 sb Madame la Maréchale de Chatillon. . . . . . . . wnnamed. 
 
 393 Singing by Candlelight . . .. . . . « «| }eenSennigOnneCsEs 
 394 Calumny—An Allegory ....... . . .F. ZUCCHERO. 
 
 On the left is seated Credulity, with ass’s ears ; Suspicion and Ignorance (?) are 
 whispering in his ears. Justice stands behind him and holds him back. Calumny 
 is represented as a dragon-like reptile with coloured wings, accusing a man with 
 his head crowned with leaves (? Bacchus), and a naked woman holding a dove to 
 her breast (? Venus, or a personification of Truth). Mercury is leading these 
 two away. 
 
 347 Sea-piece, a Shipwreck with moonlight . . . . | ..: PARGELLES ? 
 396 Charles II., King of Spain, aged 4 ORs 1665) . CARRENO. 
 
 
 
 397 A Spanish Boy playing on a Guitar . : p 
 398 A Boy paring Fruit . . eetrere 
 399 An Old Woman blowing Charcoal ie —? 
 400 Henry, Prince of Wales, and Robert Devereux, third Earl 
 
 of Essex; Hunting 9 yo) s 4. ob ? 
 
 
 
 It is related of the young Lord Essex and the Prince, that they were playing 
 tennis one day, and falling out about the score, the Prince so far lost his temper as 
 to call Essex the son of a traitor ; upon which his high-spirited companion took up 
 his racket and hit the Prince across the head. ___ | 
 
Hampton Court Palace. 41 
 
 401 Assembly.ofthe Gods .. . . .B. SPRANGER. 
 402 Christ falling beneath the Weight of the Cross . . . GARIBALDO. 
 403 Study fora Boars Head. . . po ladlivdyealin fit ONY DERS, 
 404 A Quakers’ Meeting. A Woman Preaching . . . E. HEMSKERCK. 
 405 Ernest, Count Mansfeldt. .. . o Shae th PRNIVEENS. 
 
 Being of a romantic temperament, he adopted with satay the cause of Elizabeth 
 of Bohemia, and won many brilliant victories. 
 
 [rine of Mates drawing 1Soom. 
 
 Seen N an old plan this is called “‘The Dressing Room.” It is exactly 
 # in the north-east angle of Wren’s Palace, and is 24 feet square. 
 
 Wa There is nothing to notice in the decoration. From the two 
 pee ea windows that look to the north, part of the old Tudor Palace 
 is seen, unfortunately much disfigured, but nevertheless picturesque. Below 
 is a charming little garden, enclosed between the buildings and the wall of 
 the Public Garden. In the middle of it is an old catalpa tree, planted 
 about a hundred years ago by the mother of the great Duke of Wellington 
 and Lord Wellesley, Lady Mornington, who had the suite of apartments 
 underneath these. 
 
 406 Philip III., King of Spain... A ee AN EOTA 
 Philip III. Boece some hereditary feeling for ait, though too indolent to sub- 
 stantially promote its cause ; of bad pictures he sagaciously remarked that | ‘“ as they 
 
 please some people as much as good ones, it was a pity to destroy them.” 
 
 
 
 407 Portrait of Louis XIII. of France . . . . . Copy by BELCAMP. 
 408 Louis XIV. on Horseback. . . . . . . +. CHARLES LE BRUN? 
 409 The Massacre of the Innocents . ... . . . . P. MIGNARD. 
 410 Marianne, Duchess of Bourbon . . .... . . . unnamed, 
 411 Marie de’ Medici... . Sra Bie Shar LEAR Maen YP OUR BUS. 
 412 Christ’s Agony in the Garden .. . Seuhn ) after NUPOUSSIN. 
 418 Louis XVI.in his Robes. ... . . .  GREUSE. 
 414 Prince Eugene on Horseback. . .. . eA VAN DER MEULEN. 
 Aveo Dead Ghrist::))°.. . ere te . . N. Poussin. 
 416 A Gentleman on Horseback begs Mamet e A. VAN DER MEULEN. 
 #77 viademoiselle de Clermont... we ey.) eanamed. 
 418 Henry IV. of France . oe WES ee SP OURBUS. 
 
 419 The Angel appearing to the Shepherds s daet Ge Cee EEN LOUSSIN. 
 
42 Catalogue of Pictures. 
 
 420 Sophia, Queen of Frederick II. of Denmark . . . . . unnamed. 
 421 A Landscape with Ruins. . . : . . « after CLAUDE. 
 422 Portrait of Louis XV. when young + 0 1 ht Se 
 423 ASea Port . . ; RP 
 446 A Woman’s Head . ae . . . after TITIAN. 
 
 447 Queen Thomyris receiving the Head of Cyrus 
 after RUBENS dy T. RUSSELL. 
 
 426 Portrait ofa Lady . . MMS 
 427 Christian IV. of Denmark riding rrr 
 428 Louis XIV., when young. .). . .. . «| 47 00) s eevee 
 429 Madame de Pompadour .. . . . . . )sssnnaia 
 
 This picture has been attributed, but quite unwarrantably, to Greuze, who does 
 not appear to have painted Louis XV.’s mistress at all, and certainly could not have 
 done so when she was as young as she is here represented. It is, in fact, a replica 
 of a portrait by Drouais, of which a great many repetitions are extant, and of which 
 the original—a full length—is now at Mentmore, Lord Rosebery’s. The Mentmore 
 picture was purchased for £1,000. 
 
 The tambour-work at which she is engaged was one of her favourite occupations. 
 
 es AM atcce been 
 Brine of wabales’ feded-beyoom. 
 
 The Tapestry represents the Battle of Solebay, which was fought on 
 May 28th, 1672, between the English and French fleets under the Duke © 
 of York and the Comte d’Etrées, against the Dutch fleet under De Ruyter. 
 The Dutch fleet, it will be remembered, consisting of 91 men-of-war, 54 
 fireships, and 23 tenders, attacked the combined fleet, composed of 100 
 English and 40 French men-of-war, when at anchor in Southwold Bay, or 
 Solebay, on the coast of Sussex. 
 
 In the first piece of tapestry, on the left, we see the two fleets drawn up 
 in the form of a crescent just off the sea-shore, and a few Dutch ships 
 coming forward on the right. The second piece shows the English fleet 
 under sail. There were originally, no doubt, several other pieces, giving 
 the combat itself, in which the heroic Lord Sandwich (see his portrait, 
 No. 11) lost his life. Both sides claimed the victory. Each piece is 
 12 feet high by 24 feet long, and has a fantastic border of tritons, dog 
 fish, &c. It was worked at Mortlake; and below is the name of the 
 director, Hrancus Poyntz. 
 
 #an ORHAN S x ecce Home : re 
 452 Georges eet So a el 
 
flampton Court Palace. 43 
 453 George Villiers, Second Duke of Buckingham, and his brother, Lord 
 
 Francis . . -. Copy eae the VANDYCK at Windsor. 
 454 Faith witha Chalice and Host!" : . GUERCINO? 
 444 Philip, Duke of Orleans. . . a REST ‘SIR J. REYNOLDs. 
 Gummer Giarcnce., ; 5-5 sw ks OD OC AOPPNER, 
 
 reen's (Brivate fSlpanel. 
 
 7 ‘ UEEN CAROLINE was accustomed to have prayers read by her 
 chaplain in a room adjoining her private chamber while she was 
 dressing. Her toilet was probably performed in the little room 
 : <4 next to this, called the Queen’s Bathing Closet. A recumbent 
 Venus used to hang over the fireplace in the chapel, and her chaplain once 
 made bold to observe: ‘‘ A very pretty altar-piece is here, Madam!” 
 
 
 
 440 St. John the Baptist . . . . . after CORREGGIO. 
 445 Nautch Girls’ Dance before an indian Prince PRA AI)  anaoned, 
 455 Foreign Birds. . > Sata Mehta Se | 4. BOGDANE, 
 455@ Water-Fowl and Birds . Ct EE es OG 1 Se PB AREOWE: 
 
 These two pieces are catalogued under Bogdane’s name ; but they are really by 
 Francis Barlowe, whose signature is oneach of them. He was an English painter 
 of birds and fish, &c., who was born in 1626, and died in 1702. 
 
 fomeeeereising Of Lazarus. . f . . = » »« 9.) 2: Bi van ORLEY? 
 meemmemrealine thesick . 6 we ttl 12) VERRIO. 
 460 A Holy Family. . . eee trc Tie mestitte tS tr sft si The BASSANO. 
 461 Pharaoh in Bed Sleeping aes Out ein eee) EVAN LIAR. 
 462 Birds—A Cassiowary, Parrots, Ron a tee ae eo CDOGDANE. 
 463 Ducks and Geese, in a Farm- Yard . iui ac HLONDECOLTER, 
 Seeedcvranic, with Fruit... kee SNYDERS. 
 465 St. Peterin Prison . . . . STEENWYCK. 
 466 Joseph brought before Pharaoh (now placed after ‘No. 5 53) unnamed. 
 467 Still-Life—Sausages, Bread, &c.. . . LABRADOR? 
 468 Dead Game and Implements of Sport. cD detec. GaN A Nee ES Te 
 469 Still-Life—A Lemon, Apples, &c. . . . . J. D. pe HEEm. 
 470° Joseph’s departure from Jacob See PAE Wa No. 2 53) unnamed. 
 O42 Wutch Scene . . . JAN STEEN. 
 @7fetieac Of St. Peter... Bn) WL cake unnamed. 
 
 232 St. Roque curing the Plague ees A ks ie Sindh vam” whoo % 
 
44 Catalogue of Pictures. 
 
 2 ucen's 
 
 NE UEEN ANNE and Queen Caroline used this as a bath-room ; 
 and in the wall is still the tall recessed marble bath with a tap, 
 where the queens used to wash. 
 
 
 
 
 
 471 Cran playing with a Goat . . . ~~  «; ::bejase) ast eennn ne 
 
 472. An Italian Market... «(04 5... 's aclcal Ve ease 
 473 A Painter in his Studio . . 1... «1. 1 oo 2) 
 ABA Sty Paulo aaa ey eae Pe Oe ae unnamed. 
 475 Italian Peasants 9:6) 6 8 6 4 
 476 Cupid and Psyche . ; .  LAZZARINI. 
 477 George II. when Prince of Wales . after Kneller ‘by SCHACKLETON. 
 478 Judith and Holofernes . . . . after P. Veronese by 'TENIERS. 
 479 Two Men’s Heads facing each other . . «sae eee TIEPOLO. 
 480 Two Youths’ Heads facing infront . ..... . e 
 
 481, Head of Christ and an Old- Man. >. »..)a.er) see ‘ 
 
 482 Head of Christ anda Young Man ...... . ‘5 
 
 483 An Old Man’s Head facings to the inieht ¢ Sid . is 
 
 484 Acts of Mercy. . 0 0 6, GLC BENGABACCI 
 485 Italian Peasant Regaling oe 8 0 0 
 486 Italians Regaling ~ 2. w+. 2. 4 
 487 Italian Peasants, Feasting .°. . . «| si) + sll ere eee 
 
 488 Boys playing witha Lamb... ©.) .. ..- -%= . 3) same AMICONI. 
 
 wArivate KSiining Bexoom. 
 MEA HIS, as well as several rooms that follow, were last occupied, 
 tava from 1795 to 1813, by the Stadtholder, to whom George III. 
 Cs xD: gave an apartment here when he was driven from the Nether- 
 : 3 lands by the Revolution. In the previous reigns it had been 
 used as a private dining room by the Royal Family. When the Prime 
 
 Minister, Sir Robert Walpole, was invited, he had to stand behind the 
 Queen’s chair and hand the first dish. 
 
 
 
 
fLampton Court Palace, 45 
 
 In this room are now three old State Beds: the one on the left, of 
 crimson damask, being William III.’s ; that on the right, of crimson velvet, 
 Queen Mary’s; and the small one in the middle, that used by George II. 
 when he lived in this Palace. 
 
 
 
 
 
 Bemeremiemale Praying). 8. 3.0 Oe ee 
 435 Holy Family . . sehte oA), dst, SO 0/267, OSSD WDOSsI, 
 489 Landscape—A Garden with iaducaeoe it ast vi - DANCKERS. 
 490 Landscape . . BOT nae bie el diags ea . . EDEMA. 
 491 Stoning of St. Stephen ets .... ROTTENHAMMER ? 
 492 Christ in the House of Martha and d Mary Ee AGES ROTEL ING 
 493 Landscape . . Pee te ee Ot UCATELLT: 
 494 Landscape with Ruins... Se Asian Reva p eo a iee ts take a ARR MPI MEM, 
 emenmrane Cupid. 2 3 ee ee 9“ PONTORMO P 
 496 A Japan Peacock. . . BoGDANE. 
 497 View on the Thames near ‘r Whitehall, with old Scotland Yard ? 
 498 Landscape—Cattle ata Fountain. . . aa Vee ROOS. 
 Wemeeenmicnwithha Vase 6) 6 ee a aN . . GRIFFIER. 
 500 A Magdalen. . Aeon Ries GIOVINE?P 
 501 Princess Isabella, Daughter of James TEE ebihe: TEL: 
 502 Duchess of Brunswick, Sister of George III. . . . A. KAUFFMAN. 
 503 Landscape—Men F ishing inva Stream LP.) Qsii.3 4.0. VANS DIEST! 
 504 Landscape—A Stream and Weir. . . .. ... . 4G. EDeEma. 
 505 Landscape—A Stream anda Bridge. . . . . . . DANCKERS. 
 506 Twelve Saints . . . sues LSE TT. 
 507 Senators of Venice in the Senate-House (nore after Mo. t 36) FIALETTI. 
 508 View of Windsor Castle. . . . . : poy bil) aero med. 
 eee P TE ISOU IE Po SPR ENWYCK P 
 
46 Catalogue of Pictures. 
 
 AE \ ; ‘ 
 Queen's pate bamber. 
 106 A Triptych—The Passion . . . . . Lucas van LEYDEN? 
 
 Centre Compartment—TZhe Crucifixion. 
 
 Christ is on the Cross, between the two thieves. On the left a soldier with a 
 spear piercing His side. In front is Our Lady fainting and supported by St. John. 
 Mary Magdalene is at the foot of the Cross clasping it. 
 
 Left Wing—Christ falling under the Cross. 
 
 Reverse of the Left Wing—Zuce Homo. — 
 
 Right Wing—Zhe Resurrection. 
 
 Reverse of the Right Wing—MMater Dolorosa. 
 
 
 
 51o Greek and Ottoman Architecture.9. . . . . 0 Gee 
 511-/Portrait ofa Lady’ 2 2. ee) 
 236 Augustus consulting the Sibyl. . . . . . PIETRO DA CoRTONA. 
 
 433 Landscape—a Rocky Valley and Waterfall . . . . . IBBETSON. 
 436 The Flight into Egypt . . . . . . .after Bassano by TENIERS. 
 439 The River Liddel, with Rocks: ).4 .». +.> .93, S30 
 4494Madonna and Childsi.".. seem) ste. ie after TINTORETTO. 
 514 The three Daughters of George I]. . .-. «| 0) Ae 
 
 Anne, born in 1709, is on the right, her right hand holding a rose to her bosom. 
 Of her it is said that ‘‘she was vain without cause, imperious without being digni- — 
 fied, and ambitious without the means of gratifying the passion.” When a mere 
 child she told her mother she wished she had no brothers that she might succeed to 
 the throne, and when reproved she answered, ‘‘I would die to-morrow to be queen 
 to-day.’ To satisfy her ambition she married, in 1734, the Prince of Orange, a re- 
 pulsively hideous man, having declared she would do so even if he were a baboon. 
 “Well, then,” said the King, ‘‘ there is baboon enough for you.” 
 
 Her sister Amelia, who is behind, was never married. She occupied herself 
 entirely in her youth with painting, in her old age with play, and in her middle age 
 with gossip. ‘‘Princess Emily,” writes Walpole, ‘‘remains in London, saying 
 civil things: for example, the second time she saw Madame de Mirepoix, she 
 cried out, ‘Ah! Madame, vous n’avez pas tant de rouge aujourd’hui; la premiére 
 fois que vous étes venue ici, vous aviez une quantité horrible.’ ” . 
 
 Caroline, their amiable sister, who devoted herself entirely to works of charity, 
 led a retired life, marred by ill-health, and embittered by an unfortunate attachment 
 to “that mere white curd of ass’s milk,”’ Lord Hervey. 
 
 515 Duke of Gloucester...) 5:4) 3) se ey oo. os 
 516 The Last Supper . . 2.0 2 6 2 «+ so) eels) 
 517 Two Daughters of George I]. . . - . 1. 6 6 \opeeuenene 
 
Hampton Court Palace. 47 
 
 meme icwor the Arno at Florence by Day ..... «. ». .... PATCH. 
 520 View of the Arno at Florence by Night. . . . . . . . PATCH. 
 555 An Encampment. . . . WAN DER MEULEN. 
 524 A Labyrinth and PleasureGarden. . .. . TINTORETTO. 
 525 Landscape—A Palace and Garden. . . . . . .  DANCKERS, 
 553 Boys with flowers (two pictures) . . . .. .. . . S.Rucct. 
 
 RR ing’s (Brivate f essing fl Soom. 
 
 Peary ER the fireplace is some exceedingly beautiful carving by 
 
 re Gibbons; and all round the room is a richly carved oak cornice 
 Aw A of the acanthus-leaf pattern. There are some very dilapidated 
 meres old chairs, but of fine workmanship, of the time of Queen Mary. 
 
 The marble Hust of a negro, which stands on a pedestal in this room, 
 is believed, and probably correctly, to be William III.’s favourite servant, 
 who frequently appears in portraits with the King (see No. 31). The face 
 and neck are of black marble; while his dress, and the dog’s collar round 
 his neck with a bell, are of a grey and white. 
 
 
 
 
 430 Madonnaand Child . . . ... =... . . PauL VERONESE? 
 
 431 Madonnaand Child... . . « . Ofter VANDYCK. 
 432 Landscape—a Lake and distant Mountains . . . . Van Dist. 
 434 Landscape; with a River and ease ch plete kA ACK ERs 
 438 Jupiterand Europa . . . . . . after PAUL VERONESE. 
 441 Copy of Titian’s ‘‘ Venus qui se mire” : 240 hel oat li 2 
 443 Christ in the House with Martha and 1 Mary . . . after BASSANO. 
 449 Venusand Cupid. .. . ibsil ac. & fLee LITIAN, 
 memeagoneaaend Child)... . 2 s+ sw» \Ofter-VANDYCK. 
 g7oeimesiceping. Shepherd. . ...' . . .« GENNARO. 
 760 Danaé . . eee ren Part: after Trr1an by GENNARO ? 
 4772 Lot and his Daughters MP aORTE To bs eh Me? on? ss OP2Ek GUIDO. 
 ee emer oeticsialethesPOMD) .j0/-\) 2 se: pieces >.» WAN ORLEY? , 
 779 Dans Scotus writing . . A ‘SPAGNOLETTO?. 
 526 Four Doges of Venice (moved to Queen’ s Audience Chamber) FIALETTI. 
 527 Caroline, Queen of George II... . . . ZEEMAN? 
 528 A Turkey Carpet with Fruit and Flowers. . . MALTESE. 
 529 Venusand Adonis. . - . . B. GENNARI. 
 
 Seemeracdonnaand Child. . |. ...:,-. 4/5. +.-.9'. BASSANOP 
 
48 | Catalogue of Pictures. 
 
 531 A Dutch Barrack Room:.. \/)). . / | (00). ee 
 269 Two classical subjects . . . 3 0 ie S. Ricct. 
 344 Eleanora, widow of Francis I.. . o 1 beh UOT unnamed, 
 348 William ‘the Silent,” Prince of Orange. oe et Ste OOS NE Ree 
 
 ‘OF eorge it. 5 1B arivate 1 Spamiber. 
 
 532-534 Flower-pieces. . ; + » BAPTISTE. 
 535 Flowers—Vases of Tulips and Roses.s.4 oe . . M. v1 Fiori. 
 586 Fruit and Flowers . . eka Aha M. A. CAMPIDOGLIO. 
 537 Flower and Fruit-Pieces. . es et vat eee TH, 
 588 Fruit- -pieces—Grapes, Peaches, &e. | bah eae VAN AELST,. 
 539 Fruit-piece, Apples, &c., ina Dish . oy AL caine te gga a 
 540 A Gold Vase of Flowers, with Birds .. . . . . . BOGDANE 
 541° Four’ Flower‘and'‘Fruit-Pieces 2.0 0"... 0 ee 
 542 & 543 Unassigned. 
 
 544 Grapes in an Earthenware Bowl .. . . CAMPIDOGLIO? 
 548 & 550 Stables with Cattle, Sheep and Figures . . . unnamed. 
 549 & 551 Blind Man’s Buff, and Attending the Sick P. LONGHI. 
 552 Still-Life—A Lute and a Music Book. . . . ROESTRATEN. 
 553 Boys with Flowers . . ; «  Lotltag a rT: 
 230 Venus and Youth at a Brook it! Teeth a's eae oo a! he anmamed, 
 g2¢ Stanislaus, Kang of Poland «2 67,2255... Sa LAMPI. 
 425. Emperor Paul of Russia. 2003/47. <0 1s) «eee 
 g0O.Joseph brought before Pharaoh...) 0) « ose gee : 
 
 g7o. Joseph's: Departure from Jacob...) <> <>... igi eee 3 
 
 
 
 554 Robert Darcy, Earl of Holderness . . ae . unnamed, 
 
 555 An Encampment (xow placed after No. 520) ee Van DER MEULEN. 
 556 Judgment of Paris( ,, Hf 95. gy (818) +... 0:0 ee 
 557 Portrait of a Gentleman—Waller, the Poet? . . . . . unnamed. 
 
 Osa va DATS ic. ies ree ae oat, rae ties «oe Sei tetenin etme em 
 
Hampton Court Palace. AQ 
 
 : wing 8 No alleryp. 
 = ae aIR CHRISTOPHER WREN built this room expressly for the 
 
 Skyy reception of Raphael’s cartoons, which formerly hung here, till 
 their removal in 1865, by command of Her Majesty the Queen, 
 to the South Kensington Museum. 
 
 The chimnep=ptece is a fine bas-relief, in white marble, of Venus, drawn 
 in her chariot by Cupids. 
 
 In old days the Privy Council used to sit in this Gallery, whence it is 
 sometimes called The Great Council Chamber. It is 117 feet long, 24 feet 
 wide, and 30 feet high; it extends along the whole of one side of the 
 Fountain Court, and has twelve windows. At present it is much disfigured 
 by four tall green-painted screens on which the pictures are hung. 
 
 558 Margaret Tudor, Queen of Scotland . . Copy dy MyTENs, 
 560 Mary Queen of Scotsin1580 . .. . . Copy by MyYTENs. 
 The original, from which this was copied, though turned the reverse way, is now 
 in the National Portrait Gallery. It gives, however, but a mean idea of the beauty 
 
 of the divine Queen. 
 
 The prodigious number and variety of portraits of Mary Queen of Scots is one 
 of the most curious and embarrassing things in the whole history of portraiture. 
 As a French critic observes, there is not a single great house in England, not a 
 single collection, which does not boast of its ‘‘true and original portrait” of the 
 unfortunate Queen. ‘‘Tantdt c’est une blonde qu’on vous montre, tantét une 
 brune ; ici un nez grec, long et étroit ; 14 court, parfois méme retroussé: dans tel 
 portrait la face est ronde et ramassée, dans tel autre elle est longue et ovale.” 
 
 For an account of this beautiful Queen, the reader will doubtless prefer to turn 
 to the sympathetic verse of the chivalrous Frenchman, than listen to the detestable 
 libels of her venomous maligners. Ronsard, who knew her well, gives this account 
 of her :— 
 
 
 
 = LS Ks 
 
 
 
 ** Au milieu du printemps entre les lys nasquit 
 
 Son corps, qui de blancheur les lys mesme vainquit ; 
 Et les roses, qui sont du sang d’Adonis teinctes, 
 Furent par ses couleurs de leur vermeil despeinctes. 
 Amour de ses beaux traicts lui composa les yeux, 
 
 Et les graces, qui sont les trois filles des cieux, 
 
 De leurs dons les plus beaux cette princesse ornérent, 
 Et pour mieux la servir les cieux abondonnérent.”’ 
 
 561 Eleanor of Spain, wife of FrancisI. . . . JEAN CLouET? 
 She holds a letter, with this address :—‘‘ 4 la piantisima y muy poderosa sinora 
 la Reyna my sinora,” alluding to the emperor’s habit of addressing his letters to 
 her after her marriage :—“ 4A Madame ma meilleure seur,” 
 E 
 
50 Catalogue of Putures. 
 
 562 Lady of the Time of Henry VIIL- gaa . L. CORNELISZ. 
 568 Portrait of Henry VIII.,a.p.1536 . . “Houpemn or JANET? 
 He holds the end of a white scroll, inscribed :— 
 
 ‘“‘Marci-16. ITEIN MUDVM VNIVERSV ET PREDICATE 
 EVANGELIVM OMNI CREATVR&,” 
 
 The most various opinions have been expressed as to the painter of this picture. 
 ** Undoubtedly a very fine work of Holbein’s,” says one critic. ‘‘ Certainly not 
 by him,” says another, but ‘‘ unquestionably by Janet. ” © Clearly not by him,” 
 replies a third, but by ‘‘ Sotto Cleeve.” ‘‘ Not at all,” cry others, ‘* By Toto, by 
 Luca Penni, by Girolamo da Treviso,” &c. Dates, style, tone, drawing—every- 
 thing is invoked to establish the most opposite theories. ‘* Non nostrum inter vos 
 tantas componere lites.” But it may be observed that the authorities whose 
 opinions are entitled to most weight—Dr, Waagen, Mr. Wornum, and Dr. Wolt- 
 mann—are all agreed that it is not by Holbein; though Wornum is inclined to 
 attribute it to an Italian hand, perhaps Girolamo da Treviso, and Woltmann to a 
 
 Frenchman. 
 564 Elizabeth of Austria, Queen of Dene . thse coe L. CoRNELISZ ? 
 565 Lady ofthe Time of Henry VIII. . . » 09 Ve RLISZ? 
 566 Francis I. and his wife Eleanor of Spain . (SARPENET? 
 
 This curious picture has for at least 230 years been , wrongly named 3 the lady 
 being called ‘‘ The Duchess of Valentinois, Francis I.’s mistress,” while, i in fact, 
 she is Eleanor of Austria, his wife. 
 
 
 
 
 
 567 Lady of the Time of Henry VIII. . . . L. CORNELISZ. 
 569 Christian, Duke of Brunswick, in his youth ee placed after 
 
 LVo. 803) . ; 3 Sate ? 
 785 Palace of Prince Maurice of Nassau, at Cleves ov Neues OLDENBURG. 
 571 William III., aged 14 (xow placed to LVo. 803) . HANNEMAN. 
 572 Countess of Derby . . . L, DA HEERE? 
 573 Portrait of Sir George Carew. ‘(Died i in I 545. yee a A et ? 
 574 Portrait of a Man with a Paperinhishand . . . . GIORGIONE? 
 575 Portrait ofa Gentleman. . HOE Sere . unnamed. 
 
 576 Venus mournng over Adonis’ Body . ; ‘ B. VAN ORLEY. 
 577 Portrait of Edward III. . . Unnamed. 
 578 Holy Family with SS. Andrew and Michael . . SCHOREEL. 
 579 St. Jerome with a Lion by him °, +, ee HEMMESSEN ? 
 580 The Last Supper . . Pe pe . .  « PALMA GIOVINE. 
 
 581 Turkish Warrior on Horseback AE . Mazzouino DA FERRARA. 
 
 582 La Belle Gabrielle, Mistress of Henri IV i Fee ? 
 583 Portrait of aGentleman Unknown ... ., - . « Unnamed, 
 584 Portrait ofa Gentleman Unknown . >. etalk apaeTENCEL As 
 586 Children Playing witha Lamb. . . .. .. . . .F, FLoris. 
 587 Death and the Last Judgment. . . . . .M. HEEMSKERK. 
 
 
 
 Dat ee ee ee 
 
et ei in » 
 ee 
 
 
 
 flampton Court Palace. 51 
 
 Soe fucement.of Paris’... ef Gucas CRANACH. 
 589 Portrait ofa Young Neate ee oe. eas ALBRECHT LIURER. 
 590 Head ofa Maninanoval . . . School of MEMLING. 
 591 Elizabeth, wife of Lord Vaux, the Poet S01 Vane ELOLBEIN, 
 592 Portrait ofa French Nobleman? . . ae - tee JANET ? 
 593 Portrait of a Young Man . . : . Hans BALDUNG. 
 694Erasmus writing. . . by Cornelius Vischer? ‘after O. Matsys ? 
 595 Three Children of Christian II. of Denmark . . Masuszr. 
 596 Martyrdom of St. Sebastian . . . . Lucas VAN LEYDEN. 
 597 Erasmus, with his hands ona book tas ALM ai die let LL OLBRIN. 
 Companion piece to No. 603. 
 598 Francis I.of France . . . JEAN CLOUET? 
 599 Mary Magdalen at our Lord’s Sepulchre. pt eee PLOLBEINGC 
 600 St. Christopher and other Saints . . . yi ape CRANACH ? 
 601 Henry VIII. and Jane Seymour ; Henry VII. and Eliza- 
 bethof York. .. . . . after Holbein, by R. vAN LEEMPUT. 
 
 This is a very precious little copy, executed by Rémee van Leemput in 1667, by 
 order of Charles II., after Holbein’s famous fresco at Whitehall, which was 
 Holbein’s finest work, and which was destroyed by fire in 1698. 
 
 _ 602 Joseph, bound, brought before Pharaoh. . . Lucas vAN LEYDEN. 
 
 608 Portrait of Froben, Erasmus’ printer . . . . . HOoLsEIN. 
 
 This, and its companion, No. 597, were painted by Holbein while at Basle be- 
 tween 1521, the year of his arrival, and 1525. 
 
 604 ? Mary, sister of Anne Boleyn. ES Vessis hee 
 605 The Battle of Pavia, February 24th, 1525 
 
 
 
 606 Portrait of Henry VIII. .. |. . Houpein? 
 607 Holy Family . . . Masuse? 
 608 The Father and Mother of Holbein, 50 ‘called . HOLBEIN ? 
 
 There is no genuine tradition of this being a picture of the father and mother of 
 Holbein, by himself. ‘‘ Besides, the man does not bear the slightest similarity with 
 the authentic portraits of Hans Holbein the father, and the treatment does not accord 
 with the works of Holbein theson.”’ But the painting is certainly a work of the Swa- 
 bian school, and possesses a decided similarity with the works of the elder Holbein. 
 
 | 609 Head of Lazarus Spinola . . fe sal shet ete Soll eV TASS. ICKY. 
 | 610 John Reskemeer of Cornwall... . . . HOLBEIN. 
 | 611 St. Jerome . ash ibis after ALBRECHT DiRER. 
 612 Diana and her Nymphs reposing . . RUBENS and SNYDERS. 
 | 613 Sir Francis Walsingham. . . . unnamed, 
 
 The physiognomy of this portrait thoroughly accords with bis subtlety of intel- 
 lect, and the craftiness of his politics. How he discovered Philip II.’s 
 
52 Catalogue of Pictures. 
 
 intentions with regard to the Spanish Armada is well known. He bribed 
 a Venetian priest to induce a gentleman of the Pope’s bedchamber to take 
 the key of his Holiness’s cabinet from his pocket while he slept, transcribe 
 the king’s letter, and put it back. From this, discovering that Philip intended to 
 raise money for equipping his fleet by drawing bills on Genoa, he contrived 
 to get them protested, and thus delayed the sailing of the expedition for a whole 
 
 year. 
 614 Robert. Dudley, Earl of Leicester. ©...) Senter 
 615 Portrait of Sir Peter Carew. . Ceo ete ne a IE 
 616 Queen Elizabeth, with a fan. hee . .  ZUCCHEROP 
 This recalls what Melville, the ambassador of Mary. Queen of Scots, tells us, how 
 Elizabeth ‘‘ delighted to show her golden-coloured hair, which was more reddish than 
 yellow, and curled in appearance naturally. She desired to know of me what colour 
 of hair was reputed best ; and whether my Queen’s hair or her’s was best ; and which 
 of them two was fairest? I answered the fairness of them both was not their worst 
 fault. But she was earnest with me to declare which of them I judged fairest. I 
 said she was the fairest Queen in England, and mine the fairest in Scotland. Yet 
 she appeared earnest. I answered they were both the fairest ladies in their 
 countries—that her Majesty was whiter, but my Queen was very lovely. She 
 enquired which of them was of highest stature. I said my Queen. Then saith she, 
 
 she is too high, for I myself am neither too high nor too low.” 
 She was scarcely less vain of her hands. ‘‘ In audiences she would pull off her 
 glove, above a hundred times, to show her hands, which were very fine and 
 
 
 
 white.” 
 6177 Mary of Lorraine, Mother of Mary onc of Scots ? 
 618 Portrait of George Fermor . . unnamed. 
 619 Portrait of Queen Elizabeth . ‘ . « M. GERRARD. 
 
 It has been said that this was the last DOLE taken of her, wae is very likely 
 the case, as she is represented as a very old woman. MHentzer, who saw her in 
 1598 in her 66th year, thus describes her :—‘‘ Very majestic, her face oblong, fair, 
 but wrinkled ; her eyes small, yet black and pleasant; her nose a little hooked, 
 her lips thin, and her teeth black. She had in her ears two pearls, with very rich 
 drops ; she wore false hair, and that red ; upon her head she had a small crown. 
 Her bosom was uncovered, as all English ladies have it till they marry ; and she 
 had on a necklace of exceeding fine jewels ; ; her hands were small, her fingers 
 long, and her stature neither tall nor low.” 
 
 
 
 620 Charles Howard, Earl of Nottingham .... .. . wanamed. 
 621 Portrait of Judge Croke ve t* yore . unnamed. 
 622 Isabella Clara Eugenia, daughter of Philip ii cae “Sir A. MorE 
 623 Margaret, Archduchess of Austria. Ramey PN E> 
 
 624: Portrait of-a'Gentleman”.>. ss) unnamed. 
 625 Portrait ofa Young Lady . . ..... . . SiR A. More. 
 626 Cupids Dancing . . . + WOUTERS. 
 
 627 Charles I. and his ‘Queen dining i in Public . .« VAN BASSEN. 
 
 The King is seated at table; on his left is the Queen, and at the end of the 
 table Prince Charles, 
 
~ @ eee 
 
 Hampton Court Palace. 53 
 
 This picture is valuable for the architecture and decoration, and as exhibiting 
 the manners of the time, and the prevalent custom in that age of royalty dining in 
 public. ‘‘ There were daily at Charles I.’s Court, 86 tables, well furnished each 
 meal; whereof the King’s table had 28 dishes; the Queen’s 24; 4 other tables, 
 16 dishes each, and so on. In all about 500 dishes each meal, with bread, beer, 
 wine, and all things necessary. There was spent yearly in the King’s house, of 
 gross meat, ,I500 oxen ; 7000 sheep, 1200 calves; 300 porkers, 400 young beefs ; 
 6800 lambs, 300 flitches of bacon ; and 26 boars. Also 140 dozen geese, 250 dozen 
 of capons ; 470 dozen of hens; 7 50 dozen of pullets, 1470 dozen of chickens ; for 
 bread 364,000 bushels of wheat ; and for drink 600 tuns of wine and 1700 tuns of 
 beer ; together with fish and fowl, fruit and spice, proportionately ” 
 
 628 Elizabeth, daughter of the Archduke Charles. . . . . . ——=? 
 (See companion picture of her sister, No. 636.) 
 
 629 Portrait of a Flemish Gentleman . . . . . . GONZALES COQUES. 
 Companion-piece to No, 637 
 
 630 Head of Rudolph II., Emperor of pimecri aire tye) ot oy OP OMEED. 
 
 633 Philip II. of Spain CLE aoa . . Sir ANTONIO MorRE? 
 
 634 A Startling Introduction . i isd otek LENRY Port. 
 
 635 Allegorical Picture of Queen Elizabeth wit wila i DAYELEERE. 
 
 In front of her are the three goddesses, represented as thunderstruck at 
 the sight of her : Juno, who lets fall her sceptre, and one of her shoes ; Minerva 
 armed, who holds a flag in her hand, and is gazing with astonishment at the Queen ; 
 and Venus, unrobed, who drops her roses, and to whom Cupid, having thrown 
 away his bow and arrows, clings for protection. 
 
 636 Mary Christierna, daughter of the Archduke Charles . . . ——? 
 (See companion picture, No. 628.) 
 637 Portraitofa Flemish Gentleman . . . « GONZALES COQUES. 
 (Companion piece to No. 629.) 
 638 A Dying Saint—A Sketch. . . . . .. . . . + WANDYCK. 
 640 Christina, Duchess of Tuscany?. . . . . . . SIR A. MORE? 
 641 Portrait of a Gentleman. . oi a SiRvAiMORE? 
 642 Catherine, Daughter of Philip TI. of Spain Piha Sie AIM ORE ? 
 643 Children of the King and Queen of Bohemia. . . . POELEMBERG. 
 644 Portrait ofa Young Lady . . . Sir A. More. 
 645 The King and Queen of Bohemia dining i in Public . . VAN BASSEN. 
 646 Exterior of a House with Figures . . .. . . G. Dow. 
 647 Landscape with Cattle . . ; ADRIAN VANDEVELDE. 
 648 Perspective Piece—Christ with Martha and Mary Sa Dey BLES 
 649 Garland of Roses, &c.,rounda Frame .. . D.SEGHERS. 
 650 Adam and Eve caressing, Satan behind. . . . A. VAN DE WERF. 
 651 Landscape, with a Rainbow Sihwiys Ch ode Peta: OF) SEE OU BRS. 
 652 A Perspective piece—A Garden. . .. . . . . STEENWYCK. 
 
 eeeeEeeCORY OF ATQUS =.) ws ey epleal 4 soe PRLORIS. 
 
54 Catalogue of Pictures. 
 
 654 Venus, Adonis, and Cupid. . . . after RUBENS, 
 655 Architecture—The Angel delivering St. Peter | . . «. STEENWYCK. 
 656 Perspective piece—The Woman taken in Adultery . . . P. NEEFs. 
 
 The figures dy o/d FRANKS. 
 657 Windsor Castle . . . .«  VERDUSSEN. 
 658 Garland of Roses round the Madonna . £9 3 DESEGHERS. 
 659 Magdalen praying by Candlelight. . . . . GODFREY SCHALCKEN. 
 660 Lot and his Daughters—A Night-Piece . . . . SCHALCKEN. 
 661 A Hermit in a Cave—A N es - 2 J. P, Van SLINGELANDT. 
 662 A Dutch Merrymaking . . . » 1 0) eee Uhl NATE 
 663 Cupid and Psyche. .)..0)) 20 si. 09 
 -297: Portrait of Guercino.... -. -. +. 50) 4) f..40) (Os 
 664 Portrait of Holbein? . MESA it 2 IER | 
 665 Head of Maximilian, Archduke of Austria. . . . . . unnamed. 
 666 Face ata Window, misnamed Wiil Somers . . MHOLBEIN? 
 667 Portrait of Sir Nicholas Bacon. . . » 4 eile) el a aemmnamaed, 
 
 Towards the close of his life—the period ates this portrait was painted—he 
 grew very fat. To this he alludes in a letter to Elizabeth, excusing himself for 
 writing instead of coming to her, saying, ‘not of an unwillinge harte and mynde 
 but of an unhable and unwieldie bodie, is the onely cause.” He knew also how to 
 combine flattery with a jest on his own corpulence. ‘‘ No, madam,” said he, 
 when the Queen was visiting him and observed that his house was too small for 
 him, ‘‘ my house i is not too small for me, but your Majesty has made me too leree 
 for my house.”’ 
 
 668\\Head of boy, unknown... =..." i) Geen . « unnamed, 
 669 Musicians . |, PETER DE Hooeu. 
 670 Architectural Night- Piece—St. Peter i in ' Prison . « . STEENWYCK. 
 671 Soldiers on the March . . ... . .. +. . « . BORGOGNONE. 
 672 Cattleina Landscape . . oes 8 | oho 6 le etn Te 
 673 Christ Blessing little Children’ oe lek so) Tenth) Gea 
 674A Landscape- -piece of a Den of Lions” |. -\.. ) 40} aay ER 
 675 Still-Life—A Fruit-piece . . . DE HEEm. 
 676 Whole-length portrait of a man—A sketch + ithe of ST A 
 677 Landscape, with Ruins, Goats, and Sheep . . . . PauL BRILL. 
 678 Landscape, with Cattle . . . . HERMAN VAN SWANEVELT. 
 679 Landscape with the Gate ofa Town . . . . . JAN BREUGHEL. 
 680 The Judgment of Paris. . . . . . . . . . ROTTENHAMMER,. 
 681 Soldiersina Landscape .. . ... 2.» 9 i BOREOGNONE, 
 682 A Laughing Boy. . (Gs at Ae 
 683 Perspective N ight-piece—St. Peter i in Prison - «  « . STEENWYCK. 
 
 .684 Flowers, Weeds, andInsects ... . . . M. Wiruoos. 
 
flampton Court Palace. 55 
 
 685 Landscape, with Figures . . . . . BARTHOLOMEW BREENBERG. 
 686 Satyr and Nymph, dancing . . . . . POELEMBERG. 
 687 Battle-Piece—Troopers Plundering . . . « WOUVERMANS. 
 688 The Elements—Water . . . BREUGHEL and ROTTENHAMMER. 
 689 Portrait of a Knight of the Golden Fleece sl [Wi Si temamed, 
 990 Stacking a Hayrick . . ; . . WouveRMaNs. 
 691 Flowers—Roses, &c., in a Vase. ah M. VAN OOSTERWYCK. 
 692 Flowers and Insects . . a iad et eee ites tA 4 ert) WEL MEE OOS. 
 693 Nymphs in a Landscape, bathing nas 2, See IEERICH: 
 694 Landscape—Venus presenting aps to Diana. . .  . SWANEVELT. 
 695 Landscape—A Waterfall. . . Sits ips RY SAVERY: 
 696 A Penitent received into the Church . ai hie WRT Fae Ae BAR OCEIG 
 697 Destruction of the Children of Niobe. . . . . ROTTENHAMMER. 
 698 Landscape—Rocks anda Lake. . . . . EVERDINGEN. 
 699 Judith with Holofernes’ Head . . . after P. Veronese by TENIERS. 
 yoo Flowersand Insects .... . . . . .M. VAN OOSTERWYCK. 
 Wouemee conversion of. St: Paul... id a do eve a ee Ve Mato. 
 702 Still-Life—Flowers ina Glass Vase . . -. .M. Wrrxoos. 
 703 One of the Elements—Air . . . BREUGHEL and ROTTENHAMMER. 
 704A Wild Boar Hunt .. eta Wilcr diendeal: | ee ORDERS. 
 705 Portrait of the Count of Hoogstraaten ae Maat 1 288 amare. 
 796 Portrait of Maurice, Count of Nassau. . . . « Unnamed. 
 707 George Villiers, first Duke of Buckingham . . C. JANSSEN. 
 708 Portraitofa Manunknown. . . . . . unnamed. 
 709 Supposed Portrait of Shakespeare. . . . . .. . . unnamed. 
 710 Supposed Portrait of Raphael . . . 2 aD ae 
 711 Sir Theodore mc Physician to James L, ‘Charles I ., and 
 
 (Marlies IT. . . SMO aati Obie pdffeni RV SENSe 
 712 Sir Theobald Gorges . wis MEO oi wee SAL eeiameh 
 713 Portrait of the Count of Brederode . . . . . . . «unnamed. 
 714 Portrait ofthe Duc D’Aumale .... . . + . Unnamed, 
 wre Duech boors regalmg 9». 6) EGBERT HEMSKIRK. 
 716 Head ofa Youth. . ihren tities partohiunwmemeds 
 717 Still-Life—Oranges, Oysters, Grapes TA Volt iaGsod nue 
 718 Dead Game and Flowers. . ... .. . . JAN WEENIX, 
 719 Nymphs in a Landscape, ae sisi d:d Pd | fe otets GPOELEMBERI 
 goo A’Landscape . ... ° CorNELIUS HUYSMAN. 
 721 One of the Elements—Fire . . BREUGHEL and ROTTENHAMMER. 
 722 A Small Landscape . . hs eh ois Pere 
 
 723 The Discovery of Callisto by Diaits]s ford hee POELEMBERG P 
 
56 Catalogue of Pictures. 
 
 724 Nymphsand Satyrs . . ... . i+... 4) 2) 2 ROBEEMBERG. 
 725! Saint Francis praying’) ey, Oy ae Sea . .  TENIERS. 
 726 Jonah underthe Gourd. . . hee _M. HEEMSKIRK. 
 727 Venus and Cupid escaping from Diana. . . SWANEVELDT. 
 yaSi\A Sea Port.and Rus ye yu ees VIvIANI and Jan Mirt. 
 729 ASaint’s Head . . SGA Dome 
 
 730 Sketch for the Portrait of Madame de Cante Croix . ; 
 731 Dead Game 5 teks, Mics «Waid ce 
 732 Grapes : 
 
 733 A Witch with Cupids | ; 
 
 734 Landscape, with Goatherds 
 
 735 Nymphs and Satyrs dancing . . 
 
 736 An old Woman with a Book, asleep 
 
 737 Night-Piece—The Angel delivering St Peter <. 
 
 738 “Lot and his two daughters” . 
 
 739 One of the Elements—Earth . . BREUGHEL and RoTTENHA ER. 
 740 Interior of a Hall, with figures : 
 
 741 Interior ofa Farm—Loading a Donkey 
 
 
 
 742 Louis XIV. Crowned by Victory. . . . . . VAN DER MEULEN. 
 743 Landscape—A Shepherd and Ruins. . . POELEMBERG. 
 744 Still-Life—A Book, Silver Vase, and Watch. = 
 745 ‘‘Sea-Piece—a drawing in black and white” . . . .VANDEVELD 
 746 Landscape, with Peasants anda Horseman . J. Wynants, \ 
 747 A\Battle-Piece .. 2... JI Ms PARROCEL. | 
 748 Massacre of the Innocents . . .P. (the youngei BREUGHEL. | 
 749 Interior ofa Church . . SS yeh eee . . STEENWYCK. 
 750 The Woman Taken in Adultery Me 
 751 Small Landscape—inacircle . . » oy) ine eas 
 752 ‘“Woman Milking a Goat, with several othe figures” .. . BERCHEM. 
 758 Fantastic Representation of Hell .:: .:\..) ‘9 es: 
 754 A Sea-Piece, Man-of-War—a Sketch . . . . .W. VANDEVELDE. 
 755 Sea-Piece—A Calm. . . + 0.) obese eae: 
 756 David with Goliath’s Head . . . . 2 ov eR. 
 757 Alderman Leman (zow placed after No. 803) . : ee wo 
 759 Portrait of James Stuart the Pretender . . .. B. Lurt. 
 761 Portrait unnamed; James I. when young? . . . wnnamed. 
 763 James in his Robes—Whitehall behind . . . VANSomeR. 
 764 Anne of Denmark, Queen of JamesI. . . . . VANSOMER. 
 765 Elizabeth, Queen of Bohemia . . . HONTHORST or JANSEN. 
 
 766 Portrait of Peter Oliver, Miniature Painter . . HANNEMAN. 
 
Hampton Court Patace. 57 
 
 767 Portrait of Cornelius Ketel the Painter. . , » + e « dy himself. 
 
 At one time he adopted the fanciful notion of painting with his fingers, beginning 
 
 with his own portrait; and afterwards undertook to paint with his feet, an antic 
 
 which the public, who thought ‘‘the more a painter was a mountebank the 
 greater was his merit,” vehemently applauded. 
 
 768 Henry Cary, 1st Lord Falkland. . . .. . . afterC. JANSEN. 
 769 James I.; from the Picture at Ham House. . . . . .F. Reap. 
 770 Portrait of Mytens the Painter. . ACL AE bel yf F177 9 a 
 771 Head of a Bishop (xozw Poe ae LVo. 876) ... . PARMEGIANOP 
 272 Head of an Old Man. . Mego nc ot ea med 
 
 DSS eS 
 
 
 
 773 Joseph and the Chief Butler and Baker .. . . . unnamed. 
 774 2 rometheus Chained to the Rock':;. ..... “PALMA GIOVINE ? 
 775 Portrait of George II. when young?. . . . . . . . unnamed. 
 776 Full-length Portrait of Edward IV. . . . b-ctee/ 4 BELCEAMP. 
 777 Mary, Sister of Charles II., Princess of Orange . . « HANNEMAN. 
 780 View of a House and Garden at Cleves.) °. 5. urid 4 ly, OLDENBURG. 
 781 A Magdalen . . Sire Bier ey aes SER aaa. 
 782 Sea-piece—A Battle by Moonlight vA th eat. bs Te SOPDARCELDES. 
 783 A Woman witha Helmet . . . . » PORDENONE? 
 784 Interview of Henry V. with Princess Katharine of France. . KENT. 
 786 Judith with the Head of Holofernes . . Aa. oe ky HOA GUIDO? 
 787 The De:truction of Popery by the Evangelists eee trent. 
 788 Marriage of ee. V. and the Princess Katharine _. . . KENT. 
 789 Diana . . . . after TITIAN. 
 SEE tee ete ee ta ene foo SSIMONY MOUET. 
 791 Lucretia. . ah Re Mite wiat et eMC. thee: Wane» Rene PPT EAE 
 
 269 Five pictures of classical subjects . Phlee AL Ve TBS ROO EeIeL 
 
58 Catalogue of Pictures. 
 
 ES ; é Ws Oy 
 
 ‘lommunication (Ciattery. 
 ge I various times this has been called ‘‘ The Gallery of Admirals,” 
 “| “The Portrait Gallery,” and “The Mantegna Gallery.” Its 
 q & original name, given it by Sir Christopher Wren, was the Com- 
 Rieuees munication Gallery, on account of its connecting the king’ s and 
 the queen’s apartments. It forms the west side of the Fountain Court, 
 and is 104 feet long, by 14 feet wide. 
 
 ‘Mriumph of Luliug Crgaie 
 
 BY ANDREA MANTEGNA. 
 
 In this room are now appropriately arranged the famous nine pictures 
 of “The Triumph of Julius Ceesar,” Mantegna’s greatest and richest work, 
 the glory of Hampton Court, and one of the most precious artistic treasures 
 of the English Crown. 
 
 They were originally begun about the year 1485 by Mantegna, for his patron 
 Lodovico Gonzaga, Duke of Mantua, who had already conferred several 
 favours on him, and who, in February, 1492, when the “Triumph” was 
 completed, further rewarded him with a fresh grant ofland. For Mantegna, 
 it was evidently his most absorbing work, and between the dates above given, 
 except for a short stay at Rome, he applied himself with the greatest 
 energy and assiduity to this magnificent creation—“ the most important 
 example,” as Waagen has observed, “ of that enthusiasm for the grandeur 
 of the ancient Roman world, which prevailed in Italy in the fifteenth and 
 sixteenth centuries, and which this master worthily represented.” 
 
 ‘‘ By the enthusiastic study of the Greek sculptures in the studio of his 
 master, Squarcione, Mantegna had formed his eye for a refined and definite 
 conception of nature in form and action, and endeavoured in this triumphal 
 procession, with remarkable success, to reconcile the laws of ancient sculpture 
 with those of painting, and the diversity of nature. Notwithstanding a 
 certain severity in the forms, there is great variety and animation in them,— 
 elevated, noble, powerful, robust, and even common figures and heads, are 
 intermingled with such delicate, slender, and youthful characters, as are 
 rare, In such measure, even in later masters. The movements, though duly © 
 restrained, have much freedom and animation, and the variety and beauty 
 in the positions of the hands are extremely admirable. The small folds of 
 Greek sculpture predominate in the drapery, yet it is treated with taste, and, 
 far from exhibiting any stiffness or appearance of imitation, has something 
 
 
 
Lampton Court Palace. 59 
 
 animated. As regards the colouring, as is proved by the parts not painted 
 
 over, these pictures must have produced an effect like that of the antique 
 paintings: the general appearance was light, the draperies especially con- 
 sisting of light gleaming materials, of variegated hues ; for instance, yellowish 
 with violet shadows, greenish or pale blue, with white lights ; ; the background 
 has throughout a light horizon. Inthe execution we do not know whether 
 most to admire the inexpressibly rich and elegant details, or the light and 
 intelligent touch of the brush.”—(A7t Treasures, ii.) 
 
 Unfortunately they are now very dilapidated, having been coarsely 
 painted over, it is said by Laguerre, in the time of William III., the colours 
 being faded, and the surface injured by injudicious cleaning. 
 
 The purpose for which these pictures were originally intended has been 
 sometimes misconceived. ‘Theyare not properly called cartoons at all, that 
 is, they were not designed as models for frescoes or tapestries, but were 
 painted in tempera on twilled linen, with the object of being stretched on 
 ‘frames, and affixed to the wall as a frieze. In this manner they are 
 believed to have originally decorated a gallery or hall in the Duke’s Palace 
 of St. Sebastian at Mantua, and to have formed a continuous procession 
 along one side, eighty-one feet long, as they now do here. It was doubtless 
 thought that in this way they would be better preserved, and besides, be 
 movable. Between each picture were flat pilasters, faced with arabesque 
 reliefs, with simulated capitals, evidently the same as those which appear 
 in the old engravings as separating each picture, and a specimen of which 
 can be seen in the seventh picture. 
 
 From that period they remained at Mantua till the year 1628, when 
 Daniel Nys, Charles I.’s agent in Italy, took advantage of the Duke’s being 
 involved in war and in want of money, to treat for their purchase: for they 
 had been reserved when the rest of the Mantuan collection had gone to 
 England. ‘‘ The best informed persons,” writes Nys to Lord Dorchester, 
 “told me that I had left the most beautiful behind, and that, not having 
 
 _ the ‘ Triumph of Julius Cesar,’ I had nothing at all. This touched me to 
 the core; I did not dare say anything for fear his majesty knowing it might 
 feel aggrieved, and I, in part, dissembled with Sig. Lanier, who, before his 
 departure, had treated for the marbles and statues of the Duke, with some 
 pictures which had been discovered in certain secret chambers. ‘They de- 
 manded for these pictures 10,000 half-doubloons of Spain, and for the 
 statues, 50,000 half-doubloons, but it did not appear to Sig. Lanier or to 
 myself that we could give £10,000 sterling. So the matter rested.” 
 
 But in the meanwhile the Queen- Mother of France is in treaty for them ; 
 and when Nys hears of this, he agrees, without waiting for the King’s direc- 
 tions, to pay £10,500 for the marbles and the pictures that remained, and 
 
60 Catalogue of Pictures. 
 
 especially for “The Triumph” of Mantegna, “a thing,” as he writes, “‘rare 
 and unique, and its value beyond estimation.” 
 
 It has been frequently stated that they were so/d by the Commonwealth 
 for £1,000. This is inaccurate. They were valued at £1,000 in Sept., 
 1651, but not sold. They are afterwards noted as :—“ Reserved for His 
 Highness’ use,” z.¢., Cromwell, who, to his honour be it remembered, also 
 rescued Raphael’s cartoons. Since then they have remained here; and, 
 after having been judiciously arranged by William III. in the Queen’s 
 Gallery, and then inappropriately removed by George I., to make way for 
 Le Brun’s tapestries, to the Public Dining Room, they were finally hung 
 about fifty years ago in this gallery, which, allowing of their being placed in 
 a continuous line, is admirably adapted for their reception. 
 
 First Picture. This represents the beginning of the Procession, and 
 shows, first, the trumpeters ; next, Roman soldiers bearing aloft smoking 
 censers on long poles, a bust of Roma Victrix, and pictured representations 
 of the conquered cities. 
 
 Second Picture. On the left is a magnificent triumphal car, on 
 which stands a large statue of a man holding a long staff under his left 
 arm. Behind come men on horseback drawing other cars, in which are 
 statues of the gods and goddesses taken from the temples; and by their 
 side walks a man carrying a beautiful bust of Cybele. 
 
 Third Picture. In this we have similar cars bearing like trophies, 
 and also four men carrying aloft, on stretchers, costly vases and urns filled 
 with coin. 
 
 Fourth Picture. Other men follow bearing similar spoils ; next come 
 oxen decorated with wreaths for sacrifice, by which, in the foreground, is a 
 figure of a handsome boy, with fair flowing hair, he having his right hand on 
 one of the bullocks, and his head turned round to the front. The grace 
 and beauty of this head is very striking, the outlines having fortunately 
 been preserved, though the lights on the cheek, hair, and neck, have been 
 retouched. 
 
 Fifth Picture. On the left is the head of a musician, whose trumpet 
 is seen in the foregoing picture. Next comes another bullock led by a 
 woman, who turns her head round to the front. Behind come four 
 elephants ; boys driving them are also mounted on their backs. Rubens’ 
 free copy of this, made when he was at Mantua in 1606, is now in the 
 National Gallery. 
 
 Sixth Picture. Here we have more vases and precious vessels, 
 carried on stretchers by four men. These are followed by men bending 
 under the weight of large trophies. 
 
Hlampton Court Palace. 61 
 
 Seventh Picture. Next follow the captives: men walking with their 
 hands tied in front of them, their countenances expressing a noble dis- 
 regard of the jeers of the populace, women of equally dignified demeanour, 
 carrying their babies, or leading their daughters by the hand. Behind are 
 the windows of a prison, with heads peeping through the gratings. 
 
 ** Here,” says Goéthe, ‘‘we must deem the painter worthy of all praise, in that he has 
 introduced no warrior or leader, no hero of the adverse army: their arms, indeed, have 
 we seen carried by fathers of families, venerable councillors and magistrates, aged or 
 portly citizens, these only are led in triumph; and thus the whole story is told: the 
 former lie low in death, the last still live to suffer.” ’ 
 
 Eighth Picture. The musicians and singers who always accompanied 
 a Roman triumph, follow. Behind them march more Roman soldiers, 
 bearing eagles and other emblems on long staffs. 
 
 Ninth Picture. Lastly comes Julius Cesar himself in a magnificent 
 triumphal car, bearing in his left hand a long palm branch, and in his right 
 a sceptre. Behind him stands a winged figure of Victory crowning him with 
 a wreath of laurel. In front a man holds aloft a medallion with the 
 device:—‘‘VENI, VIDI, vic1”; behind are men bearing braziers of incense, 
 and all around boys holding branches of laurel. The beautiful arabesque 
 work of the car, which is in tolerable preservation, is worthy of notice. 
 
 792 William III. whena Boy . . Mega! Ayia ped dt oo mean aE a 
 793 Supposed Portrait of Jane Shore . WP iegh*? 5 WU alin del magamme med 
 794 Portrait of an old Man with a large beard . ipenaph Buivve Mens CMI MIL, 
 796 Portrait of a Lady, Unknown. . Tels abd aoe unnamed. 
 797 Triumph of Julius Ceesar. (See above.) CBs cay Nia wen. 
 345 Thomas Howard, Earlof Surrey ... . .. . STRETES? 
 
 Every one has heard how in his youth he is supposed to have overrun most of 
 the countries of Europe, maintaining in tilt and tournament, against all gainsayers, 
 the superiority of the charms of his ‘‘ fair Geraldine,” of whom he tells us that :— 
 
 ‘‘ Hampton me taught to wish her first for mine.” 
 
 Surrey had other occupations, besides writing love sonnets; one of these was 
 shooting with his cross-bow, in the dead of night, at the windows of the citizens of 
 London. When brought up before the Lord Mayor on this charge, he excused 
 himself by saying he had done so, in hopes that the citizens, thinking them super- 
 natural visitations, might amend their corrupt and licentious manners. 
 
 
 
 Bpemrersawora Lady) 22! he So Ea Om. , cuannamed. 
 Demeruriralt Of dsbady 4 . . Unnamed. 
 803 Sir John Parker . « ti: JERONIMO CUSTODIS. 
 757 Sir John Leman, Lord Mayor i in 1616. 20s). 32:74 ? 
 
 On Saturday the 9th he entertained the Knights of the Bath, newly made in 
 honour of His Highness’s creation, with a supper anda play at Drapers’ Hall. But 
 
62 Catalogue of Pictures. 
 
 ‘some of them were so rude and unruly, and carried themselves so insolently divers 
 ways, but specially in putting Citizens’ wives to the squeak: so far forth, that one 
 of the sheriffs broke open a door upon Sir Edward Sackville, which gave such 
 ees that they went away without the banquet, though it was ready and prepared. 
 or them.” 
 
 Such uproarious festivities quite upset old Leman, who had to take to his bed. 
 He was well enough, however, to be knighted at Whitehall on March 9th, 1617. 
 
 
 
 
 
 804 Supposed Portrait of Fair Rosamond . . . . Unnamed. 
 805 Portrait of an Italian (ow placed De No. 85 7) ve RIN 
 807 Portraitofa Manin Armour . . . eae. 
 808 Portrait ofa Gentleman .. =. . . .)) eee ? 
 550 Judgment of Paris . . oe 8 ee ey 
 569 Christian, Duke of Brunswick .) i. er -? 
 571 William III., when young. . + a te, ——-? 
 
 Jucen 'g ‘C ‘Ouard fSyamver. 
 
 =a3 HIS room was probably not finished till the reign of George II., 
 H fave the decoration being in the style of that period. The chimney- 
 reo" piece, of which the sides represent Yeomen of the Guard, is of 
 ae 9 SS} ~white marble, and the doorways are of the same. The dimen- 
 sions of the room are 58 feet long, by 34 feet wide. 
 The two fine Wrought tron scveens now placed in this room belong to 
 a series of twelve which were formerly in the gardens; one still remains 
 in its original position (see page 118), the rest are now at the Bethnal Green 
 and South Kensington Museums, 
 
 
 
 811 Triumph of Bacchus; Nymphs .. . is SONG REirR RI: 
 812 Frederick, Prince of Waies, ata Party . .  WANDERBANK ? 
 813 Portrait of Ca Abel, the Musician. . . 0 +o ORIEN ET, 
 814 Landscape, with a Lake and Mountain.. . = 9.7%.) 9 essai 
 815 Portrait of Giulio Romano, a Copy . on, te ny aa eae 
 816 Portrait of Michael Angelo, a ee PEPE Src ee 
 817 Jacob Fleeing from Laban. . . . . itp eae, 
 818 Portrait.ofa Child . . . .-s-. i (Je SG ee 
 819 Portrait of Tintoretto,a Copy. .... . 5 ae unnamed. 
 820 Hungarians at the Tomb of Ovid. . .. . aa H. SCHOONFELD. 
 821 Portrait of P. del Vaga,a Copy «©... ss) -seu) yee 
 822 A Circular Temple, with Dieu ol bile: 6) de. Gee aan fro 
 
 953 View of Portsmouth f oe wf ed) Sener 
 
Hampton Court Palace. 63 
 $24 Portrait of John Locke . . 
 
 : This is one of Kneller’s best portraits. 
 
 5 
 
 Je Slee hie at KAY RNELLER, 
 It was evidently painted in the philoso- 
 pher’s later years, for he looks here on the point of dying of the asthma to which he 
 succumbed in 1704. . ‘‘ Pray,” said Locke in a letter to Collins, ‘‘ get Sir Godfrey 
 to write on the back of my picture ‘John Locke;’ it is necessary to be done, or 
 else the pictures of private persons are lost in two or three generations.” 
 
 825 The Assumption of the Blessed Virgin . . . . . . . SNELLINX. 
 826 Frederick, Prince of Wales . . VANLOOP 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 827 Landscape—Ferry-Boat and Fishermen . . . . . WAN DIEST. 
 BaorporramorGeorge lI. 66 oe ee Bee . . ZEEMAN, 
 829 Ruined Temple with Peasants. . . . . ViIvIANI avd JAN MIEL. 
 830 William, Duke of Gloucester, son of Queen Anne . . . KNELLER. 
 
 831 Portrait of General Spalken (ow placed after No. 13) . . unnamed. 
 832 Portrait of Haydn the Composer. . . . . + + + « unnamed, 
 834 Caroline, Queen of George II... . . . . . « . + + ZEEMAN. 
 836 A Shepherd . 5 ete. TJ OHN COLLINS? 
 
64 Catalogue of Pictures. 
 
 
 
 837 Landscape... . . . + + s sess gee 
 838 A Shepherdess. . rrr kee Pee 
 839 Pope Benedict XIV. PURI he cay hy 
 840 Landscape . . oe as ee ne 
 842 Frederick II. of Prussia . se «sc! oe inlet ea tie MaMERTILE LE 
 843 Portrait of Robert Boyle the Philosopher 6. pg tute an Rare 
 844 A Landscape: The Devil Sowing Tares . . . Lucas VANUDEN. 
 845 George, Princeof Denmark . . rere ens eye y te 
 846 Sir Isaac Newton (etat. 47). . . . . . . . . KNELLER. 
 847 Landscape with a River and Castle . et es were lie ae 
 848 Charles XII. of Sweden. . . . 2 . . Unnamed. 
 SaoyGnrist at the Well.) aos vie “after CoRREGGIO. 
 850 Triumph of Bacchus, Venus, and Ariadne after ¢ Guido by ROMANELLI. 
 851 The Tribute Money . . i eS LLEER ICE. 
 852 Portrait of Sir Peter Lely + ie be seit bil 26 ile aa rc 
 853 Christ andthe Woman of Samaria ...... . Bonrracto? 
 854 Portrait ofa Young Man, Unknown. . .... . . unnamed. 
 855 Portrait ofa Child .. oe kbs) dae ne 
 856 Roman Architecture with Figures . obo ot ae ? 
 857. Portrait of Holbein?.a Copy . - «+. :», «115. eeeeneneeennnaans 
 $05 Portrait of an Italian Gentleman .. . oe 4 OO. LENE. 
 858 Portrait of aMan witha Watch. . . . PETER VAN AELST? 
 859 The Rape ofthe Sabines. . . . . . . ROTTENHAMMER? 
 860, Portrait-of a Lady in White...) ops. - se 
 861 ,,Ruinsand Figures)...» 9s +: 3+) o <0) apt ene 
 862 Portrait of Sir Peter Lely)... . «2 jue So spr 
 863 Venus and Satyr . . ob ee .  » A LBANO, 
 864 “A China Dish with Heart-Cherries ” © 0. ye jum b, 2 Ga Ae ee 
 865 A Holy Family . . oon 8) pe 
 844 Landscape—the Devil sowing Tares . . « - .. LUCAS VANUDER, 
 
 w e 
 o) ueceivs Y resence sDamber, - 
 866 Rear-Admiral Sir Charles Knowles’s Squadron attacking Port Louis in 
 St. Domingo (? Hispaniola), March 8th, 1748 . . R. Paton? 
 867 Rear-Admiral Sir Charles Knowles’s Action with a Spanish Squadron 
 off the Havannah, October rst, WAR oo et ee rs 
 868 Frederick the Great . . ; oe eee 
 
flampton Court Palace. 65 
 
 $69 St. Johninthe Wilderness. . . . . .... . . . HUENS. 
 SEES OF Saul ee oe oe . » HUENS. 
 Sunmerrepnerds Offering. 9.50. A “T. ZUCCHERO. 
 872 Portrait of a Gentleman. . he se i Re yimamed. 
 $73 View of Native Village in the West Indies . DAU Hst alts Mette LOST 
 874 Italian Peasants . . oft “MAY BATBAGLIA: 
 
 875 George III. Reviewing the Fleet at Portsmouth (4 Pieces) D. SERRES. 
 
 876 Charles I., when Prince of eat Sehant St. Andero, in 
 
 ve 
 
 Sogn, i 1623 |. ie POPARCELINS S 
 Seeiiemronawaint, : . ft Lo. oO RPaARMIGIANO? 
 RIA. Ske wk i unnamed. 
 Stew it a Lamb.) |. kl ee he KNELLER. 
 S4r Sacrificing a Calf . . . . DE GELDER. 
 877 Close of Nov. 4th, 1805, ‘Sir R. Strachan’s Victory 7 2 ee SEOLOER. 
 
 _ 878 Commencement of Sir R. Calder’s Action, July 22nd, 1805 Pocock. 
 879 British Vessel Engaged with Three Spaniards . . W. VANDEVELDE. 
 880 Close of the same Action . . W. VANDEVELDE. 
 
 _ 881 Destruction of a Dutch Fleet at Schelling, and Burning of Banderis by 
 
 | Admiral Sir R. Holmes, August 8th, 1666 . . . VANDEVELDE. 
 
 _ 882 Sea Fight of August 11th, 1673, Prince Rupert commanding the French 
 | and English Fleets against the Dutch. . . . . VANDEVELDE. 
 883 View on the Thames—Old Fleet Ditch . . . . . .JaMEs. 
 884 View on the Thames—Old London ee oft uP net PAMeGase 
 885 View on the Thames—The Bah Ay han 8 ; Mr ots ee ICL Lee 
 886 A Sea-piece . . ; OP eons T ide be te Lhe RRs 
 
 - 887 A River Scene in Holland OTs .. §. RUYSDAEL. 
 
 888 Action between English and Dutch Vessels . VANDEVELDE the elder. 
 889 The Royal Yacht which brought Queen Charlotte to cae in 1761, 
 to be married to George III., ina storm . . . . WRIGHT. 
 
 891 A Man-of-War engaged with two Vessels . . . . . .Monamy? 
 892 Battle of Camperdown—Lord Duncan’s Victory . . J. T. SERREs. 
 
 F 
 
 _ 893 Sea-Piece—The British Fleet, 3 ELLIOT. 
 .894 Action between the “ Arethusa”’ and “ Belle Poule » .  . unnamed. 
 | 895 A Small Sea-Piece. . - SWAINE. 
 
 896 The Vessel in which ‘Charles Il. Escaped to France after 
 the Battle of Worcester . . . W. VANDEVELDE /he elder. 
 Menmenavono onthe Rock)... y... 28> ..% ached ey le, « CARAVAGUIO. 
 
 897 A RiverScene. . sean ae SWAINE. 
 ' 898 The Day after the Battle of T rafalgar SOs IPL eee ile fin AALUGGINS, 
 899 Battle of Trafalgar—Close of the Action . . . . . . HUGGINS. 
 
66 Catalogue of Pictures. 
 
 goo ASea Fight . . . «  « WANDEVELDE, 
 
 gor Sea Fight—A Man-of-War attacked by Boats. . . . . Monamy. 
 902 Sea Fight in a Harbour—The Attack . . . VANDEVELDE. 
 903 Equipment of the English Fleetin 1790 . . + + + > ELLIOT. 
 904 Battle of Camperdown—Close of the Action . . . . J. T. SERRES 
 905 His Majesty’s Yacht in Portsmouth Harbour. . . . J. T. SERRES. 
 906 Two Dutch River Scenes . J. D. ScHatck P 
 
 907 Commencement of an Action between two Fleets . . PARCELLES. 
 908 Destruction of the French Vessels “ Soleil Royal,” “ Admirable,” and 
 “ Conquerant,” by fire-ships and boats under the command of Vice- 
 
 Admirals Delaval and Rooke in Cherbourg Harbour at the close of 
 
 
 
 
 
 
 the Battle of La Hogue, May 23rd, 1692 . . : unnamed. 
 
 908* Destruction of French Vessels the day after La Hogue . wanamed. 
 909 Sea Fight ina Harbour—Sunset. .... . VANDEVELDE. 
 910 Sea Fight in a Harbour—Midday . .. . . VANDEVELDE. 
 911 Sea Fight ina Harbour—Night . . . . - . VANDEVELDE. 
 912 Sea Fight in a Harbour—The Morning . . . VANDEVELDE. 
 913 Sea Piece we Ue SS SSE 
 914 View on the Thames—Greenwich Hospital . . - + + - JAMES. 
 915 A Small Sea-Piece. . . ..... . . . P. Monamy. 
 918 The Thames from the Hill above Greenwich. . . . . DANCKERS. 
 919 View of the Horse Guards from St. James’s Park: *.), 28 Se) ADEs. 
 920 View on the Thames—The Tower of London . . . . unnamed. 
 921 View on the Thames—Old Somerset House and Temple . JAMES. 
 922 View on the Thames—Temple Gardens . . . . - . unnamed. 
 923 View on the Thames—The Savoy, the Temple, &c. . . . JAMES. 
 924 A Man-of-War going outtoSea . . . . unnamed. 
 
 925 View on the Thames—The Adelphi, Whitehall, Westminster JAMES. 
 926-933 Cartoons in Henry VIII.’s Presence Chamber . CarLo CIGNANI. 
 934 The Dockyard at Deptford ; 2 cd eh 1 eh ee 
 935 The Dockyard at Portsmouth . . . - - +. +s ; R. PaTon. 
 
 936 The Dockyard at Sheerness . . . - + + + + = + R, Paton. 
 937. The Dockyard at Chatham . . . - + + + + = + R. PaTon. 
 938 The Dockyard at Woolwich . . . . + + + + + + R. Paton. 
 939 Cupid lying Asleep“. -*.) 2°". . | OL unnamed 
 940 A Woman struggling. . . . - + + + + © ee unnamed 
 941 Psyche onthe Rock .... . POLIDORE DA CARAVAGGIO 
 
 942 The Birth of Jupiter. . . . . . after G. ROMANO 
 
 In this room are two portions of the mast of the “Victory,” Nelson’ 
 flag-ship at the battle of Trafalgar, on board which he died. 
 
flampton Court Palace. 67 
 
 DV ucen’s ‘O} reat altaircase. 
 
 OD “@lCK and Kent share between them the very doubtful honour of 
 
 3 By having besmeared the ceiling and walls of this staircase with 
 4 paint: the walls being covered with scroll-work and a few 
 i J unmeaning figures ev grisaz/le, and the ceiling representing, or 
 Esther simulating, adome. The ironwork, however, of the staircase is fine, 
 and worth noticing. The staircase is 52 feet long, by 30 wide. 
 
 The Maunted Grallery— Lot shown to the public—This old mys- 
 terious gallery, the door of which is on the right as you go down the 
 staircase, has its name from being supposed to be haunted by the shriek- 
 ing ghost of Queen Katharine Howard. It was here, at any rate, that she 
 escaped from her own chamber, in which she was confined before being 
 sent to the Tower, and ran along to seek an interview with Henry VIIL., 
 who was hearing mass in the royal closet in the chapel. Just, however, as 
 she reached the door, the guards seized her and carried her back; and 
 her ruthless husband, in spite of her piercing screams, which were heard 
 almost all over the palace, continued his devotions unmoved. And in this 
 gallery, it is said, a female form, dressed in white, has been seen, coming 
 towards the door of the royal pew, and, just as she reaches it, has been 
 observed to hurry back with disordered garments, and a ghastly look of 
 despair, uttering at the same time the most unearthly shrieks, till she passes 
 through the door at the end of the gallery. The gallery is now the lumber 
 room for old pictures, and, as the staircase is locked up at night, the voice 
 of the shrieking queen is but rarely heard. 
 
 On the west wall is the following large picture :-— 
 
 810 King and Queen of Bohemia .. .. . . «. HONTHORST. 
 
 
 
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Western Entrance.—Barrack Yard. 69 
 
 ay 
 
 Mestern (entrance. 
 
 == iKophy Grates. These consist of four brick piers or piles, on the 
 ie Te outer of which are trophies of war carved in stone, and on the 
 ‘of Pye) inner the Lion and the Unicorn, each supporting shields with 
 ==} the Royal arms. The arms are those of George II., not of 
 ‘William ITI., as is usually but erroneously stated. They form the entrance to 
 «The Barrack ard, or “Outer Green Court,” as it was formerly called, 
 apiece of ground 3 roods, 27 perches, in area. On the right were formerly 
 several old buildings—the Privy Bake-house, the Scalding House, and the 
 Poultry Office—which have been gradually demolished during the last sixty 
 years. On the left are the barracks, which are a great disfigurement to 
 ‘this entrance. They appear to have been partly built in Charles II.’s 
 reign (though before that, in Cromwell’s time, there was a sort of guard- 
 house here), and enlarged by William III. They stand on the western 
 boundary of “a peece of pasture grownd called the (tlt Yarv, inclosed 
 with a good brick wall,” to cite the words of the Parliamentary Survey of 
 1653, containing 9 acres, 1 rood, and now leased to a fruiterer at Kingston. 
 ‘Here Henry VIII., who was the best horseman in England, if not in 
 Europe, indulged in his favourite pastime, when man and horse went down 
 before his redoubtable lance. Frequent jousts and tournaments were also 
 held here in the subsequent reigns, and in the north-west corner of the 
 Palace may be seen the gallery where Anne of Denmark and her ladies sat 
 at the Christmas of 1603-4, to witness “ King James and the Lordes 
 sunning at the ringe.” 
 
 The Old Moat, which was dug by order of Cardinal Wolsey, and sur- 
 rounded the whole of the Palace, was unfortunately filled up in the time of 
 Charles II., and the only trace of it that now remains is in the “ wilderness” 
 on the north side of the Palace, not far from what is still called the ‘ Moat 
 Gate.” The moat and the arched stone bridge over it, which still remains 
 
 beneath the surface of the ground in front of the Great Gateway, are shown 
 in the annexed sketch. 
 
 
 
 
 | Ohe Mest Heont, BWestored, 
 Tus portion of the Palace was entirely built by Wolsey, and would give a 
 good idea of Tudor palatial architecture, if it were not for the dwarfed 
 
70 West Front. 
 
 proportions of the great central gate-house (which, having fallen into dis- 
 repair, was badly restored about 1771), and for the absence from the 
 numerous turrets of the leaden cupolas (or “types,” to use the correct old 
 English term), which with their crockets and pinnacles and gilded vanes 
 formerly gave so unique and picturesque an appearance to the building. 
 Nearly all the mullioned windows in this front are restorations of the last 
 fifty years, and have replaced the monstrous sashes, which had been 
 inserted in the Georgian period, of “no taste.” The chimneys are likewise 
 all modern and very excellent restorations. . 
 
 
 
 SSS Sar TA SSS wey 
 
 
 
 The gateway on the left leads to the northern wing of the Palace, where 
 are situated the ancient kitchens and other domestic orfices. 
 
 The South Wing on the right towards the river is one of the most pic- | 
 turesque portions of the whole building, and the deep purple colouring of | 
 the brickwork, varied with chequered lines of black bricks, is in striking | 
 contrast with the flame-coloured walls of William III.’s building. This 
 corner of the building is said to be haunted by the ghost of Edward VI.’s 
 nurse and foster-mother, Mrs. Penn, who lived at Hampton Court thirty 
 years, and whose tomb and effigy still exist in Hampton Church. 
 
 Great Grate-house—értertor. As we have said, this isa modern re- 
 storation. But to give an idea of what it formerly was, and ought yet to be, 
 we annex a print of its original appearance, made up from half-a-dozen old 
 engravings and numerous records. The contrast between the grand, lofty, 
 deep-crimson Gothic tower, five storeys high, with its four turrets capped 
 with cupolas, and the existing squat three-storeyed gateway, with its bare and 
 truncated stumps of turrets, its modern glaring scarlet brick (incorrectly laid 
 in the “Flemish” instead of the “old English bond” of “headers” and 
 
Great Gate-house—Exterwor. 71 
 
 stretchers”), is a measure of the degradation of English taste from the 
 ze of Wolsey to that of George III. 
 
 _ The finely proportioned oriel window, however, is original, as is also the 
 tablet of stone, carved with the arms of Henry VIII., that stands beneath 
 the sill of the window. On the turrets are circular medallions of terra- 
 scotia, Sontaining the busts of the Emperors Tiberius and Nero. 
 
 
 
 ie Geteat Gate-house, Restored. 
 _ The two small hexagonal buttress-turrets which flank the archway, and 
 | correspond to two similar ones on the inner side of the gateway, are careful 
 | and excellent restorations of the last six months, which, besides acting 
 as supports to the front, are a great improvement to its appearance. They 
 _ rest on the original bases, which were found below the surface. 
 
72 | Great Gate-house—Interior. 
 
 Great Grate-house—Interior. This, which was long the disgrace of 
 Hampton Court, has been within the last year subjected to a beautiful 
 and most judicious restoration. When the front of the gateway was re- 
 built in 1771, Wolsey’s fine groined ceiling of carved stone was destroyed, 
 and replaced bya hideous flat lath and plaster one; the four Tudor arched 
 doorways to the right and left were taken out, and common semicircular 
 brick arches substituted ; and the whole was plastered and whitewashed oe 
 
 This disfigurement has at length been removed through the energy and 
 artistic taste of Mr. Mitford, the Secretary to the Board of Works, who since 
 his appointment has done so much to repair and preserve the ancient 
 fabric of the Palace, and has shown his appreciation of its historic and 
 architectural charms by taking a particular and personal interest in every- 
 thing relating to it. | 
 
 The Mew Groined Cetling is similar in style and pattern to that under 
 the second gateway, with necessary variations for the difference in size and 
 proportion, this ceiling being thirty feet long by twenty broad, while the 
 other is eighteen feet square. ‘The curvature and direction of the moulded 
 ribs were determined by two angle shafts, corbels, and springing stones, 
 which fortunately remained in two corners ; and the general construction is 
 in accordance with what is believed to have been the design and form of 
 the original. The central compartment is filled with tracery panels, with 
 Tudor detail, and ornamented with quatrefoils containing shields, upon 
 which are carved the arms and devices of Cardinal Wolsey, one being 
 “ T. C.,” Thomas Cardinal, a favourite cipher of Wolsey’s. The central 
 “boss” or key-stone, which alone weighs a ton and a half, is carved with 
 the Royal arms of the Queen. The stonework weighs altogether forty 
 tons. The Tudor doorways and brickwork which have been inserted 
 below, complete a long-desired improvement. 
 
 The whole execution of these restorations reflects great credit on Mr. 
 John *Lessels, surveyor to the Board of Works, under whose direction 
 they have been carried out, and who himself designed the new stone ceiling. 
 
 @ak Moors. The appreciative visitor will not fail to admire the grand © 
 and massive old oak doors, which, after lying in an outhouse for 110 years, 
 have been lately repaired and replaced in the position which they originally 
 occupied in the time of Cardinal Wolsey. Their ribs, rivets, aid beautifully 
 carved linen-fold panels, make a pleasing contrast to the pair of cast-iron 
 gates, of appalling pattern, which so long disfigured the entrance to the 
 Palace. 
 
 In the reign of Edward VI. this gateway and these great. doors were 
 barricaded by the Protector Somerset, against an anticipated attack of 
 
 | 
 } 
 
First Court. 73 
 
 ¥ 
 
 _ Warwick and other members of the Council who were hostile to him. 
 
 } And it was to this gate that the young king was brought by Somerset to 
 _harangue the multitude assembled in the Barrack Yard, and implore them 
 
 _ to “be good to him and his dear uncle.” 
 
 ; The holes in these doors are said, and by some believed, to have been 
 
 _ made by shot and bullets during the Great Rebellion. There are certainly 
 
 in the woodwork a great many particles of lead, apparently shot. 
 
 Worter’s Hovge. This is the small room, on the left-hand side of the 
 archway, where the porter used formerly to sit to be ready at hand to open 
 the great gates. The public had until recently to pass through this room 
 to reach the First Court, 
 
 
 
 AR Y this court, showing the decorated “types” with their heraldic 
 \“# A beasts and gilded vanes replaced on the turrets, from which they 
 mere} were removed about 150 years ago. The sketch thus gives the 
 original effect of this court as it was finished by Cardinal Wolsey. It is the 
 finest and largest courtyard of the Palace, being 167 ft. 2 in. from north to 
 south, and 141 ft. 7 in. from east to west; and affords a good example of 
 _ the elasticity of Tudor Gothic, and its adaptability to domestic purposes. 
 The variety and freedom in the grouping of the windows are very observable, 
 especially in the range on the right-hand side of the Clock Tower, which 
 Pugin speaks of with admiration and engraved in his ‘“‘Specimens.” The 
 - general impression is one of warmth and comfort ; and the air of picturesque 
 gloom which invests the whole is in pleasing contrast to the staring vul- 
 garities of the “cheerful” cockney buildings of the present day. : 
 
 It may be observed here that the horizontal line of the battlements and 
 those of the stone string courses are far from being rectilinear, which, though 
 it would be regarded as a terrible defect by modern surveyors, contributes 
 in no slight degree to the indescribable charm of old-fashioned work. 
 
 All the chimneys in this court are modern restorations; the windows, 
 however, are all original, though the bad taste of the beginning of this century 
 substituted square panes of glass for the original leaden casements with 
 diamond panes. 
 
 On the two turrets by the gate-house may be observed the arms of 
 
 _ Edward VI., and his initials “E. R.” in terra-cotta. 
 
 
 
74 Frrst Court. 
 
 The Area of the court was formerly laid down with turf, like a college 
 quadrangle, whence it was called “The First Green Court;” but;William IIL., 
 with that conspicuous want of taste which distinguished him, grubbed up 
 the grass and paved it with pebbles, as we now see it. Surrey, who records 
 of “the fair Geraldine” that 
 
 ‘‘ Hampton me taught to wish her first for mine,” 
 speaks also of 
 ‘The large greene courtes, where we were wont to hove 
 With eyes cast up into the maiden’s tower,’ 
 
 In the good old times the courtyard used to present an animated aspect 
 whenever the Court was here. The magnificent state-coaches and chariots 
 of those days, beautifully carved and painted, and covered with velvets and 
 silks of the richest colours and workmanship, and cloth of gold, 
 
 ** With damaske whyte and azure: blewe 
 
 Well dyapered with lyllyes newe,” 
 as the old romance records, passed through it, to the grand staircase of the 
 Great Hall. In it too thronged the retainers, attendants, and servants, and 
 the inhabitants of the neighbouring ‘‘ wick,” to chat and pick up the latest 
 gossip of the Palace. The entrée was, in fact, so unrestricted, that when 
 Philip II. gave orders that no one should be admitted within the gates who 
 did not belong to the Court or have business in it, the English resented it 
 as a piece of Spanish exclusiveness. 
 
 Galleries. On the ground and first floors, on three sides of the quad- 
 rangle, are the windows, placed at regular intervals, of certain long narrow 
 galleries, which (though the plan has been altered in recent times) were 
 formerly continuous, and gave access to a great number of “ double lodg- 
 ings,” as they were called in Tudor times, consisting each of a large chamber, 
 with a smaller inner one. ‘The plan, to judge from the ancient records, was 
 one of great comfort and convenience, and does not at all confirm the 
 current notion of the defective internal arrangement of old Gothic houses. 
 Here were some of the 280 rooms which Wolsey had always ready for 
 guests, richly furnished with silken beds and tapestry, and each with large | 
 fires, and with basons and ewers and candlesticks of silver. The retinue of 
 the F rench Ambassador, consisting of some 400 persons, were entertained 
 with great magnificence in this Palace by the Cardinal in 1528. 
 
 ®riel @ZAinvows, Over the inner side of the great gate-house is a fine 
 oriel window, with a stone panel beneath, carved with Henry VIII.’s arms, 
 and identical with the one already mentioned on the outer side of the same, 
 and similar to one which is over the gateway into the next court. A print 
 of the arms is annexed. 
 

 
 _ 
 
 fremason, for makyng, karvyng, and intaill- 
 _ yng of thé Kynges armes in thre sondry 
 _ tables of fre ston, with severall bourders of 
 _ antiqueworke and certen of the Kynges best, 
 holding up in a shilde the Kynges armes, 
 _with the garter, poises, and scripture in- 
 _ graved, and the crown imperiall wrought 
 
 Oriel Windows. 75 
 
 The charges for these three pieces of carving are entered in the old bills 
 preserved in the Record Office, as follows :— 
 
 Also paid to Edmund More, of Kyngston, 
 
 after the best facion ; whereof oon of the 
 said tables conteyninge 5 fot and oon inche 
 oon way, and 64 fot an other way, standythe 
 over the great gate comying into the Base 
 Court, and the second table of like mesure 
 standithe over the inner part of the same 
 gate, and the third table, conteyning 5 fot : —— . = 
 oon "way, and 3 fot and 5 inches the other > OCOSETSMVNSORONT 
 way, standithe over the utter part of the : ey 
 
 gate comyng into the inner court; in all Henry vut.’s Arms. 
 
 for fornyshyng and settyng up of the said thre sondry tables, with severall armes afore- 
 
 
 
 LETS RA PSs ae Lae Ta aT an Ta Te yo 
 
 
 
 _ said, by convencion, 34/. 4s. 10d.—October 23. H. 8 
 
 Anne Wolepn’s Cratetwap, beneath the Clock Tower, leads into the 
 “Clock Court” and to the staircase of the Great Hall. The tower is finely 
 
 proportioned, but now disfigured by a bastard-classic campanile put up in 
 
 modern times. 
 
 On the turrets are two medallions in terra-cotta of the Roman Emperors 
 (see page 104). ‘The clock-face on this side, which is of slate, and 5 ft. 8 in. 
 in diameter, was erected in 1835, when William IV., whose monogram is 
 cut on a small circle of slate above, sent the clock here from St. James’s 
 Palace. 
 
 The Groined Ceiling of this gateway is a modern restoration, but an 
 exact reproduction of what it replaced, some portion of which was bélieved 
 to be so far decayed as to be in danger of falling. It is noteworthy as a 
 good specimen of the fan groin. The original was built by Henry VIII., 
 whose initials, ‘‘H. R.,” and whose badges, the fleur-de-lis, the rose, and 
 portcullis, were carved in the quatrefoils in the central circular panel. The 
 time of its erection must have been during Anne Boleyn’s short reign, for 
 her badge, the falcon, and her initial, an “A,” entwined with Henry’s in a 
 true-lovers’ knot, were also carved in the quatrefoils, whence the name of 
 this gate. By the time, however, that the carvers reached the decoration of 
 the Great Hall, the true-lovers’ knot had to link Henry’s initial with that of 
 Jane Seymour. The centre, or key-stone, is carved into a great Tudor rose. 
 
76 First Court. 
 
 
 
 Anne Bolepn’s ‘Gratewap. 
 
 Staircase. The interior of this, which forms the principal entrance to the 
 Great Hall, has been done up within the last few years, the walls refaced 
 with brick instead of the old plaster, and the ceiling supported on oak 
 beams. ‘The little door on the left opens into a turret, where hang the 
 clock weights; and on the landing is a small old doorway into a spiral 
 staircase, leading to the minstrel gallery, and on to the roof of the hall. The 
 spandrels of the great stone doorway into the hall itself are carved with the 
 arms of Ifenry VIII.; the doors are a miserable piece of work, put up in 
 
 Charles II.’s time in place of the original carved oak doors, with their ~ 
 
 wrought iron hinges and linen-fold panels. 
 
 The arched recess at the top of the stairs represents the position of an 
 ancient fireplace, which was discovered when the walls were recently 
 stripped for the repairs, and which had remained concealed since 
 Henry VIII. adapted what were formerly chambers in Wolsey’s palace 
 into this staircase. | 
 
 The restoration of stained glass in the windows here, decorated with 
 Tudor arms, ciphers, badges, and mottoes in scrolls, such as we find from 
 the records to have been inserted by Henry VIII., is much to be desired. 
 
Great Flalt. a, 
 
 ‘OF areat Tau. 
 
 aN ENRY VIIL., and not Wolsey, as is still sometimes erroneously 
 a Pitts iy stated, was the builder of this truly magnificent room, which, from 
 
 
 
 
 
 ee j glass windows, shedding a richly coloured light, and its beautiful 
 tapestries, is the most gorgeous extant example of the internal decoration of 
 a Tudor Palace. It has indeed been objected that the painting of the 
 roof, which was done up about fifty years ago, is too brilliant. But we 
 know that Henry had a particular liking for gold leaf and colour.on the 
 roofs and ceilings of his palaces ; and we have the evidence of the original 
 
 bills to convince us how profusely the work was decorated. 
 
  * The Wuilding was begun immediately after the death of Wolsey, the old 
 hall, which had either been built by the Cardinal, or had formed part of 
 the ancient manor-house of the Knights Hospitallers, being first removed 
 to make way for it. The accounts of the works, which are still preserved 
 in the Record Office and fill four large folio volumes, afford minute and 
 often very valuable and curious information as to the whole structure and 
 its decoration. The names of every workman and labourer, with his wages,. 
 and the cost of all the material, and of every piece of carving or painting, 
 are elaborately set down. By dint of the men “ workyng in theyr howre 
 tymes and drynkyng tymes for the hastye expedicion of ye same,” and 
 by the ‘“‘empcion of tallow candles spent by the workmen in the nyghte 
 tymes ”—to cite the original entries—the hall was finished by the year 
 1536, when Jane Seymour was queen. 
 
 As to the historp of the Hall, it was used by Henry VIII. chiefly for 
 grand functions of state, banquets, and receptions of ambassadors ; and. 
 many a time the bluff old king sat in state on the dais, or took part in 
 mummings and disguisings, or danced with Jane Seymour and Catherine 
 Howard. Here Catherine Parr was proclaimed queen on July rath, 1543 ;. 
 and here at the Christmas following was entertained Francis Gonzaga, the 
 Viceroy of Sicily. 
 
 In the subsequent reigns it was also used for masquerades, masques, and 
 
78 Great Flall. 
 
 plays, for which it was found to be admirably adapted. The accounts of 
 the Treasurer of the Chamber and of the Master of the Revels supply us 
 with numerous details as to the stage appliances, scenery, and dresses, all of 
 which were on a most elaborate scale. One of the most magnificent of 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 these entertainments was “ The Vision of the Twelve Goddesses,” a masque 
 by Samuel Daniel, which was played before King James, on Sunday night, 
 January 8th, 1604, when the Queen, Anne of Denmark, and her ladies, 
 
The Roof. 79 
 
 ‘took the leading parts. There is besides conclusive evidence that the 
 King’s company of actors, of which Shakespeare was a member, gave 
 -several performances in this hall. In Charles I.’s reign it still continued 
 one of the chief royal theatres, and one of the last plays acted in it was 
 ““ Hamlet” on January 24th, 1637. After the Great Rebellion we hear of 
 no more theatricals till George I.’s time ; when the hall was re-opened as a 
 theatre on the 23rd of September, 1718, with ‘‘ Hamlet,” which was followed 
 on October 1st, by ‘‘ Henry VIII., or The Fall of Wolsey.” 
 The dimensions of the Hall are :—in length 106 feet, in width 4o feet, 
 and in height 60 feet. The hall of Christ Church, Oxford, which is 
 remarkably like this, and was built a few years before, probably by the 
 same architect, is of the same width, but longer by eight feet, and not so 
 high by ten feet. 
 
 ‘Obe Book. 
 
 This is, perhaps, the most splendid Gothic roof in England, of the Per- 
 ‘pendicular period. That of Westminster Hall is grander and more 
 imposing, those of Crosby Hall and Eltham Palace purer in taste, but the 
 ‘roof of the Great Hall of Hampton Court maintains an undisputed pre- 
 ‘eminence for richness of decoration and elaborate workmanship. To 
 analyze its structure in detail would occupy more space than we can spare ; 
 we will not, therefore, do more here than indicate its leading features, 
 referring to the engravings in Pugin’s “Specimens of Gothic Architecture” 
 for completer information. 
 
 Technically it is a late Perpendicular single hammer-beam roof, of seven compartments 
 or bays. Each ‘‘principal” consists of two half-arches, supporting one large centre arch, 
 above which is a somewhat similar arrangement of parts on a smaller scale, filled with 
 pierced panelled tracery. Each side arch is composed of a beam (called the ‘‘ pendant 
 post”), resting against the wall, and terminating below in a corbel; of a curved beam 
 (called the ‘‘hammer-brace”) springing from the corbel; and of a horizontal beam 
 {called the ‘‘hammer-beam”’), resting on the pendant post and hammer-brace, The 
 spandrels between these three parts are beautifully carved with the arms and badges of 
 Henry VIII. and Jane Seymour. Each of the great centre arches of the roof are formed of 
 curved beams (called ‘‘ collar-braces’’), springing from perpendicular beams (called ‘‘side- 
 posts”) terminating above in the ceiling, where they are fixed to the rafters of the roof, 
 and below, where they meet the hammer-beams and hammer-braces, in magnificently- 
 wrought pendants. Across the top of each of these great centre arches, is laid a hori- 
 zontal beam (called the ‘‘collar”) on which rests the open work filling the topmost part 
 of the roof. 
 
80 Great Hall. 
 
 The longitudinal section, or side view, of a compartment 
 or bay, exhibits a peculiar and very complex and beauti- 
 ful construction. It consists, first, of single arches spring- 
 ing from the centres of the sides of the hammer-beams; 
 secondly, half arches, springing from the ‘‘side-posts,” at 
 the point where they terminate in pendants, and support- 
 ing centre arches, which themselves spring from other 
 pendants ; and thirdly, double arches, springing on each 
 side from the ‘‘ collar” and meeting each other in the 
 centre, where they terminate, at their point of intersection, 
 in a third series of pendants. At the apex of the roof a 
 similar structure exists. The curved ceilings in the upper 
 part of the roof, with the two upper tiers of lesser pendants, 
 should be noticed as peculiarities to be found in no roof 
 but this. 
 
 A general view of the roof is afforded in the 
 sketch of the Great Hall. 
 
 Engravings of two pendants are annexed. 
 The longest of these, on this page, is one in the 
 lower series, beneath the hammer-beams. They 
 are sixteen in number, and are no less than four 
 feet ten inches in length. The following extract 
 from the old accounts of the time of Henry VIIL., 
 preserved in the Record Office, relate to them : 
 
 
 
 | wy “Also payd to Richard Rydge, of London, 
 @p kerver, for the makyng of 16 pendaunts standing 
 
 under the hammer-beam in the Kinge’s New 
 hall, at 3s. 4d. the peece.” : 
 
 The smaller pendant, on the opposite page, between the two corbels, is 
 one of the upper series, and is 2 ft. 93 in. in length. Their cost is given in 
 the old bills: ‘‘Paid to the aforesayd Richard for the makyng of 20 
 pendaunts standying in the upper purloyns within the Kynges new hall 
 at 25s. the pece.” They are now twenty-one in number, a discrepancy 
 accounted for by the fact of a new one having been made for the topmost 
 part of the centre bay, when the louvre or femeral was removed. 
 
 The cost of the intermediate pendants, which are 3 ft. long, and carved 
 with scroll-work and Tudor badges, is similarly recorded. It should be 
 noticed that the details in the pendants betray the influence of the Italian 
 taste, imported into England, a few years previously, by the artists employed 
 by Henry VIII. This is one of the first indications we have of the insidious 
 intrusion of that foreign style which, without ever thoroughly acclima- 
 tizing itself here, was destined to supplant our native English Gothic. 
 
: 
 ; 
 i 
 : 
 
 : 
 
 Lhe Roof. 81 
 
 The carving also of the corbels, of which two engravings are annexed, is 
 likewise worthy of attention; as is also that of the spandrels above them, 
 
 which were wrought by Thomas Johnson of London, and cost forty shillings 
 each. 
 
  PAlinstrel Geallerp. According to the usta.’ design of medieval 
 
 architects, this is placed at the lower, or entrance end, of the Hall. Here 
 
 stood the minstrels in their picturesque attire, and played during the 
 festivities, banquets, and other entertainments. Henry VIII. had a 
 large number of performers constantly in attendance on him wherever 
 he journeyed. ‘The present balustrade is a restoration, the original having 
 
 _been destroyed when the Hall was used as a theatre; and the little panel 
 
 
 
 SHE 
 
 SSA 
 
 
 
 pictures of Cardinal Wolsey, Henry VIII., Anne Boleyn, and Jane 
 Seymour are modern imitations of well-known originals. The strips of 
 tapestry, on the other hand, inserted between them, are remains of old 
 borders used in the decoration of the Palace in ancient times. They were 
 probably executed in England; one is worked with the arms of Henry 
 VIII., with the lion and dragon as supporters, and the Tudor badges 
 
 _ crowned, the other with the Cardinal’s arms. 
 
 | 
 
 : 
 
 A 
 
 ( 
 
 The trop)p of armour and spears, &c., at the back of the gallery, was 
 arranged when the hall was redecorated. To the right is a large antique 
 fireplace, now partially bricked up, which served to warm the Minstrels’ 
 Gallery. To the left is the doorway into a curious spiral staircase, or to 
 use the old and more concise term, “‘a vyce,” which gives access to the 
 gallery, from the landing at the top of the Great Hall stairs. 
 
 G 
 
82 Great Hall. 
 
 he Screens which support the Gallery are of fine deep-toned oak, 
 and are divided, as was usual in medizval halls, into three parts, leaving two 
 entrances into the body of the room. ‘The compartments, which are flanked 
 by heavy oak pillars with moulded bases and capitals, are formed into 
 panels with carved tracery, showing the Tudor badges and Henry VIII.’s 
 initials. An item in the old accounts relating to this is as follows: “‘Payde 
 to Richard Rydge, of London, carver, for cutting and carving of 32 lintells 
 wrought with the King’s badges and the Queen’s standing in the screens 
 within the the King’s New Hall, 2s. 6d. the piece.” 
 
 At this end of the hall was erected the stage, when plays were given 
 here ; and many a time the actors in Shakespeare’s company made their 
 entrances and exits through these openings. Behind the screens, and 
 opposite to the present public entrance, is another doorway, now covered 
 with tapestry, which leads down a flight of wooden steps into the cloisters 
 towards the great kitchens, whence, on occasions when grand banquets 
 were given by the King to foreign sovereigns or ambassadors, the dishes 
 were brought up to the tables. Each course was heralded, as is recorded 
 in the old romances, by the music of the merry minstrelsy :-— 
 
 ‘* Fro kechene cam the fyrst cours, 
 With pipes, and trumps, and tabours.” 
 
 ‘Obe Gnd Gindows. 
 
 ALL the stained glass here is modern, and was executed between the years 
 1840 and 1846 by Willement, who, considering the epoch at which he 
 worked, deserved great credit for the taste and accuracy of the restoration. 
 We find from the old accounts that “‘ Galyon Hone the Kynges glasier ” in 
 the year 1534 put 
 “**In the two great wyndowys at the ends of the haull two great armys, with four beestes 
 in them at 6s. 8d. the pece ; also in the said wyndows in the haull 30 of the Kynges and 
 Quenys armys, pryce the pece, 4s. ; also 46 badges of the Kynges and the Quenys, pryce 
 the pece, 3s.; also 77 scryptors with the Kynges worde, pryce the pece 12d.” 
 
 It appears also that the iron ‘‘ staybarres,” ‘“‘ standards,” and ‘lockets,” 
 which form the stout framework of each casement, were coloured red. 
 
 The plan of the east windows, over the dais, which chiefly illustrates 
 Henry VIII.’s descent from Edward III. and the union of the Houses of 
 York and Lancaster, is (beginning from top and left) as follows :— 
 
 ? 66 
 
 | Bpper GHAindows, or Ober Lights. 
 
 Arms of the Kingdom of France. Arms of the Lordship of Ireland. 
 Arms of the Kingdom of England. Arms of the Principality of Wales. 
 
| End Windows. 83 
 
 Great Gast Window. 
 
 1st and 2nd Hights. John Beaufort, Duke of Somerset’s badge, the Portcullis, name, 
 and arms. Portcullis, and the ‘White Greyhound of the House of Lancaster sup- 
 
 orting a banner charged with a portcullis. 
 
 3rd and 4th Rights. Margaret, Countess of Richmond’s badge, the Daisy, arms and name. 
 John Beaufort, Earl of Somerset! s arms and name. 
 
 5th and 6th Lights. King Henry VII.’s arms, name, and badge, the Red Dragon. John 
 Duke of Lancaster’s arms and name. « 
 
 Centre Lights. Effigy of HENRY VIII., and the lines of York and Lancaster uniting 
 in a Tudor Rose ; and Henry VIII.’s arms. Edward III.’s name and arms ; ; and 
 the stock of the two houses branching off to the dexter and sinister sides. 
 
 oth and roth Wights. Elizabeth of York’s arms, name, and badge, the Rose en Soleil 
 
 7 Edmond, Duke of York’s arms and name. 
 
 ‘Lith and 12th Lights. King Edward IV.’s badge, the Rose en Soleil, arms, and name. 
 Richard Earl of Cambridge’s arms and name. 
 
 TSH and 14th Highté. Richard, Duke of York’s badge, the Falcon, within the closed 
 fetterlock, name, and arms. Falcon within the fetterlock ; and the White Lion of 
 ohe ete of York supporting a banner charged with a falcon within an open 
 
 etterlock 
 
 The plan of the west windows, over the Minstrel Gallery, which give the 
 arms, &c., of Henry VIII.’s six wives, and their issue, is as follows :— 
 
 Upper THindows, or Doer Lights. 
 
 Arms of the Order of St. John of Jerusalem. Arms of the Archbishopric of York. 
 Arms of Thomas Docwra, Prior of the Order. Arms of Cardinal Wolsey. 
 
 Grreat GAest WeAindow. 
 
 In the spaces above are Henry VIII.’s arms, badges, and cyphers. 
 
 Ist and 2nd Lights. Katherine of Arragon’s motto ‘Tanta Monta,” arms, and name. 
 **Vivat Rex ;” Device, ‘‘ Dieu et mon Droit.” 
 
 3rd and 4th Lights. Anne Boleyn’ s motto, ‘Mihi et Mez,” arms, and name. ‘“‘ Ed- 
 wardus Sectus Rex ;” and arms in garter. 
 
 5th anv 6th Lights. Jane Seymour’s motto, ‘‘ Bound to Obey and Serve,” arms, and 
 name. ‘‘ Dieu et mon Droit ;” ‘‘ Fleur de lys;” ‘‘ Mon Joie, St. Denis.” 
 
 ‘Centre Lights. Figure of Henry VIII ; “« Henricus Octavus Rex.” “ Maria Regina ;” 
 
 s in garter. 
 
 th and roth Lichts. Anne of Cleves’ motto, ‘*God send me well to kepe,” arms, and 
 name. ‘* Dieu et mon Droit ;” Portcullis, ‘© Altera Securitas.” 
 
 t1th and 12th Lights. Katherine Howard’s motto, “ Toujours Loyal,” arms, and name. 
 ‘¢ Elizabetha Regina.” Arms in garter. 
 
 (3th ann 14th Wights. Katherine Parr’s motto, ‘‘ Amour avec Loyauté,” arms, and 
 name. ‘‘ Vivat Regina,” Device; ‘‘ Semper eadem.” 
 
 
 
84 Great Hall. 
 
 Obhe Sine GMindows. 
 
 TuEsE are thirteen in number, each consisting of eight lights; the space 
 of what would be the fourteenth window is occupied by the great south bay 
 window. Six of them set forth the pedigrees of Henry VIII.’s six wives, 
 who all traced descent from Edward I., with their badges, arms, and 
 legends. 
 
 The intermediate seven windows are occupied with the heraldic badges 
 and “beasts” of Henry VIII—The Lion, the Portcullis, the Fleur-de-Lys, 
 the Tudor Rose, the Red Dragon of the House of York, the White Grey- | 
 hound of the House of Lancaster; and with the cyphers H. R., etc., and 
 mottoes “ Dieu et mon Droit,” and “ Dne. Salvum Fac Reg.” | 
 
 First Winnoty (South side). ‘‘ Katherine of Arragon, ist wife of King Henry ye | 
 Eight, her pedigree from King Edward ye First, & his 1st wife Eleanor of Castile.— 
 King Edward ye First married, 1st Eleanor of Castile—King Edward ye Second married 
 Isabel of France—King Edward ye Third married Philippa Pamaula—John, Duke of 
 Lancaster, married Blanch Plantagenet. John, Grand Master of Airs, married Philippa | 
 of Lancaster—John, Prince of Portugal, married Isabel of Braganza—John, King of Leon, 
 married Isabel of Portugal—Ferdinand, King of Spain, married Isabel of Leon.” 
 
 Thirn Window (South side). ‘* Anne Bullen, 2nd wife of King Henry ye Exghth, her 
 pedigree from King Edward ye First and his 2nd wife, Margaret of France.—King Edward 
 ye Ist married 2nd, Margaret of France—Thomas, Earl of Norfolk, married Alice Halys— 
 John, Lord Segrave, married Margaret de Brotherton—John, Lord Mowbray, married 
 Elizabeth Segrave—Thomas, Duke of Norfolk, married Elizabeth Fitzalan—Syr Robert 
 Howard married Margaret Mowbray—John, Duke of Norfolk, married Catherine Molyns— 
 Thomas, Duke of Norfolk, married Elizabeth Tylney—Thomas, Earl of Wiltshire, 
 married Elizabeth Howard—Anne Bullen, daughter of Thomas, Earl of Wiltshire.” 
 
 Fifth Window (South side). ‘“‘ Jane Seymour, 3rd wife of King Henry ye Eighth : 
 her pedigree from King Edward ye First and his 1st wife Eleanor of Castile. —King 
 Edward ye First married Eleanor of Castile—King Edward y* Second married Isabel of 
 France—King Edward y¢ Third married Philippa of Pamaula—Lionel, Duke of Clarence, 
 married Elizabeth Burgh—Edmond, Earl of March, married Philippa of Clarence— 
 Henry, Lord Percy, married Elizabeth Mortimer—John, Lord Clifford, married Elizabeth 
 Percy—Syr Philip Wentworth married Anne Say—Syr John Seymour married Margaret 
 Wentworth.” 
 
 Eighth Cinvow (North side). ‘‘ Anne of Cleves, 4th wife of King Henry ye Eighth ; 
 her pedigree from King Edward ye First and his ist wife, Eleanor of Castile.—King 
 Edward y®* First married 1st, Eleanor of Castile—John, Duke of Brabant, married 
 Margaret Plantagenet—Lewis, Count of Flanders, married Margaret of Brabant—Philip, 
 Duke of Burgundy, married Margaret of Flanders—John, Duke of Burgundy, married 
 Margaret of Bavaria—Adolphus of Cleve married Mary of Burgundy—John, Duke o! 
 Cleve, married Elizabeth of Hevers—John, Duke of Cleve, married Maud of Helse—John, 
 Duke of Cieve, married Mary of Juliers.” 
 
 Genth Window (North side). ‘‘ Katherine Howard, 5th wife of King Henry y 
 Eighth; her pedigree from King Edward ye First and his 2nd wife Margaret of Lrance.— 
 
 
 
Stde Windows. 85 
 
 King Edward ye First married 2nd, Margaret of France—Thomas, Earl of Norfolk, 
 married Alice Halys—John, Lord Segrave, married Margaret de Brotherton—John, Lord 
 Mowbray, married Elizabeth Segrave—Thomas, Duke of Norfolk, married Elizabeth 
 Fitzalan—Syr Robert Howard married Margaret Mowbray—John, Duke of Norfolk, 
 _ married Katherine Molyns—Thomas, Duke of Norfolk, married Elizabeth Tylney—Lord 
 Edmond | Howard married Joyce Colepeper—Katharine, daughter of Lord Edmond 
 Howard. 
 
 Tw steeh CHinvow. Katharine Parr, 6th wife of King. Henry ye Eighth ; her pedigree 
 from King Edward ye First and his ist wife Eleanor of Castile.—King Edward y* First 
 _ married 1st, Eleanor of Castile—King Edward y* Second married Isabel of France—King 
 
 Edward ye Third married Philippa of Hainault—John, Duke of Lancaster, married 
 Katharine Roet—Ralph, Earlof Westmorland, married Joanne Beaufort—Richard, Earl 
 of Salisbury, married Alice Montacute—Henry, Lord Fitzhugh, married Alice Nevel-—Syr 
 William Parr married Elizabeth Fitzhugh—Syr Thomas Parr married Maud Green— 
 pe natine, daughter of Syr Thomas Parr.” 
 
 Bay Window. This great bay window on the dais, extending nearly 
 from the floor to the roof, and containing as many as forty-eight lights, is 
 one of the finest in England, It bears some resemblance, but is superior 
 to the one at Christchurch, and has much affinity to that at Eltham Palace. 
 
 _ The roof of the bay consists of a miniature fan-groin of exquisite delicacy 
 and beauty, with pendants. The raised step, or “hal-pace,” as it was 
 called, was formerly paved with green and white tiles, which have been 
 “4 restored ” away and replaced by unsuitable flagstones. The stained glass 
 in this window, which was inserted by Willement, in 1841, contains the 
 
 arms, initials, and badges of Henry VUL, the arms and motto of Jane 
 
 | Seymour, as Bound to obey and serve,” and the arms of Wolsey, with his 
 
 motto “ Dominus mihi adjutor.” In the lower lights is the device “The 
 lorde Thomas Wolsey, Cardinal, legat de latere, Archbishop of York, 
 Chancellor of Englande.” 
 
 he Floor is now paved with large plain white flag-stones, put down 
 
 _when the restorations were carried out. They are entirely out of character 
 
 _ with the rest of the decoration, and should be replaced by the small tiles, 
 
 _ with which, as we learn from the old account, it was formerly paved, and 
 
 which were suffered to remain till a comparatively very recent period. At the 
 
 _ beginning of this century there still existed, somewhere at the lower end of 
 
 _ the hall, beneath the floor, the old stage trap-door, which was made in the 
 
 reign of James I., and opened into the cellars below. No trace of it is now 
 
 _ apparent. 
 
 In the centre of the floor, in Tudor days, was the open hearth, such as 
 
 _ survived until a few years ago in Westminster School. Relating to this we 
 
 - find an item in the oft-quoted old accounts for “ hewing and settyng the 
 
 ' pavyng of the herthe in the Kynge’s new hall, of Reygate ston,” its size 
 
86 - Great Hall. 
 
 being six feet square. Here fires of blazing logs of wood and charcoal, 
 afforded both light and heat, while the smoke, escaping through the 
 “‘femeral” in the middle of the roof, was carried off by the draught 
 without leaving any noxious fumes behind. 
 
 Che Worns arranged on the walls, above the tapestry, are the remnants 
 of a collection begun about the time of Queen Elizabeth. They were one 
 of the sights of the Palace, and Evelyn speaks in his Diary of “the vast 
 beames of stags, elks, and antelopes” as “ very particular.” 
 
 The “* Hemeral” or ‘* Louvre,’ which was an essential feature both of 
 the exterior and interior of every Gothic hall, probably fell a victim to the 
 “improving” hand of Kent the architect, who was commissioned by 
 George II. to repair the hall; as after his time it is not indicated in any 
 of the engravings of the Palace. Its exact design can only be conjectured 
 from extant examples, such as that on the Hall of Trinity College, 
 Cambridge, and that of Westminster Hall (which is believed to be a fair 
 restoration of the original), and from the records of its construction. Inside 
 there were three pendants of oak, and “a carved rose crownyd standyng in 
 the crowne vought.” It was coloured blue, and probably studded with 
 gilt stars. Outside there were numerous pinnacles on which were placed 
 several heraldic “‘ Kynges beastes ” four lions, four dragons, and four grey- 
 hounds, all of which were elaborately painted, and bore gilded vanes; 
 while as a centrepiece was “a great lyone crownyd, baryng a great vane, 
 layde in oyle, servyng the toppe of the femerall.” 
 
 Bais, ov Wigh Wace. It was on this raised step, that the Royal 
 table was placed across the upper end of the hall, the King sitting in the 
 middle and the principal guests on either side of him; while inferior 
 persons were accommodated at the long tables placed lengthways down the 
 hall. On the left hand side of the dais, opposite the bay window, is a 
 doorway, now hidden by tapestry, which communicates with the ‘“* Horn 
 Room.” (See page roz.) At the back, over the door into the adjoining 
 Presence Chamber, has been placed in modern times, a richly-carved stone 
 bracket inscribed ‘‘ Saynt George for merrie England,” on which in full 
 armour stands the saint, transfixing the dragon with his spear. The two 
 figures in armour, on smaller brackets, on each side, came from the Tower, 
 and were erected about the same time. 
 
 The door on the dais is doubtless modern. 
 
Tapestries in the Great Flall. 87 
 
 
 
 —- BElapestries in the Gareat (Elan. 
 
 ghee N the Cardinal’s time no palace in Europe was as celebrated as 
 VA Hampton Court for the quantity of splendid Arras hangings that it 
 BNA contained. For this form of artistic decoration Wolsey appears 
 “ein fact to have hada perfect passion ; and he had not been in pos- 
 session of the manor a year before he was in negotiation for its purchase 
 wholesale. Again, in 1522, he bought at one bargain twenty-one complete 
 ‘sets, for as many rooms, and consisting of 130 pieces. And he continued 
 to collect more tapestry, until every room of importance in the Palace was 
 covered. Several of the pieces that still remain here are to be identified as 
 having belonged to him. 
 _. Under the Minstrel Gallery are now placed the inferior pieces, consisting 
 of a duplicate of ‘‘The Triumph of Fate,” described on page 97, and of 
 
 
 
 ye Story of Derats. 
 
 Of this subject, which must formerly have consisted of several pieces, only 
 two now remain. They are much inferior to all the rest of the tapestry here. 
 
 Ghe First Piece portrays Hercules with Diomede’s mares. Above it is the legend :— 
 Dioevems. a. les. chebaur . vonnat. sang . estrangier 
 Eur. Hercules. te. fist. fui. propre.a.les. chevaule . mengier. 
 
 he Second JPiece exhibits the Death of Hercules. Above is the legend :— 
 
 Dianira. pour. li. ogter. De. oeuure. imunde . la 
 Chemise. tui. trangmisgt. par. Licas, 
 
 Quit .mist.a. mort. ect. le. plug .preug. Du. monde. fina, 
 Weg. jours. par. ce. malheureur . cas. 
 
 In the centre is Hercules with the skin of the Nemzan lion and his club, clothed in the 
 tunic which his wife, Deianeira, had steeped in the poisonous blood of the Centaur, 
 Nessus, who had revengefully assured her that it would act as a love-philtre. By the hero’s 
 side is the altar whereon he was about to offer sacrifice to Zeus when the venom began 
 to eat into his flesh. Above are seen DEIANIRA, and LYCAS, the bearer of the fatal 
 garment. Below to the right is shown the hero again, apparently in pursuit of the horned 
 hind, his third labour. 
 
88 , Tapestries in the Great Fall. 
 
 Ake Diftory of A Braham. 
 
 But by far the finest tapestries at Hampton Court are the eight pieces 
 (belonging toa series of ten) illustrative of episodes in the life of Abraham, 
 which now adorn the walls of the body of the Hall, and which for richness 
 and splendour are scarcely to be matched in Europe, and certainly not in 
 England. Their present condition, however, with the masses of gold thread 
 dulled and tarnished, and the once lustrous silks worn and faded, can give 
 but an inadequate idea of their former brilliancy. 
 
 There would seem to be little doubt, although we possess no positive 
 proof of the fact, that they were executed after designs by the Flemish 
 painter, Bernard van Orley, and probably under his personal superinten- 
 dence at Brussels. Van Orley, who was a native of that town, travelled in 
 Italy during the beginning of the sixteenth century, and there became a 
 careful student of Raphael, if he did not actually work in his studio. The 
 influence of that great master’s style is therefore clearly discernible in all 
 his works, and not least in those before us. On his return to his own 
 country, about the year 1520, he was named Court Painter to Margaret of 
 Austria, Governess of the Netherlands, and after her death in 1530 he held 
 the same post under her successor. During this time until his death in 
 1541, he frequently drew designs for tapestry, and from this period “ The 
 History of Abraham” undoubtedly dates. 
 
 On the verge of one of the pieces are two “‘ B’s,” with a plain red escut- 
 cheon between them, which was the mark of the manufactory of Brussels. 
 An incomplete set, similar, but much inferior, to this, is preserved in the 
 Museum at Munich, and is likewise attributed to Bernard van Orley. 
 
 From the above circumstances and dates it would seem improbable that 
 these tapestries could have belonged to Cardinal Wolsey, and the fact that 
 they are not found in the inventory of his goods confirms this view. Probably 
 they formed the subject of a royal gift to Henry VIII. At any rate, they 
 were in his possession, for they occur in an inventory, taken at his death, 
 among the tapestries at Hampton Court: “‘Tenne peces of newe arras of 
 thistorie of Abraham,” with the dimensions of each piece given. Ever 
 since that time they have remained here, the admiration for three centuries 
 and a half of every visitor to the Palace. 
 
 Hentzner, who made his tour in England in 1598, speaks of the chambers — 
 
 at Hampton Court shining with tapestry of gold and silver, and silk of 
 
FTistory of Abraham. 89 
 
 different kinds. And the Duke of Saxe-Weimar, who visited the Palace 
 in 1613, specially refers in his diary to ‘‘ Several pieces, containing the 
 story of Hagar’s delivery ; how Abraham is about to offer his son Isaac, how 
 Isaac courted, etc. The dress, landscapes, buildings, and the like, are 
 in gold, silver, and variegated silks, so artistically worked as though they 
 had been carefully painted with colours.” 
 
 In the inventory taken in October, 1649, of Charles I.’s goods at Hampton 
 Court, by the commissioners appointed by the Long Parliament, the “Ten 
 
 pieces of Arras hangings of Abraham, in the custody of Wm. Smithbie, con- 
 taining 826 yards,” were appraised at #10 a yard, that is, £8260. This 
 high value is the more remarkable when we remember that Raphael’s 
 cartoons were valued at only £300, and that the prices paid at the sale for 
 ‘a score of masterpieces by Raphael, Giorgione, Correggio, and Titian, which 
 _are now among the brightest gems of the galleries of Madrid, Vienna, and 
 ‘Dresden, scarcely amounted to that sum. In the inventory a note is 
 ‘annexed to this entry: ‘‘ Now in the use of the Lord Protector.” 
 _ Evelyn mentions in his diary, in 1662, among the chief treasures of the 
 Palace, ‘‘ the hangings designed by Raphael, very rich with gold,” and adds, 
 “that the world can show nothing finer than the storys of Abraham and 
 ' Tobit.” Since then they have at different times hung in different rooms, 
 : till about the year 1839, when eight pieces were arranged in the Great Hall. 
 
 Unfortunately, the two others of the set were soon after removed from the 
 Palace altogether, and thus, for the first time in 300 years, separated from 
 the series to which they belonged. 
 
 Worvers.—Not less deserving of careful inspection than the subjects 
 themselves are the richly elaborate borders that enframe them, and which 
 consist chiefly of allegorical female figures, emblematic of the motives and 
 “sentiments in the principal design. There are three of these figures, on 
 
 either side of each piece, standing beneath canopies, baldachins, or niches, of 
 fine classical work, with backgrounds of gold thread ; and at the bottom are 
 five more, seated. All of them are cleverly conceived, and many of them 
 exceedingly beautiful. The arabesque scroll-work and foliage intermediate 
 between them is in the most ornate style of the Renaissance. 
 
 The borders have been omitted from the following sketches of these 
 tapestries, because the designs are too minute to be indicated with any 
 success on a small scale; but the names of the figures are inserted round 
 the edge of the engraving in their proper positions. Above each piece is 
 a Latin inscription, worked in capital letters on the skin of some animal, 
 and describing, more or less in the words of Scripture, the subject 
 
 | portrayed. 
 
 
 
I. Departure of Abraham. 
 Apparet Deus Abrahe . Is Dei jussu relinquit patriam , ddificat aram . Adorat Deum. 
 7 : » ANIMI . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 _ 
 . APPARITIO. < SEI .PROMTITUDO . 
 Apparition. Tf * oe! i Promptitude. 
 4 nn wae = o 
 « ye SV " RAR Bo 
 » BENEDICTIO to. Soak GN oe Be . MANSUETUDO. 
 Blessing. ) pre ist Rye yey . Gentleness. : 
 fe a Ria } 
 — iN 1 oe rT 
 : 5 .L) NES ase hie elt) en 
 Hf i ROO 7 =, 6 
 inn Py § oh tm TIN 
 . OBEDIENTIA. aot 5 26 AF U NN . BONITAS . ) 
 . ae 55 — 
 Obedience. EN ies ef 7\\ aeaas Al i Goodness. | 
 Zon tS «oS Ay. A 
 .LATRIA . . EXILIUM . | eee . INNOCENTIA, |. SIMPLITAS. | 
 : : - PROMTITUDO . : aii 
 Worship. Exile. / Innocence. Simplicity ? 
 Promptitude. 
 
 | obey ee | | 
 
 ‘© Now the Lord had said to Abram, Get thee out of thy country, and from thy kindred, 
 and from thy father’s house, and I will show thee. . . And give the land... . So Abram 
 departed. . . . And there he builded an altar unto the Lord, and called upon the name of 
 the Lord.”—GENESIS xii. 
 
 Il. Wirth and Circumcision of Isaac; Wxpulsion of Magar. — 
 
 Expellitur Agar cum Filio . Abraham dat commeatum . Puer siti perit . | 
 
 plorat Agar . angelus eam solatur . fit Ismael sagittarius. ) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . DESPECTIO. .LIBER PATER, 
 Slighting. Bacchus. 
 > Sees tr : 
 . ZELOTYPIA . ay (ro Fe Sy BORO - OBEDIENTIA. | 
 Jealousy. WE Re Yr Vigan Obedience. | 
 RK >) ) 
 . FECUNDITAS. FP SENT FESS | K Aas 
 moreat tt A ; i oe : . SILVESTRIS . 
 ruitfulness. y d es a y 
 LIE ZAPU Votse<S 5 Rural Life. 
 . FUGA. . DESPERATIO, | . CONSOLATIO. |.COMMISERATIO,| . OBEDIENCIA . 
 Flight. Despair, Comfort. Commiseration. Obedience. 
 I 
 And Abraham circumcised his son Isaac, being eight days old, as God had commanded 
 him. ‘‘And Abraham rose up early in the morning, and took bread, and a bottle of 
 water, and gave it unto Hagar, (putting it on her shoulder,) and the child, and sent her 
 
 
 
 away. And she departed; and wandered in the wilderness of Beersheba. And the 
 water was spent in the bottle, and she cast the child under one of the shrubs, and she sat 
 over against him, and lift up her voice and wept. And God opened her eyes, and she saw 
 a well of water. And God was with the lad; and he grew and dwelt in the wilderness, 
 and became an archer.” —GENESIS xxi. 
 
III. Q®ath anv Departure of Bltezer. 
 
 Furavit Eliezer sub femore Domini sui Abrahe [non ?] accepturum se ejus 
 filto Isac de Chanan corum filiabus sed de ejus cognotione— 
 Assimptisque camelis et muneribus abut Mesopotamiam. 
 
 
 
 . VIRGINITAS . . LIBER PATER .| 
 
 
 
 
 
 
 
 
 
 Virginity. Bacchus. 
 |.PARANYMPHUS. WU . OBEDIENTIA . | 
 Brideman. N= Obedience. 
 . INQUISITIO . aes 
 4 - PROMTITUDO. 
 Seeking. 6 
 | Promptitude. 
 - ACCEPTATIO. | » PROMISSIO . | . DELITAS . | - ALACRITAS . » INVOCATIO . 
 ( Acceptance. | Promise. Fidelity? Alacrity. Invocation. 
 i 
 
 
 
 I nt 
 
 _ ** And the servant, Eliezer, put his hand under the thigh of Abraham, his master, and 
 sware to him that he would not take a wife unto Isaac of the daughters of the Canaanites, 
 but of his own kindred. And the servant took the camels of his master, and his goods, 
 andjwent to Mesopotamia.” —GENESIS xxiv. 
 
 IV. Return of Sarah. 
 
 Sara rapta ab igyptiis restituitur cum-muneribus . Deus ostendit Abrahe terram Canaan, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . LUXUS ac} ©. ALACRITAS. 
 Riot. Alacrity. 
 . CARISTIA . aN |. CONFIDENTIA . 
 Dearth. Confidence. 
 RAPTUS . . VINDICTA . 
 
 Rape Vengeance. 
 
 - LIBIDO. | - CONCIENTIA . | » RESTITUTIO. | « PROMISSIO . . LATRIA. 
 aa Lust. Conscience. Restitution. Promise. Worship. 
 
 
 
 ‘© And Abimelech took sheep and oxen, and men servants and women servants, and 
 ' gave them unto Abraham, and restored him Sarah his wife.”—-GENESIS xx. ‘* And the 
 ‘Lord appeared unto Abraham, and said, Unto thy seed will I give this land.”— 
 GENESIS xii. 
 
V. Gov appears to Abraham and promises Him a son. 
 
 Deus apparet Abraha—promittit flium—Sara ridet—Abraham orat ~ 
 pro Zodoma. Ea cum alits urbibus celesti igne perit . 
 
 - RISUS . 
 Laughter. 
 
 - MISERICORDIA . | 
 Mercy. 
 
 
 
 . VINDICTA . 
 Vengeance. — 
 
 . TRINITAS . 
 Trinity. 
 
 » HOSPITALITAS . . PROMISSIO . 
 
 
 
 
 
 
 
 
 
 Hospitality. Promise. 
 - FAMA BONA. - DEPRECATIO . . SIMPLICITAS . 
 Good Fame. Entreaty. Simplicity. 
 
 ‘* And lo, Sarah thy wife shall have a son. And Sarah heard it in the tent door which 
 was behind him. Therefore Sarah laughed within herself. . .. And Abraham drew | 
 near and said, Wilt thou also destroy the righteous with the wicked ? And the Lord said, 
 If I find in Sodom fifty righteous within the city, then I will spare all the place for their | 
 sakes.” GENESIS xviii. ‘Then the Lord rained upon Sodom and Gomorrah brimstone 
 and fire from the Lord out of heaven.” —GENESIS xix. | 
 
 VI. @Buptng of the #Field of MBphron. 
 Sara moritur. Abraham emit Agrum illi in sepulturam. Ducit Ceturam 
 uxorem.  Moritur sepelttur. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . RESURRECTIO 7 . ¥UDICIO. 
 Resurrection. “ Judgment. 
 as wo ‘ 
 x ssa EY EO ee 
 An * 9 Nyt m OO ot eee 
 Spee LO | 
 . SENECTA . yp wt Be pou ING }-INMORTALITAS. 
 SAD 5? <)—G S| Immortalit 
 ca VW) LA fap , 
 4 (re) p) 
 . TEMPUS. Pren@ | -GLORIA. 
 Time. EN) . Glory. 
 \ 
 > o\ r \ 
 
 
 
 
 
 
 
 . ATROPOS . . QUERIMONIA . . SPES. . PLOVITUS?. | , PLUVITAS?+— 
 Fate. Complaint. Hope. [Ploratus ?] [Ploratus 7] 
 
 
 
 
 
 
 
 
 
 ‘‘ And Sarah died in Kirjath-arba... And Abraham weighed to Ephron the silver, 
 and the field of Ephron, which was in Machpelah, and all the trees that were in the field 
 were made sure unto Abraham. . .”—-GENESIS xxiii. ‘* Then Abraham took a wife, and 
 her name was Keturah . . . And Abraham gave up the ghost, and died ina good old 
 age ; and his sons Isaac and Ishmael buried him.” GENESIS xxv. 
 
VII. Separation of Abrajam and Lot. 
 
 4d vitanda jurgis Abraham dedit Loth eligere locus mansionis . Abraham 
 habitat in Canaan . Loth pergit ad Sodomam. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 | . DISCRETIO. . CONCORDIA . 
 | Discretion. Concord. 
 De ee 
 | ener =} mae 
 |. HABONDANTIA.|7\5: . SEPARATIO. 
 Abundance. Ks Separation. 
 RELAX, « D{ « OTVITIO;: 
 Peace. Partition. 
 » CONTEANTIO. » INVOCATIO,. - AMICITIA. - REQUIES . . ELECTIO. 
 Contention. Invocation. Friendship. Rest. Choice. 
 
 
 
 
 
 
 
 «¢ And Abraham said unto Lot, Let there be no strife, I pray thee, between me and 
 
 thee; for we be brethren. Is not the whole land before thee? Separate thyself, I pray 
 thee, from me ; if thou wilt take the left hand, then I will go to the right; or if thou 
 
 depart to the right hand, then I will go to the left . . . Then Lot chose him all the plain 
 of Jordan: Abraham dwelled in the land of Canaan, and Lot dwelled in the cities of the 
 plain, and pitched his tent towards Sodom.”—GENESISs xiii. . 
 
 VIII. Sacrifice of Isaac. 
 
 Abraham Divino oraculo jubetur immolare unigenitum suum filium Isaac. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . CONSTATIA . Re. . BENEDICTIO. 
 Constancy. : Blessing. 
 . TETATIO . . PROMISSIO . | 
 Temptation. Promise. 
 . FIDES . . SPES . 
 Faith. Hope 
 as 
 - ANIM! . 
 ° .| - OBEDIENTIA . - IMMOLATIO. » PROMISSIO. 
 psi | baie | .PROMPTITUDO. aoe | aoe: 
 : edience. F ering. 5 
 Simplicity | | pegnaetile. g romise 
 
 
 
 <‘ And God said, Take thy son, thine only son Isaac, whom thou lovest, and get thee 
 into the land of Moriah: and offer him there for a burnt-offering upon one of the moun- 
 tains, which I will tell thee of.” —GENEsIS xxii. 
 
94 Flenry VITI.’s Great Watching Chamber. 
 
 TD ency viti.’s KO Bhrcat Aue AE atchina FS El amber. 
 
 cmEmEAT THOUGH this room is usually styled the ‘‘ Withdrawing Cham- 
 
 Y AS (Bs ber,” there is no doubt that it was originally the Great Watching, 
 
 g or Guard Chamber, to Henry VIII.’s State Rooms. It is, 
 
 
 
 and Jane Seymour’s cypher and his own are to be discerned among the 
 decorations in the ceiling. Its dimensions are 61 ft. ro in. long, 29 ft. 
 wide, and 202 ft. high. 
 
 @eiling. The design of this ceiling is late Tudor; it is flat, but ornamented — 
 
 with oaken ribs and pendants, between which are various royal cognizances: 
 the portcullis, rose, and fleur-de-lys. In some of the compartments occur 
 the royal arms impaled with Jane Seymour’s, and the initials H. and /. 
 linked with the true-lover’s knot, indicating that the decoration must have 
 been finished about 1536. The ceiling, which had become rather decayed, 
 has recently been restored and repainted. Specimens of similar work are 
 to be seen above the ante-room and staircase to the Royal Pew in the 
 chapel, and in one or two rooms in the eastern range of the First Court. 
 
 Round Way WAinvow. This is remarkable as being one of the very few 
 existing examples of an ancient Gothic window in the semicircular form. 
 It extends the whole height of the room, and is composed of three main 
 compartments, each of which consists of four tiers of three lights, making 
 altogether thirty-six lights. 
 
 The stained glass, which chiefly shows Wolsey’s arms, mottoes, and 
 devices, and those of the Bishoprics of Durham, Bath and Wells, Winchester, 
 and York, are entirely modern, having been executed by Willement, about 
 forty years ago. The window ‘abuts on to the Round Kitchen Court. 
 
 In the recess of the window is a fine antique sculpture in white marble 
 of Venus lying on a couch. 
 
 In the far corner of the room are two doors behind the arras, one 
 leading into a small Tudor closet, the other into the “‘ Haunted Gallery” 
 (see page 67) and Catherine Howard's lodgings.. 
 
 Over the doorways are strips of tapestry with Henry VIII.’s arms, 
 supported by the Lion and the Dragon, and the Tudor badges, the fleur-de- 
 lis, rose, and portcullis, crowned. ‘They are part of the original decoration 
 of the Palace, and were most likely wrought in England. 
 
 “emcsex” perhaps, from its air of Gothic gloom and antiquity, the most 
 charming room in the palace. It was built by Henry VIII. about 1536 ; 
 
Tapestries in the Great Watching Chamber. 95 
 
 seer 
 
 a@ec. 
 
 
 
 DE apestries,, 
 in Oa bift.s Oreat A (Chamber. 
 
 antique character than those in the Hall, and harmonize well 
 with the quaint and sombre aspect of the room. They are 
 entirely Gothic in conception, though here and there the 
 influence of the Renaissance is betrayed in the treatment of detail. 
 
 
 
 a 
 
 L 
 CnknoWy Diftorial Subject. 
 
 | is of considerable excellence and interest. From the style, the cos- 
 ee the surroundings, and the treatment, it would appear to illustrate 
 ‘some historical incident towards the close of the fifteenth century. 
 
 In the foreground is a female figure kneeling, and offering a chalice to a man standing 
 opposite to her, who appears to be admiring it, but refuses to accept it from her. By her 
 side is an elderly lady conducting her forward, presenting her to the man, and a number 
 of other people looking on. Behind, on a raised dais, are seated three queens with 
 sceptres, and behind them is an open gallery, through the windows of which numerous 
 persons are surveying the scene. Below, to the right and left, are many others, some in 
 conversation or dalliance, and some playing on lutes and other instruments. 
 
 Il. 
 “VY: SGtorvw of v' CAG6re Hatal Lladrs of 
 DDesen.” 
 
 This consists of three pieces of old Flemish tapestry, similar in style to 
 that under the Minstrel Gallery. They were worked about the year 1470, 
 from three designs belonging to a set of six, illustrating in an allegorical 
 form Petrarch’s ‘Triumphs of Love, Chastity, Death, Fame, Time, and 
 Divinity. The pieces here are the third, fourth, and fifth of the series. Of 
 \the third and fourth there are duplicates at the South Kensington Museum, 
 where there is besides the second of the series, the Triumph of Chastity. 
 
 em te ee 
 
96 Tapestries tn the Great Watching Chamber. 
 
 The sixth, the Triumph of Divinity, is stated by Mr. Alan Cole to be at 
 Rheims. Every piece contains two distinct aspects of the incidents of the 
 story ; and, according to the usage of ancient art, the action of the second 
 part is continuous on that of the preceding part of the incident. Over each 
 part is a scroll with quaint old French verses or legends, worked in black 
 letter, indicating the moral of the allegory beneath; and below are similar 
 scrolls with Latin texts. The three pieces here form a continuous story, 
 and it is probable that they were originally bought and sold as complete in 
 themselves. Wolsey was presumably the purchaser. At any rate, they are 
 mentioned under the title “‘ Thre peeces of Arras of y* three fatall Ladyes 
 of Destenye, lyned with blewe buckeram,” in the inventory of Henry VIII.’s 
 goods at Hampton Court in 1548. At Charles I.’s sale, the same three 
 pieces under the same title were sold, the 22nd of November, 1649, to Mr. 
 Boulton for £47 ; but their removal was apparently prevented by Cromwell, 
 who soon afterwards selected Hampton Court as a favourite residence, and 
 ordered much of the furniture of the Palace to be “‘ Reserved for the use 
 of the Commonwealth ”—that is, for himself. For the last hundred years 
 or so they have occupied these walls. 
 
 1 ¥* Triumph of fate or Meath. 
 
 This piece (which hangs to the left of the round bay window) portrays 
 the Triumph over Sensuality of Chastity, who in her turn is assailed by the 
 Fates, and ultimately subdued by them. 
 
 Left-hand Side.—Above is the legend :— 
 
 Combiengque . Vomme. soit. chaste. tout. pudigque 
 Hes. seurs . fatalles . var. leur. toy. autentique, 
 Cranchent . les. nerf . et . fillets. ue. ta. vie, 
 4. cela. ia. mort. tous. les. bibang . amobie. 
 
 On a car, drawn by four unicorns, is seated CHASTETE, attended by her maidens, whc 
 walk behind and at the side, carrying palms, while three angels suspend a veil above her 
 head. On the far side the three Destinies, labelled A1ROPOS, LACHESIS, and CLOTO, and 
 riding on bulls, are seen attacking her, Atropos holding the shears in her left hand and 
 with her right striking Chastity on the breast with her fatal dart. On the front part of the 
 car, at the feet of Chastity, isa naked boy with his arms bound, representing Cupid ; and 
 below is a figure labelled VENVS being trampled under foot by the unicorns which draw 
 the car, and on the backs of which angels are seated bearing lilies emblematic of Purity. 
 In the foreground, on this side of the car, is LVCRECE, bearing a long pillar, with hei 
 train held up by a youth, BONVOLONTE, who offers her the dagger with which she 
 destroyed herself after her violation by Tarquin. On the other side is a man on horseback 
 labelled CHIPIONLAFICAN (that is, Scipion I’African). 
 
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 Right-hand Stde.—Above is the legend :— 
 
 . Le. Chaste. au. fort. plus . sainement . peult . bibre, 
 | Mui. se .treube . de. grans. bices. delivre; 
 Wats.a.fla. fin. il. np. a.rop. ne. pape 
 Grant. ne. petit. qui. ve. ses. las. eschappe. 
 
 ‘Here the three Fatal Ladies are represented in a gorgeous triumphal car, drawn by four 
 |bulls, richly caparisoned, and ringed at the nose. In the centre enthroned aloft is 
 ATROPOS, with her right hand resting on a skull and her left holding the shears and slit- 
 ‘tng the thin-spun thread of life, which CLoTO, on her left-hand side, is spinning from 
 the distaff, and LACHEsIs on her right, is twining. At their feet lies Chastity, captive 
 and powerless. A tablet on the car bears the verse :— 
 
 CLOTO . COLVM . BAIVLAT. NET, 
 LACHESIS , ATROPOS . OCCAT., 
 
 ‘On this side of the car is a warrior on foot, grasping in his right hand a javelin inscribed 
 GREVANCE, and bearing on his left shoulder two clubs, PERSECVCION and CONSOMACION. 
 On the further side is a crowd of figures being knocked down and crushed by the relentless 
 progress of the Car of Fate. Underneath the wheels and the bulls’ feet lie many prostrate 
 ‘orms, which are being trampled on; and among them may be distinguished a king in 
 iis crown and robes, a burgher, a knight in his helmet, another king, and a pope with the 
 tiple tiara and cross. _ Preceding the car is an armed figure, COVRONS, brandishing in his 
 ight hand a javelin, labelled MALHEVR, and carrying over his left shoulder a club, 
 abelled FORTITVDO. ; 
 There is a duplicate of this piece, with slight varieties, under the Minstrel Gallery. 
 
 H 
 
98 Tapestries in the Great Watching Chamber. 
 
 Wie Sena 7 a ED 9.7 FESS e 
 ——— 
 
 
 
 2. ¥* Triumph of Renown. | 
 
 In this piece (which covers the south wall of the room) near the bay 
 window, is shown the overthrow of Destiny or Death by Fame or Renown. 
 
 Left-hand Side.—Above is the legend :— 
 
 La. Wort . mord. tout, . mats. clere . Renomec, 
 Sur. Wort. triumphe. et. la. tient . Deprimec 
 DMesgsoubs . seg. pieds, . mais. apres. ses. efforg 
 Fame. sugcite. les. Haults. fats. de. gens. mors. 
 
 Here we see again the Car of Fate, with the same motto on it as before, but LACHES 
 and CLOTO are lying prostrate under the wheels; and ATROPOs is tottering from her thron 
 stunned by the blast of the trumpet of Fame, which RENOMEE is sounding in her ear 
 All around the car. in answer to the summons of Renown, throng a host of figure: 
 labelled with the names of departed heroes, such as ROI PRIAM PARIS, HERCVLES 
 MENELA, ALEXANDER, SALATINO. 
 
 Right-hand Side.—Above is the legend :— 
 
 Mui. par. Clirtu. ont. meritee . gloire, 
 
 Mu’. apres. leur. Mort. ve. leurs. fais . soit. memoire, 
 Gnelite. fame. neugt . famais . congnoisance 
 
 De. Letheus . le. grant. lac. D’oubliance. 
 
 The same incident in another aspect is continued here. RENOMMEE, represented as 
 very beautiful winged female figure with a trumpet, is now standing on a magnificent ca 
 drawn by four elephants, and captive at her feet appears ATROPOS seated. Attendant 
 her are a crowd of heroes, on foot and on horseback, one of whom with an imperi 
 crown is intended for Julius Cesar. Others are labelled TORQVAT, CATHON, MARTIA 
 PO’PEE LE GRANT, FABIRVS MAXIMYS. 
 
 
 
 
 
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 } 3. ¥* Triumph of Time. 
 _ Finally, there is portrayed in this piece, which hangs opposite the last, 
 m the north wall, the ultimate triumph of Time over Renown or Fame. 
 
 Left-hand Side.—Above is the legend :— 
 
 Muoique . fame. inclite . et . honoree 
 
 Apres. fa. Wort. goit. ve. longue. duree 
 
 Ciere . et. (upsant . neantmoing . tout. se. passe 
 Cout. voblie. par. temps. et . longues. pagse. 
 
 “he car of RENOMME is again shown here, but it is now turned in the opposite direction, 
 nd both the elephants that draw it, and the surrounding throng on horseback and on foot, 
 Ppear to be in flight before some overmastering influence. Above this part of the picture 
 ‘te shown the signs of the Zodiac—Gemini and Cancer—and the flight of the fleeting 
 ours, represented as female figures. 
 
 : Right-hand Side.—Above is the legend :— 
 
 Lonuguement . vivre. que. t’aura . prouffite, 
 
 Muant. tu. seras. eg. latebres. geete 
 
 De. ce. biel. temps. qui. tout. ronge. et. affine, 
 : Et. pure. apres. que. fame. meurt. et. fine. 
 
 he car of Time is here shown, drawn by four winged horses. Renown is seated in 
 ‘ont submissive at the feet of Time, represented as an old man with a flowing beard, 
 rutches, and wings. Over all this are more fleeting hours, and the sun in a full blaze of 
 alendour in the sign of the Lion. 
 
 Below, in the centre of this piece, is a scroll, with the motto in hopeless dog-Latin :— 
 
 Cemporibug . fulcor . quantumlibet . inclitu . fama. 
 Apsa. me. claugerunt . tempore. sera . piam. 
 Muid. provest . virisse. vin. cum. fortiter. evo. 
 Abvinit . in. latebrig . fam. me. tempus. evar. 
 
 
 
 
 
100 Tapestries in the Great Watching Chamber. 
 
 ITI. 
 “WZ Story of pe SeaBy Deadlic Spnnes.” 
 
 Tus consists of three pieces hung on the west side of the room, whic 
 appear to belong to a series of ‘‘ Nine peces of y° Storye of y* 7 Deadli 
 Synnes” which, in Wolsey’s time, hung in the Legate’s chamber. The 
 are exceedingly curious and pleasing specimens of old Flemish desigy 
 and manufacture, and are in a fair state of preservation. The compositions 
 are all allegorical, and indicate the repulsiveness of sin, man’s surrende) 
 thereto, and God’s mercy in pardoning him. i 
 
 First Piece.—(On the left of the door) below is the legend :— 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 jper . colum. incipiens . primo. banum Septem . peccata . stcut. generantur — 
 Wortale . fit. atque. prophanum Jn. mundo. figuraliter. fic. bolantur 
 
 which is too bad Latin to be translated literally ; but which seems in substance to meai 
 that ‘‘ The seven deadly sins are generated in the world, like as the canvas, which is a 
 first formless, becomes by means of the loom covered with shapes.” 
 
 Here we see Guperbia riding on a nondescript, Gula on a goat, Impenitentia on : 
 camel, WLururia on a pig, Juvivia on an ass, Jra on a griffin, and another vice wit! 
 an ape. They are being dispersed by @pes. Further to the right are a king and hi 
 attendants, and a figure of Dumilitas. 
 
 Second Piece.—(On the right of the door) above is the legend :— 
 
 Ante. Judicem.in. Clirtutum . presencia | Winatur. Culpa.a. Pusticia 
 Argiciunt . Justicia . et . Wisericordia Hed. reconusiliatur. a. Wisericordi 
 Cihi. apparet . Fortituno . benedicta jPeccata . in. eternum . castiquntur 
 Campum . degerunt . semper . Delicta jPer birtutes que non. moriintur. 
 
 which is explanatory of the incidents portrayed, and may be translated thus: ‘‘Justic 
 and Mercy plead before the Judge in the presence of the Virtues. Crime is threatened b 
 Justice, but reconciled by Mercy. Where blessed Fortitude appears, faults always leav 
 the field. Sins are chastised eternally by Virtues that never die.” 
 
 > On the left are several female figures in rich Gothic attire, labelled Justicia, Fines 
 and @aritag. Near them is a woman, JFemme, holding a scroll inscribed ‘* Ascend! 
 W®org per Fenestrag” (Death ascends through the windows). Nextis a figure of Justici 
 with sword uplifted to strike man, Homo, but Wisgericordia intervenes to save him. 
 
 Above is the Deity, represented under the figure of ‘‘ three old persons, in episcop: 
 
 habits, with crowns on their heads and sceptres in their hands ’’—as they are described b 
 a visitor to Hampton Court in 1613. Before Him are pleading Pap, Wisgericorvie 
 Ceritas, and Yusticia. More to the right is the same man with ‘‘ @ratta Det ” pr 
 senting armour to him, and with JPar holding his helmet. 
 
The Horn Room. IOI 
 
 E be (Yorn oom. 
 
 su HIS curious room takes its name from having been for many 
 Bye favs years the receptacle of a large number of horns and antlers, 
 FE ed ne} originally got together by Queen Elizabeth, and added to by 
 Res eS) succeeding sovereigns, until the collection became, in the time 
 ‘of Charles II., one of the finest in the kingdom. Some of the horns that 
 ‘still remain are now fixed to these walls, while others are placed in the Hall 
 ‘and the Great Watching Chamber. 
 _ This room had long been used as a lumber room, but in accordance 
 with a suggestion of the author's, was recently cleared, redecorated and 
 hung with tapestry, and opened to the public; and the old staircase, up 
 which the dishes were formerly brought from the serving place and 
 ‘kitchens to the royal table on the dais, reopened and restored to view. 
 The door that gives access to the dais is now hidden by tapestry. 
 
 The railing of carved oak, gilt, now placed here, is an altar-rail, apparently 
 ‘of the time of Charles II., which had lain disregarded in the stores for 
 ‘many years. 
 
 ! ) Cramstry in th Dory Boom. 
 I 
 
 
 
 
 
 Old Flemish *Diece. 
 
 i The subject of this piece is unknown. A bare description of it, there- 
 ‘ore, is all that we can offer the reader. 
 
 _ Left-hant Site. In the upper part are four horsemen, one with a vizored helmet, 
 ‘urned to the right and advancing towards, and perhaps charging, a king who is riding 
 m a gigantic griffin, and holding out a purse. Below this are two women and three or 
 “our soldiers on foot, and a lady on horseback attended by a driver with a switch. 
 
 _ Right-hand Side. In the upper part is an angel offering a chalice to two knights on 
 1orseback, one of whom holds a club in his left hand, and has his right hand on his 
 oreast. Near them are two women, one stooping to pick up some fruit, and the other 
 ‘tiving some toachild. Below we see a horseman, with three attendants on foot, and a 
 ing on horseback, with a sword in his right hand, and the orb of empire in his left. 
 
 | II. 
 Gir Dieces of the Story of Aeneas. 
 
 z-_—_—_— 
 
102 Clock Court. 
 
 Shock ‘Sout. 
 
 \ 
 
 “WAT EROST of this court was built by Cardinal Wolsey, though it now 
 
 WA bi presents, from the alterations it has undergone, a very different 
 my appearance. Previoustothe erection of the Astronomical Clock it 
 eee} was knownas the “Inner Court,” the “Stone Court,” or ‘‘Y®Court 
 where ye ffountayne standyth,” from a fountain that was placed here by 
 Henry VIII. A new fountain was erected by Queen Elizabeth in 1590; 
 and Hentzer, the German traveller, who visited Hampton Court soon after, | 
 speaks of there being in “the centre of the chief area which is paved with 
 stone, a fountain that throws up water, covered with a gilt crown, on the 
 top of which is a statue of Justice supported by columns of black and white 
 marble.” Norden the surveyor, in his “ Description of Middlesex,” 1593, 
 also records that ‘Queen Elizabeth hath of late caused a very beautiful 
 fountain to be erected in the second court, which graceth this Pallace, and 
 serveth to great and necessary use.” And the Duke of Wirtemburg, who 
 came to England in 1592, was also much struck with this “splendid and 
 massy fountain, with an ingenious waterwork by which you can, if you like, 
 make the water play upon the ladies and others who are standing by and 
 give them a thorough wetting.” The fountain was removed by William IIT., 
 and the existing one substituted in the new court built by Sir Christopher 
 Wren. This court is 133 ft. 6 in. from north to south, and 97 ft. 10 in. from 
 east to west. : 
 
 Wxterior of Cxreat Wall. This occupies the whole of the north side of 
 the court, and with its great windows, buttresses, and pinnacles forms a very 
 imposing feature. The small windows on the first floor light the vast 
 cellars which extend under the whole of this part of the building; and in 
 which are several great stone pillars supporting the groining on which rests 
 the floor of the hall. Some forty years ago a “restorer” began to remove 
 these pillars, and was on the point of bringing the whole edifice about his 
 ears, when someone fortunately interposed in time, and interrupted his 
 career of “improvement.” Those which he had demolished are now 
 replaced by wooden props. ta 
 
 The battlement of the Hall was repaired in the reign of George II., when 
 the “ Kynges beastes” which formerly carried gilded vanes and stood at the 
 top of each buttress, were removed. They have been lately restored. 
 “The lyon and dragon in ston standyng at the gabyll ends of the Kynges 
 
 
 
 
Clock Court. 103 
 
 ‘New Hall” and the “ 16 beasts in free ston standyng uppon the crest at both. 
 the gabull ends of the sayd Hall” are modern restorations. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 : MExrterior of Great Wall. 
 
 - Cardinal WAolsey’s Arms. On the Clock Tower, just over the archway 
 sinto the court, are the arms of Wolsey, surmounted by a cardinal’s hat, in 
 .terra-cotta, with his motto “‘ DOMINE MICHI ADJUTOR.” | 
 > She Colonnade on the south side of the court was built by Wren to afford 
 a suitable approach to the King’s Grand Staircase, and also to mask the 
 
 irregular, but very picturesque range of buildings, with turrets and oriel 
 windows, behind it. Though out of place in an old Tudor court like this, 
 )it is in itself very handsome; and we trust that the idea that some years ago 
 _possessed.a few Gothic enthusiasts that it ought to be removed, may never 
 ‘be realized. It consists of seven couples of Ionic pillars, with pilasters: of 
 
 rd 
 
104 Clock Court. 
 
 the same order at either end against the wall, supporting an entablature 
 and balustrade at the top. Over the two middle couples are two large 
 carved vases of stone; and below are ornaments of foliage, masks, &c. 
 Cerraccotta PAcvallions of the Cesars. On the turrets that flank the 
 archway on the inner side of the Clock Tower are two medallions of terra- - 
 cotta containing busts of two of the Roman Emperors, similar to those 
 which have been already mentioned as inserted in the turrets on the other 
 side of the gateway, and on the great Gate-House. They are frequently 
 stated, without any sort of warrant, to have been presents from Leo X. to 
 Wolsey ; while the truth is, that they were ordered by the Cardinal himself 
 
 
 
 
 
 
 
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 of Joannes Maiano (a junior member of the famous family of sculptors of 
 that name). The sculptor’s own letter, dated June 18th, 1521, in which he 
 asks for payment of the balance of his account, and in which he mentions 
 that their cost was £2 6s. 8d. each, and that they were destined for “‘’Anton 
 Cort,” may be found in the British Museum. 
 
 George tt.’s Geatewap. We owe this miserable piece of mason’s Gothic, 
 consisting of an attempted imitation of an Early English doorway, a ridicu- 
 lous pointed window, and two new turrets, to the perverse ingenuity of 
 Kent, a tasteless architect much employed by George II., whose initials, 
 “G. R.” with the date 1732, are carved on a stone below the windows. In 
 order to msert his own grotesque work he destroyed several fine oriel win- 
 dows in this range, which belonged to the state apartments of Henry VIII, . 
 and at the same time spoilt the interior by dividing the large Gothic cham- 
 bers into small modern rooms. ‘This part of the Palace was occupied by 
 the Stadtholder when he was driven from Holland by the French Revolu- 
 tion. 
 
Astronomical Clock. 105 
 
 feNstronomical FEdlock. 
 
 HIS curious old astronomical clock, which was brought forth 
 pate about three years ago from a shed where it had lain neg- 
 lected for nearly half a century, and by order of the Secretary 
 | #3 to the Board of Works, restored and made to go again, is one of 
 the most remarkable clocks in England. It was originally made for King 
 Henry VIII., in the year 1540, as is proved by an old inscription with that 
 i and the initials ‘“‘ N. O.” stamped on an iron bar on the inside of the 
 ‘dial. 
 
 _ Who the designer may have been has long puzzled antiquarians; and a 
 _careful search among the old records and State papers has failed to reveal to 
 us any artist or workman whose name would answer to these initials. It has 
 been suggested, however, that whoever was the maker of the machinery, the 
 Inventor, at any rate, was probably ‘“‘ Nicholas Cratzer,” a famous German 
 _astronomer, who came over to England by the invitation of Wolsey, and who 
 'was introduced by him to Henry VIII. 
 
 He was certainly the only man in England at that time capable of designing 
 so elaborate a piece of scientific mechanism, and as he was in correspondence 
 with the king in this very year 1540, and was the maker of a similar clock 
 at Christ Church, the conjecture is very likely correct. The difficulty about 
 his surname may perhaps be explained by supposing that the “ O” refers to 
 
 some other name of his besides Cratzer, such as that of his birthplace, which 
 was frequently taken as a surname by artists and handicraftsmen in the 
 middle ages. 
 
 However this may be, this old clock—the first astronomical one in 
 
 _England—was being put up about the time Henry VIII. was making love 
 in this palace to Catherine Howard, whom he secretly married, and showed 
 publicly as queen here in the month of August, 1540. But the great dial 
 had scarcely completed its first annual revolution when Catherine was 
 carried away from the palace as a prisoner to take her trial for high treason. 
 
 The poor queen had spent most of her short reign here; and her reminiscences 
 of her royal husband do not seem to have been so devoid of tenderness as 
 
 “might be supposed. During a long interview with Cranmer, in her Privy 
 Chamber close by, who came to announce the king’s determination re- 
 
 garding her, when she heard the clock strike six, she burst into an agony 
 of grief “because of remembrance as that was the time she was wont to 
 
 
 
106 Astronomical Clock. 
 
 hear news of his Grace.” Her spirit is said to haunt, to this day, a gallery 
 near the chapel. (See “The Haunted Gallery,” pages 67 and 68.) 
 
 There is another anecdote about the old clock that ought perhaps to be 
 noticed. It is said that on the night of the 2nd of March, 1619, when James 
 I.’s queen, Anne of Denmark, died here, the clock, which was striking four 
 at the moment of her death, immediately stopped ; and that it has done so 
 ever since, whenever anyone long resident in the palace dies within its 
 precincts ; and the superstitious cite many cases of its recent occurrence, _ 
 
 Since Henry VIII.’s time, except for certain repairs, such as the re- 
 painting of the dial in 1575 by the “serjeant painter,” the addition of 
 another face looking towards the first court about 1649, and various 
 alterations in the works and repaintings of the dial at the beginning of the | 
 last century, no change was made in the old clock till about forty years ago, 
 when the astronomical portion, which had always been somewhat defective 
 in construction, and had been a long time out of use, was removed. 
 
 About three years ago, as we have said, it was once more replaced in its 
 old position, the works adapted to our present accurate astronomical know- 
 ledge, and the dial made to move again once more after so many years 
 of rest, so that it is no longer open to the reproach addressed to it by the 
 poet :— 
 
 ‘‘ Memento of the gone-by hours 
 Dost thou recall alone the past ? 
 
 Why standst thou silent midst these towers 
 When time flies still so fast?” 
 
 ECCrplanation of the Dial. 
 
 TuE dial consists of three separate copper discs, of different sizes, with a. 
 common centre, but revolving at varying rates. 
 
 The inner disc, the smallest of the three, is 3 ft. 34 in. in diameter, and 
 in its centre is a slightly projecting globe, painted to represent the 
 earth. The larger portion of the surface of this disc is divided into four 
 quarters, numbered with large figures; and at its outer edge it is divided. 
 into twenty-four spaces. These represent respectively the quarters of the 
 moon and the hours at which it souths, z.¢., crosses the meridian; and they 
 are indicated by a small red arrow, painted on the second disc, which always) 
 points to the quarter in which the moon may happen to be, and the hour of 
 the day at which it will south. The phases of the moon are likewise shown 
 more obviously on a small subsidiary disc, which revolves behind the centre) 
 one, in such a manner as to always exhibit through a circular hole the vary-’ 
 
Explanation of the Dial. | 107 
 
 ing appearance of the moon’s sphere. Next to the circular hole, on the 
 outer rim of the disc, is a small projecting triangular pointer, painted black, 
 which tells on the second disc the age of the moon in days. 
 
 This second dise is 4 ft. 14 in. in diameter, and its outer rim (which is 
 
 i 
 
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 AAR RENE f ns 
 NN ie : Spay 
 
 
 
 
 
 the only portion of it seen) is divided into twenty-nine spaces numbered 
 from right to left, which are themselves each subdivided into fourths, and 
 which represent the moon’s age in days and quarters of days. From between 
 the figures 1 and 29 on this disc, projects a: long pointer, which carries a 
 
to8 Astronomical Clock. 
 
 gilded representation of the sun, and which marks on the outer disc various 
 astronomical facts, and indicates also the time of the day or night as it 
 passes the twenty-four Roman numerals—two sets of twelve—painted on 
 the stonework or clock-case within which the dial revolves. 
 
 On the third or outer dise (which is 7 ft. 10 in. in diameter) are painted 
 several sets of concentric circular spaces. First come the names of the 
 twelve months, in gold letters on a red ground ; then the days of the month 
 (only twenty- eight for February) ; next the twelve signs of the zodiac ; out- 
 side them numerals dividing each zodiacal space into thirty degrees ; and 
 lastly, on the outermost rim, a circle subdivided into 365 parts, for the days 
 of the year. 
 
 Over these indices and symbols of time, the long pointer with its figure of 
 the sun, travels in a year; and from its position at any time, it is easy to 
 ascertain the hour, the month, the day of the month, the position of the sun 
 in the ecliptic, and the number of days since the beginning of the year. In 
 addition to this, from the relative movements of the two inner discs, as 
 before explained, we are enabled to tell the various phases of the moon ; its 
 age in days; the hour of the day or night at which it souths, and thence the 
 time of high water at London Bridge. 
 
 The clock having been designed before the discoveries of Copernicus and 
 Galileo, the sun, it will be observed, is made to revolve round the earth. 
 
 The framework in which the clock is set, is of stone, about 15 ft. square, 
 with mouldings in the Tudor style, and quatrefoils in the angles, in which 
 are carved, Henry VIII.’s badges, the portcullis and fleur-de-lys above, and 
 the rose and his initials “H.R.” below. Its inner portion is coloured black, 
 with the hours of the day and night painted in gold Roman numerals, and 
 with gilt fleurs-de-lys. 
 
 The machinerp which works so large and complicated a piece of 
 mechanism, and which also moves the hands of the ugly modern clock on 
 the side of the tower toward the first court, is almost entirely new, and is 
 necessarily of an elaborate nature; and considering this the clock may be 
 said to keep fair time. 
 
 The weights which supply the motive power are attached to steel wire 
 ropes, carried over pulleys, and are suspended in the turret at the north-west 
 angle of the tower, and descend to a depth of some 60 feet. The winding- 
 up of the works takes half an hour every week. 
 
 (Those curious in the subject will find further information in William 
 Derham’s “ Artificial Clockmaker,” 1711; in Wood’s “Curiosities of 
 Clocks,” 1865 ; in “ Archzeologia,” vol. Xxxiii. ; in Rees’ “‘ Encyclopedia” ; 
 and in the “Times,” March 8th, 1880.) 
 

 
 
 
 Fountain Court. 109 
 
 lountatn Sour. 
 
 EASSING through the Queen’s Great Staircase, we enter the 
 se Y cloisters of the new Palace, beneath the State Apartments, built 
 RQ 4i by Wren for William III., on the site of Henry VIII.’s “ Cloyster 
 S28 Greene Coutte.” To the left is seen part of the old Tudor 
 cloisters, and the entrance to the chapel. The four ranges which compose 
 the quadrangle make up the whole of Wren’s additions, and they form an 
 almost exact square, the court being 10g feet 6 inches from north to south, 
 and 117 feet 6 inches from east to west. 
 
 The main idea was doubtless borrowed by Wren from some of the 
 palaces which he had seen during his travels in France, and he and his 
 royal master, who supervised the works throughout, had, above all, the 
 idea of emulating here the palatial splendours of Versailles. There remain, 
 in fact, at the Board of Works to this day, extensive designs for still further 
 alterations, which, if they had been carried out, would have added two or 
 three enormous courts to the Palace, and a magnificent new entrance, with 
 colonnades, towards the chestnut avenues in Bushey Park. ‘These plans, 
 however, would have involved the destruction of most of the old historic 
 Palace ; and, fortunately, the king’s death intervened to stop further devas- 
 tations. But even as it stands, his majesty, it is stated in Wren’s “ Paren- 
 talia,” ‘said the new apartments, for good proportions, state, and con- 
 venience, jointly, were not paralleled by any palace in Europe.” The 
 outward appearance, nevertheless, of Wren’s building, is imposing rather 
 than beautiful ; and the red brick, which invests the old Palace with so 
 picturesque an air, only serves, when employed in these large uniform 
 classic elevations, to give them an aspect of pretentious meanness. 
 
 The windows of the first floor, which are surmounted by triangular 
 pediments, are those of the State Apartments; the round windows belong 
 to the entreso/, or to use the preferable good English word the half storey 
 (which, in the case of the loftier state rooms, is included in their height) ; 
 and the square windows above are those of apartments formerly assigned 
 to various persons about the Court, and now occupied by private families. 
 
 The visitor should observe the stone carvings of flowers, within the arches, 
 
 
 
11O Fountain Court. 
 
 and of heads above the arches, of the arcade, and of lions’ skins round the 
 circular windows. 
 
 PLaguerre’s SFrescoes. On the southern wall, in the twelve circular 
 spaces of the round window, or half-storey, are some frescoes in chiaroscuro, 
 of the Labours of Hercules, painted by Laguerre for King William III. 
 They are much obliterated by time and weather, although restored not 
 long ago; and their artistic merit is of the slightest. The subjects, which 
 
 
 
 Pr. 
 
 aa 73) 
 
 
 
 Fountain Court. 
 
 are arranged from left to right, are as follow:—1. Fight against the 
 Lernean Hydra. 2. Fight with the Nemean Lion. 3. The Stag of 
 Ceryneia in Arcadia. 4. The Erymanthian Boar. 5. The Stymphalian 
 Birds. 6. The Cretan Bull. 7. The Stables of Augeas. 8. The Mares 
 of the Thracian Diomedes. 9. The Girdle of Hippolyte. 10. The Oxen 
 of Geryones in Erytheia. 311. The Golden Apples of the Hesperides. 
 12. Cerberus. 
 
 Laguerre, who was a French painter in the style of Verrio, and who is 
 well known for his painted ceilings, staircases, and halls at Burghley, 
 
| Fountain Court. IIt 
 
 Petworth, Blenheim, &c., was much patronized by William III., and given 
 lodgings in the palace. Besides these frescoes, he is stated by Walpole to 
 have been “ appointed to repair those valuable pictures, the ‘Triumphs of 
 _ Julius Cesar,’ by Andrea Mantegna” (see page 58). In the “ Treasury 
 
 Accounts” large payments to him occur several times. 
 
 ' he Area of the court, with its large circular basin (the fountain in 
 which is frequently playing), in the middle, its bright flower-beds and grass- 
 plat, and its broad gravel-walk next to the building, presents a fresh and 
 pleasing appearance. The fountain was made by William III. when he 
 removed the one Queen Elizabeth had erected in the Clock Court. The 
 four tall piers of carved stone in each corner of the turf, with their bare 
 rods of iron, appear to have originally carried lamps; at least, a writer in 
 1741 mentions “four large lamps on pedestals of ironwork” among the 
 ornaments of this court. 
 
 Che Cloisters, which are carried round the four sides of the quadrangle, 
 are formed of a sort of open arcade of twelve arches on the north and south 
 . sides, and of eleven arches on the east and west sides, with piers or pillars of 
 » stone between them. ‘The iron railingsare modern. The ceiling is arched 
 . over with brickwork, which supports the floor of the state rooms. In the 
 _ “ Parentalia” we are told that William III. “ excused his surveyor for not 
 _ raising the cloister under the apartments higher, which were executed in 
 
 that manner according to his express order.” In the inside wall occur the 
 
 windows of various offices, situated on the ground floor, and doors leading to 
 staircases and apartments. The key-stone of one of the doorways near the 
 centre of the west portion of the cloister is carved with a monogram, 
 showing the letters “‘C. W.,” apparently meant for the initials of Sir 
 Christopher Wren, who, in signing his name, combined them in a similar 
 way, and who perhaps lived, while the Palace was building, in the rooms to 
 which this door gives access. 
 
 Miscoberp of Skeletons. It was nearly opposite this door that some 
 workmen, while excavating in the cloister here, for the purpose of carrying 
 out the new system of drainage, on All Souls’ Day, 1871, came upon two 
 perfect human skeletons, about two feet below the level of the pavement. 
 
 _ They were the remains of two full-grown men, and, from the position in 
 which they were found, it was evident that they had been hastily buried or 
 rather thrust beneath the surface. 
 
 No satisfactory explanation has ever yet been offered as to their history. 
 
 _ It was conjectured at the time (see “‘ Times” Nov. 5th, e¢ seg.) that if they 
 had occupied the same position when William III. built this quadrangle, 
 they could not fail to have been disturbed in the progress of the alterations. 
 
 ~~ 
 
 i 
 
 a a 
 
hh2 Fountain Court. 
 
 But this assumption was made by persons not familiar with the topography 
 of the Palace, and it is by no means necessarily the case; for Wren’s 
 building at the place where they were discovered is little more than a 
 screen, extending only to the first floor, to mask the original .Tudor 
 frontage of this court, which still exists behind it. It is not at all unlikely, 
 therefore, that the surface on which it was erected was not disturbed to any 
 depth, and that the pavement was laid down on what was originally the 
 level ground of the court-yard, the bodies remaining untouched below. - — 
 
 The condition in which the skeletons were found seemed to indicate that 
 they had been buried some 250 years ago. Probability, therefore, points 
 to their being the remains of two unfortunate victims of some. Roundhead 
 villany during the Great Rebellion, who were secretly and hurriedly interred, 
 probably under the cover of night, beneath the turf of the old “ Cloyster 
 Greene Courte.” | 
 
 sot Wront. 83> 
 
 KF====8 ROM the cloisters of the Fountain Court, we pass into the Great | 
 4) &Svevs Fountain Garden, whence a good view can be obtained of the 
 ] FN principal facade of the new Palace. The general design is the 
 ) “LFS same as that followed in the Fountain Court, the only difference 
 eing that the central compartment, which consists of five out of the twenty- 
 one bays, is faced with white stone and more elaborately decorated. The 
 three middle windows are flanked by four fluted columns of the Corinthian 
 order, which sustain a triangular pediment on which is sculptured in bas- 
 relief the Triumph of Hercules over Envy. In one of the accounts among 
 the Pipe Rolls is an item for payment to “ Gabriel Cibber, for insculpting 
 the Relievo on the Timpan of the Great Frontispiece” in 1694 (see page 
 117). On each side are two pilasters of the’ same order, supporting a 
 continuation of the entablature. 
 
 Of the architecture of this part of Wren’s Palace, Dallaway justly ob- 
 serves :—‘‘ The innumerable mezzanine circular windows, placed under a 
 range of others exactly square, a pediment beneath the balustrade obscuring 
 others in part, and the architraves of the central parts of the brick fronts, | 
 profusely sculptured over the whole surface, leave little repose for the) 
 eye, and offend in that respect no less than the palaces of Borromini.and 
 Mansart.” 
 
 
 
 
 

 
 
 
 ¥ : . P Last Front. I13 
 
 _The fagade is 330 feet long, and the middle of the gateway is the centre 
 owards which all the lines of the canal, walks, and avenues converge. The 
 mateur of artistic ironwork should not fail to notice the gates and screens 
 ‘that occupy the gateway. 
 
 ‘_ The annexed sketch shows the front and the gardens as they were in the 
 cime of George II. 
 
 16 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 O reat Slountain ©: arden, 
 
 Wat ARLES II., who had imbibed a taste for the French style of 
 
 
 
 gardening during his exile, first began the laying out of these 
 
 gardens and the Park, in their present form. He invited over 
 
 Meee here the famous designers of Versailles, Le Notre and Perault ; 
 
 d Le Notre, who came over and planted the parks of St. James’s and 
 I 
 
7 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II4 Great Fountain Garden. 
 
 ; 
 Greenwich, may have had something to do with the improvements at 
 Hampton Court. Rose, who was sent by Lord Essex to study the Frenc 
 style, was, on his return, appointed Royal Gardener by Charles, and it wa 
 he who planted here such famous dwarf yew-trees that London, who wa 
 Rose’s apprentice, challenged all Europe to produce the like. Stephen 
 Switzer, in his turn a worker under London, and who doubtless was 
 employed in these gardens, observes in his /chnographia Rustica (1710) : 
 “Upon the happy restitution of the Royal Family, anno 1660, Plantin 
 began again to raise its dejected head, and in this reign it was that thos 
 preliminary foundations of gardening were laid, that have since been raise 
 to such a stupendous height. It is certain that Prince, whose thoughts 
 and expressions of things were allowed by all to be just, did plant the on 
 
 — 
 
 ee 
 
 rene Te 
 
 semicircle before the Palace at Hampton Court, in pursuance of som 
 great design he had formed in gardening.” 
 
 This must have been almost at once after the Restoration, for on the 7th 
 of June, 1662, Evelyn, who was visiting here, records in his Diary :—‘‘ Th 
 park, formerly a flat naked piece of ground, now planted with sweete rows 
 of lime trees; and the canall for water now neare perfected.” He adds 
 that “the gardens might be exceedingly improved, as being too narrow for. 
 such a Palace.” Until that time there had been on this side of the Palace, 
 only a narrow strip of garden next to the building, and fenced off from the 
 House Park by a stone balustrade. The avenues and the Long Canal are 
 shown ina picture painted by Danckers for Charles IL., which is mentioned 
 in James II.’s catalogue, and is still in the Royal Collection. The notion 
 hitherto current that they were entirely the work of William ITI. is therefore 
 erroneous. | 
 
 That Sovereign, nevertheless, undoubtedly made great improvements In 
 the gardens. “The plan of them,” says De Foe, in his ‘Tour through 
 the whole Island of Great Britain” (1724), “ was devised by the Kiag him- 
 self, and especially the amendments and alterations were made by the King, 
 or the Queen’s particular special command, or by both ; for their Majesties 
 agreed so well in their fancy, and had both so good judgment in the jus 
 proportion of things, which are the principal beauties of a garden, that il 
 may be said, they both ordered everything that was done.” And Switzer, i 
 a more enthusiastic strain, exclaims :—“‘And now I come to that crisis 
 wherein gardening advanced to its highest meridian, by the encouragemen 
 of King William of glorious memory, and his Royal Consort, and may b 
 brought amongst other things to help to eternize the memory of thos 
 great princes.” . 
 
 “ On the death of Queen Mary,” continues our author, “ gardening anc 
 
Great Fountain Garden. 115 
 
 all other pleasures were under an eclipse with that prince ; and the beloved 
 Hampton Court lay for some time unregarded : But that sorrow being dis- 
 pelled, His Majesty reassumed his farther pursuit of gardening, in altering 
 and making a considerable improvement to the gardens.” The gardeners 
 employed by him were London and Wise, but Wise was the one who had 
 . the principal direction and management of the works. De Foe tells us in 
 his “Tour” that “the fine parcel of Limes, which form the semicircle, 
 _were, by the dexterous hand of the head-gardener removed, after some of 
 them had been almost 30 years planted in other places, though not far off, 
 and they thrive perfectly well.” This was in 1699, for we find in the 
 ‘accounts of that year the following items, among scores of others :— 
 
 4 
 
 
 
 ** To remove and new plant 403 large Lyme trees yt dimensions of them girt from 4 ft. 6’ 
 ‘to 3 ft, the charge of takeing up these Trees bringing them to the place, digging holes 
 of Io, or 12 ft diameter, Carting 5 Loades of Earth to each tree one with another wh all 
 (charges at 10s p. tree—£201 10. 0.” “100 Trees to digg 20 ft round them and to take 
 sout y® Gravell and Sand and raise their Roots and putt in 5 Loads of Earth to each tree 
 sat 8° p. tree—£40 o. 0.” 
 
 . 
 
 « “While the gardens were thus laid out,” continues De F oe, “the King 
 jalso directed the laying the Pipes for the F ountain, and Jette d’Eau’s ; 
 and particularly the dimensions of them, and what quantity of water they 
 ‘should cast up, and increased the number of them after the first design.” 
 
 i The appearance of this garden, as completed by him, may be seen in the 
 ‘bird’s-eye view prefixed to this book. It will be noticed that there were 
 ithen twelve smaller fountains, besides the large one in the middle, which 
 still remains. 
 
 _ “The only fault ” Switzer could find with the gardens as completed by 
 (“the Great Nassau” was: “the pleasure-gardens being stuffed too thick 
 with box, a fashion brought over out of Holland by the Dutch gardeners, 
 ‘who used it to a fault, especially in England, where we abound in so good 
 grass and gravel.” However, ‘Queen Anne’s first work was the rooting 
 ‘up the box, and giving an English model to the gardens, which were laid 
 ‘nto that plain, but noble, manner they now appear in.” 
 
 | In the reign of George II. they underwent a further modification ; the 
 slaborate pattern-work and the smaller fountains were swept away, and the 
 ardens made to assume the appearance they present in the sketch on 
 mage 113. The arrangement was stiff and formal in the extreme; yew-trees 
 “ut into obelisk, and white holly-trees trimmed into globes, following each 
 other in a row, at equal distances, all round the garden. 
 
 Since then but little change has occurred. For some eighty years, 
 indeed, the place was so neglected that many of the fine old yew trees were 
 
 | 
 | 
 
116 Great Fountain Garden. 
 
 suffered to become overgrown and strangled with ivy, and others to die 
 without being replaced; and of the choice white hollies, which were tended 
 with such care in the olden times, scarce half-a-dozen remain, Neverthe- 
 less, “much of the original formal trimness,” as an appreciative critic 
 observes, is “still retained, with great benefit to the character and charm of 
 the place.” 
 
 aroav Walk. This magnificent terrace is no less than 2,300 feet, or 
 nearly half a mile in length. Its fault is, as Switzer remarked, that, “in 
 truth it looks very mean to come out of a building upon the grand flat of a 
 Lawn or Parterre, and is a very great disadvantage to the gardens at 
 Hampton Court, if it could have been avoided.” | 
 
 Among the items in Wise’s estimate for its construction, dated 1699, are | 
 the following :— 
 
 The walk parrallel to yt House that lyeth between y* Fountaine Garden & the Build- 
 ing, sinking and carrying away all the ground to y® Levell of the floor by y*® Building, 
 make, 10,475 sollid y* being sunk and carryed off at twice ; as first was sunk and carried 
 off 2,097 solid y* to lay y* ground to the Levell of the great Fountain garden : afterwards to 
 the floor of y® Levell of the Building and one foot under, for to allow a ft thick of 
 gravell, both which sinkings come to 10,474 solid ys. The charges of carting it to y® 
 lower end next y® Thames to raise all that lowe ground to y® levell of y* floor of the | 
 Building, sorting it and spreading it sinking it to its true levells and into its severall Divi- 
 sions, as a walk for gravell, 2 verges for grass and a border all workes being included in 
 it at 154 p solid y# most of it being pickaxe work ...... L054 1,°13.550: 
 
 To prepaire the ground and lay it with Turffe in the two verges that are on the sides 
 of the gravell walk being 4,786 superficial y*s with y® charge of y® Turffe and all other 
 charges of Cutting, Carting wheeling and laying at 44 p y? To lay this Walk with 
 gravell y* length of y* Lymes wh is 2,264 ft long 39 ft. wide and 1 ft thick will take up 
 3270 solid y** at 34 p y“...... #400 **TO"-O, 
 
 To work and make all y¢ severall borders that are to be made for the use of planting 
 y® fine shap’d Ever-greens in, with fine Earth, and good rotten Dung, w® to make 6 ft. 
 wide and 3 ft. deep will containe 2,835 solid yards at 189 0 v4 £210 bn0 sakes 
 
 There were several other charges on account of the Broad Walk, among 
 the principal being £3,675 6s. for the two ‘Return walls” from the Long 
 Canal, towards the Kingston Road on the north, and towards the River 
 Thames on the south, on which walls stand the iron railings fencing the 
 garden from the Park ; 4717 for “carrying on the remaining part of the 
 Terras wall down to ye Thames being 315 ft. long; and 41,721 95. 8d. for 
 “building a wall next y° Wilderness to answere that on the East side of ye 
 Terrace in y® Gallery garden.” 
 
 Some abatements were made in these charges by Sir Christopher Wren 
 and the Board of Works, but the walk cost altogether in this year (1700) 
 about £7,000. | 
 
 At the entrance, in the Broad Walk, formerly stood two large marble urns, 
 
 
 
Great Fountain Garden. 117 
 
 carved in bas-relief, done as a trial of skill by Gabriel Cibber the sculptor, 
 father of Colley Cibber, anda Frenchman. That on the left, by the foreigner, 
 “represented the Triumph of Bacchus, that on the right, by Cibber, which is 
 , engraved by Vardy, depicted the fable of Amphitrite and the Nereides. The 
 Original pedestals remain, but the stone urns are modern, The terra-cotta 
 pedestals at the edge of the gravelled semi-circle, with the terra-cotta pots 
 ‘above them, are of course modern. 
 
 he Great Fountain in the centre of the garden, is in the form of 
 ‘an ellipse. It is well stocked with gold fish, which were pronounced by 
 “Mr. Frank Buckland to be the largest and finest he had ever seen. 
 
 — he Long Canal, and not, as it is sometimes called, “The Long 
 Water,” is the old and correct name for the lake in the Park, as every 
 ‘schoolboy ought to know from the couplet in the “ Rape of the Lock :”— 
 
 The nymph exulting fills with shouts the sky 3 
 The walls, the woods, and long canals reply. 
 
 It was Charles II., as we have shown above, and not William III., who 
 ‘caused it to be dug, and the magnificent avenues planted. It is 150 feet 
 wide, and 3,500 feet, or nearly three-quarters of a mile long. 
 Che Mouse Park, or as it is often erroneously called, ‘The Home 
 Park,” now comprises two enclosures known in the time of Charles I. as the 
 “* Course” and the “‘House Park.” It consists of about 600 acres, and 
 ‘s bounded on three sides by the Thames. The way in which it is laid out is 
 shown in the bird’s-eye sketch at the beginning of this book. It is now 
 chiefly used as a grazing ground for cattle and the Queen’s yearlings. 
 - Although it cannot compare in size and magnificence with the Home Park 
 at Windsor, yet it has a beauty and an indefinable charm of its own, which 
 *xcites the admiration of every visitor to Hampton Court. Its still and 
 stately avenues of limes, “living galleries of ancient trees,” its long 
 vast sheet of placid water, whose surface is broken only by the plash of some 
 ‘luggish carp, the herd of deer browsing undisturbed on the rich pastures, 
 or gracefully moving beneath the trees, all combine to form a picture of 
 solemnity, grandeur, and repose which is in pleasing contrast to the more 
 »opular but less poetic appearance of Bushey Park. 
  Uttater Gallery. This name, which is now applied to the semi-circular 
 tastion at the end of the great terrace overlooking the river, is derived from 
 building which Henry VIII. erected as a landing-place from the Royal 
 yarges and a communication between the river and the house, and also asa 
 esidence. Queen Elizabeth, when Princess, appears to have been kept in 
 ‘ne Water Gallery as a sort of prisoner by her sister after her removal from 
 
118 Great Fountain Garden. 
 
 Woodstock, just before their reconciliation, and it would seem that it 
 was by it that Charles I. made his escape from Hampton Court in 1648. 
 
 After the Revolution it became Queen Mary’s favourite residence, where 
 she lived while the new palace was being built. (See page 26.) After her 
 death, when the new buildings were completed, William III. caused it to be 
 pulled down. 
 
 The modern Water Gallery is the favourite spot in Hampton Court 
 gardens ; and all day long people may be seen lounging over the balustrade, 
 never tired of gazing on the charming view of the Thames from Molesey 
 Weir to “the Swan at Ditton.” 
 
 The Hong UAalk ov Cervace, which extends alongside of the Thames 
 from the Water Gallery to the Bowling Green for a distance of 2,300 feet, 
 or nearly half a mile, appears, from a Report of Sir Christopher Wren’s | 
 in 1700, to have been begun about that year. The raising of so enormous 
 a mass of earth cost a very great sum. Switzer calls it “the noblest work 
 of that kind in Europe,” and the only one he ventures to compare it to, is 
 the terrace at Burley-on-the-Hill. 
 
 Wrought Lron Gates. About half-way down the Long Walk the visitor 
 will see a magnificent gate of wrought iron, the last remaining one 77 s¢tu of 
 a set of thirteen, which formerly stood, at regular intervals of fifty yards, 
 along the fence between the Walk and the Park. This appears to have 
 been the centrepiece, and the only one of the set that was a practical gaze, 
 the others being more correctly designated as screens. 
 
 They were wrought about the year 1694 for W illiam III., and were at first 
 placed between the Privy Garden and the Towing Path, as we learn from 
 the old prints and old descriptions of the Palace. Their transference 
 to their recent position in the Long Walk probably took place about a 
 hundred years ago. Here they remained till the year 1865, when they 
 were taken away to the South Kensington Museum. Two, however, were 
 afterwards returned, and they are now placed in the Queen’s Guard Chamber. 
 (See page 62.) Their removal was defended on the plea that they were 
 perishing from rust and neglect, as if they could not have been repainted and 
 taken care of, where they stood! We do not, as Mr. George Wallis 
 suggests in an articlé on “ Artistic Iron-work” in the ‘‘ Magazine of Art,” 
 ask, “ Why not let them remain 7” setu and perish?” but we do ask, “ Why 
 not leave them to serve the purpose for which they were designed and 
 to decorate the place for which they were made, instead of burying them in 
 that tomb of living art, a museum ?” 
 
 It is commonly stated that they were designed and executed by one 
 Huntingdon Shaw, whose monument may be seen at Hampton Church, 
 
Great Fountain Garden. 119 
 
 Stating thathe died in 1710, at theage of fifty-one, and describing himas a native 
 
 of Nottingham, and “an artist in his own way.” It is added that the King 
 
 died before the screens were paid for, that the Parliament repudiated the 
 debt, and that Shaw died from disappointment. No authority, however, is 
 given forthis story; and if it is true, it is remarkable that no mention 
 
 is made of it in any old topographical works, though some of them notice 
 
 Shaw’s monument. It is curious, too, that Shaw’s name should never occur 
 in the Treasury accounts, though the wages and charges of those engaged 
 
 on the works, from Verrio, Laguerre, and Gibbons to the commonest 
 labourer, are frequently mentioned. As to the Parliament repudiating the 
 debt, it is not clear how the matter should have come before it. There were 
 plenty of petitions for payment of the arrears of bills for work at Hampton 
 
 _ Court, but they were always addressed to the Treasury; and among them 
 
 we do not find any to which the name of Shaw is attached. 
 
 Among the Treasury papers, however, we do find “ A list of debts in the 
 Office of Works” in 1701, among which appear, under the heading Hampton 
 Court Gardens, “ £910 8s. 11d. due to Thomas Dunk Iron-monger, and 
 41,982 os. 7d. due to John Tijou, smith.” The conclusion is almost irresis- 
 
 _ tible that Tijou was the artist who worked up the iron supplied by the iron- 
 
 monger, and that it is to him and not to Shaw that we are indebted for these 
 magnificent works. Later on, in July, 1703, he petitions the Lord High 
 Treasurer for payment of £1,889 15. 63d. due to him from the late King 
 for the iron-work at Hampton Court, £1,782 1s. 63d. being in the 
 gardens. 
 
 Tijou, it may be observed, was afterwards employed by Sir Christopher 
 Wren to make the beautiful iron-work gates on either side of the choir in 
 St. Paul’s, which confirms our surmise. He is believed to have been a 
 Frenchman: what, then, becomes of the gratification so often expressed at 
 this exquisite wrought iron being of Zxglish workmanship? 
 
 Each screen is 10 ft. 6 in. high, and 13 ft. 2 in. wide. The design con- 
 sists of two side panels, which are capped with crowns, and which afford the 
 means for supporting the whole by buttresses and stanchions; and a central 
 compartment, which is 8 ft. 7 in. across, and has a centre panel, carrying 
 the emblems of the three kingdoms—the harp, the thistle, the rose, and the 
 cypher W. and M. (William and Mary). 
 
 The details of the design are most elaborate and beautiful, and vary in 
 each screen. 
 
 Bowling-Green and Pavilions. At the end of the Long Walk is an 
 enclosure, of an oblong shape, formerly the Bowling-Green, in each corner 
 of which was a small square house or pavilion—only one of which, the 
 
 * 
 
120 Great Fountain Garden. 
 
 south-eastern one, now remains. They were built about 1700. Here the 
 Court resorted on summer afternoons to play bowls, and sit about in the 
 nooks and arbours, or play ombre and sip coffee in the pavilions. 
 
 At the beginning of the century the pavilions were sometimes occupied by 
 the Duke of Gloucester by right of the rangership of the Park, and later 
 by the Duke of Kent, the Queen’s father, in virtue of the same office. Two 
 pavilions still remained some years ago. . > 
 
 Gennis Gourt. Near the entrance to the Wilderness, and on the north 
 of the new palace, is the old Tennis Court, built by Henry VIII., who used 
 himself frequently to play in it. It is the oldest court in England, and has 
 been the model of nearly all the modern ones. Tennis has been played in 
 it uninterruptedly for three centuries and a half; and among the illustrious 
 players of whom there is record, are Robert Dudley Earl of Leicester, 
 Henry Prince of Wales, Charles I., Charles II., and Albert Edward Prince 
 of Wales. The appearance of the building now is not what it originally 
 presented, extensive alterations in the windows, roof, and galleries having 
 been carried out in the reign of Charles IT. | 
 
 Hilower-pot Grate. This is situate at the far north end of the garden, 
 and opens on to the highway to Kingston. It was made by William III, 
 whose initials are carved on the stone piers. The figures of boys bearing 
 baskets or pots of flowers (whence the name of the gate) are very gracefully 
 designed. 
 
 South Es ront. 
 
 ihe beeen N general plan this facade is similar to the East front; it varies in 
 a A being 2 inches less in length, in having slightly projecting wings, 
 ‘ A. NG and in its central compartment being less highly embellished. 
 YEO SH This last consists of four plain unfluted Corinthian columns 
 supporting an entablature on which is inscribed: ‘‘GVLIELMVS ET MARIA 
 R. R. F.”, that is, “ William and Mary, King and Queen, built this palace,” 
 the initials “R. R. F.” standing for the Latin words Rex Regina Fecerunt. 
 Above the entablature are continuations of the columns, in the form of four 
 pilasters, which extend through the balustrade, and on the tops of which 
 
 & 
 
 
 
South Front. 121 
 
 formerly stood statues, two of which still remained in their original position 
 sixty years ago. The stone pediments of the two windows midway between 
 the centre and the wings, are worthy of attention. 
 
 Appreciative visitors will regret to see the harmony of the uppermost 
 storey destroyed by the tasteless substitution, in comparatively recent 
 times, in the four centre casements, of large, ugly modern panes of glass, 
 instead of the more appropriate small quarries, which Sir Christopher, with 
 his just idea of proportion, designed for these smaller square windows. 
 
 ' _ Above the balustrade appear the ugly and incongruous forms of the brick 
 
 chimneys, affording us an opportunity of contrasting the principles of this 
 _ Style, which seeks to disguise as much as possible all elements of mere use, 
 _ with those of the truthful old English Gothic close by, where the harmonious 
 | clusters of gracefully moulded shafts are an ornament, and an indispensable 
 | part of the whole design. 
 
 “ 
 
 
 
 __ The three centre windows on the first floor, one of which is surmounted 
 _ by a trophy of war, are those of the King’s Audience Chamber (see page 16); 
 _to the left are those of the King’s Guard and Presence Chambers (see 
 pages 9-16) ; and to the right other of King William’s state rooms (see pages 
 | 18-26). Several of the round windows in this facade are only painted 
 | “ dummies.” 
 
 William IIT. also lived in the rooms on the ground-floor on the right-hand 
 side, where he had a private door into the garden. These, which are now occu- 
 pied as a private apartment, are among the most charming and interesting in 
 the whole Palace. They are all cased in rich-toned Norway oak, carved by the 
 
 hand of Gibbons. The oak mantel-pieces are especially beautiful: some re- 
 | presenting garlands of flowers and fruit, others birds and butterflies, &c., and 
 one—the carver’s masterpiece—various musical instruments and a music- 
 score. They are, in one respect, unique, for nowhere else are there speci- 
 “mens of such exquisite work from Gibbons’ delicate chisel in so hard a wood 
 as oak. 
 
 @®rangery. Next to the rooms just mentioned is a long gallery, 157+ feet 
 long, which occupies the whole of the centre part of the ground floor here. 
 It is paved with white marble, and panelled with oak. Here, perhaps, it was 
 
 that Queen Mary, while the apartments above were being finished, devoted 
 so much of her time to her favourite pursuit of gardening, “in which she 
 was,” says Switzer, “particularly skilled, especially exotics, and allowed Dr. 
 ‘Plukenet £200 fer ann. for his assistance therein.” In the Office of 
 ‘Works is a sketch of this part of the building, showing the orange-trees, 
 ‘within the window arches. De Foe refers to this in his “Tour thro’ Great 
 Britain :”—“ The orange trees and fine Dutch bays are placed within the 
 
122 South Front. 
 
 arches of the building, under the first floor, so that the lower part of the 
 house was all one as a greenhouse for some time.” } 
 
 The orange-trees, though no longer brought in here for the winter, may 
 be seen in summer ranged in a line in front of the building. They are all 
 probably the original trees of William and Mary’s time, for the orange grows 
 
 
 
 South sFront and Privy Garden. 
 
 to a great age; and certainly no new ones have been added for the last 
 hundred years or so. The strong stems of some of the largest measure as 
 much as twenty to twenty-four inches in circumference. In prints of the 
 time of George II. they are shown arranged in the various enclosed par- 
 terres of the Pond Garden. ane 
 
 
 
Privy Garden. 123 
 
 Brivp Gharden. 
 
 ema ROM the time of Cardinal Wolsey to that of William and Mary 
 
 V4 this garden was divided into two parts—the “ Privy Garden” 
 aSMy4i proper, next to the Royal lodgings, and the “‘ Mount Garden,” next 
 ==£% to the river. The Tudor style of gardening was pleasant and 
 curious—the grounds being laid out in a way suited to the variability of 
 our climate—for winter, walled parterres, and sheltered alleys, for summer 
 shady nooks, refreshing fountains, grassy plots, flowery bowers, and circular 
 banqueting-houses or “‘arbours,” as they were called, with windows all round. 
 
 Here Henry VIII. strolled in amorous converse with Anne Boleyn, Jane 
 Seymour, Catherine Howard, and Catherine Parr; here Philip and Mary 
 walked together during their gloomy honeymoon; and here Elizabeth had 
 a clandestine meeting at night with the Earl of Arran. 
 
 After the new palace was finished, the conformation of these gardens 
 
 
 
 
 
 underwent a change. The part next the river, where formerly stood the 
 
 Water-Gallery (see page 117) and which included the ‘“ Mount Garden,” 
 was lowered tro feet to afford a view of the Thames from the windows of 
 the State Apartments; and on either side the soil was heaped up to form 
 the two terraces; and the beds laid out with rows of alternate yews and 
 white hollies, as in the Great Fountain Garden. 
 
 The appearance of the Privy Garden at that period may be judged from 
 the general sketch of the whole Palace, prefixed to this book, taken from 
 an old print. ‘The fine scrolls and bordure figured like lace patterns,” 
 which De Foe mentions, are there clearly indicated. 
 
 Since then the beds have been altered, probably in George II.’s time, 
 when a less artificial taste prevailed ; and it was perhaps at that period also 
 that other slight modifications were made, such as the substitution in some 
 cases of gravel-walk slopes instead of the flights of steps. Nevertheless 
 the garden retains more of the old fashioned spirit than almost any other in 
 England ; and the air of repose and seclusion that invests it, gives it an un- 
 definable charm, which is utterly alien to the ostentatious vulgarities of the 
 modern style. 
 
 To see it in all its beauty one should visit it on some sunny morning, 
 towards the latter end of the month of May, when the flowers are just 
 budding forth, and all the shrubs are in bloom. Standing on the terrace, 
 
124 Privy Garden. 
 
 or looking from the state rooms, nothing could be then more enchanting 
 than the scene. On either side are the fresh grassy slopes of the two 
 terraces; and between them we see three vistas or alleys extending to 
 the Thames—the centre one a shady walk entirely canopied by over- 
 arching boughs of “ tressy yew,” amid which is just seen the picturesque 
 old fountain; and two others carpeted with turf, edged with brilliant 
 masses of candy-tuft and alyssum, and embanked with the blossom of lilac, 
 laburnum, laurestina, and cyringa. A pretty effect is produced by one alley 
 being bordered with the candy-tuft, so that it forms a long line of white, 
 and by the other alley being bordered with the alyssum, so as to make a 
 similar line of brilliant yellow. The graceful statue of a girl with flowers in 
 her lap, most appropriately placed a few years ago on the old stone pedestal 
 in the left alley, irresistibly reminds us of the lines: 
 
 Now the bright morning star, day’s harbinger, 
 
 Comes dancing from the East, and leads with her 
 
 The flowery May, who from her green lap throws 
 
 The yellow cowslip, and the pale primrose. 
 
 ®ueen SHary’s Wower. This, which is roo yards long, and 14 feet 
 high, and is on the top of the right-hand terrace, is one of the chief 
 curiosities of the gardens. It was, perhaps, in existence prior to the 
 building of the new Palace, and the alterations in the garden ; for Evelyn 
 tells us in his Diary, under date June 9, 1662, that ‘‘ the cradle-walk of horne- 
 beame in the garden, is for the perplexed twining of the trees very ob- 
 servable.” But he may refer to something similar, but not identical, which 
 may have been destroyed when the conformation of the gardens was altered. 
 The trees, it may be noticed, are not horn-beam, but wych or Scotch elm. 
 (Loudon’s Encyclopzedia of trees and shrubs, p. 720.) 
 Queen Mary probably used to sit beneath this bower with the ladies of 
 
 her court, industriously engaged on the needlework which was formerly 
 preserved in one of the state rooms (see page 26). 
 
 (ono (Slarven. 
 
 =H INCE Cromwell’s time this charming old-fashioned garden, which 
 PawIB is situate to the west of the Privy Garden and between the 
 ym kA south range of the First Court and the River, has been without 
 mes A4 its name. As the want of a designation to it is often found 
 
 inconvenient, we venture to revive the old one, by which it is described in 
 
 
 
 
Pond Garden. Los 
 
 the Parliamentary Survey of 1653, and by which it was known in the 
 
 time of Henry VIII., and call it once more the Pond Garden, or Pond 
 
 Yard. 
 _ It includes several little gardens separated from each other by low walls, 
 and encloses bowers, banks, and shady nooks, such as were in vogue in 
 
 ‘Tudor times ; and in the centre is a sunken parterre, with a pretty little 
 
 fountain, perhaps a “survival” of oné of the original ponds. We find 
 among Henry VIII.’s accounts charges for “ Laberers lading of water out 
 of the Temmes to ffyll the ponddes in the nyght tymes,” ahd “ for pynnyng 
 
 of xxx" stoon bests standyng uppon bases abowghtt the pondes in the pond 
 
 yerd for workmanshyp, oyle and collers at 12% the pece”; and “for cuttyng 
 and intayling” various heraldic beasts, and painting and gilding their vanes, 
 &c., to ornament the said garden. 
 
 The visitor should notice on the right as he enters this garden a fine 
 oriel window, usually known as “Queen Elizabeth’s window,” from her 
 Initials “ E. R.” and the date 1568 being carved on a stone in the middle 
 of it. 
 
 On the left as one passes to the vine is seen the Banqueting House, 
 built for William III., and beautifully decorated with carved oak, and 
 painted ceilings. 
 
 Greenhouse, This, which stands in the small parterre on the north of 
 the garden, was erected by William IIL, primarily to mask the range of 
 Tudor buildings behind it. The screen, however, is much less attractive 
 than what it screens. It is merely a plain red-brick hot-house, 176 feet 
 long, with large sash windows, and an ugly, depressed, slated roof ; while 
 at the back is hid a good specimen of plain, free, and unaffected old English 
 architecture, with ancient mullioned windows grouped as convenience 
 required, gracefully moulded chimney shafts, and picturesque gables and 
 parapets. The greenhouse is, in fact, entirely devoid of beauty or 
 interest; and the sooner it is removed, and the old facade restored to 
 view, and light and air admitted, the better. 
 
 The orange-trees, which used formerly to be kept in the Orangery, are 
 now placed here, whence it is often erroneously given that name. That it 
 is correctly designated as the Greenhouse, we know from Rocque’s plan 
 of the Palace in 1736, and other authorities. A writer in 1691 refers to it 
 as follows :—“‘ In one of the lesser gardens is a large green-house divided 
 
 _ into several rooms, and all of them with stoves under them, and a fire to 
 
 keep a continual heat. In these there are no orange or lemon-trees, or 
 myrtles, or any greens, but such tender foreign ones that need continual 
 warmth.” A list of them is preserved in a manuscript in the British 
 
126 The Great Vine. 
 
 Museum. Such plants, among which are probably several remnants of 
 Queen Mary’s collection, are still housed here. 
 
 The Great Pine, which is situated at the end of the “ Pond Garden,” 
 and of which a sketch is annexed, is reputed to be the largest in Europe, if not 
 in the world. It was planted in 1768 from a slip off a vine at Valentines, 
 in the parish of Ilford, near Wanstead in Essex, which itself attained a very 
 great size, and was in a flourishing condition not many years ago, if indeed 
 it is not still, The grape is of the Black Hamburgh variety. | 
 aS It must at once, on its being planted, have made rapid growth, 
 already in 1800 the stem was 13 in. in girth, and the 
 principal branch 114 ft. in length, and it had been 
 known to produce as much as 2,200 bunches in 
 one year. Its greatest girth at present is 3 
 feet, and the principal branch 114 ft. long. 
 Forty years ago its yield was on an 
 average between 2,300 and 
 2,500 bunches, weighing 
 - about a pound each ; 
 
 . but latterly both 
 the number 
 and size 
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 Che Great Vine. 
 
 the bunches have fallen off, being, in 1874, only 1,750, and in 1882, 1,250. 
 This is, perhaps, due to its having been previously over-cropped, for other- 
 wise it is doing well. 
 
 Various conjectures have been advanced to account for the great size to. 
 which it has grown. Some have surmised that its roots have made their 
 way into the vast drains of the Palace, and that it has been nourished 
 on sewage. This, however, is not the case. The roots that are found 
 clinging to the brick walls of the sewers, and were, I suppose, mistaken for 
 the roots of the vine, are nothing but a fungous growth. If its luxuriance 
 depends on any special circumstance, it most likely is due to the roots 
 
. W, tderness and Maze. 127 
 
 having travelled into the bed of the river, which is not more than 30 ft. 
 from the end of the Vine-House. 
 
 The Vine-House, which is built against the garden wall, near the south- 
 west corner of the building, has a south- east aspect. It has been enlarged 
 several times. oa Ae 
 
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 | GAatderness and lwaase. 
 aa ANTIL William III.’s alterations, this plantation, which lies be- 
 3 Y tween the Tilt Yard and the Great Fountain Garden, was known 
 & as “The Ould Orchard.” By his directions, however, it was 
 Bae laid out with “espaliers, so high,” says De Foe, “that they 
 feeepualiies took off all that part of the old building which would have been 
 ‘offensive to the sight.” The formal narrow walks which then intersected 
 ‘it are indicated in the old engravings ; but it appears to have undergone 
 ‘some alterations in George II.’s time, and its appearance now is.almost com- 
 pletely transformed. Nevertheless, some traces remain of roy Town, 
 a place so called in the middle of the plantation, where is now a large cir- 
 cular space, with an old yew tree in the centre and seats around. The site 
 of the Grobe, another retreat in the Wilderness of former days, is now 
 ecard by some oe and the steam fire- ene 
 
 
 
 
 
 fHlaze. Annexed is a plan of this, the chief popular attraction of 
 -Hampton Court, which is near the “‘ Lion Gates” in the Wilderness. Its 
 walks are half a mile long, though the space it covers is barely half an acre. 
 Switzer, the gardener we have quoted several times, complains that there 
 are only ‘‘three or four false steps, or methods, to lose or perplex the 
 
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 Ent 9th pies * | 
 123.4 7 Lion Gates. ) 
 tics 3 oF gee ee eee 
 Rambler in his going in,” whereas: in one ot his own design there were 
 _ above twenty. . hy y | Pe 
 
 The Maze is first mentioned in the reign of William IIL., and it was pro- 
 bably made at that time. The “ British Magazine” for 1747 contains. 
 a plan of it and a moral poem on it. ° a i Se “i ones 
 
 Che Lion Gates, which are so called from the great lions of carved 
 stone on the piers, were put up by Queen Anne, whose initial is carved 
 between the columns,.and they form one of the principal entrances to the 
 Palace. The iron-work is worthy of notice, and is doubtless by the same 
 hand as the gate-screens (see page 118). In the upper panel the initial “G” 
 has replaced the “a”, + * “" i ee 
 
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 Bushey Park. The great avenue, exactly opposite. which the Lion 
 Gates are placed, appears to have been planted in William III.’s reign. 
 
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 The Great Basin or Diana Fountain was made in 1699. The park con- 
 tains about 1,000 acres. iy | 
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UNIVERSITY OF ILLINOIS-URBANA 
 
 725.17 L41HABR. C001 
 New guide to the Royal palace of Hampton 
 
 
 
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