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aampton Court
BY
WILLIAM HOLDEN HUTTON, B.D.
FELLOW OF S. JOHN'S COLLEGE, OXFORD


31lustrateb witb f'orttotbree Ertawtn0e by
HERBERT RAILTON
LONDON
JOHN C. NIMMO
14 KING WILLIAM STREET, STRAND
MDCCCXCVII




Printed by BALLANTYNE, HANSON & CO.
At the Ballantyne Press




PREFACE
A WORD, with all apologies for its egoism, as to how
this book came to be. It is the record of travel over
familiar ground.  It tells again what has, perhaps
often, been better told before. It originates in what
schoolmasters used to call a 'holiday task.' College
Dons, unlike the popular idea of them, are busy folk,
who are constantly at work, teaching or preparing to
teach, examining or writing, and each of these things
as part of their professional obligation. But even Dons
must have a holiday sometimes, and much more so
must undergraduates.
Years ago, when I lived in the suburbs, I spent
many days out of Oxford vacations in the gardens and
galleries of Hampton Court. Week by week I was
there, and was never tired of the delightful prospect
and its memories. This year I have found the fascination still as strong as it was a decade ago; and I have
had the delight of wandering about with Mr. Railton,
and of trying, under his guidance, to see the familiar
scenes with something of his artistic inspiration.
Curious nooks, quaint byways, courts in which a
stranger's footfall rarely sounds, here a solitary turret,
v




vi


PREFACE


there a garden that Henry VIII. may have planned
just as it now lies, have appealed with a new force as
I saw how they had been, or could be, the subjects
of the artist's most delicate draughtsmanship. With
the kind help of the Chaplain of the Palace, I have
penetrated to many a place which I had never seen
before. Each hour the impression has deepened, and
at last I have sat down to put together a few memorials
of some happy vacation days.
This book has no ambitious claim.   It attempts
only to say, in a series of sketches not always closely
connected with each other, something about what the
writer has enjoyed and what he has learnt.
To wander about the gardens, to study the
architecture and the pictures, with the records of
the great men of past ages who planned and built
and lived there, is the first and best way to know
Hampton Court and its history. The stately Palace
has had its historian. It is not too much to say that
our pleasure in and our knowledge of Hampton Court
is increased tenfold by the work of Mr. Ernest Law.
At every step he has been before us. There is not a
source of information which he has not studied, there
is no memory which he has not appreciated and
preserved. The recognition which Her Majesty the
Queen has bestowed upon his labours of love, the most
graceful and appropriate that could be found, is the
fit expression of the gratitude which Her Majesty's
subjects feel to him who has done so much to
enhance the pleasure with which the public receives




PREFACE


vii


the privileges which the sovereign has so generously
bestowed.
Not only has Mr. Law studied the Palace and its
history with the minute care of a scholar and antiquary: he has also continued most successfully the work
of Mr. Jesse and Sir Henry Cole in popularising the
knowledge which can alone enable visitors to rightly
enjoy the beauties which they witness.
Those who wish to study the records of the Palace
will find at every turn that Mr. Law has been
before them.  I have searched the State Papers for
references to the events that happened at Hampton
Court from the days of Wolsey onward, but hardly
ever have I come across information which Mr. Law
has not discovered and utilised. It is the same with
the classical literature of England, and with the books
in which foreign travellers have set down their impressions. All I can do, then, is to express most cordially
my'gratitude to Mr. Law for his catalogue and his
guide-book, and for the three noble volumes in which
he has told the history of the Palace from its earliest
days to the present time, and to say that, though much
that is in my book is also in his, and I have learnt, as
has every one who has been in Hampton Court, from
him, yet I hope it will appear that the aim and style
of my book does not bring it into any comparison or
competition with his.
That is the first and foremost of my obligations.
Next to it I must place the kind and generous help of
the Rev. A. G. Ingram, Chaplain in Ordinary to Her




viii             PREFACE
Majesty, whose courtesy and patience on the day I
troubled him I acknowledge with most sincere thanks.
Nor am I ungrateful to those whose kindness has permitted me to visit their apartments, and to see much
of great interest which is not open to the public at
large: especially my thanks are due to Lady Cecil
Gordon for the courtesy with which she showed me
her rooms and explained their interest.  In Mr.
William Brown, the most efficient caretaker of the
picture gallery, I was pleased to discover a fellowcountryman, doubly anxious from old associations to
assist me.
Among Oxford friends I have to thank Miss
Florence Freeman for most valuable help, and Mr.
Gordon MCNeil Rushforth, to whose taste and wide
knowledge of art I am greatly indebted.
To chronicle my obligations to other books besides
those of Mr. Ernest Law would be a tedious task. I
have tried to mention most of them as they occur, but
I cannot forbear to particularise Mr. Claude Phillips's
charming account of "The Picture Gallery of Charles I."
(Portfolio, January I896), and the wholly admirable
"Guide to the Italian Pictures at Hampton Court"
(Kyrle Pamphlets, No. 2), by 'Mary Logan.'
W. H. HUTTON.
THE GREAT HOUSE,
BURFORD, OXON.,
August 1896.




INTRODUCTION
"I AM never merry when I hear sweet music." So,
when the "spirits are attentive," is it with the sight
of a beautiful old house.  The memories of those
who have lived in and loved it crowd in upon the
mind.   Their passions and their sorrows seem to
speak now like the "music of the spheres," in a
solemn cadence that only the, thoughtful and abstracted
heart can hear. They are become part of Nature: all
that strange symphony of colour and sound and feeling
that breathes in upon us as we walk the courts where
they lingered, or trace their names cut with a diamond
on the old window-panes, or pray where they too
have laid down their sins,-all that subtle impression
that steals over us and saddens is made of their
struggles and their tears. There, we say, men have
worked out their lives in duty and loyalty and faith:
or there they have made shipwreck, driven by fierce
demons of desire, for fame, for pleasure, or for wealth.
And now they sleep so still, and thousands pass by
and heed them not: and yet they are part of it all,
this great Palace, this home of English history, this
chronicle in little of what men have done and suffered
for their country and their age. Here Wolsey planned
to restore the greatness of England. Here Elizabeth
ix




x


INTRODUCTION


plotted and schemed, and yet learnt somehow to say,
"I have placed my chiefest strength and safeguard in
the loyal hearts and goodwill of my subjects.... I
know I have the body but of a weak and feeble woman;
but I have the heart and stomach of a king, and of a
king of England too "-some of the finest words mankind ever uttered. Here Charles showed the beauty
of his nature through its outer husk of unworthy
duplicity. Here Milton meditated and Cromwell
agonised: and here, since the days of these heroes,
many noble souls have passed, in quietness and simplicity, to their reward. It were as ill to romp and be
facetious here as in some old abbey, or in any ancient
place where history has been made. It is ours rather
to linger over its memories and to cherish them, and
to dream again of the great days that are gone by.
And so as we ponder, and as the noble names come
up before us, and merge insensibly into the present,
where still the echoes of renown are heard in the
lodgings of the kindred of our English worthies,
the scene assumes an unity which brings the old time
together with the new.
"It seems as if in one were cast
The present and the imaged past,
Spanning, as with a bridge sublime,
That fearful lapse of human time,
That gulf unfathomably spread
Between the living and the dead."
And thus it is one picture we are to look upon,
the old Palace with its history and its memories and
its art.  It presents one story, and that the world
will not willingly let die.




CONTENTS
CHAPTER I
THE BUILDINGS AND THEIR MAKERS
PAGE
I. Hampton Court: its associations: its twofold interest.-2.
The characteristics of the early sixteenth-century architecture as represented in Wolsey's building.-3. The size and
extent: the view from the roofs.-4. The outer Green
Court: the Base Court: the Clock Court: the "Confessionary."-5. Wren's work in the Clock Court: the
side-courts.-6. The great Hall: the great Watching
Chamber: the Horn-room.-7. Wren and his style: the
Fountain Court: the east front: the south front: the King's
staircase and its decoration: the interior of the rooms.-8.
The architect: Wolsey probably his own architect: Wren's
plans: the extent of his designs: Defoe thereon: the work
incomplete but characteristic.-9. Different judgments on
the alterations made by Wren: Horace Walpole: "The
Beauties of England and Wales:" Wren's characteristic
merits.                                              1-27
CHAPTER II
HAMPTON COURT IN HISTORY
I. The creation of Wolsey's house: its magnificence under Elizabeth.-2. A long popular dwelling-place of English rulers:
two names most prominent among its makers: Wolsey and
xi




xii                   CONTENTS
PAGE
William  III.: Wolsey's greatness: as Statesman and
Churchman: his achievements and his failure: the closeness of his connection with Hampton Court: the business
transacted there: the King's constant visits and familiarity:
Cavendish on his sudden appearances, and on the masque of
foreign men: the festivities at the King's coming: Shakespeare's use of this in Henry V111.: the gift of the Palace
to the King: lodgings for King and Queen, and for Anne
Bullen: treaties and ambassages: the reception of the
French Envoys in 1527: Cavendish's description thereof:
the Frenchmen fain to be led to their beds: Wolsey's fall.
-3. Henry in possession   his new building: he hears of
Wolsey's death from Cavendish: Henry and Anne Bullen
at Hampton Court: Anne gives way to Jane: birth of
Edward Prince of Wales: his baptism and his mother's
death: Anne of Cleves: Catherine Howard: Catherine
Parr.-4. Edward VI.: honeymoon of Philip and Mary:
Mary's needlework and that of her mother: the poet of the
needle.-5. Scandals about Queen Elizabeth: her personal
appearance: a Pomeranian's account of her state: her many
guests: Paul Hentzner: his account of the Palace in I 598:
revels, and the boyling of brawnes: the Queen's last visit.6. James I.: masques and revels: visitors from Denmark
and Germany: Queen Anne: Charles I. and his pictures:
his counsellors: his last visit before the troubles: his sojourn
after Naseby: Sir Thomas Herbert's account: Cromwell
watching King and Parliament: Charles's escape: Cromwell's occupation of the Palace.-7. The Restoration:
Charles II.'s life at Hampton Court: his marriage: his
Court.-8. The Beauties of the Court: characteristics of
Lely's work: the history of the ladies.-9. Charles and
Verrio: James II.-Io. William    III.: was he a hero?
The greatness of his surroundings: his diplomacy: the
succession: his private character: his grant of lands to his
favourites: the de Witts: Glencoe: his unpopularity: his
unconstitutional action.-I I. His work at Hampton Court:




CONTENTS


xiii
* *
Xlll


PAGE
Queen Mary and Kneller: the Beauties: other portraits:
William's fondness for Hampton Court: Anne's sad memories
there.-I2. George I.: his plays: Defoe's account of the
Palace........ 28- 14
CHAPTER III
THE PARKS AND GARDENS
i. The Medieval garden: the Tudor garden: its remains at
Hampton Court: the Mount garden: the parks.-2.
Elizabeth and her garden: the symmetrical taste: the
decorations: Bacon's idea of gardens.-3. The Rebellion a
break in English horticulture: Cromwell: Charles II.: the
imitation of Versailles: Le Notre: Evelyn's description of
the gardens: Queen Mary's bower.-4. William III.'s
changes: his personal interest: the Royal gardeners: the
wilderness: the Maze: Latin poem thereon: Queen Mary's
collection of plants: the oranges: the gates: suspension of
the works on the Queen's death: the new plans: the great
Parterre: the Lion gates. —5. The gardens under George
I.: the Frog Walk: the passion for Nature: Thomson's
description of a garden: the changes under the Landscape
gardeners.-6. The fish and fowl: the great vine: the
characteristics of the gardens....      5-1 38
CHAPTER IV
HAMPTON COURT AND THE CHURCH
I. Wolsey's chapel and his tra..n of Churchmen: Cavendish's
description.-2. Henry's alterations: the Royal pew: present condition of the chapel: Wren's work: historical
associations: baptism of Edward VI.: funeral of Jane
Seymour: the preachers: James I.: the destruction at the




xiv                    CONTENTS
PAGE
Rebellion: William and Mary: the King keeps his hat
on: the early Hanoverian neglect: the Queen's private
chapel.-3. The religion of the Palace: the Hampton
Court Conference: the introductory discussion: James's
knowledge of theology: the assembly on Monday: the
"(Turkey gowns": the Catechism: the translation of the
Bible: the part played by James himself: his judgment
on the Conference: the later history of religion in the
Palace..                                I3...  9-154
CHAPTER V.
THE ART COLLECTIONS
i. The interest of the art collections: the china: the glass
mostly destroyed.-2. The tapestries: embroidered hangings: beds: Wolsey's collection of tapestry: the great
Watching Chamber: an unidentified subject: the triumph
of Fate or Death: characteristics of the work: the Seven
Cardinal Virtues and the Seven Deadly Sins: Flemish
work: the Horn room: Bernhard van Orlay: the history of
Abraham: its value: the different subjects: the richness of
treatment.-3. Tapestries under Queen Elizabeth: in the
Commonwealth: at the Restoration: under George I.:
needlework: famous beds: carved chairs.-4. The pictures: general classification: the panel pictures in the Confessionary.-5. The Tudor pictures: Elizabeth's porter:
scenes from the reign of Henry VIII.: portraits of the
King: other persons of the age: the Holbeins: Sir
Antonio More: Mary Queen of Scots: the four portraits
of Elizabeth.-6. The collection of Charles I.: James
I.'s pictures as illustrations of the history of his time:
Vandyke, a prince of Court painters: Rubens: minor
artists: the great works in Charles I.'s gallery.-7. The
Triumph of Julius Cesar, by Mantegna: the history of the
purchase: the condition and the position of the pictures:




CONTENTS                             xv
PAGE
characteristics of Mantegna's work, illustrative of the Renaissance: the dignity of ancient Rome: an account of
each scene of the Triumph: other works of Mantegna with
the same idea.-8. Other Mantuan acquisitions in Charles's
gallery: fifteenth-century painters: Jerome Bosch: sixteenth century: Giulio Romano: Milanese school: Venetians: the Shepherdof Giorgione: " The Concert:" Lorenzo
Lotto: minor masters: Tintoretto: Dosso Dossi: Correggio: Albrecht Direr:   Mabuse.-9. The Georgian
age: portraits of Madame de Pompadour and Benedict
XIV.: the House of Hanover: Gainsborough's portraits
of Hurd, Fischer, Colonel St. Leger, Hoppner's Lord
Moira: the West gallery: West's merits and defects: the
Death of Wolfe: the collection as a whole..   155-204
CHAPTER VI
LITERATURE AND GOSSIP IN THE LAST CENTURY
I. Hampton Court in literature: Thomson's rhapsody.-2. The
" Rape of the Lock": Pope's fondness for the Thames:
his country inspiration limited to its banks: the origin of the
poem: its three foundations: the " Rosicrucian doctrine of
spirits": Marmontel's Sylphs and Pope's "The Expedition to Hampton Court": the game of ombre: the severed
lock: Pope's letters: the life of a Maid of Honour. —3.
Lord Hervey's life: Miss Bellenden and Miss Lepel:
Queen Caroline: George II. and his family: Prince Frederick: the hasty drive to St. James's: Queen Caroline's death:
later visits of George II.: changes since his time: the
Royal fondness for Hanover: English character of Hampton Court.......    205-227


b




xvi                  CONTENTS
CHAPTER VII
MEMORIES AND LEGENDS OF TO-DA Y
PAGE
Residents of later days: the families to whom the Crown has
given apartments: the Wellesleys: Lady Mornington, the
"mother of the Gracchi": the caretaker of the Palace:
its condition to-day: its romantic interests: Charles I.:
Catherine Howard: the White Lady: Mrs. Penn: ghost
stories: the artistic pictures on the verge of the twentieth
century: a picture of the future by William Morris  228-237
INDEX........    239-244




LIST   OF   ILLUSTRATIONS
BY HERBERT RAILTON


i. View from River...... Frontispiece
Page
2. Illustrated Title-page.......     ii
3. View from Roofs, looking West...                    2
4. West Front and Trophy Gates.....     4
5. Oriel Window, West Gateway.....     7
6. Anne Boleyn's Gateway.....     8
7. Wolsey's Oratory or Confessionary.....    10
8. The Serving Hatch in Great Meat Kitchen...    12
9. The Great Oriel to Hall......     4
I0. Fountain Court........    16
I. Wren's Monogram, Fountain Court.....    17
12. The South Front from Privy Gardens...   20
I3. Wolsey's Conduits at Kingston and Coombe...   32
14. Wolsey's Great Meat Kitchen.....        36
5. The Clock Court.....             42
I6. The Master Cook's Chamber in Great Kitchen...   45
17. Exterior of Wolsey's Private Rooms....   48
18. Banqueting Hall of Henry VIII....        50
19. Henry VIII.'s Cellars under Hall....   52
20. Prince Edward's Lodgings..                    57
2. The Haunted Gallery.......   62
22. Group of Chimneys in Carpenter's Court....   64
xvii




xviii  LIST OF ILLUSTRATIONS


23. Fish Court.
24. Bedroom of William III.
25. A Peep of Fountain Court from Roof
26. The Orange House
27. Water Gallery
28. Entrance Gate to Garden
29. Oriel Window in South Front.
30. The Great Canal.
3I. South Front and Cradle Walk
32. The Garden Front
33. The Dolphin Fountain
34. The Frog Walk..
35. The Old Pond Garden.
36. Chapel Court.
37. Group of Chimneys in Clock Court
38. Tudor Gable, South Front
39. Chimneys in Court
40. The Master Carpenter's Court
41. River Front.
42. The East Front.
43. Princess Frederica's Lodgings


Page
80
84
96
104
io6
112.  I6
122
124
28
1. 32.  134.       138. I44
i6o.. 160
I76
I92,..208
212.. 224
228




HAMPTON COURT
CHAPTER I
THE BUILDINGS AND THEIR MAKERS
i. Hampton Court: its associations: its twofold interest.-2. The
characteristics of the early sixteenth-century architecture as represented in Wolsey's building.-3. The size and extent: the view
from the roofs.-4. The outer Green Court: the Base Court:
the Clock Court: the "Confessionary."-5. Wren's work in
the Clock Court: the side-courts.-6. The Great Hall: the
great Watching Chamber: the Horn-room.-7. Wren and his
style: the Fountain Court: the east front: the south front: the
King's staircase and its decorations: the interior of the rooms.8. The architect: Wolsey probably his own architect: Wren's
plans: the extent of his designs: Defoe thereon: the work
incomplete but characteristic.-9. Different judgments on the
alterations made by Wren: Horace Walpole: "The Beauties
of England and Wales:" Wren's characteristic merits.
I
THERE are few of the buildings which the generosity
of English sovereigns has thrown open to the people
that appeal to us with the same attraction as Hampton
Court.    For two reasons, at least, it has an interest
A




2          HAMPTON COURT
which is unique. No English palace that still remains
has borne, at least until quite our own day, so homely
an air.  Whitehall, Oatlands, Nonsuch are gone.
Buckingham Palace, Saint James's, and Kensington have
the inevitable defects of all royal dwellings in a great
metropolis. Windsor Castle is a rival; but in historical association it is certainly inferior.  Earlier
sovereigns lived at Windsor, later monarchs since
George III. have made it a home; but it has not
been, like Hampton Court, for more than two centuries the almost continuous residence of the rulers
of England. There Wolsey rested and gave feasts;
Henry spent honeymoons; Mary sat wearily waiting
for the babe that never came; Elizabeth hunted and
intrigued; James talked theology; Charles collected
pictures, and slipped secretly through his guards' hands;
Cromwell listened to the organ as Milton played it;
Charles II. made love, and William III. made gardens;
and so the English rulers went on living at their ease
in the most comfortable of their houses, till the day
when the boy who was to be George III. had his ears
boxed by his grandfather, and vowed he would never
live in the place where he had received such an
indignity.
Hampton Court possesses in a striking degree the
interest of a continuous connection with English
history and an association with the domestic lives
of English sovereigns.  With these two thoughts
in mind it is that we pass through its courts and
examine its architectural features. Each bit of build



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WOLSEY'S BUILDING


3


ing, it is scarcely too much to say, has an interest
of its own. Historically, or because of the men who
designed it, or from important events which are associated with it, each part has its special worth.
The history of the building, as we now see it, is
in itself a great part of the history of English architecture, as it is a memorial of a great part of the
history of the nation and its crown,
II
The Palace of Hampton Court was begun at a time
when English domestic architecture was at its best.
The new era which had replaced the "over-mighty
subject" by the mighty monarch was out of harmony
with the castles of elaborate defence and corresponding
inconvenience which feudalism and medieval life had
made necessary. The fortress gave place to the house.
The beginning of the sixteenth century was a time of
comfort, of luxury, and of enterprise; and all these
were represented in the last triumphs of Gothic architecture-the great houses that were built before English architects, as well as English men of fashion,
became Italianate.
Hampton Court, as Wolsey began and Henry
finished it, is one of the last, as it is the greatest of
the examples of that national style which was developed when the Tudor rule had settled down on the
land after the tumults of the French wars and the




4


HAMPTON COURT


civil strife of the fifteenth century. As the fifteenth
century advanced castle-building ceased. Towns were
still walled, but private dwellings in England-for in
Scotland and Ireland, as well as on the Borders, the
need for defensive buildings was still apparent -
gradually dispensed with the visible tokens of the age
of insecurity. Battlements became an ornament rather
than a protection.  Moats were no longer dug,
though here Wolsey kept up the fashion of the former
age, and before the great gate of his house had a deep
and wide ditch with a drawbridge of the ancient sort.
The details of the houses followed the principle which
had begun to rule their general appearance. Windows
were made much larger all through the century, till
with the sixteenth century we have the great windows
which are so characteristic of the building of the Cardinal and the King. The great dining-hall declined,
though in houses of much state it survived, as at
Hampton Court, in much of its old splendour. The
custom of the great men dining in common with their
households was dying out, as More's "Utopia," in its
plea for a common hall and common hospitality, so
clearly shows. On the other hand, the comforts of
the individual were far more carefully attended to.
The first court of Wolsey's great building consists
entirely of guest-chambers.  The lavish decoration
within attempted to counterbalance the economy of
architectural detail without. Windows, in which the
tracery no longer excites admiration by its beauty
and grace, were filled with rich glass and overhung




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TROPHY GATES


5


by heavy curtains of magnificent stuffs. Tapestries
covered the walls; and of these at Hampton Court
splendid specimens survive.
III
Of the external grandeur of the building which
Wolsey designed, perhaps the best impression can be
obtained from the roofs, or from the north-west of
what was once the tilt-yard.    The extent of the
buildings is amazing, and the dignity and magnificence
of the design is no less impressive. The palace, says
Mr. Law, "covers eight acres, and has a thousand
rooms.
Such a general view as is obtained from the roof
gives an impression which is certainly not lost when
the details are observed, and when the Palace is
inspected at leisure.
IV
We pass through the "trophy gates"-poor specimens of the early Hanoverian age at its least interesting
epoch-into the outer Green Court, by the unattractive
barracks at the left (which may have been stables in
their earliest history), to the great Gate-house. On
each side project the beautiful buildings, with their
fine windows, picturesque turrets, and the dull red of
1 " History of Hampton Court Palace in Tudor Times," p. 49.




6


HAMPTON COURT


the bricks intermingled with lines of black, in which
now live the chaplain and others on the north, and
on the south Her Royal Highness Princess Frederica
of Hanover.1
The little gardens, the creepers here and there,
set off the old    buildings well.    But the    dignity
of the building, as Wolsey designed it, is gone.
The great gate itself has no longer its five storeys
and its pinnacles with their lead cupolas, but has
dwindled, under a restoration of George III.'s, to
three storeys and towers that rise but slightly over
the adjacent building.     But from   the first the tall
chimneys strike the eye. They, too, it is plain, in
most cases are restorations, but restorations according
to the exact pattern of the originals. Each of them
has its pattern, and the different coloured bricks,
where they are preserved, add a peculiar distinction
to the lofty clusters, which become an ornament
where a less skilful arrangement would have disfigured the court.
Through the great gate, with its groined ceiling, we
pass into the first or Base Court. This at once strikes
the visitor as being very low on the north and south
in proportion to the high Gate-house and Clock-tower.
This effect would not have been so noticeable had the
cupolas with which the smaller turrets were decorated
1 Part of this was at one time the residence of the " Lady housekeeper," an official of great pomp, while the rooms at the south-west
are said to have been those long dwelt in by Mistress Pen, fostermother to King Edward VI., whose ghost, they say, still haunts the
precincts.




TUDOR ARCHITECTURE                       7
remained in situ. It is increased also by the tall span
of the roof of the great hall, with its greater Perpen

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8


HAMPTON COURT


There is no better specimen in England than this
court of what is loosely called the early Tudor style
of domestic architecture. It is the exact reverse of
formal or tame in colour and design. It is sombre in
tone yet warm-the introduction of darker coloured
bricks at intervals adding in a very marked way
originality and variety. The design discards uniformity.
On three sides (broken, however, by the Gate-house),
the windows are ranged at regular intervals and are of
the same size, and there are only two storeys. But on
the third side, the east, the line is broken not only by
the Clock-tower, but by a variety in the arrangement
of the windows, and the building is of three storeys.
The court is particularly homely. The grass shows
up the fine dark red of the buildings very happily, and
the whole air of it is like that of some quiet college in
one of our Universities. The interior of the rooms
show something of the old plan of " double lodgings"
of which Cavendish speaks. Here were the great
chambers for the foreigners, and the great persons of
the court, whom Wolsey so freely entertained.
Details of the work are interesting, such as
Henry VIII.'s arms below the great oriel window on
the gateway tower, and the arms and initials of
Edward VI. on the two turrets near.
From the Base Court, which is practically all Wolsey's
work, we pass to the much more composite series of
buildings within the Clock-court. We enter by what is
called Anne Bullen's gateway, which has a restoration
of what was once a beautiful groined roof. In the




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THE CONFESSIONARY


9


quatrefoils of the centre are the badges of Anne,
and her initial joined in a true love-knot with that of
Henry VIII.   At the left goes up the staircase to
the great hall. The exterior of the hall takes up the
whole of the north side of the court. Low down are
small windows, which light the cellars, then a great
expanse of wall below the great windows. Between
each window rise strong buttresses, which pass above
the battlements and terminate in small pinnacles. At
the east end of the north side are the two large windows of three lights which go from floor to ceiling
of the dais.  The hall is Henry VIII.'s work, not
Wolsey's.
The Clock-tower behind has Wolsey's arms, and the
rooms of the Cardinal himself stretched along from the
Clock-tower to the southern extremity of the building.
These are all now in private occupation. They preserve not a little of their ancient features of interest.
The fine mullioned windows, the rich panelled ceilings,
often gilded and highly coloured, the decorations recalling the Cardinal's own living in them-the hat,
crosses, and poleaxes, the motto "Dominus Michi
Adivtor"-the charming panelling of different forms
of the linenfold pattern, preserve the appearance of the
rooms when their great builder still lived in them.
There is one delightful room, rich with no inconsiderable remnants of beautiful decoration,-it has been
identified with the "Confessary,"-which is especially
interesting for its preservation of the ancient features.
The " Confessionary," as Horace Walpole calls it in




IO


HAMPTON COURT


his "Anecdotes of Painting," has only recently been
rediscovered, and it has been restored under the direction of Sir J. C. Robinson, and opened to the public.
Of its extremely interesting paintings this is not the
place to speak, but we may here notice the excellent
" linen-scroll " pattern panels which have been collected
from other parts of the Palace to cover the walls, and
the splendid decorated ceiling. A private oratory for
the Cardinal himself it may well have been. The
fireplace would not conflict with this idea. It would
be the room where he retired alone to pray or to make
confession.  His public devotion demanded and received, according to the idea of the time, a more stately
setting.
A curious and happy variety has been formed by
the restoration of this charming little Tudor room,
which is now called "Cardinal Wolsey's Closet," close
to the communication gallery and the Queen's great
staircase. The ceiling, with its beautiful panels highly
decorated, and a cornice of rich design, is in effective
contrast to the sprawling goddesses of La Guerre, a
few feet away. It is a delightful reminder of the
sixteenth century amid the surroundings of the eighteenth.  Here Wolsey and George II. touch each
other. We find ourselves again, when we seem to be
yet in Wren's buildings, after all among the original
work of the second court.




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WREN'S COLONNADE


II


V
In strange contrast to the rooms of Wolsey, without
and within, is the colonnade built by Wren on the
south side of the court. Even the most loyal admirers
of the great man's work may be pardoned if they
regret its conjunction with the late domestic GoLnic
and the Perpendicular windows to south, east, and
north. Seven Ionic columns, entablature, balustrade,
every classic adornment which may cheerfully consort
with William III. in a toga and a laurel wreath, or
George II. disguised as a Roman general, are hardly in
keeping with the great hall of Henry VIII. But the
colonnade in itself is stately, graceful, perfectly proportioned. Some entrance there must be to the great
staircase, which is a magnificent example of the great
master's power.
The contrast with the old work is carefully made as
little offensive as possible. Wren might have built a
complete Palladian facade. He preferred to give as
little of new work as he could. Historical continuity,
indeed, can only be obtained at a price; and we may be
thankful that the continuous occupation of Hampton
Court for three centuries has given us no more abrupt
contrasts than this.
Of the details of the court much might be said,
but the artist can best picture them.  The great
astronomical clock itself, dated I540, and made for




12         HAMPTON COURT
Henry VIII., is as much an enigma to the ordinary
visitor as it is probably a terror to those who live
near it.1 The ornamental work about the first two
courts is also of great interest.  The most striking
feature is the series of terra-cotta busts of the Roman
emperors, executed by Gian da Maiano-"rotunda
imagines ex terra depicte " —that, is, circular portraits
of terra-cotta in relief, designed by their artist for
"Anton Court."     They are medallions surrounded
with rich borders, and are still but little damaged, and
of very great artistic interest.  Decorations they are
rather of an Italian palace than of an English Gothic
house, and strange they look against the flat, undecorated Tudor brickwork. The ugly shelters that
protect them from the weather are an indication of
their exotic character. But they are one of the most


-.' -", ~.&;,t."2._..a


charming features of the
place. The finest, perhaps,
is the medallion of Otho, in
a helmet, on the right hand
of the inner tower opposite
the clock. The beautiful
terra-cotta, too, of Wolsey's arms under the clock
should not be forgotten; it
is perhaps by the same artist.


The numerous side-courts to the north, with quaint
stairways, massive roofs, dark corners, beautiful pro1 An elaborate explanation is given by Mr. Ernest Law in his
admirable guide-book.




GREAT HALL


I3


jecting buttresses, and windows and gables, and every
sort of delightful surprise, must be examined in detail.
At every turn the artist finds a subject, and his
description says what words cannot say.  The Lord
Chamberlain's Court, the Master-Carpenter's Court,
the Court near the Great Kitchen, the Back Court,
the Chapel Court, and others, have each their charm.
And the Great Kitchen itself, with its high roof and
its grand open space, like a great hall, its hatches, and
the approaches to it, form a series of characteristic
pictures. So we turn back to the Clock-tower, and
mount the stair from Anne Bullen's gate.
VI
The Great Hall itself, with the rooms that open
from it, forms the most magnificent series of interiors
that the Palace now presents. The hall was begun
when Wolsey was dead.      The Record Office contains all the accounts of its making, of the expenses
of material and work, and even of every piece of
painting and carving.  It was hurried on with all
the impetuosity of the King in seizing every pleasure
with rapidity.
The staircase that leads up from Anne Bullen's
gateway corresponds to another stair leading on the
other side from the kitchen, as in the arrangement
of many college halls, notably Merton College at
Oxford.




14


HAMPTON COURT


The hall is entered through a screen of dark oak,
above which is the Minstrels' Gallery.
By two points the visitor is immediately struck as
he enters the hall-its size and the magnificence of
the roof. The later is what is called a single hammerbeam roof, divided into seven compartments. The
beams are terminated by elaborate pendants, 4 feet
10 inches long, very rich in ornament, fleur-de-lys, and
putti, animals, and conventional flower designs. The
springs of the side arches, again, are elaborately ornamented. The spandrels have the arms of Henry and
Jane Seymour. The " Louvre" has disappeared, but
otherwise the roof is much as it was when Henry's
last wife  was proclaimed    queen   in  I543.    The
whole effect is one of exceeding richness, especially
since the colour has been restored with a more than
Tudor profuseness.
There seems some doubt as to whether the dais
which now exists is original, or rather whether there
was originally a dais at all.1 Some have considered
that the hall marks the period at which dining in
public had died out, and that the King dined in the
room  at the east end, sometimes called the "Withdrawing-chamber." But this is almost certainly an
error.  The hall rather emphasises an      attempt to
restore or to revive the public dining, and the large
1 " In Hampton Court Palace there is a dining chamber at the
upper end of the hall, and no dais; and although the present floor
is not original, the levels of the different doors show that the original
intention has been followed."-Domestic Architecture of the Middle
Ages, vol. iii. part I, p. 78.




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HORN-ROOM


I 5


window at the south-east was evidently intended to
light the dais. It was here, tradition says, that Surrey
the poet wrote with a diamond some lines on the fair
Geraldine.
From the hall we pass into the Withdrawing-room,
more properly named the Great Guard or Watchingchamber.  By this, access to the great hall was obtained from the royal apartments, which in Henry's
day extended to the east of the Clock-court.  Here
the guards waited, and through this passed the
applicants for an audience. It forms really an antechamber to many different parts of the Palace-to the
Queen's lodgings, the "haunted gallery" and chapel, to
the Horn-room, which leads to stairs down to the
kitchen, as well as to the King's rooms. The room
is over sixty feet long and nearly thirty wide, and
its height is twenty-nine and a half feet. It is thus in
striking contrast to the great hall.  Its low flat ceiling, with oak pendants with the arms of Henry VIII.
and Jane Seymour, is full of character and richness. The old tapestry still hangs on the walls, and
the room is chiefly lighted by the great bay window,
which extends to the whole height.
From the Watching-chamber the Horn-room is
entered. Through this the dishes were brought up
to the high table on the dais of the hall. The three
rooms together give the happiest example left in
England of a great dwelling-place of Henry VIII.'s
day.




HAMPTON COURT


VII
So, leaving the Tudor buildings of their different
dates, we pass to the complete contrast of the new
Fountain Court. The second court had after Elizabeth's day been called by that name, but when the
fountain was removed from it, and Wren's new
building rose on the site of the old Cloister Green
Court, the title was transferred.
It is late in the day to enter the lists in defence of
Wren. Critics must be content to differ. Some may
think that these buildings have "an air of pretentious
meanness," while others raise perpetual protest against
any architecture but Gothic as unnatural in "these
realms." But Wren's work, as we see it at Hampton Court, seems to many almost the perfection of
colour in the contrast of white and red, and as the
most comfortable, and at the same time stately and
dignified, style of domestic architecture for an age
which demands both dignity and comfort.      The
design of the Fountain Court as seen from within
consists of four storeys resting on broad classical
arches supported by square piers. The first feature
that attracts notice, here and in the outside facing
parks and gardens, is the exactness of the proportions.
The three rows of windows exactly correspond, and
cover the space marked out for them by decoration
on the centre of the arches. The columns fall exactly
below the space which is unrelieved by light.




'4


V


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WREN'S STYLE


I7


The first floor consists of the state apartments.
Above is the half-storey, or entresol, the windows
of part of which light the larger state-rooms, while
the others, as those of the top storey, belong to private
apartments.   The design of the whole is as simple
as it is regular. The decoration, on the other hand,
where it occurs, is elaborate and rich. The lion-skins
round the windows, the flowers within the arches, are
carved with that stately conventional grace which is
one of the most prominent points of the work of
this period. The cloisters are admirably proportioned,
cool on the hottest day, and shaded from wind and
rain, which too often in a cloister renders one side,
at least, useless in a storm. The whole is surmounted
by a high balustrade.
In the west cloister is the door which admits to
the room which Wren himself used while the work
was being carried on. Over
the doorway are his initials.
On the south wall, within
the circular spaces of 'the              '   I
half-storey, are insignifi-  *:.
cant and almost obliter-                        s
ated frescoes of La Guerre.
Decoration does not de-                     ^.ncn
stroy the air of comfort,                    tnie1t
of homeliness, of a stately
seclusion, that reigns in the court.  It is above all
things a living house that he has built; nothing too
great or good for human nature, but a home.


B




HAMPTON COURT


If the court, when viewed from the cloister, appears
somewhat small, the effect of the east and south fronts
is entirely the reverse of this. There was compactness;
here is size and magnificence.
Through the cloister at the middle of the eastern
side we enter, under the state-rooms, into the great
Fountain Garden. Here the design of William III.
to rival Versailles becomes at once apparent, as the
trees and canals stretch out in vistas before the eye.
But of the gardens we do not now speak. We
turn rather to examine the great front of Wren's
building, which shows more than any other part of
the Palace the impressive dignity of his design.
Formal it is certainly, and geometrical, the work of
an accurate draughtsman, whose eye was ruled, it
might seem, by mathematical calculations. But it is
impossible to deny the magnificence of the plan. It
were absurd to compare it with Wolsey's front, the
characteristic excellences of each are so distinct and
different. It is the most important specimen of Louis
Quatorze architecture that we have in England. It
should be compared with Versailles; and it will bear
the comparison. But inappropriate though the thought
may be, I cannot but confess that it makes me think
also of the Italian palaces which were raised in the
fifteenth century, like the Strozzi Palace at Florence,
or the sixteenth or seventeenth century palaces of
Florence and Genoa, and it seems to me that Wren's
building has a variety and attractiveness which the
others lack. In Hamptdn Court Wren brought this




SOUTH FRONT


I9


particular style, Neo-classic, or what you will, to perfection.  The  buildings are impressive, distinctly
decorative, and unmistakably comfortable.
On this east front the white of the windows, the
pediments, and balustrade, of the carved trophies,
flowers, fruit, putti, and all the paraphernalia of the
craftsmen of the age, is in striking but never startling
contrast to the rich red of the bricks. There are here
some wonderful specimens of under-cutting in stone,the carved keystones of the windows of the groundfloor looking over the gardens, with the initials of
William and Mary intwined under a crown. The
effect of this is now often lost because the birds' nests
inside them are allowed to remain. The whole front
has a brightness which the English climate indisputably needs. One might be saddened by the solemn
court of Wolsey, but Wren's work, if it could be
monotonous, could never be depressing.
The south front, which looks upon the private
garden, is slightly varied from the design of the east.
It is, very slightly, less long; it has two projecting
wings, each of the space of four windows, and the
central compartment has not the same rich pediment
or abundant decoration. At the west end the building
joins Wolsey's work, the window of Queen Elizabeth.
And the contrast is striking if not particularly pleasing;
for Wren's work, it must be admitted, here (as in
S. Mary's Church at Warwick) does not look at its
best in conjunction with another style.
If Wren was always impressive in his exteriors, his




20


HAMPTON COURT


interiors can hardly be denied to be admirably suited
for the conventional courtesies of an eighteenth-century household.
The King's great staircase has all the features essential to a ceremonial-width, regularity, and a view of
the whole from any part. Verrio's decorations, gods
and goddesses, nymphs and muses, in the most
inartistic and unedifying combination, must be seen to
be sufficiently disliked. But a fine doorway at the top
of the stairs admits to the Guard-chamber, a fine lofty
room, decorated with arms set up in Wren's day by
the gunsmith Harris. It were tedious to describe
room  after room  as it is entered.  Some general
points apply to all. The wood-work is frequently by
Grinling Gibbons, and is always light, delicate, attractive. Other work is by Gabriel Cibber, notably the
"insculpting the Relievo on the Tympan of the great
Frontispiece"-the triumph of Hercules over Envywhich is the central decoration of the east front outside. Every room, except possibly the little chapel near
the Queen's bathing-closet, is adequately, indeed admirably lighted.  The decorations of the rooms, fine
chandeliers of silver or glass, rich chairs, beds and
canopies of state, are almost all of William III.'s
date. Queen Mary's own work has been removed,
but the richest work in damask, silk, and velvet is
of her time or Anne's. The ceilings are frequently
painted, whether by Verrio or Thornhill. The ill
success of most of these laborious efforts does not
condemn a method of decoration which may be an




VQf.NJ1J


zo


4)-   -,      t


(l








GREAT GALLERIES


21


eminently suitable completion to a scheme of decoration which includes ceiling as well as walls. The idea
was not unhappy, but the execution was too often
inferior.
The great galleries-the Queen's, which is eightyone feet long by twenty-five broad, and the King's,
which is a hundred and seventeen feet long and
twenty-four wide, and was built for the Raffaelle
cartoons, and the communication gallery, connecting
the King's and Queen's apartments,-are magnificent
rooms, which break the monotony of the smaller
suites with their decorations all very similar to each
other. It is to be observed, further, that the staterooms, now hung with pictures and tapestry, and open
to the public, by no means exhaust the building.
There are numerous small rooms and staircases which
are not open, but which, when all the rooms were used
by the courts, must have agreeably varied what would
otherwise be a somewhat stiff series of too uniformly
dignified apartments. It was not necessary then to
pass from room to room, as the visitor passes now,
to get from one end of the court to another. Passages
of communication are frequent; and the reproach
which is sometimes directed against Wren's building
of a sacrifice of comfort to dignity is undeserved.




22


HAMPTON COURT


VIII
When we turn back to look at the great Palace as a
whole, we are met at once by the fact that we cannot
adequately consider Wolsey's buildings to-day in the
light in which he intended them to be viewed. Time
and change have altered their whole setting. Not only
is the Cloister Green Court, and not a little beside it,
pulled down, but the outer buildings and the surroundings generally are entirely altered. The tilt-yard,
for instance, is barely recognisable.  The charming
tower that stands in the midst of the east side is but
a reminiscence.
And if we do not see Wolsey's buildings and Henry
VIII.'s as they left them, neither do we know what
they were designed to be. We have no full plans; and
more than that, the name of Wolsey's architect has yet
to be discovered, though perhaps it is not undiscoverable. Masters of the works and clerk comptrollers are
mentioned in the accounts; but of the man who made
the designs for the splendid building there is no trace.
It is by no means improbable that Wolsey himself
made the plans, and left the carrying out of details to
the skilled workmen of that age of artistic excellence.
Eustace Mascall was in I534 "clerk of the cheque
in the King's works at Hampton Court;" but there
is nothing to show that he was architect.
When we come to the reconstruction the contrast is
great. We know the architect-perhaps the greatest




WREN'S PLANS


23


whom England has produced-and we know, with the
minutest detail, the extent of his plans.
In the office of Her Majesty's Board of Works, and
in the Library of All Souls' College at Oxford, are preserved probably the whole of the drawings and memoranda that Wren made for his work at Hampton Court.
From these, if not from the somewhat precarious evidence of Defoe, we learn what was the intention of the
King and his architect. " I have been assured," Defoe
writes in his "Journey from London to the Land's
End" (I724), "that had the peace continued, and the
King lived to enjoy the continuance of it, His Majesty
had resolved to have pulled down all the remains of
the old building (such as the chapel and the large court
within the first gate), and to have built up the whole
Palace after the manner of those two fronts already
done.  In these would have been an entire set of
rooms for the receiving, and, if need had been, lodging
and entertaining any foreign prince, with his retinue;
also offices for all the Secretaries of State, Lords of the
Treasury and of Trade, to have repaired to for the
despatch of such business as it might be necessary to
have done there upon the King's longer residence there
than ordinary; as also apartments for all the great
officers of the household; so that had the house had
two great squares added, as was designed, there would
have been no room to spare, or that would not have
been very well filled."
Another Versailles it would have been, so far as
William could make it; and the parks and gardens




24


HAMPTON COURT


had already put on an air suited to the new design.
How much the taste of the age approved this may
be seen by what Defoe adds a little later, speaking,
even if he be himself ironical, most unquestionably
the sentiment of his day.
"When Hampton Court will find such another
favourable juncture as in King William's time, when
the remainder of her ashes shall be swept away, and
her complete fabric, as designed by King William, shall
be finished, I cannot tell; but if ever that shall be, I
know no palace in Europe, Versailles excepted, which
can come up to her, either for beauty and magnificence, or for extent of building and the ornaments
attending it."
The plan drawn up by Wren in 1699 shows less the
extent of the destruction contemplated than the sumptuousness of the new scheme. The great approach
was to have been through Bushey Park, by the Lion
Gates, to a new entrance court, which would have
been 300 feet long by 230 feet broad. All the buildings on the north side up to the great hall would
have been swept away. The great hall itself was to
have been the entrance to the Palace. Great flights
of steps and a fine colonnade were to have led to it.
From the hall itself was to have been the entrance to
the rest of the Palace, to the Clock court directly, and
by intercommunication to all other parts.
Wren did not confine himself to a general design.
Every detail, it is hardly too much to say, passed
under his eye.  An estimate, dated April 2, 1699,




UNCOMPLETED WORK


25


shows how minutely he had entered int6 the internal
as well as the external arrangements. He states the
stone required for the stairs, the "iron rayles of good
worke," while the wainscoting, and even the sewers and
the smoking-room to the Guard-chamber are considered.
From 1689 to 1718, it may be said that Wren was
more or less actively concerned with building and with
supervision of Hampton. In that last year, when he
was eighty-five, he was dismissed from the post of
Surveyor-General of the Works.      Still with his
mind unclouded, with a character which resisted all
attempts to belie it, he passed his last year "principally in the consolation of the Holy Scriptures,
cheerful in solitude, and as well pleased to die in
the shade as in the light."
Wren's work at Hampton Court is the best
memorial of his power as a domestic architect. It
suffers to some extent from cramped surroundings,
and from his design never having been completed.
It is probable, too, indeed certain, that in some instances he altered his plans by the direct orders of
William  and Mary.   But still, with its faults and
incompleteness, it is the greatest example of the
adaptation of the Louis Quatorze style in England,
and it is a monument worthy of a great man. With
Wren's life and with the accession of the House of
Hanover there passed away the chance of creating a
great English palace such as our sovereigns, unlike the
great Continental monarchs, have never possessed. The




26


HAMPTON COURT


age of palace-building passed away. The two great
English architects, Inigo Jones and Christopher Wren,
tried their hands at two palaces-the new Whitehall
and the new Hampton Court, but neither was completed, and the day went by.
IX
From Wren's day to our own, conflicting opinions
have been held of his alterations at Hampton Court.
A reaction soon set in against his work, led by Horace
Walpole, who lost no opportunity of sneering at the
style, while he excused the architect. His own eccentric ideas of Gothic forced him to condemn work
which he understood even less than the medieval
methods which he affected to adore. He speaks of
Wren's work in a tone of lordly superiority, as an
imitation of the "pompous edifices of the French
monarch." The author of the "Beauties of England
and Wales" in 1816 gives a still more severe judgment.   He compares Wren's work with Wolsey's,
and adds, "So long as those impressive vestiges
exist, assuredly it will be lamented that a British
monarch did not preserve a consistency of English
style in the most extensive palace appertaining to
his crown, or did not, on another site, raise an edifice
equally sumptuous in style, purely and uniformly
classical."




CHARACTERISTIC MERITS 27
Wren's work rises superior to such criticisms. Seen
from the Long Canal, or the House Park, or from
the Thames, it establishes its claim to be called an
impressive English palace, as characteristic of its
age, as is Wolsey's work of the early sixteenth
century.




CHAPTER II


HAMPTON COURT IN HISTORT
I. The creation of Wolsey's house: its magnificence under Elizabeth.
-2. A long popular dwelling-place of English rulers: two
names most prominent among its makers: Wolsey and William
III.: Wolsey's greatness: as Statesman and Churchman: his
achievements and his failure: the closeness of his connection with
Hampton Court: the business transacted there: the King's constant visits and familiarity: Cavendish on his sudden appearances,
and on the masque of foreign men: the festivities at the King's
coming: Shakespeare's use of this in Henry VIII.: the gift of
the Palace to the King: lodgings for King and Queen, and for
Anne Bullen: treaties and ambassages: the reception of the
French Envoys in 1527: Cavendish's description thereof: the
Frenchmen fain to be led to their beds: Wolsey's fall.-3. Henry
in possession: his new building: he hears of Wolsey's death
from Cavendish: Henry and Anne Bullen at Hampton Court:
Anne gives way to Jane: birth of Edward Prince of Wales:
his baptism and his mother's death: Anne of Cleves: Catherine
Howard: Catherine Parr.-4. Edward VI.: honeymoon of
Philip and Mary: Mary's needlework and that of her mother:
the poet of the needle.-5. Scandals about Queen Elizabeth:
her personal appearance: a Pomeranian's account of her state:
her many guests: Paul Hentzner: his account of the Palace in
I 598: revels, and the boyling of brawnes: the Queen's last
visit.-6. James I.: masques and revels: visitors from Denmark
and Germany: Queen Anne: Charles I. and his pictures: his
counsellors: his last visit before the troubles: his sojourn after
Naseby: Sir Thomas Herbert's account: Cromwell watching
28




EARLY HISTORY


29


King and Parliament: Charles's escape: Cromwell's occupation of the Palace.-7. The Restoration: Charles II.'s life at
Hampton Court: his marriage: his Court.-8. The Beauties
of the Court: characteristics of Lely's work: the history of the
ladies.-9. Charles and Verrio: James II. —o. William III.:
was he a hero: the greatness of his surroundings: his diplomacy:
the succession: his private character: his grant of lands to his
favourites: the de Witts: Glencoe: his unpopularity: his
unconstitutional action.-I. His work at Hampton  Court:
Queen Mary and Kneller: the Beauties: other portraits:
William's fondness for Hampton Court: Anne's sad memories
there. —2. - George I.: his plays: Defoe's account of the
Palace.
THE history of Hampton Court begins with Thomas
Wolsey.     The    manor    appears in    Domesday.       It
changed hands in medieval times not less often than
other estates. From the possession of the Prior and
Knights of S. John of Jerusalem it passed by lease in
15I4 to Wolsey, who chose the site for a country-seat
after consultation with many learned leeches, who
testified with one voice-which posterity has re-echoed
-to the salubrity of the spot. After his surrender
of the lease to the King, the estate became Henry's
absolute property by an exchange with the Hospitallers
in I531.    From   that time it has been the possession
of the English sovereign-even the Commonwealth
recognising it as the home of the chief official of the
state. By the Act 31 Henry VIII. cap. 5, the King's
manor of Hampton Court was made an honour, "and




30


HAMPTON COURT


a new chase thereto belonging." Of these matters let
lawyers speak; for us, its architecture and history are
the sources of its unfading interest.
" There are situated in this county," says Sir Thomas
Smith in his treatise "De     Republica Anglorum,"
speaking of Middlesex, "five royal houses, that is to
say, Enfield, Hanworth, Whitehall, S. James's, and
Hampton Court, which (last) hath the appearance
rather of a city than of a prince's palace, being in its
magnificence and its splendid buildings second to none
in all Europe, built by Wolsey, added to and perfected
by Henry VIII."
Such was its splendour, as the chief of all royal
palaces, under Elizabeth-the great house of a great
queen.   How   it gained this proud position can be
traced in the history of England, as well as in the less
abiding memorials of its own architecture.
Something have we seen of the buildings: we turn
now to the history of the Palace, and the men who
made and lived in it.
II
"A place where Nature's choicest gifts adorn,
Where Thames' kind streams in gentle currents turn,
The name of Hampton hath for ages borne.
Here such a palace shows great Henry's care,
As Sol ne'er views from his extended sphere,
In all his tedious stage."
Hampton Court was for a long time the usual
1 Ed. Leyden, 1630, p. 36.




HISTORICAL MEMORIES


31


dwelling-place of English rulers. During the sixteenth
and seventeenth centuries much of the national history
was made there. Councils met, sovereigns cogitated,
ministers worked, ambassadors intrigued within the
walls. The Palace became a little town, with its foreign
inmates as well as its native residents. Hour by hour
messengers rode swiftly to and from London, and
stately barges bore personages of dignity up the highway of the Thames to the royal court. But amid
all the great names that are associated with the famous
buildings as we see them now, two stand out conspicuous over the rest-Wolsey and William    III.
Other sovereigns and other ministers lived there, but
to these it was the centre of their lives. Elizabeth,
James I., Charles I., Cromwell, Charles II., Anne, the
Georges-these had other dwellings that they loved
as well. They made their fame in other places, or
left no permanent impression here to become a part
of the enduring memories of the most homely of English palaces. Episodes of the lives of other ministers
and other sovereigns come to our minds as we walk
through the rooms and gardens, but only of Wolsey
and of William of Orange can we say that they were
creators of Hampton Court, and that the place they
created formed a great part of their lives.
As we go through the historical memories of the
Palace, then, two names will especially rise up before
us. On them we shall linger, and try to master something of their real character and of their place in
English history. Other figures, more interesting in




32


HAMPTON COURT


themselves, we may pass lightly by, but the great Cardinal and the stern, silent man who made the English
Revolution may well stand for a separate and more
extended judgment.
He would be a bold man who would say that


Wolsey was the greatest man of the sixteenth century,
or even the greatest Englishman.  It was an:age of
great kings, great scholars, diplomatists, discoverers.
Even in England Henry VIII. and Elizabeth left a
broader mark upon the national history than-did the




WOLSEY'S GREATNESS


33


Cardinal-minister whose lot it was to stand at the parting of the ways. But Wolsey's services to his country
can hardly be too highly estimated. He found her weak,
almost the derision of Europe. He brought her again
into the politics of the world, if not as a dictator, at
least as an arbiter to whose decision and whose will
foreign nations listened with respect. As a churchman
he might have saved England from a movement which,
as a great historical teacher once wrote, came "to ruin
Art and divide Society." Himself a scholar of the
new learning, an Oxford student at the time when men
were rediscovering the old world and delighting in the
wonders which the old Greek tongue made plain to
them, and in later years a patron of learned men, he was
yet, though not untouched by vices which even popes
yielded to, a man with a conscience, an ideal, and a rule
of life. George Cavendish, worthy man, has left an
immortal memorial of him; and historians of to-day
have united, with the most secret documents of his
diplomacy before them, to acknowledge his honesty
and his wisdom. " Thus much I dare be bold to say,"
wrote his gentleman-usher thirty years after, when he
had seen many changes, and a godly and thorough
reformation to boot, "to say without displeasure to
any person, or of affection, that in my judgment I never
saw this realm in better order, quietness, and obedience
than it was in the time of his authority and rule,
nor justice better ministered with indifferency."  He
alone, among Englishmen of his age, had a coherent
scheme, which should assign to his country a definite
c




34


HAMPTON COURT


place in European politics, and to her Church a definite
place among European Churches, Reformed, Catholic,
certainly not Protestant, and as little Ultramontane.
And more, he alone had the audacity, the foresight, and
the power which might have carried out such a scheme,
and have placed the English Church and State where he
willed. But against the almost superhuman strength of
one man, joined with the complication of Continental
changes in a period of fears within and fights without,
he could not stand; and with his fall passed the greatness of his master's reign. He had said that men
should be careful how they put an idea into Henry's
head, for no man could take it out again; and More,
a servant no less loyal though less strong, had said
that strange things would happen when the lion knew
his strength. Both came to feel the truth of their
own statements.
The pathos of Wolsey's career is irresistibly connected with Hampton Court. He sought out the
place and bought it, and built it, and made all ready
that it might be his home. Then his master coveted
it, and he gave it up, the most generous of offerings
that subject ever made to sovereign. The great house
he built remains as the perpetual memorial of his
greatness, and of how inextricably his career was bound
up with that of his king. We can think of Wolsey
at Hampton Court; yet, as we think, our thoughts
pass insensibly to Henry VIII.
The Calendars of State Papers for Henry's reign
contain many hundreds of references to the house




WOLSEY'S LIFE


35


which Wolsey built; in its earliest stage, while it
was still in building, when it was inhabited by the
great man who designed it, and when it was handed
over to his imperious sovereign.     It is hardly too
much to say that more of the business of state was
transacted there than in any other place during Henry's
reign. There is not a great man of the age, English
statesman or foreign ambassador, who was not constantly there; Chapuys and Cranmer were as familiar
with its courts and passages as were More and
Cromwell.
Of Wolsey's life at Hampton Court there are
many accounts from friends and enemies alike. All
agree that it was ostentatious and magnificent.    He
desired to impress on foreigners the greatness of
England through the visible example of the opulence
of the chief minister.    Honest George     Cavendish
says:-" All ambassadors of foreign potentates were
always despatched by his wisdom, to whom they had
continual access for their despatch.   His house was
always resorted to like a king's house, with noblemen
and gentlemen, with coming and going in and out,
feasting and banquetting these ambassadors divers
times, and all other right nobly."1 But the best
picture of Hampton Court as it was in Wolsey's day
is that which the same worthy gentleman gives when
1 Printed in Wordsworth's "Ecclesiastical Biography," vol. i.
p. 357. The edition printed by the late Professor Henry Morley
(Morley's Universal Library) was a reprint of Singer's one-volume
edition of 1827, which, it seems to me, is not so accurate as that of
Dr. Wordsworth, based on the Lambeth MSS., I79 and 250.




36


HAMPTON COURT


he describes how the King himself would of a sudden,
as well as when expected, visit his great subject. As
he came to More's house at Chelsea, and would walk
with him in the garden by the space of an hour,
holding his arm about his neck, so he would come
to Wolsey, to whom only, as Roper says,1 he would
use similar familiarity. It may well have been at
Hampton Court that the scene occurred which Cavendish so prettily describes, and that Shakespeare (or
Fletcher) used so happily.2
" And when it pleased the King's Majesty, for his
recreation, to repair unto the Cardinal's house, as he
did divers times in the year, there wanted no preparations or goodly furniture, with viands of the finest
sort that could be gotten for money or friendship.
Such pleasures were then devised for the King's consolation or comfort as might be invented or imagined.
Banquets were set forth, masks and mummeries, in so
gorgeous a sort and costly manner, that it was a
heaven to behold.   There wanted no dames, nor
damsels, meet or apt to dance with the maskers, or
to garnish the place for that time, with other goodly
disports. Then was there all kind of music and
harmony set forth, with excellent fine voices both of
men and children.
"I have seen the King come suddenly thither in
a mask, with a dozen maskers, all in garments like
shepherds, made of fine cloth of gold and fine crimson
1 Ed. Lumby, p. 15.
2 Wordsworth's Eccl. Biog., i. 357-36I.




2!
Q)
C-I


i








FESTIVITIES


37


satin paned, and caps of the same, with visors of
good proportion of visnomy; their hairs and beards
either of fine gold wire or of silver, or else of good
black silk; having sixteen torch-bearers, beside three
drums, and other persons attending them, with
visors, clothed all in satin, of the same colour.
And before his entering into the hall, ye shall
understand, that he came by water to the watergate, without any noise; where were laid divers
chambers, and guns charged with shot, and at
his landing they were shot off, which made such
a rumble in the air, that it was like thunder.
It made all the noblemen, gentlemen, ladies, and
gentlewomen to muse what it should mean coming so suddenly, they sitting quiet at a solemn
banquet; under this sort: First, ye shall perceive
that the tables were set in the chamber of presence,
banquet-wise covered, and my Lord Cardinal sitting
under the cloth of estate, there having all his service
alone; and then was there set a lady and a nobleman, or a gentleman or gentlewoman, throughout
all the tables in the chamber on the one side, which
were made adjoining as it were but one table. All
which order and devise was done and devised by
the Lord Sandes, then Lord Chamberlain to the King;
and by Sir Henry Guilford, Controller of the King's
Majesty's house. Then immediately after this great
shot of guns, the Cardinal desired the Lord Chamberlain and the said Controller to look what it should
mean, as though he knew nothing of the matter. They,




38


HAMPTON COURT


looking out of the windows into Thames, returned
again, and showed him that it seemed they were
noblemen and strangers arrived at his bridge, coming as ambassadors from some foreign prince. With
that quoth the Cardinal, 'I shall desire you, because
you can speak French, to take the pains to go into
the hall there to receive them, according to their
estates, and to conduct them into this chamber, where
they shall see us, and all these noble personages being
merry at our banquet, desiring them to sit down with
us, and to take part of our fare.' Then went they
incontinent down into the hall, whereas they received
them with twenty new torches, and conveyed them
up into the chamber, with such a number of drums
and fifes as I have seldom seen together at one place
and time. At their arrival into the chamber, two and
two together, they went directly before the Cardinal
where he sat, and saluted him very reverently; to
whom the Lord Chamberlain for them said: 'Sir,
forasmuch as they be strangers, and cannot speak
English, they have desired me to declare unto you
that they, having understanding of this your triumphant banquet, where was assembled such a number
of excellent fair dames, could do no less, under the
supportation of your Grace, but to repair hither to
view as well their incomparable beauty, as for to
accompany them at mumchance, and then after to
dance with them, and to have of their acquaintance.
And, sir, furthermore they require of your Grace
licence to accomplish the said cause of their coming.'




FESTIVITIES


39


To whom the Cardinal said he was very well content
they should so do. Then went the maskers, and
first saluted all the dames, and then returned to the
most worthiest, and there opened their great cup of
gold, filled with crowns, and other pieces of gold, to
whom they set certain pieces of the gold to cast
at.  Thus perusing all the ladies and gentlewomen,
to some they lost, and of some they won. And
perusing after this manner all the ladies, they returned
to the Cardinal with great reverence, pouring down
all the gold left in their cup, which was above two
hundred crowns. 'At all,' quoth the Cardinal, and
so cast the dice, and won them, whereat was made
great noise and joy. Then quoth the Cardinal to
my Lord Chamberlain, 'I pray you,' quoth he, 'that
you will show them that meseemeth there should
be a noble man amongst them, who is more meet to
occupy this seat and place than am I; to whom
I would most gladly surrender the same; according
to my duty, if I knew him.' Then spake my Lord
Chamberlain unto them in French, declaring my
Lord Cardinal's words, and they rounding him again
in the ear, the Lord Chamberlain said to my Lord
Cardinal, 'Sir, they confess,' quoth he, 'that among
them there is such a noble personage, whom, if your
Grace can appoint out from the rest, he is content to
disclose himself, and to take and accept your place,
most worthily.' With that the Cardinal, taking a
good advisement among them, at the last, quoth he,
'Meseemeth the gentleman with the black beard




40


HAMPTON COURT


should be even he.' And with that he arose out of
his chair, and offered the same to the same gentleman
in the black beard, with his cap in his hand. The
person to whom he offered then his chair was Sir Edward
Neville, a comely knight of a goodly personage, that
much more resembled the King's person in that mask
than any other. The King, hearing and perceiving the
Cardinal so deceived in his estimation and choice,
could not forbear laughing; but pulled down his
visor, and Master Neville's also, and dashed out such
a pleasant countenance and cheer, that all noble estates
there assembled, perceiving the King to be there amongst
them, rejoiced very much.  The Cardinal eftsoons
desired his Highness to take the place of estate, to
whom the King answered, that he would go first and
shift his apparel; and so departed, and went straight
into my Lord Cardinal's bedchamber, where was a
great fire prepared for him; and there new apparelled
him with rich and princely garments. And in the
time of the King's absence, the dishes of the banquet
were clean taken up, and the table spread again with
new and sweet perfumed cloths; every man sitting
still until the King's Majesty, with all his maskers,
came in among them again, every man new apparelled.
Then the King took his seat under the cloth of estate,
commanding every person to sit still, as they did
before.  In came a new banquet before the King's
Majesty, and to all the rest throughout the tables,
wherein, I suppose, were served two hundred divers
dishes of wondrous costly devices and subtilties. Thus




ANNE BULLEN


41


passed they forth the night with banqueting, dancing,
and other triumphant devices, to the great comfort
of the King, and pleasant regard of the nobility there
assembled.
"All this matter I have declared largely, because
ye shall understand what joy and delight the Cardinal
had to see his Prince and Sovereign Lord in his house
so nobly entertained and placed, which was always his
only study, to devise things to his comfort, not passing
upon the charges or expenses. It delighted him so
much to have the King's pleasant and princely presence, that nothing was to him more delectable than
to cheer his Sovereign Lord, to whom he owed so much
obedience and loyalty; as reason required no less, all
things well considered."
"This night he makes a supper, and a great one,
To many lords and ladies: there will be
The beauty of this kingdom.
This Churchman bears a bounteous mind indeed,
A hand as fruitful as the land that feeds us.
His deeds fall everywhere."
How pleasantly the dramatist uses the description
we well remember, with the "Shepherds' Dance"
sounding in our ears as we think of it. He brings
Anne Bullen so happily into it"By heaven, she is a dainty one "though Cavendish tells the tale of the masque as
though it happened some while before the King fell
before "Venus, the insatiate goddess," that we may




42


HAMPTON COURT


take leave to follow his example, and think that it
was at Hampton Court that the shepherds' pageant
assembled.
Be this so or not, certainly Wolsey had not had his
house built ten years before Henry coveted it. "Why
was it built so fine?" later legend made the King
jealously ask; and Wolsey answered that it was to
show how noble a house a servant could give his lord.
An apocryphal tale, doubtless, though the fact is true
enough that before I526 some foreigners were writing that the great Cardinal had made this great gift,
though one was rude enough to say that it was but
giving a present at the cost of the recipient-"I'll
give you a pig of your own pigstye at your own great
cost."
No man dared answer Henry VIII. as the Duc de
Montmoren~y is said by Lord Herbert of Cherbury
to have answered Henri Quatre, when he cast
covetous eyes on the magnificent mansion of Chantilly.  "He offered to exchange any of his houses,
with much more lands than his estate thereabouts
was worth; to which the Duke of Montmorenqy
made this wary answer: 'Sieur, la maison est a
vous, mais que je suis le concierge,;   which in
English sounds thus, 'Sir, the house is yours, but
give me leave to keep it for you.'"1     Yet the
French tale describes what actually happened in
England, for Wolsey still went on living at the
Palace till his fall.
1 Life of Lord Herbert of Cherbury," ed. Sidney L. Lee, p. 103.




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FRENCH AMBASSADORS


43


Rooms already had been assigned to the King and
the Queen. The entrance to Catherine's rooms may
still be seen in the east side of the Clock-court.
Henry often made a stay of several days; and hardly
had Wolsey been disgraced before Anne Bullen,
equivocal though her position was, had her own
apartments.
Wolsey himself used the Palace as his chief country
retreat, and up to the summer of 1529 was constantly
there, in hiding from the sweating sickness, or seeing
ambassadors on matters of the first importance. In
1526 and 1527 treaties were signed there. In March
I527 long discussions took place there as to the
marriage treaty by which the little Princess Mary, only
ten years old, was to be given to the middle-aged
roue Francis I. Henry was then living in the Palace,
with Catherine and Wolsey.1 When the treaty, seven
months later, after that magnificent progress of the
Cardinal to Amiens which his usher so lovingly
narrates,2 was finally ratified, the splendid ambassage
-"eighty persons or above of the noblest gentlemen in all France," with Du Bellay and Anne de
Montmorensy among them-was right royally entertained by Wolsey.   And here Cavendish makes it
certain that the scene was Hampton Court. Henry
would have them entertained with a hunt at Richmond, and then to go on to the Cardinal's house;
and mighty were the preparations made to receive
1 See Brewer, "Reign of Henry VIII.," vol. ii. p. 145, sqq.
2 Wordsworth's "Ecclesiastical Biography," vol. i. pp. 408-413.




44


HAMPTON COURT


them.   No other passage in the literature of the
time gives so clear a description of what the Palace
was like at this date, or of Wolsey's manner of entertaining in it, and even now much of the course
of the festivities can be traced as we walk through
the rooms and the cloisters. Cavendish speaks of what
was chiefly his own business, and with a relish which
time had not made him forget for the magnificence of
the "honest poor man's son," whom "in his life I
served."  When the King's orders were given, he
says, "Then was there no more to do but to make
preparation of all things for this great assembly at
Hampton Court the day appointed. My Lord Cardinal
called before him his principal officers- steward,
treasurer, controller, and the clerks of his kitchen,
to whom he declared his full mind touching the entertainment of the Frenchmen at Hampton Court;
whom he commanded neither to spare for any costs,
expenses, or travail, to make them such a triumphant
banquet, as they may not only wonder at it here, but
also make a glorious report thereof in their country,
to the great honour of the King and his realm. His
pleasure to them known, to accomplish his commandment they sent out all the caterers, purveyors, and
divers other persons to my Lord's friends, to prepare.
Also they sent for all their expert cooks and cunning
persons in the art of cookery, which were within
London or elsewhere, that might be gotten, to beautify this noble feast.
"Then the purveyors provided, and my Lord his




WOLSEY'S HOUSEHOLD                      45
friends sent such provision, as you would wonder to
have seen. The cooks wrought both night and day
in subtleties and many crafty devices; where lacked
f-f3
'-  oCl_       i ber
ti.           aii'
neither gold, silver, nor any costly thing meet for the
purpose.
"The yeomen and grooms of the wardrobes were
busied in hanging of the chambers with costly hangings, and furnished the same with beds of silk, and




46


HAMPTON COURT


other furniture for the same in every degree. Then
my Lord Cardinal sent me, being his gentleman-usher,
with two other of my fellows, to foresee all things
touching our rooms, to be nobly garnished accordingly. Our pains were not small nor light, but daily
travelling up and down from chamber to chamber.
Then   wrought the    joiners, carpenters, masons,
painters, and all other artificers necessary to be had
to  glorify this noble feast.  There was carriage
and re-carriage of plate, stuff, and other rich implements; so that there was nothing lacking to be
imagined or devised for the purpose.  There were
also provided 280 beds, furnished with all manner
of furniture to them belonging, too long particularly here to be rehearsed. But all wise men may
and do sufficiently know what belongeth to the
furniture thereof, and that is sufficient at this time
to be said.
" The day was come to the Frenchmen assigned, and
they ready assembled before the hour of their appointment. Wherefore the officers caused them to ride to
Hamworth, a place and park of the King's, within
three miles, there to hunt and spend the day until
night. At which time they returned again to Hampton Court, and every of them was conveyed to their
several chambers, having in them great fires and wine
for their comfort and relief, remaining there until the
supper was ready. The chambers where they supped
and banqueted were ordered in this sort. First the
great waiting-chamber was hanged with rich arras, as




COSTLY BANQUETS


47


all others were, one better than another, and furnished
with tall yeomen to serve.  There were set tables
round about the chamber, banquet-wise, covered. A
cupboard was there garnished with white plate, having
also in the same chamber, to give the more light, four
great plates of silver, set with great lights, and a great
fire of wood and coals.
"The next chamber, being the chamber of presence,
was hanged with very rich arras, and a sumptuous
cloth of estate, furnished with many goodly gentlemen to serve. The tables were ordered in manner
as the other chamber was, saving that the high table
was removed beneath the cloth of estate, towards the
midst of the chamber, covered. Then was there a
cupboard, in length as broad as the chamber, with six
desks of height, garnished with gilt plate, the nethermost desk was garnished all with gold plate, having
with lights one pair of candlesticks of silver and gilt,
being curiously wrought, which cost three hundred
marks, and, standing upon the same, two lights of
wax burning as big as torches to set it forth. This
cupboard was barred round about that no man could
come nigh it; for there was none of all this plate
touched in the banquet, for there was sufficient besides.
The plates that hung on the walls to give light were
of silver and gilt, having in them great perchers of
wax burning, a great fire in the chimney, and all other
things necessary for the furniture of so noble a feast.
"Now was all things in a readiness and supper-time
at hand. The principal officers caused the trumpets to




48


HAMPTON COURT


blow to warn to supper. The said officers right discreetly went and conducted these noblemen from their
own chambers into the chambers where they should
sup. And they being there, caused them to sit down;
and that done, their service came up in such abundance,
both costly and full of subtleties, and with such a
pleasant noise of instruments of music, that the Frenchmen, as it seemed, were wrapt into a heavenly paradise.
" Ye must understand that my Lord Cardinal was not
there, nor yet come, but they were merry and pleasant
with their fare and devised subtleties.  Before the
second course, my Lord Cardinal came in booted and
spurred all suddenly among them, and bade them
proface; at whose coming there was great joy, with
rising every man from his place. Whom my said Lord
caused to sit still, and keep their rooms; and being
in this apparel as he rode, called for a chair, and sat
down in the midst of the high table, laughing and
being as merry as ever I saw him in my life. Anon
came up the second course, with many dishes, subtleties, and devices, about a hundred in number, which
were of so goodly proportion and costly device that I
think the Frenchmen never saw the like. The wonder
was no less than it was worthy indeed. There were
castles with images in the same; Paul's church, for the
quantity as well counterfeited as the painter should have
painted it upon a cloth or wall. There were beasts, birds,
fowls, and personages, most likely made and counterfeited; some fighting with swords, some with guns and
crossbows, some vaulting and leaping; some dancing




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--- -.................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................                  xx......................................................................................
x:
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XXX                                            4i..................
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v-...............
X-3-.......................................................      xxxx7............................................................................................................................................................................................................................................................
X...................................................................................








REVELRY


49


with ladies, some on horses in complete harness, justing
with long and sharp spears, with many more devices than
I am able to describe. Among all, one noted there
was a chess-board made with spiced plate,1 with men
thereof to the same; and for the good proportion,
and because Frenchmen be very cunning and expert
in that play, my Lord Cardinal gave the same to a
gentleman of France, commanding there should be
made a goodly case for the preservation thereof in
all haste, that he might convey the same safe into
his country. Then took my Lord a bowl of gold,
filled with hypocras, and putting off his cap, said,
'I drink to the King my Sovereign Lord, and next
unto the King your master,' and therewith drank a
good draught. And when he had done, he desired
the Grand Master2 to pledge him cup and all, the
which was well worth 500 marks; and so caused all
the board to pledge these two royal princes.
"Then went the cups so merrily about, that many
of the Frenchmen were fain to be led to their beds.
Then rose up my Lord, and went into his privy
chamber to pull off his boots and to shift him;
and then went he to supper in his privy chamber,
and making a very short supper, yea, rather a short
repast, returned into the chamber of presence among
the Frenchmen, using them so lovingly and familiarly
that they could not commend him too much.
"And whilst they were in communication and other
pastime, all their liveries were served to their chambers.? Paste.         2 Anne de Montmorenqy.
D




5~


HAMPTON COURT


Every chamber had a bason and an ewer of silver, a
great livery pot of silver, and some gilt; yea, and
some chambers had two livery pots of wine and beer,
a bowl and a goblet, and a pot of silver to drink in
both for their beer and wine; a silver candlestick both
white and plain, having in it two sizes; and a staff
torch of wax; a fine manchet, and a cheat loaf.
Thus was every chamber furnished throughout all the
house, and yet the cupboards in the two banqueting
chambers not once touched. Thus when it was more
than time convenient they were conveyed to their
lodgings, where they rested at ease for the night. In
the morning, after they had heard mass, they dined
with my Lord, and so departed towards Windsor.
They being then departed, my Lord returned again
to London, because it was in the midst of the
term."
This was the most famous entertainment that the
great Cardinal ever gave at his Palace, and it was
well-nigh the last.  For many months he still continued to transact business of state therein and to
receive royal visits.  There the first steps of the
divorce were anxiously debated. There Wolsey meditated in misery over the first signs of the disgrace
that was coming upon him.
On the 26th of November I529 Campeggio left
England, and the divorce proceedings were seen to
have broken down. By the same date Wolsey's fall
had come. "His misfortunes are such," wrote the
French Ambassador, " that his enemies, even though




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WOLSEY'S DEATH


51I


they were Englishmen, could not fail to pity him."
So he went piteously, after weary months of sickness
and hopes renewed only to be disappointed, at last to
his sad end. Anne Bullen's "tablet of gold," which
she took from her girdle and sent to him by the hands
of Master Doctor Butts, the King's physician, "with
very gentle and comfortable words and commendations," would not long deceive the fallen man; for
in the lordly house he had built she sat in half-royal
stateliness beside the King.
III
Henry entered upon the possession of Hampton
Court as soon as he had sent Wolsey into retirement
at Esher. He began building at once. His tenniscourt may still be seen, though his bowling-alley is
not so easily traced. His great hall was soon to rise
in the Clock-court. Everywhere he was adding and
decorating, and his pleasure in all things ruled the
day. His patient wife still had her rooms in the
Palace; but daily the mistress stood by the King's
side as he shot, or wandered with him on the terrace
walks by the river. It was at Hampton Court, at
last, that Henry heard the news of his faithful
servant's death, and it was from honest Cavendish
that he heard it. The day of the burial, when it
was all over, at about six in the morning, the loyal
servant was sent to tell the King.




52


HAMPTON COURT


"Then went we and prepared ourselves to horseback, being Saint Andrew's Day the Apostle, and so
took our journey to the court,... being at Hampton
Court, where the King and Council then lay, giving all
our attendance upon them for our despatches. And
the next day, being Saint.         Nicholas' Day, I was sent
|I1          for, being in Master King_               ston's chamber there in the
A-..         | _.court, to come to the King,...   i.-,   whom I found shooting at
'      /? /,i'.,.     the rounds in the park, on
jA \      the backside of the garden.
";:    -'            ~   And perceiving him occu-?'.!i~.         pied in shooting, thought it
not good to trouble him:
b^ ut leaning to a tree, attending thereunto till he,,.               had made an end of his disi'             port.  And leaning there,
~         { ~___; ~   being in a great study, what
',/ S ---e.;l   t the matter should be that
his Grace should send for
me, at the last the King
came suddenly behind me, and clapped me upon the
shoulder; and when I perceived him, I fell upon my
knee. And he, calling me by name, said unto me, 'I
will,' quoth he, 'make an end of my game, and then
will I talk with you;' and so departed to the mark
where he had shot his arrow.  And when he came




HENRY'S AVARICE


53


there, they were meting of the shot that lay upon the
game, which was ended that shot.
"Then delivered the King his bow unto the yeoman
of his bows, and went his ways inward, whom I followed; howbeit he called for Sir John Gage, then his
vice-chamberlain, with whom he talked, until he came
to the postern-gate of his garden, the which being
open against his coming, he entered, and then was the
gate shut after him, which caused me to go my ways.
"And ere ever I was passed half a pair of butt
lengths the gate opened again, and Mr. Norris called
me again, commanding me to come unto the King, who
stood behind the door in a night-gown of russet velvet
furred with sables; before whom I kneeled down, being
there with him all alone the space of an hour and
more, during which season he examined me of divers
weighty matters, concerning my Lord Cardinal, wishing
rather than twenty thousand pounds that he had lived.
He examined me of the fifteen hundred pounds which
Master Kingston moved to my Lord before his death.
'Sir,' said I, 'I think that I can tell your Grace partly
where it is and who hath it.' 'Yea, can you?' quoth
the King; 'then I pray you tell me, and you shall do
me much pleasure, and it shall not be unrewarded.'
'Sir,' said I, 'if it please your Highness, after the departure of David Vincent from my Lord at Scroby,
who had the custody thereof, leaving the same with my
Lord in divers bags, he delivered the same unto a certain
priest, safely to keep to his use.' 'Is this true?' quoth
the King. 'Yea, sir,' quoth I, 'without all doubt.




54


HAMPTON COURT


The priest shall not be able to deny it in my presence,
for I was at the delivery thereof: who hath gotten
divers other rich ornaments into his hands, the which be
not rehearsed or registered in any of my Lord's books
of inventory or other writings, whereby any man is
able to charge him therewith but only I.' 'Well, then,'
quoth the King, 'let me alone, and keep this gear
secret between yourself and me, and let no man know
thereof; for if I hear any more of it, then I know by
whom it came out. Howbeit,' quoth he, 'three may
keep counsel if two be away; and if I knew that my
cap were privy of my counsel, I would cast it into the
fire and burn it. And for your truth and honesty ye
shall be our servant, and be in that same room with us
wherein you were with your old master. Therefore go
your ways unto Sir John Gage our vice-chamberlain, to
whom I have spoken already to give you your oath,
and to admit you our servant in the said room; and
then go to my Lord Norfolk, and he shall pay you
your whole year's wages, which is ten pounds, is it not
so?' quoth the King. 'Yes, forsooth,' quoth I, 'and
I am behind for three-quarters of a year of the same
wages.' 'That is true,' quoth the King, 'therefore ye
shall have your whole year's wages, with our reward, delivered you by the Duke of Norfolk:' promising me,
furthermore, to be my singular good lord, whensoever
occasion should serve. And thus I departed from
the King." 1
The sordid story-Henry's utter absence of real
1 Wordsworth's "Ecclesiastical Biography," i. 547-550.




QUEEN JANE


55


sorrow for the most faithful and by far the greatest
of his ministers, his greedy eagerness for the dead
man's money, and the sad hours spent by the faithful Cavendish between Norfolk, Gage, and the lords
of the council, cross-questioned and browbeaten about
the paltry sum he had left-is truly characteristic
of the meanness of the age that was yet so strong.
It is a pathetic ending to Wolsey's connection with
Hampton Court. The King is transforming it-it is
full of his creations, and new monograms and arms on
every wall and archway are teaching men to forget
who first designed the great house. It is there, in the
house he had coveted and at last enjoyed, that the
master learns the death of the man who had made the
greatness of his reign.  "Thus ended the life of
the right triumphal Cardinal of England, on whose
soul Jesus have mercy!"
How Henry spent his time at Hampton Court, in
hunting and tilting, in playing games and making love,
Mr. Ernest Law has most happily set forth in his
" History of Hampton Court Palace." 1 And Anne, too,
now queen, sat working with her needle when she did
not attend the King in the field. But queens were even
less abiding than ministers under Henry VIII. In the
summer of I536 the arms of Queen Anne were altered
at Hampton Court into the arms of Queen Jane.2
In September I537 the new Queen came there, and
"took to her chamber." By this time it would seem
the new buildings were finished, and on the east front,
1 Vol. i. pp. I33-I43.    2 Ibid., p. 179.




HAMPTON COURT


looking on the park and gardens, lay the Queen's
lodgings, her long gallery, her private rooms, her bedchamber.   On Friday, October 12, I537, Edward,
Prince of Wales, was born. One of the fascinating
riddles which still employ the leisure of the residents
in the Palace, which perplex antiquaries, and set up all
the bitterness of party division between Dryasdusts and
Croftangrys, is to find the room in which the little
prince first saw the light. Was he born in the
Queen's lodgings, far from the noise of the road
and by the quiet garden? or was it in the inner
court,-the "fountain court," as it is now,-in those
rooms, so handsome, and now so greatly changed
from what they were in Henry's days, that are high
up in the south-west corner, and adjoin the rooms
of Wolsey that looked upon the pond-garden?  Or
are they those quaint, delightful chambers, with their
different levels, their beautiful windows, and the old
panels here and there as Wolsey left them, that you
mount to by the Clock-tower, and that hear all the
clamours of the reverberating hours? Poor Queen
Jane must have suffered greatly if it was among these
noises that her child was born; and perhaps, too, such
a beginning might have accounted for the callousness
of the boy-king's unattractive character. The surmise
is natural but unfounded. The clock was not set up
till I540.
On the i th of October 1537 the boy was christened
in the chapel, which the King had just finished. On
the 24th the Queen died.




PRINCE EDWARD


57


The young Prince of Wales was brought up by his
good nurse Mrs. Penn-of whom more anon-in the
rooms on the north
side of the chapel                               L
court, which are still                     *
one of the most beauti-                     i
ful and unspoilt parts                "       A
of the Palace. Prince                      i
Edward's lodgings                        '4     I
have  furnished  Mr.
Railton with one of.
his most charming subjects. His father was,
not long in seeking
a new happiness in a
new wife; but Anne
of Cleves, good, honest,
"Flanders mare," did.               J
not long sojourn in,.      (,.e
Hampton Court.
Catherine Howard, on
the other hand, was.,
there for some time,
and it was there that
her iniquities were discovered. It was in the        -
chapel of the Palace
that Henry received the charges from Cranmer. It
was in the Queen's lodgings that the unhappy woman
was questioned by the councillors. It was in the great




HAMPTON COURT


watching-chamber that the public declaration of her
guilt was made; and it was at Hampton Court that
the King wedded his last wife, Catherine Parr.
We may well hurry over these last years of the brutalised King; their memories, even at Hampton Court,
are not fragrant.
IV
Edward VI. had some liking for the place of his
birth, though he saw strange scenes there. There
was dread of an attack on him, and his uncle held him
guarded and the house in a state of siege. But he got
rid of his uncle as his father had got rid of his wives, and
his reign left no mark on the house. Philip and Mary
stayed there for some time after their wedding, and it
was there that preparations were made so extensively
for the heir of England who never came.    There,
too, Elizabeth was kept for some time in close ward.
There is one lighter aspect of the time connected
with the place. Mary's favourite recreation served to
decorate the Palace. Catherine of Aragon, says Lady
Marion Alford, had introduced the Spanish taste in
embroidery, which was then white or black silk and
gold "lace stitches" on fine linen. This "Spanish
work," as it was called, continued in fashion under
Mary, Catherine's daughter, who was doubly Spanish
in her sympathies. She had her needle constantly in
her hand, and when Wolsey and Campeggio paid to
her their formal visit, she came forth to them with a




TAYLOR'S SONNETS


59


skein of red silk about her neck.' Her work, as well
as that of her mother, is specially commemorated by
Taylor, the poet of the Thames and of the needle.
"Certaine Sonnets in the Honourable Memory            of
Queenes and great Ladies, who have bin famous for
the rare invention and practise with the Needle," form
the second part of his book "The Needle's Excellency, a new boke wherein are divers admirable workes
wrought with the Needle. Newly invented and cut
in copper for the pleasure and profit of the industrious."   (London: I2th edition, 1640.)        Two of
the sonnets have so special a bearing on the life of the
first dwellers in Hampton Court as to be worth quoting
entire.2 They are the second and third of the series.
The second sonnet is toKATHARINE, first married TO ARTHUR, Prince OF WALES, and
afterward TO HENRY, the 8. King OF ENGLAND.
I reade that in the seventh King Henrie's Raigne
Fair Katharine, Daughter to the Castile King,
Came into England with a pompous traine
Of Spanish Ladies which shee thence did bring.
She to the eight King Henry married was,
And afterwards divorc'd, where vertuously
(Although a Queene) yet she her days did passe
In working with the Needle curiously,
1 See the Countess of Wilton's "Art of Needlework," p. 380, and
Lady M. Alford's "Needlework as Art." Cf. Henry VIII., act iii.
scene I.
2 I am indebted to the kindness of Miss Florence Freeman, herself
skilled alike with the pen and the needle, for having called my attention to these quaint verses.




60           HAMPTON COURT
As in the Towre, and places more beside,
Her excellent memorialls may be seene:
Whereby the Needles prayse is dignifide
By her faire Ladies, and her selve a Queene.
Thus for her paines, here her reward is iust,
Her workes proclaime her prayse, though she be dust.
The third runs thus:
MARY, Queene OF ENGLAND, and wife to PHILIP,
King OF SPAINE.1
Her Daughter Mary here the scepter swaid,
And though shee were a Queene of mighty power,
Her memory will never be decaid;
Which by her workes are likewise in the Tower,
In Windsor Castle, and in Hampton Court,
In that most pompous roome call'd Paradise;
Who e'er pleaseth thither to resort,
May see some workes of her's, of wondrous price.
Her greatness held it no dis-reputation,
To take the Needle in her Royall hand:
Which was a good example to our Nation,
To banish idlenesse from out her Land:
And thus this Queene, in wisdome thought it fit,
The Needles worke pleased her, and she grac'd it.
The memorials of Mary Tudor's happier hours have
perished, and the tyranny and gloom of her reign, with
the intrigue and unscrupulousness of Edward's, have
left no permanent mark on the buildings.          As we
wander through the gardens or the courts, we think,
after Wolsey and Henry VIII., of Elizabeth.
1 This is rather different from the reading in Lady M. Alford's book.
I think she may have taken the lines from Miss Strickland's " Life of
Mary Tudor."




QUEEN ELIZABETH


61


V
Though Elizabeth is not one of those great English
rulers whose lives are associated indissolubly with the
Palace, she spent much of her reign there, and it was
there, more than anywhere, that the scandals which the
State Papers so freely hint at were most notorious.
An ingenious writer endeavoured some years ago,
before a body of Oxford historical students, to prove
that Robert Devereux, Earl of-Essex, was really Queen
Elizabeth's son. The whole scandal belongs to the
history-or the legends-of Hampton Court.            And
so no less do the merry stories of her talks in the
gardens with ambassadors, of her secret interviews
with eligible suitors; and above all that charming
scene, which Sir Walter Scott so much delighted in,
when Andrew Melville, baited with questions by the
vain woman, at last admitted that Mary, his queen,
was the taller.     "She   is too  high," quoth Elizabeth, "for I am     myself neither too    high  nor too
low."1 At Hampton Court much of the tragedy
of Mary was unravelled. Elizabeth there was most
luxurious, most subtle, most intriguing: the atmos1 Onecannotforget Scott's delightful parallel to this (Diary, December
I2, 1825):-" Hogg came to breakfast this morning, having taken and
brought for his companion the Galashiels bard, David Thomson, as
to a meeting of 'huzz Tividale poets.' The honest grunter opines
with a delightful naivetl that Moore's verses are far owre sweetanswered by Thomson that Moore's ear or notes, I forget which, were
finely strung. 'They are far owre finely strung,' replied he of the
Forest, ' for mine are just reeght!"'




62


HAMPTON COURT


phere of luxury, nowhere so rich as there, seemed
designed to cover the plots which were always rife.
The astute woman, with her mind seemingly full of
hunting, the masks and revels, music, or the gallantry
of her servants, was never more astute or more relentless than in those schemes which were there elaborated
in council or in secret.
The Palace was the resort of all foreign travellers.
A description of the Queen's public appearance there
on a Sunday in October I584 is full of interest. It is
written by Leopold von Wedel, a Pomeranian noble
who visited England in I584.1
"As it was Sunday, we went to the church or
chapel which is in the Palace.  This chapel is well
decorated with a beautiful organ, silver gilt, with
large and small silver pipes.   Before the Queen
marched her lifeguard, all chosen men, strong and tall,
two hundred in number, we were told, though not all
of them were present. They bore gilt halberts, red
coats faced with black velvet; in front and on the
back they bore the Queen's arms, silver gilt. Then
came gentlemen of rank and of the council, two of
them bearing a royal sceptre each, a third with the
royal sword in a red velvet scabbard, embroidered
with gold and set with precious stones and large
pearls. Now came the Queen, dressed in black on
account of the death of the Prince of Orange and
the Duke of Alenqon; on each side of her curly
1 Printed in Transactions of Royal Historical Society, New Series,
vol. ix.; edited by Dr. von Bulow.




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QUEENLY STATE


63


hair she wore a large pearl of the size of a hazelnut.  The people standing on both sides fell on
their knees, but she showed herself very gracious,
and accepted with an humble mien letters of supplication from rich and poor.  Her train was carried
behind her by a countess, then followed twelve
young ladies of noble birth, children of counts
or lords, afterwards twenty-four noblemen, called
jarseirerl in English, with small gilt hunting-spears.
There are also one hundred of these, though not all
on duty at the same time, for they take it in turns.
Both sides of the gallery, as far as the Queen walked
through it to the chapel, were lined by the guard
bearing arms.  As the day was almost gone, there
was no sermon, only singing and delivering prayers.
Then the Queen returned as she had come, and went
to her rooms, and when on her passing the people
fell on their knees, she said in English, ' I thank you
with all my heart.'"
We can imagine the scene as we stand now in the
"Haunted Gallery," through part of which the
Queen would pass into the "royal pew" looking
down upon the chapel.   But it is not only there
that Elizabeth has left her memorials.  The fine
window that looks out on the privy garden at the
end of the south front bears the Tudor rose crowned
and the inscription "E.R. I568."
As to the Palace itself, it is clear that she was


1 Dr. von Billow suggests "Yeomen of the Guard:" they were
probably lords-in-waiting.




64


HAMPTON COURT


characteristically content not to spend money upon
it.  She did not add to its external dignity.  She
was content to decorate it within, with all the luxury
she loved- hangings and tapestries, pictures and
mirrors.  Its reputation was already embellished by
fable.  Leopold von Wedel says that Hampton Court
was not only "very magnificent and beautiful," but
was "considered the largest building in England, for
from the distance it has the appearance of a town.1
The Emperor Charles and the Prince of Conde
lodged here as guests of the Queen of England, both
potentates finding room in it with their entire suites
(that they had brought with them to England) for
lodgment."
Paul Hentzner, a German lawyer, came to England
in 1698 with a young Silesian nobleman whose tutor
he was.  His description of the Palace, and of the
Queen in it, tallies exactly with that of Von Wedel.
Everywhere when the Queen passed the people fell on
their knees.  Her procession to chapel was a state
ceremonial. The people cried out "God save Queen
Elizabeth," and she answered, "I thank you, my good
people." 2 Of Hampton Court itself his description is
worth quoting verbatim, both for the impression it
gives of the Palace as it was when Elizabeth lived in it,
and for contrast with later changes.  It is the best
account, after Cavendish, of the Palace under the
Tudors.
1 Cf Sir Thomas Smith, De Republica Anglorum libri tres, p. 30.
2 Cf. Transactions of the Royal Historical Society, N. S. ix. 228.




It -—.:7:- N 11
-








THE PALACE IN I598


"Hampton Court, a royal palace, magnificently
built with brick by Cardinal Wolsey in ostentation of
his wealth, where he enclosed five very ample courts,
consisting of noble edifices in very beautiful work.
Over the gate in the second area is the Queen's device,
a golden rose, with this motto, ' DIEU ET MON DROIT:'
on the inward side of this gate are the effigies of the
twelve Roman emperors in plaster. The chief area is
paved with square stone; in its centre is a fountain
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. The chapel of
this palace is most splendid, in which the Queen's
closet is quite transparent, having its windows of
crystal. We were led into two chambers, called the
presence or chambers of audience, which shone with
tapestry of gold and silver and silk of different colours.
Under the canopy of state are these words embroidered
in pearl, ' Vivat Henricus Octavus.' Here is besides
a small chapel richly hung with tapestry, where the
Queen performs her devotions. In her bed-chamber
the bed was covered with very costly coverlids of silk:
at no great distance from this room we were shown a
bed, the tester of which was worked by Anne Boleyn,
and presented by her to her husband, Henry VIII.
All the other rooms, being very numerous, are adorned
with tapestry of gold, silver, and velvet, in some of
which were woven history pieces; in others, Turkish
and American dresses, all extremely natural.
"In the hall are these curiosities:
E




66


HAMPTON COURT


"A very clear looking-glass, ornamented with columns
and little images of alabaster; a portrait of Edward
VI., brother to Queen Elizabeth; the true portrait of
Lucretia; a picture of the battle of Pavia; the history
of Christ's Passion, carved in mother-of-pearl; the portraits of Mary Queen of Scots, who was beheaded, and
her daughter; the picture of Ferdinand, Prince of
Spain, and of Philip, his son; that of Henry VIII.
Under it was placed the Bible curiously written upon
parchment; an artificial sphere; several musical instruments; in the tapestry are represented negroes riding
upon elephants. The bed in which Edward VI. is said
to have been born, and where his mother, Jane
Seymour, died in child-bed.   In one chamber were
several exceedingly rich tapestries, which are hung up
when the Queen gives audience to foreign ambassadors;
there were numbers of cushions ornamented with gold
and silver; many counterpanes and coverlids of beds
lined with ermine; in short, all the walls of the Palace
shone with gold and silver. Here is, besides, a certain
cabinet called Paradise, where, besides that everything
glitters so with silver, gold, and jewels, so as to dazzle
one's eyes, there is a musical instrument made all of
glass, except the strings. Afterwards we were led into
the gardens, which are most pleasant; here we saw
rosemary so planted and nailed to the walls as to cover
them entirely, which is a method exceeding common
in England."
1 It is hardly necessary to point out that the account of the pictures
bristles with inaccuracies.




ELIZABETH'S DEATH


67


The Palace which impressed Hentzner so much was
constantly throughout her reign the home of Elizabeth
and her court. Her own memories of semi-imprisonment there, relieved by occasional gaieties, or her two
attacks of small-pox in I 562, were not bitter enough to
blind her to its attractions. Many a Christmas was
celebrated there with masques and revels. The accounts
once at least show the significant entry "for making of
new hearths in the great kitchen at Hampton Court
for boyling of brawnes against Christmas." Greedy as
she was of money-almost as greedy as she was of
praise-Elizabeth was lavish in her expenditure on
decoration and on entertainment, and year after year
the most sumptuous preparations were made for Christmas festivities. Gradually even the Queen's spirits
tired, and in I598 occurred her last recorded visit to
the Palace, "more privately," as her cousin Lord
Hunsdon (Mary Bullen's son) wrote, "than is fitting
for the time or beseeming her estate." Even then,
though she was sixty-five, she is said to have been
seen "dancing the Spanish Panic to a whistle and
taboureur, none being with her but my Lady Warwick."x   Four years later, after weeks when she
would attend to no business but hear only "old
Canterbury tales," she passed away.
1 Quoted by Mr. E. Law from Miss Strickland's " Life of Elizabeth."




68


HAMPTON COURT


VI
James I. visited Hampton Court very early in his
reign. Thither, in July I603, he summoned those
who were liable to be called on to be knighted, and
his first Christmas was spent there with great pomp.
The series of letters from Dudley Carleton to John
Chamberlain, happily to be found in the Record Office,
which are as characteristic a record of the seventeenthcentury court and political gossip, if not as charming,
as Horace Walpole's are of the eighteenth century,
give many details of gay doings at the Palace. " Male
and female masques" were prepared for Christmas,
and the great hall was turned into a theatre. Shakespeare, it seems certain, himself played before the
King at this festival; and it is thought that
Henry VIII. was acted in that King's own hall.
Six interludes or plays were acted by Hemynge's
company, four before the King and two before the
young Prince   Henry.   The climax to the whole
was the performance of the masque of the twelve
goddesses on January 8, in which the Queen herself
played Pallas.
This was but a beginning. Hampton Court under
James I. for the rest of the reign, like Sir Andrew
Aguecheek, "delighted in masques and revels sometimes altogether."
If it was dramatic, the Palace was also theological.
Elizabeth had been content to go to church in pomp,




JAMES I.


69


and say little of religion to her court. James I. was a
theologian, and he delighted in discussion. Thus the
Palace saw the famous Conference, and many another
wrangle of divines. And, no less than theology, the
King enjoyed hunting, and the paths by the Thamesside resounded with the horn.
The coming of Christian IV., his wife's brother, a
tall, coarse-looking, bloated man, as he may be seen in
Vansomer's large portrait now in the Palace, was an
excuse for more revelry; and so again the visit of the
Duke of Lorraine's son in 1606, with hunting, hawking,
feasting, and the dancing of the "carrante" and the
galliard. Otto of Hessen and Ernest of Saxe-Weimar
were two other princely visitors, and they were as
royally received.
Reminiscences of these days are preserved at the
Palace in the curious picture of Henry, Prince of
Wales, a big boy in green hunting - dress with an
elaborate collar, and the young Earl of Essex; and in
the portraits by Vansomer of the King in black and
in his royal robes, and of Anne of Denmark, one
"in her hunting habit, with a horse and a blackmoor, and some five little dogs."  Henry's quaint,
prim figure is the most interesting of the three. He
was not unlike his brother, and with a touch of his
father too.
The Queen died at Hampton Court on March 2,
I619, and little of importance occurred there afterwards, though James still drank and hunted and feasted
as of old.




70


HAMPTON COURT


Charles I., during the earlier years of his reign, often
lived there.  There occurred the quarrel as to the
Queen's French suite, and thence it was that the King
finally despatched the "monsers," as he called them.
There, as in his other palaces, he amassed his splendid
collection of pictures. In 1639 he had over three
hundred pictures there, not least the "Triumph" of
Mantegna and the cartoons of Raffaelle.
The chief political figures of the reign can be seen
by the State Papers to have been often with the King
at Hampton. It was there that Laud, then Bishop of
Bath and Wells, was made Dean of the Chapel Royal,
and there that he made the protest on behalf of an
orderly attendance of the King at divine service.
"The most religious King not only assented, but
also gave me thanks," as he writes in his diary.
More than ten years later, it was he who dissuaded
Charles from making a great forest between Hampton
Court and Richmond, which would have dispossessed
many gentle and poor folk. Buckingham, whose portrait, and that of his family, is still in the Palace,
Henry Carey, Lord Falkland, whose portrait is also
there, and many others, have still some memorial at
Hampton Court.
One memorable work did Charles himself: he gave
a new and sweet water-supply by the "New" or
"Longford " river. Political troubles found the King
in his Thames-side Palace.  It was there that the
Grand Remonstrance was presented, and his leaving
the Palace in December I64I for Whitehall was a




CHARLES I.


7 I


decisive step in the march of events which brought on
the Rebellion.
One last visit together did Charles and his "Mary"
pay to Hampton Court. It was when the attempt
to seize the Five Members had failed, and the Queen
herself was in danger, and Charles fled that he might
put her, at least, in safety. Charles left London for
the last time till he should enter it a prisoner. A
hurried ride to Hampton found nothing prepared.
King and Queen and their three eldest children had
to sleep together in one room. Worse hardships had
they all before life was over. A few months later and
the royal standard was set up at Nottingham. When
Charles left Hampton Court he did not see it again
for six years.
It was on August 24, I647, that Charles, after
all the escapes of the war, and the negotiations and
intrigues that followed it, after Newcastle and
Holmby House, came to Hampton Court, having
his state as King for the last time.  Sir Thomas
Herbert, his faithful groom of the chamber, in the
touching memoirs which he called Carolina Threnodia, has given a short account of these three months,
which is well worth giving in its own simplicity.1
"About the middle of August the King removed
to Hampton Court, a most large and imperial house,
built by that pompous prelate Cardinal Wolsey, in
ostentation of his great wealth, and enlarged by King
1 "Memoirs of Sir Thomas Herbert," &c., London, 1702, pp.
33, sfq.




72


HAMPTON COURT


Henry the Eighth, so as it became a royal Palace:
which for beauty and grandeur is exceeded by no
structure in Europe; whether it be the Escurial in
Spain, which appears so magnificent by having the
addition of a fair monastery dedicated to S. Laurence,
wherein live a hundred and fifty monks of the Order
of S. Jerome, and hath also a college, schools, and
outhouses built by King Philip II., who married our
Queen Mary.
"Hampton Court was then made ready for the
court, and by Mr. Kinersley, yeoman of the wardrobe, prepared with what was needful for the court.
And a court it now appeared to be; for there was
a revival of what lustre it had formerly, his Majesty
then having the nobility about him, his chaplains
to perform their duty, the house amply furnished,
and his services in the accustomed form and state;
every one of his servants permitted to attend in their
respective places; nothing then appeared of discrimination; intercourse was free between King and
Parliament, and the army seemed to endeavour a
right understanding amongst different parties; also
some treaties passed upon proposals presented his
Majesty from the Parliament, which gave hopes of an
accommodation. The Commissioners also continued
their attendance about the King, and those gentlemen that waited at Holmby were by his Majesty's
appointment kept in their offices and places; the
general likewise and other military commanders were
much at court, and had frequent conference with




HOSTILE AGITATIONS


73


the King in the park and other where attending
him; no offence at any time passed amongst the
soldiers of either party; there was an amnesty by consent, pleasing, as was thought, to all parties.
" His Majesty, during these halcyon days, intimated
to the Earl of Northumberland that he desired to see
his children, who, at that time, were under the government of that nobleman, and then in his house at
Sion, which is about seven miles from Hampton
Court, in the way to London. The relater, amongst
other the King's servants, followed his Majesty to
Sion, which is denominated from the Holy Mount
so named near Hierusalem.... Here the King met
the young Duke of Gloucester and Princess Elizabeth,
who, so soon as they saw their royal father, upon
their knees they begged his blesssing, who heartily
gave it, and was overjoyed to see them so well in
health  and so  honourably regarded.  The   Earl
welcomed the King with a very noble treat, and
his followers had their tables richly furnished, by
his behaviour expressing extraordinary contentment
to see the King and his children together, after such
various chances and so long a separation.  Night
drawing on, his Majesty returned to Hampton Court.
"The fairest day is seldom without a cloud; for
at this time some active and malevolent persons of
the army, disguised under the specious name of
Agitators, being two selected out of every regiment
to meet and debate the concerns of the army, met
frequently at Putney and places thereabouts; who,




74


HAMPTON COURT


of their own accord, without either authority (as
some aver) or countenance of the general, upon fair
pretences had frequent consultations; but intermeddling with affairs of State, were not unlike those
that like to fish in troubled waters, and being men
very popular in the army, had thence their impulse
and approbation.  What the results of councils
amongst them   was, who was, or by what spirits
agitated? Yet about this time the House was rent
and the Speaker went unto the army, which soon after
marched through London to the Tower, to which was
committed the Lord Mayor and other dissenting
citizens; in which confusion the King proposing a
treaty, the Agitators, in opposition, published a book
intituled "An Agreement of the People which concerned his Majesty's Person and Safety." But thence
(as was well known) several things in it designed were
rumoured, which fomented parties and created jealousies and fears, and by some artifice insinuated, and
a representation by letter gave his Majesty an occasion of going from Hampton Court in the night,
and in disguise, with two grooms of his Majesty's
bed-chamber, Mr. Asburnham and Mr. Legge, as
also Sir John Berkeley, and about the middle of
November, an. i647, passed through a private door
into the park, where no sentinel was, and at Thames
Ditton crossed the river, to the amazement of the
Commissioners, who had not the least fore-knowledge
of the King's fears or intentions, and no less to the
astonishment of the Lords and others, his Majesty's




CROMWELL'S NEGOTIATIONS 75


servants, the Commissioners especially, who in their
ignorance expressed great trouble of mind, until the
Lord Montague opened a letter his Majesty left upon
the table, directed to him, giving a hint of what
induced him to hasten thence in such a manner,
being for self-preservation, yet kindly acknowledging
their civility to his person all along, with his good
acceptance of their loyalty and service."'
So Herbert tells what is really one of the most
dramatic episodes of the Rebellion tragedy. When
Charles was removed to Hampton Court from Oatlands, the Independents were in a majority in the
House, and the power of the army, if " thinly veiled," 2
was practically supreme.   The King, however he
might seem to have his state, was a prisoner, "and
one more stage had been passed on the road which
was to end in the enslavement of Parliament."
When Charles was at Hampton Court the headquarters of the army were at Putney, a convenient
point from which both King and Parliament might
be controlled. Cromwell, it would appear, was hoping
to restore firm government through an alliance with
Charles. The position was complicated by the attitude
of the Scots Commissioners, who won from Parliament
the acceptance of the Presbyterian scheme produced
at Newcastle. Parliament was in confusion, and Cromwell and Ireton were urging matters to a crisis, sub1 Cf the pathetic account of these days in Lady Fanshawe's
Memoirs.
2 Gardiner, "Great Civil War," iii. 352.




76


HAMPTON COURT


mitting to Charles the Independent propositions-the
"Heads of the Proposals," which the King readily
declared were more to his mind than the establishment
of Presbyterianism for three years, which the Newcastle
propositions involved.
Excited debates in Parliament revealed only the very
different views held by many small parties, with the
determination of the majority to put before the King
the most unpalatable demands-the command of the
militia, the abolition of episcopacy, and the sale of
the bishops' lands. Cromwell was playing a difficult
part, which not even his closest friends could understand. Was he, as was said of him   at one time,
"led by the nose by a couple of vain and covetous
earthworms," or planning the absolute surrender of
all power into his own hands through the proved
failure of every other body and person to carry on
the government, or merely, with an honest and true
heart, trying to find the best way out of very pressing difficulties, by a union between the army and
the King? He wrote himself of the circumstances
in his usual style: "Though it may be for the present
a cloud may lie over our actions to those who are
not acquainted with the grounds of them, yet we
doubt not but God will clear our integrity and
innocence from any other ends we aim at but His
glory and the public good."' However this may
be, the negotiations came to nothing. Cromwell may


1 Quoted by Gardiner, " History of the Great Civil War," vol. iii.
p. 369.




HIS LAST DAYS


77


have been satisfied that there was a possibility of their
success: Charles certainly was not. He looked rather
for help to a Scottish reaction, which came, but too
late.
In different directions schemes sprang up. The
Agitators set out one for the recognition of a fundamental law, and the residence of all power "originally and essentially in the whole body of the people
of this nation." The "Case of the Army" was utterly
rejected by Cromwell, and a long discussion did little
to reconcile divisions in the army which seemed to be
essential. The " Agreement of the People" proposed
a new form of government, which should be based
upon religious freedom  and amnesty.    Cromwell's
party rejected it and planned a new constitution.
The Scots Commissioners urged Charles to escape
while there was yet time, and leave the army to
fight out a solution with the constitution-mongers.
But Charles, who had all along stood out on one question, the maintenance of the Church in her essential
attributes, and to some extent at least in her property,
would not break his word. He was on parole, and
"till he had freed himself of that, he would rather
die than break his faith." But when he refused to
renew his promise, the guards were reinforced; officers
clamoured for the sacrifice of the King; Cromwell
spoke darkly, and kept up long discussions and a
hesitating tone, which it is difficult to believe could
have had any other object than to let matters develop
themselves.




78


HAMPTON COURT


At last Charles prepared to escape, for his life seemed
to be in danger.  Royalist writers have no doubt that
there were designs to murder him, and behind all
the plots, in the imagination of some, lay the subtle
intrigues of the man who was to rise to a sole and uncontrolled despotism by the murder of the King.
"Twining subtle fear with hope,
He wove a net of such a scope,
That Charles himself might trace
To Carisbrook's narrow case,
That thence the royal actor borne,
The tragic scaffold might adorn."
This theory may be rejected by modern criticism,
but none the less behind all the intrigues of this tragic
episode in the history of Hampton Court does the
figure of Cromwell stand as the one which should have
the arbitration of the King's fate.
These months at Hampton Court, the last Charles
ever spent there, have a peculiar and pathetic interest.
He was able to have two of his children with him in
his loneliness: he was able to live with some of the
state and dignity of a king: he was able to take
pleasure in his own pictures and his own gardens, and
in the faithful service of honest men; and he could
say, as he too seldom could have said in times past,
that "he would rather die than break his faith."
The rooms Charles occupied at the time were probably those that looked out on the private garden.
He lived in public in his state apartments, and it was
only the opportunity of a Thursday evening, when it




CROMWELL'S TENANCY


79


was his custom to write for some hours in private for
the foreign mail, which gave him the chance to escape
unperceived.
For the rest, Hampton Court saw no more of the
alarums and excursions of the time till I648, when a
skirmish occurred just outside its bounds, in which
"the beautiful Francis Villiers," second son to my
Lord Duke of Buckingham, King Charles's and King
James's dead friend, met his death. In the months
that followed the execution of Charles, orders were
given for the valuation of all the property at Hampton
Court, surveys were made of the boundaries of the
Honour, inventories taken of the contents of the
Palace. The collection of pictures, which had been
Charles's choicest treasure, was sold. Some of the
pictures, notably the cartoons of Raffaelle and the
"Triumph"    of Mantegna, were preserved.    The
house itself remained, it would seem, uninhabited, till,
when Cromwell was made Protector, it was given for
his use. He had already refused it when the House of
Commons in September 1653 had instructed Anthony
Ashley Cooper" The loudest bagpipe in the squeaking train "to offer it him in exchange for New Hall, Essex (the
residence in old days of the Colts, from whom
came Sir Thomas More's first wife), which he had
bought when the Duke of Buckingham's property
was sequestrated. Now, as a State residence, he entered
gladly upon its possession, and between it and White



80


HAMPTON COURT


hall nearly all the rest of his life was passed. It was in
the great hall that he would sit for hours listening to
Milton as he played the organ which had been brought
from Magdalen College at Oxford. It was in the
chapel that his daughter Mary was married to Lord
Falconberg.  It was in this house that his daughter
Elizabeth died. It was there that his own fatal sickness began. After his death it was again nearly being
sold. Just before the Restoration it was voted to
Monk, and Charles II., when he resumed the crownlands, made him Ranger and Steward of the Honour.
VII
With Charles's return the Palace became once more
one of the most constant resorts of the English monarchy. Charles himself was fond of the place. It
was there he spent his honeymoon with Catherine of
Braganza. But he had other and much more congenial reasons for being happy there. Whatever his
reasons, he made Hampton Court as much a home as
any of his predecessors.
He rearranged the gardens; he redecorated and
refurnished the Palace. But most of all was he interested in the tennis-court.  "The King," said a
newsletter in the beginning of I68I, "is in very
good health, and goes to Hampton Court often, and
back again the same day, but very private. Most of
his exercise is in the tennis-court in the morning,




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COURT SCANDALS


when he doth not ride abroad; and when he doth
ride abroad, he is on horseback by break of day, and
most commonly back before noon." 1 He was a keen
tennis-player, as was his brother James. Pepys notes
the servility with which their playing was applauded,
and how well it deserved praise: " but such open
flattery is beastly."
However much Charles might be flattered, no one
thought it necessary to flatter his poor wife in her
strange Portuguese garments, or the wonderful women
she brought with her, six ladies, "old, ugly, and
proud," said the severe Lord Chancellor Clarendon,
" and incapable of any conversation with persons of
quality and a liberal education;" but even they were
not above suspicion, from the miserable Pepys at any
rate, of the gravest scandal. Catherine soon found
that she stood second in the King's affections to
Barbara Palmer, Countess of Castlemaine, and the
long struggle which ended in the Queen's being compelled to receive the mistress as one of her bedchamber
women is one of the saddest stories of the dissolute
court.  Yet for some while the King and Queen
lived happily together, and idly; for even Pepys censured their carelessness.  "This I take to be as
bad a juncture as ever I observed. The King and
Queen minding their pleasures at Hampton Court:
all people discontented."
The return of the King's mother, Henrietta Maria,
1Mr. Law quotes this from the (Appendix to) Fifth Report on
Historical MSS. (Duke of Sutherland's MSS.).
F




82


HAMPTON COURT


to the place of sad memories, made no change in the
gaiety of their life at Hampton Court; and the
months they had spent there were concluded by a
"triumphal progress" down the Thames to Whitehall on the 23rd of August I662. From that time
Charles did not live there constantly, but he often
paid visits, and the royal apartments were always
ready for him in case of a sudden appearance. During
the plague the court remained there for a month,
during which Pepys in his diary records a visit.
Charles's court here kept up something of the old
stateliness, with all the modern frivolity. Many of
the officers of the household were persons who had
suffered during the war and the proscription, and were
full of memories of the old court ceremonial, and of
the antique fashions that the young Cavaliers mocked
at.  Tobie Rustat, famous as a benefactor to the
Universities,-not least to S. John's College, Oxford,
where the "loyal lectures " he founded for Royal Oak
day and the martyrdom of King Charles were continued till the present century-was under-housekeeper
of the Palace, as well as yeoman of the robes to the
King. Old Cavaliers, men who had fought at Edgehill and at Naseby, still came, though so often in vain,
to make obeisance to the sovereign and to wonder at
the new Frenchified manners, and the sad laxity of
morals which my Lord Chancellor Clarendon, himself
the martyred King's adviser twenty years ago, so much
deplored.




PETER LELY


83


VIII
At Hampton Court, less than anywhere else, could
men forget that it was the Reign of Beauty. Did not
Anne Hyde, the said Chancellor's daughter, herself no
great beauty but a kindly, pretty-looking lady, who
had risen, in spite of her father's perhaps not too
serious protests, to be Duchess of York, with a good
prospect of sitting on the throne, commission Peter
Lely to paint the ladies whose charms were the admiration of the court, and whose stories, too often,
were the gossip of every scandal-monger?
Charming pictures indeed they are, graceful, rich,
and with an evidently truthful record of the ladies'
manners, as well as their habits as they lived. Lely,
-" a mighty proud man," Pepys says, "and full of
talk,"- is par excellence a court-painter. He had
none of the sincerity of Vandyke's best work. He
had art, but no pathos; and his art was always
artificial, but it was artificial with a freshness and an
"air" which Kneller never attained.   Rich though
he became, even in his own day his merits were not
always overrated. A story tells that once a critic
said, " How is it that you have so great a reputation
when you know, as well as I do, that you are no
painter?"  "Maybe," the artist answered, "but I am
the best you have got."  And it is so with the portraits he has left us.
The best memorial of " good King Charles's golden




84


HAMPTON COURT


days" is to be found to-day at Hampton Court. In
what is called " William the Third's State Bedroom"
— a room decorated under Wren's own direction, with
Verrio's painful ceiling of Endymion in the arms of
Morpheus admired by chaste Dian, plumply patronising,
d                  9
i     -  /Il:
/6 '-           / < -
and with the beautiful carvings of Grinling Gibbons
-are the " Beauties."
There is a certain sameness about them all-" the
rich curls, the full lips, and the languishing eyes."
They are all of a type, in tone, arrangement, and
accessories; but they, unlike Kneller's Beauties, are
undeniably beautiful. M. Chesneau says somewhat
sharply that Lely "unscrupulously flattered his models,
and soon became te aite ai ag the favourite painter among the




LELY'S "BEAUTIES"


ladies."1 If he flattered, he knew how to do it, and
the result is always pleasing. "He could not have
worked at more lovely subjects," says Count Anthony
Hamilton; " each portrait is a masterpiece."
All the ladies-there were eleven originally, of
whom nine or ten now remain here-are painted in
three-quarter length, in "trailing fringes and embroidery through meadows and purling streams."
Others, such as Mrs. Knott, a pretty, quiet lady,
and Mrs. Lawson, by Wissing, and the most lovely
little girl-whom we may not now call the Princess
Mary, but who is identified as Miss Jane Kelleway,
a charming child-Diana-do not belong to the series.
There is also the portrait of Anne Hyde herself, who
ordered the painter to immortalise the Beauties-a
comely, pleasant lady enough, "her whole body sitting
in state in a chair in white satin," as Pepys says; and
there is the lovely Lady Bellasys (if she it be) as
S. Catherine, devout and rapt, who is not one of the
Beauties. The Duchess of Portsmouth-Louise de
Qudrouaille-by Varelst, much spoilt by repainting, is
a pretty picture of the "childish, simple baby face."
The "Beauties" themselves were removed from
Windsor Castle, during the reign of George III., to
Hampton Court, where they fitly remain.
The first is Miss Stewart, the Britannia of the coinage.
Bow in hand, dressed in a light yellow satin, with face,
arms, and head uncovered (like all the Beauties), she
is a charming picture. She long resisted all the attrac1 " The English School of Painting," p. xxxv.




86


HAMPTON COURT


tions of the King, and her marriage with the Duke of
Richmond was not an unhappy end to her career. Near
her is Henrietta Boyle, who married Clarendon's second
son, Lawrence, Earl of Rochester, a pretty lady in blue,
who plucks a rose. "Une longue habitude avoit tellement attendri ses regards, que ses yeux s'ouvroient qu'a
la Chinoise," say the "Memoires de Grammont";
and so indeed she looks, sleepily self-content. Mrs.
Middleton, "indeed a very beautiful lady" in the
estimation of Mr. Pepys, young and charming, is a
person of a different character, of whom enough, if not
too much, is said by Count Hamilton. Miss Frances
Brooke, a damsel brought by her uncle to court to
captivate the King, is in a light grey, and her unhappy
sister, Elizabeth, mistress of James, Duke of York, is
in yellow. The Countess of Falmouth-so Mr. Law
identifies the portrait which was formerly called the
Countess of Ossory-is "sweet and tender" in blue.
Elizabeth, Countess of Northumberland, afterwards the
wife of the great Duke of Montagu, is a lady whose
character is higher than that of most of the Beauties,
but not so high as that of Anne, Countess of Sunderland, wife of the arch-intriguer who was equally well
with James II. and William III. Lady Sunderland
was a woman of religion, whom less scrupulous folk
sneered at. She kept, it was said (and by good Princess Anne too), " such a clatter with her devotion, that
it really turns one's stomach."
But the most famous of the pictures are those of
the Duchess of Cleveland and Miss Hamilton. The




LELY'S "BEAUTIES"


87


latter is the most beautiful of all the ladies, and is
painted with all Lely's art. The picture shows the
height of his powers and their limits. A lovely girl,
with a fair face and light brown hair, dressed in dark
red relieved by some gold brocade, she assumes, like
Lady Bellasys, the favourite character of S. Catherine,
but an air "grand and gracious," rather than of devotion, is expressed in her portrait.  It is a beautiful
picture of a beautiful subject, but of higher qualities
of character and mind the painter can give no idea.
Barbara Palmer, Countess of Castlemaine, a woman
of abandoned character and malignant influence,
whose name is connected with almost every scandal
of English society for fifty years, makes a striking
picture. She is beautiful, proud, resentful, impressive:
the painter, having to choose from many bad qualities,
has chosen her pride for the dominant note of his
composition; and he has made of her perhaps the
most striking of all his portraits.  It is original,
speaking, personal.  We can see as she lived the
woman who ruled Charles Stewart when she was
young, and raised John Churchill when she was old;
and Mr. Pepys calls it "a most blessed picture."
IX
The Beauties preserve for ever the luxury, and
fashion, and recklessness of Charles's court. His own
portrait is nowhere in the collection: only in a curious




88


HAMPTON COURT


picture of his "taking leave of the Dutch States," not
bought till I845, is there his figure. It is a pity that
he is not here, either in the form of his pretty boyhood, or the hardened, sinister countenance of middle
life. But he is not likely to be forgotten at Hampton
Court.
Charles left the marks of his influence on the gardens,
the tennis-court, and, less happily, on the house. Verrio,
whose "sprawling saints" Pope scorns in well-known
lines, was first employed by him to decorate the ceilings
in the manner which had become fashionable from
France. Horace Walpole tells a story of the artist's
extravagance, which has been often quoted, but will
bear telling again. It illustrates the reckless freedom
of the time, and the bonhomie which made the King
attractive in spite of his selfishness and his cold-hearted
license. "Once at Hampton Court, when Verrio had
but lately received an advance of Iooo, he found the
King in such a circle that he could not approach him.
He called out, 'Sire, I desire the favour of speaking
to your Majesty.'   'Well, Verrio,' said the King,
'what is your request?' 'Money, sire, money; I am
so short of cash, that I am not able to pay my workmen;
and your Majesty and I have learnt by experience that
pedlars and painters cannot give long credit.' The
King smiled, and said he had but lately ordered him
1iooo.   '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




WILLIAM OF ORANGE


89


does your Majesty keep an open table as I do?'"
The retort, it would seem, was appropriate, since when
Pepys went to the Palace to speak to the Duke of
York about Admiralty business and the occupation
of Tangier, he was not invited anywhere to dinner,
"though a stranger, which did also trouble me."
While Pepys and Grammont, and the writers of
diaries and memoirs, leave an impression of reckless
profusion and license in the Hampton Court of the
Restoration age, John Evelyn preserves in his diary
the quieter aspect of the place and of the age. The
gardens, the park, and the improvements Charles was
making everywhere were noted by him in his careful,
sober way, critically yet with appreciation.
James II., it would seem, never lived at Hampton
Court.'  This may have made the Palace so constant a resort of his daughter, who never, it would
seem, forgave herself the treachery with which she
supplanted him.
X
With the "glorious Revolution" Hampton Court
began a new career. The Dutch king, like Wolsey,
is here a creator and builder. It might be said that
Hampton Court more than any other place was his
home.   It is in such surroundings that we can most
happily form a critical estimate of him.
1 "It is not certain whether, as King, he ever passed a single night
in the Palace."-E. Law, " History of Hampfton Court Palace," vol. ii.
p. 255.




9o


HAMPTON COURT


The "Deliverer," William of Orange, was for so
long, and in some quarters still is, so popular a hero, that
any consideration of his greatness may claim interest.
That he was placed in a position which caused him
to represent a great epoch of advance in the progress
of the English nation-that the important movement
with which his name is associated, if not "glorious,"
was certainly beneficial, no one will deny. Whether
circumstances have not given him a place in English
histories and a fame among English writers of which
he himself was hardly worthy, may be a question at
least worthy of discussion.  Nor is the discussion
irrelevant here. Hampton Court is so thoroughly,
as we see it now, the great English memorial of the
Dutch king, that we may well pause to consider, as we
walk through its rooms, or as we stop before the bombastic allegory of Kneller in the " Presence Chamber,"
what manner of man he was. What did his greatness
consist in? Was he a hero?
It is difficult to disentangle the man from his
surroundings. The greatness of the men with whom he
was brought into contact, the importance of the crisis
in European history in which he mingled, would themselves invest with interest the biography of a prince
opposed to Louis XIV. But it would be difficult for
the most bigoted Jacobite to have denied that William
of Orange had much more than this borrowed greatness.  The romantic history of his early life, the
difficulties with which he had to contend, the position
to which he raised himself, and the actual success




CLAIMS TO GREATNESS


91


which he achieved, prove without doubt his personal
power. But he does not, however, take rank with
the greatest even in his own age. Not only was he
inferior on the whole to his great rival, and not to be
compared as a general to men like Turenne, but it
may well be doubted whether he was equal as a diplomatist to Louvois or Marlborough. Still his achievements were such as any statesman might be proud of.
If he did not initiate, he gave force and cohesion
to the European resistance to Louis XIV. He held
the reins of the Grand Alliance. He alone of the
allied sovereigns could always be depended upon in
that cause. His energy never tired, his hatred never
softened.  No difficulties daunted, and no scruples
thwarted him. If, after a careful survey of the resources
of France at this time, any is of opinion that under
favourable circumstances Louis XIV. would have been
able to found an enduring power, to William III. he
may justly attribute the failure of the French schemes.
When this has been said, much of the real greatness
of William  has been explained.  We recognise to
the full his energetic self-devotion to a great cause.
His success was due to no merit as a general. No
striking instance of bravery has ever been recorded of
him.   But this is not needed in a general.  He was
a wretched organiser; his armies were never provided
with the equipments which were even then recognised
as necessary.  He never showed the slightest sign of
real strategic ability.  The only battle which he ever
won was that of the Boyne, where his forces out



92


HAMPTON COURT


numbered those of his opponents by thirteen thousand. Nor did he succeed in attaching his soldiers to
him, any more than the people whom he ruled.
As a diplomatist, however, he had eminent qfialifications. He was certainly aided in a much greater
degree than is usually recognised during his earlier
years by his connection with Charles II., and in later
life by his unique position as King of England. But
his diplomacy was skilful, because he gave constant
and minute attention to the combinations of States,
and devoted himself in general and in particular to
his object with unscrupulous assiduity.  A few instances of his talents may well be noticed.   His
method of fomenting the Scottish disturbances in
1672 was admirable; equally skilful was his rise to
the post of Stadtholder (though we may not credit
him with all the Machiavelianism that Dumas suggests in the Tulips e Noire).  The' whole conduct of
the English Revolution, which Mr. Lecky so strongly
reprobates, would have done credit to Talleyrand.
William's perfect acquiescence in James's accession;
his cordial sympathy with the King during the earlier
years of the reign; his well-balanced demeanour towards Monmouth; his joyful congratulations at the
birth of the Prince of Wales (whose existence he so
soon repudiated); the disguise of his correspondence
with the English leaders of the Revolution; his
assurances as to the object of the expedition he was
preparing-all lead up to the final triumph, the last
steps of which have been thus described (with a




AS DIPLOMATIST


93


certain unconscious honesty) by Gilbert Burnet,' prince
of ecclesiastical toadies.
"During all these debates"-he is speaking of the
discussion as to the succession, the claims of Mary
as James's eldest daughter and of Anne as having a
nearer right than William-" and the great heat with
which they were managed, the Prince's own behaviour
was very mysterious. He stayed at Saint James's: he
went very little abroad: access to him was not very
easy. He heard all that was said to him, but seldom
made any answers. He did not affect to be affable or
popular, nor would he take any pains to gain any one
person to his party. He said he came over, being incited to save the nation: he had now brought together
a free and true representative of the kingdom: and
when things were once settled he should be well
satisfied to go back to Holland again. Those who did
not know him well, and who imagined that a crown
had charms which human nature was not strong enough
to resist, looked on all this as an affectation and as a
disguised threatening, which imported that he would
leave the nation to perish unless this method of settling it was followed. After a reservedness that had
continued so close for several weeks that nobody could
certainly tell what he desired, he called for the Marquis
of Halifax, and the Earls of Shrewsbury and Danby,
and some others, to explain himself more distinctly to
them.


1 "History of his Own Time," ed. 1753, vol. iii. p. 297.
2 The Convention Parliament.




94


HAMPTON COURT


"He told them he had been till then silent, because
he would not say or do anything that might seem
in any sort to take from any person the full freedom
of deliberating and voting in matters of such importance: he was resolved neither to court nor threaten
any one; and therefore he had declined to give out his
own thoughts. Some were for putting the government
in the hands of a Regent: he would say nothing against
it, if it was thought the best means for settling their
affairs: only he thought it necessary to tell them that
he would not be the Regent: so, if they continued in
that design, they must look out for some other person
to be put in that post: he himself saw what the
consequences of it were like to prove, so he would not
accept of it. Others were for putting the Princess
singly on the throne, and that he should reign by her
courtesy: he said no man could esteem a woman more
than he did the Princess; but he was so made that he
could not think of holding anything by apron-strings;
nor could he think it reasonable to have any share in
the government unless it was put in his person, and
that for term of life: if they did think it fit to settle
it otherwise, he would not oppose them in it; but he
would go back to Holland, and meddle no more in
their affairs. He assured them, that whatsoever others
might think of a crown, it was no such thing in his
eyes, but that he could live very well, and be very
well pleased without it. In the end he said, that he
could not resolve to accept of a dignity, so as to hold
it only (during) the life of another: yet he thought




PRIVATE CHARACTER


95


that the issue of the Princess Anne should be preferred
in the succession to any issue that he might have by
any other wife than the Princess. All this he delivered
to them in so cold and unconcerned a manner, that
those who judged of others by the dispositions that
they felt in themselves, looked on it all as artifice and
contrivance."
The suspicions may have been well or ill grounded,
but they were certainly not unnatural when William's
past diplomatic successes were remembered.   And
on this occasion, as before, William obtained exactly
what he wanted, and we may admit his ability.
But when some special points of his character are
considered, it is difficult to see how any defence can
be set up for him. "He had no vice," says Bishop
Burnet, "but of one sort, in which he was very
cautious and secret." When contemporaries accused
William of the vilest and basest crimes, they no doubt
did him cruel wrong; but of this saying of Burnet's
Lord Stanhope wrote very justly: "It is no light
charge that is here implied. It is no light quarter
from which the charge proceeds. It comes from a
familiar friend and a constant follower-from  one
who owed to William not only his return from exile
but his episcopal rank-from one who had no imaginable motive to deceive us, and who was most
unlikely to be himself deceived." Indeed, it is impossible to condemn his predecessors and absolve
William III. It is only too evident that throughout his
life William was immoral as Charles II. and James II.




96


HAMPTON COURT


had been immoral. When he first entertained the idea
of a marriage with his cousin Mary, he was careful
to inquire whether she was one who would seriously
resent his infidelities. When he came to England to
see his bride, he disgraced himself, as Sir John Reresby
records. Aftrer his marriage, and when he was weaware of his wife's devoted attachment, he treated her
without the least consideration. Hooper and Ken, in
turn domestic chaplains at the Hague, found the tone
of the court unbearable; and Ken felt bound to
remonstrate with the Prince on his own life.  The
enormous revenue bestowed on Elizabeth Villiers made
the King's weakness well known to his English subjects, and what was condoned in his own time has
been excused by distinguished apologists in our own
day. "Lord Macaulay," says Mr. Paget,' with the
happy wit which turns the laugh against vice,
"records the highly criminal passions of James for
Isabella Churchill and for Catherine Sedley, sneering
contemptuously at the plain features of the one, and
the lean form and haggard countenance of the other,
but forgetting the charms recorded in the Memoirs of
Grammont as those to which the Prince owed his
power; and whilst admitting the talents which the
latter inherited from her father, denying capacity in
the King to appreciate them. William, on the other
hand, married to a young, beautiful, and faithful wife,
to whose devotion he owed a crown, in return for
which she only asked the affection which he had
1 "Paradoxes and Puzzles."




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FAULTS AND VICES


97


withheld for years, maintained during the whole of
his life an illicit connection with Elizabeth Villiers
(who squinted abominably), on whom he settled an
estate of ~25,000 a year, making her brother (whose
wife he introduced to the confidence of the Queen)
a peer; and Lord Macaulay passes it over as an instance of the commerce of superior minds. In James
conjugal infidelity is a coarse and degrading vice; in
William it is an intellectual indulgence hardly deserving serious reprehension."
Nor can it easily be denied by any one who has read
Burnet or Macaulay that Mr. Paget was justified in
adding, "In like manner, the inroads upon law attempted by James, under the mask of regard for the
rights of conscience, are justly and unsparingly denounced, whilst the ambition which urged William,
by the cruel means of domestic unkindness, to fix
his grasp prospectively on the crown of England,
long before any necessity for such an invasion of
the constitution had arisen, is wise foresight, regard
for religious freedom, the interests of Protestantism,
and the attainment of the great object of his lifethe curbing the exorbitant power of France."
Perhaps it cannot be said in blame of William that
he did anything, like Charles II., to make vice popular.
Vice certainly with him lost none of its grossness, and
he was no more cheerful or kind to others when drunk
than when sober. "He loved," wrote Leopold von
Ranke, "a pot of beer more than a delicate repast."
His love of eating appears to have been carried to
G




98


'HAMPTON COURT


degrading excess.  His want of all sense of fitness
appears as clearly in his teaching Swift, then an enthusiastic young scholar whose thoughts and hopes
were of religion and of books, how to cut asparagus
in the Dutch fashion and " eat it economically with the
stalks," as in his offering him a captaincy of horse.
Too often has the story of his greedily pouring the
whole dish of peas on to his plate when the Princess
Anne was still unserved been told. And after all, it
may seem petty to dwell on such small matters; nor
is it generally considered in the best taste to admire
and visit a man's house, as we visit Hampton Court,
and then take away his character. But it is high time
that William III. should be judged on his merits; and
when we have considered his most prominent characteristics, and have remembered that not one single
famous saying has been attributed to him-" he spoke
seldom, and that with a disgusting dryness," as Burnet
says-may we not reasonably ask if he is to be considered a hero? There is such a thing as debasing the
moral currency, and it is a fault that historians are very
often guilty of; and it may be well that, when we
examine a man's works, we should form a true estimate
of himself. The character of the Dutch sovereign is
admirably illustrated by the details of the negotiations
for his marriage. When Lord Ossory first suggested
the marriage to him, he gave an undecided answer; a
careful reader of the judicious Von Ranke would discover the reason. He had recently been told by his
friends in England that they would exclude the Duke




DE WITT MURDERS


99


of York's children from the succession, and make him
heir. He waited, then, till he saw such an expectation
was not worth waiting for, and that his wisest course
was to marry Mary. When the negotiations began
in earnest, he showed great care in avoiding any step
which might link him to the fortunes of the falling
house, and in letting it be known that his marriage was
to be no guarantee of support to the English throne.
Equally interesting is his attitude towards English
parties at the time of the Exclusion Bill. How early
he showed his determination to have sole power in
England, and with what delicate consideration for his
wife he let his determination be known, has already
been shown from Burnet. In these instances I think
we may observe what may be roughly and somewhat
vulgarly called meanness.  Having thus hastily observed some traits in the character of William of
Orange, we shall pass on to notice some affairs of
importance, his connection with which has served in
some quarters to discredit his memory.
William's relation to the murder of the De Witts is
a question which is still obscure. I will therefore only
quote and translate from one of the latest and ablest
studies of his life, that of M. le Comte de LortSerignan. " The Prince of Orange had long known the
hatred of the people towards the De Witts. He ought
to have understood that his duty and his honour-the
respect which he owed to himself, to his name, to that
of his country-demanded that he should protect from
causeless and groundless animosity the two foremost




100


HAMPTON COURT


citizens of the Republic. He did nothing of the
kind."
Again he continues: "The death of John de Witt
ought to win him forgiveness for many faults. It is
still a problem which history has not solved, What
was the part which William had in that catastrophe?
The responsibility seems nevertheless to be considerable,
if we consider the amnesty granted by the Prince to
the assassins, and particularly the liberality with which
he pensioned the surgeon, Tichelaar. Such crimes
would sully the fairest life, and the death of John de
Witt remains an ineffaceable stain on the history of
William III."
Take another case. When the peace of Nimeguen
had been signed four days, the Prince, who was strongly
adverse to it, attacked Marshal Luxembourg, and a
bloody battle took place-the lives lost being thrown
away without the slightest gain. The Prince declared
in the most solemn manner that he did not hear the
news of the peace until the next day. It has, however,
been proved that the news of the peace having been
absolutely decided upon was known in his camp and
by him the day before.
In the matter of Glencoe, probably not many people
have been misled by Macaulay's sophistical explanation.
It may be well, however, to mention the facts of the
case.  From the correspondence to which Macaulay
himself refers it can be proved that William took
the keenest interest in the minute details of the
negotiations with the Highlanders.  On the 9th of




GLENCOE MASSACRES


IOI


January I692 he heard the news that Glencoe had
submitted and taken the oath.   On the I6th he
signed the order for the extirpation. Of the men being
punished as robbers there is not the slightest proof.
It is most unlikely that the King, who had followed
the matter with so much attention, would affix his
signature in two places to the order for their extirpation without reading it over.  Nor did William ever
express displeasure at the deed; and in his pardon to
Stair the "manner of execution" alone is referred
to as worthy of condemnation.
May we not then conclude, with Mr. Paget, keenest
of historical detectives, that the King "had not the
excuse, poor as it may be, that he was urged on by
personal wrong and animosity, like Breadalbane, or
by chagrin and disappointment at the failure of a
particular scheme, like the Master of Stair;" and
that there is no room for doubt that his "signature
was affixed to the order with full knowledge of the
facts, and that his intention was to strike terror into
the Highlanders by the 'extirpation '-[and there is no
question as to the meaning of the word here, as there
is in the case of the Rohillas, where Macaulay takes
an exactly opposite view to the one he maintains in
the Glencoe affair]-of a clan too weak to offer any
effectual resistance, but important enough to serve as
a formidable example." Glencoe certainly will not be
forgotten by Scotsmen when they judge the character
of William III.; and side by side with it they will
place his refusal of aid to the colonists of Darien.




102


HAMPTON COURT


But cases such as these, involving grave moral
delinquency, do not finally settle the claims of
William III. to be considered a national hero. What
was his position as a constitutional king? His title
was strictly and evidently parliamentary. Hallam goes
so far as to speak of his " elective throne." He came
to deliver England from despotic rule, and to represent that form of monarchy which the great Whig
statesmen approved.  He had very definite obligations and a very clear line of action imposed upon
him. How did he play his part? No one can accuse
Hallam of prejudice against him.  "In no period,"
he says, "under the Stewarts was public discontent
and opposition of Parliament more prominent than in
the reign of William the Third; and that high-souled
prince-[I thank thee, Hallam, for teaching me that
phrase] ---enjoyed far less of his subjects' affection than
Charles the Second. No period of our history, perhaps, is read with less satisfaction than those thirteen
years during which he sat on his elective throne."
That the King was in no small measure responsible
for this a few instances will show. William had none
of the qualities that win affection. His obvious preference for Holland did not atone for " that amount
(to quote Mr. Lecky) of aggravated treachery and
duplicity seldom surpassed in history which had
made the Revolution possible."   Among his first
ministers were the very men who were believed to be
largely concerned in the misgovernment of the Stewarts.
If Danby had been so unprincipled as the votes of




AS KING


I03


Parliament had declared, if Halifax had been so deeply
concerned in the last and worst part of Charles II.'s misrule as was supposed, if Godolphin had been, as was
evident, a party to every measure of James II., William
ought not to have made them his trusted servants.
If the King was really interested in securing freedom
to Englishmen, he ought not to have displayed such
pettish readiness to leave England to itself when
Parliament did not grant him all the revenue he
wanted. Nor can anything excuse his concern in the
Irish grants or in the partition treaties.
In answer to an address in I690, he promised to
make no grant of the Irish forfeitures till the matter
had been decided in Parliament. While bills for its
settlement were being discussed, it was discovered that
he had granted away the whole of the land, although
Parliament had expressly reserved two-thirds for the
public service. And these lavish grants were made,
chiefly to Dutch favourites and an English mistress,
at a time when England was in a wretched condition.
The historian of the future will be content to accept
the forcible statement of Mr. Lecky.1
Again, in I697 the enormous grants of royal rights
in Wales to the Duke of Portland caused much comment.   Stronger still, perhaps, is the case against
William in the matter of the partition treaties. He
carried on the whole of the negotiations without consulting any of his English ministers.   His Dutch
favourite, Portland, induced the Lord Chancellor to
1," History of England in the Eighteenth Century," vol. i. p. I6.




o04


HAMPTON COURT


affix the Great Seal to blank paper, an act which would
have caused a frenzy of denunciation from every
historian if it had happened under Charles I. or
James II., or had been performed by any other than
the orthodox Whig Somers. As it is, some people
seem disposed to accept Hallam's ludicrous excuse
for the King, that he was influenced " by a deep sense
of the unworthiness of mankind."
Certainly the refusal of the royal assent to the
"Place Bills," and to the bill for securing the independence of the judges as regards the Crown, though
they may be explained by a deep sense of the unworthiness of human nature when not seated upon
an elective throne, are equally irreconcilable with
Revolution theories. Here the man who has been
elevated to the throne on the distinct understanding
that he is to accommodate himself to that idea of
royalty which recognises the legislative supremacy of
Parliament, appears as using the power which has
been conferred upon him in defiance of the compact
under which it was conferred.
As we contemplate the portrait in which Kneller
has striven to immortalise William as a hero, the
words of Hallam rise to our minds:-" Mistaken in
some points of his domestic policy, unsuited by some
failings of his character for the English nation, it is
still to his superiority in virtue and energy over all
her own natives in that age that England is indebted
for her honour and liberty." The words rise to our
minds, but they rise only to be condemned. William




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AT HAMPTON COURT


I05


was not virtuous, and he was not a hero. He left
us a legacy of ruinous and bloody wars, a halfcentury of oligarchy under Whig control, and a
hatred of foreigners almost as bitter as that bequeathed by the Marian persecution.
XI
William as a king and as a man is not worthy of
English admiration.  If we are to enjoy the new
Hampton Court with an eye on its history, we must
regard it as Wren's creation, not his. And William
we may leave in the "Banquet House," which he built
in I700, smoking with Keppel and Bentinck, with his
mug before him.
What has to be said of the Palace under the Dutch
king comes more appropriately in connection with the
work of Wren. William liked Hampton Court, and
lived there as much as he could.  " He found the
air," says Burnet, "agreed so well with him, that he
resolved to live the greatest part of the year there."
And much as he hated Louis XIV., he must needs,
like everybody else, imitate him. So a new Hampton
Court was to rise as a rival to Versailles. "A very
few days after he was set on the throne," says Burnet
again, "he went out to Hampton Court, and from
that palace came into town only on council days; so
that the face of a court and the rendezvous usual in
the public rooms was now quite broken." His love




Io6        HAMPTON COURT
for the place, and his delight in retirement with his
Dutch favourites and his English ministers, were indeed
among the chief reasons of the unpopularity which
befell him early and lasted all through his life. He
gave himself to seclusion, and the seclusion happily
gave us Wren's Hampton Court.
While plans were -preparing and the new Fountain
A-  "2Cr Slleyr
Court was rising on the site of the old Cloister Green
Court, while the King was hunting, as the satiric
rhyme said, to make the Queen thin, Mary was sitting
with her maids in the Hornbeam Walk or in the "Water
Gallery," the house, now destroyed, separate from the
rest of the Palace, that looked upon the river. Her
china, her plants, her needlework, were her solace in




KNELLER'S "BEAUTIES"


Io7


her husband's neglect; and china and plants have still
their representatives in the Palace.
A new amusement she found in trying to rival
Lely's collection of Charles II.'s Beauties. Her court,
too, she thought, had its charms, and Kneller should
immortalise them. Horace Walpole tells how the old
Lady Carlisle told him that poor Mary only made
herself unpopular by it.  "If the King," said Lady
Dorchester, "were to ask for the portraits of all the
wits in his court, would not the rest think he called
them  fools?"  As one looks at the portraits of the
ladies of Mary's court, the comparison seems to gain
a double bitterness; for if these are the beauties, what
must the others have been?
Kneller was delighted to emulate Lely, and he was
well rewarded for his efforts. Polite poets complimented him in their verses, and he did not lack more
substantial rewards.  Lansdowne's couplets are well
known" 0 Kneller! like thy picture were my song,
Clear like thy paint, and like thy pencil strong,
The matchless beauties should recorded be,
Immortal in my verse as in thy gallery."
The "Beauties," as they now appear in William the
Third's Presence-Chamber, are reduced to eight. Onlv
the most loyal flatterer could rank the Queen herself
among the beauties; but the great Sarah Jennings has
also disappeared. Those who remain are Diana, the
heiress of the great Earls of Oxford, those De Vereswhose




io8


HAMPTON COURT


name brought back to mind the fights of the Middle
Ages, and wife of Charles II.'s son, the Duke of St.
Albans; the Countesses of Peterborough, Ranelagh,
Dorset, and Essex (the last a Bentinck), the Duchess
of Grafton, Lady Middleton, and Miss Pitt.
Lady Diana de Vere, Duchess of St. Albans, in
her quiet russet gown, with graceful yellow drapery
depending from her arms, is a charming figure. As a
toast, within a few years of the painting of this picture,
Halifax wrote the lines for her"The line of Vere, so long renowned in arms,
Concludes with lustre in St. Albans' charms;
Her conquering eyes have made their race complete;
They rose in valour and in beauty set."
The Countess of Essex, a Bentinck, is not nearly so
attractive.  Much prettier is the Countess of Peterborough, the wife of the famous general and beau.
She is in blue and crimson; her white, rather dissipatedlooking face at once arrests attention. The Countess
of Ranelagh in white, Miss Pitt in yellow, and the
Duchess of Grafton (who was the daughter of the
Arlington of the Cabal), the Countess of Dorset (a
Compton) in orange, with a mantle of blue satin and
ermine, are less interesting; but Mrs. Middleton
(no one is quite sure who she is) is charming as a
shepherdess.
If Mary had the Beauties of her court painted to
please her husband, he was not behind in employing
Kneller to immortalise himself. In the same room in




DEATH OF MARY


I09


which the "Beauties" now hang, there are three great
portraits of the King. Kneller paints him, as part of
an allegorical triumph of Peace and Plenty, in his worst
possible style. William ineffectually apes a Roman
general, but his stern, haggard face is impressive if
unpleasing. The other pictures —his embarking from
Holland in 1688, and his landing at Brixham-are
historical compositions, accurate in detail but uninteresting in result.
Much more striking than these, and in the same
room, is the swarthy and passionate countenance of
Peter the Great. It is one of the most impressive
portraits Kneller ever painted. The armour and the
drapery are subservient, not, as so often, the main
features of the composition. The stupendous originality of the character looks out of the eyes. It is
the face of a man who can command thousands, and
who has no scruple. This picture was painted for
the King, who feared and suffered rather than admired
the great Czar.
The collection of "' Beauties" may serve to emphasise
the fact that William and Mary used Hampton Court
as a home rather than a house of state. They planted,
they builded, they worked; but the history of the reign
gives few important political events that occurred in
their favourite retreat.  Kensington and Whitehall
were for business; Hampton Court was for rest.
After Mary's death William was little there, till the
burning of Whitehall in January I698 brought him
back again. His last years, varied by distractions of




II0


HAMPTON COURT


war and by his own ill-health, were spent chiefly there.
After the new buildings were completed, apartments
were given to all the chief officers of state, to the Archbishop of Canterbury, and from time to time to foreign
ambassadors. It was there that the seals were taken
from Somers: it was there that the great breach with
France was begun, when William said to Tallard,
" Monsieur l'Ambassadeur, le temps est bien change: "
it was thence that Marlborough's commission, military
and diplomatic, for the great war was dated. But with
such exceptions the King did little business save at
Kensington.  It was probably in the House Park that
his horse Sorrel stumbled and threw him, and the shock
brought on the illness which ended in his death. That
he had not died long before might well be wondered at
by all save his physicians, who administered to him
such pleasing concoctions as the "juice of thirty hoglice." Two years before he had plaintively remarked
that "he should be very well if they would leave off
giving him remedies."
When William died, Hampton Court was the most
famous of English palaces. When Anne succeeded, it
sank into secondary rank. Anne liked Kensington and
Windsor. She had no pleasant memories of her brotherin-law, nor had the place itself happy memories for her.
It was there that her boy-her only child who survived
his infancy-William Henry, named Duke of Gloucester on the day of his christening, was born. There
he was christened with great ceremonial. His fostermother came from Hampton Wick; and though the




GEORGE I


III


Queen continued her kindness to the nurse and her
family, she could never forget the anxious days when
her baby hung between life and death.
XII
With George I. the court returned to Hampton,
and made from time to time long sojourns there.
At some periods the King, with the atrocious Schulenberg, Duchess of Kendal, and Kilmansegge, Countess
of Darlington; at others the Prince of Wales and
his clever wife, Caroline of Anspach, held possession.
The greatest confusion seems to have reigned during
this period. Not only were the King and Prince at
daggers-drawn-and George called his daughter-in-law,
"cette diablesse la Princesse"-till a reconciliation,
hollow enough, was patched up in I720, when "the
officers of the two courts kissed, embraced, and congratulated  one another," but the arrangement of
the Palace was in hopeless disorder. Anybody who
had the impudence to enter might, it would seem,
be lodged in the Palace: the officials practically let
apartments; and the Crown had to issue a proclamation, to which nobody paid any attention.
George I. amused himself from time to time by
having plays acted in the great hall.  In 1718,
Hamlet and Henry     VIII. were acted there, and
the King listened with delight to allusions which
seemed to fit his own ministers.  But the interest




112


HAMPTON COURT


of the Palace in the eighteenth century is at least as
much literary as it is historical, and it may appropriately be treated in another chapter.  Of its
vicissitudes as the dwelling-place of English sovereigns, Defoe very happily writes: -
"Since the death of King William, Hampton
Court seemed abandoned of its patron. They have
gotten a kind of proverbial saying relating to Hampton Court, viz., that it has been generally chosen by
every other prince since it became a house of note.
King Charles was the first that delighted in it since
Queen Elizabeth's time. As for the reigns before,
it was but newly forfeited to the Crown, and was not
made a royal house till King Charles I., who was not
only a prince that delighted in country retirements,
but knew how to make choice of them by the beauty
of their situation, the goodness of the air, &c. He
took great delight here, and, had he lived to enjoy
it in peace, had purposed to make it another thing
than it was. But we all know what took him off
from that felicity, and all others; and this house
was at last made one of his prisons by his rebellious
subjects.
"His son, King Charles II., may well be said to
have had an aversion to the place, for the reason just
mentioned - namely, the treatment his royal father
met with there-and particularly that the rebel and
murderer of his father, Cromwell, afterwards possessed
this palace, and revelled here in the blood of the
1 "From London to Land's End" (ed. Henry Morley), pp. 25-27.




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DEFOE ON THE PALACE


II3


royal party, as he had done in that of his sovereign.
King Charles II. therefore chose Windsor, and bestowed a vast sum in beautifying the castle there,
and which brought it to the perfection we see it in
at this day-some few alterations excepted, done in
the time of King William.
" King William (for King James is not to be named
as to his choice of retired palaces, his delight running
quite another way)-I say, King William fixed upon
Hampton Court, and it was in his reign that Hampton Court put on new clothes, and, being dressed gay
and glorious, made the figure we now see it in.
"The late Queen, taken up for part of her reign
in her kind regards to the prince her spouse, was
obliged to reside where her care and his health confined her, and in this case kept for the most part
at Kensington, where he died; but her Majesty always
discovered her delight to be at Windsor, where she
chose the little house, as it was called, opposite to
the castle, and took the air in her chaise in the parks
and forest as she saw occasion.
"Now Hampton Court, by the like alternative, is
come into request again; and we find his present
Majesty, who is a good judge, too, of the pleasantness and situation of a place of that kind, has taken
Hampton Court into his favour, and has made it
much his choice for the summer's retreat of the
court, and where they may best enjoy the diversions
of the season."
Of the Court under the first two Georges Horace
H




II4         HAMPTON COURT
Walpole and Lord Hervey may speak. From the accession of George III. it ceased to be a royal residence
in more than name. Much of its furniture was removed; apartments were more freely and permanently
given to exiles and to retired public servants. A new
stage of its history begins, which is continuous to the
present day.




CHAPTER III


THE PARKS AND GARDENS
I. The Medieval garden: the Tudor garden: its remains at Hampton Court: the Mount garden: the parks.-2. Elizabeth and
her garden: the symmetrical taste: the decorations: Bacon's
idea of gardens.-3. The Rebellion a break in English horticulture: Cromwell: Charles II.: the imitation of Versailles: Le
Notre: Evelyn's description of the gardens: Queen Mary's
bower.-4. William III.'s changes: his personal interest: the
Royal gardeners: the wilderness: the Maze: Latin poem
thereon: Queen Mary's collection of plants: the oranges: the
gates: suspension of the works on the Queen's death: the new
plans: the great Parterre: the Lion gates.-5. The gardens
under George I.: the Frog Walk: the passion for Nature:
Thomson's description of a garden: the changes under the
Landscape gardeners.-6. The fish and fowl: the great vine:
the characteristics of the gardens.
"GOD Almighty first planted a garden," says Bacon,
"and, indeed, it is the purest of humane pleasures."
If it needs some training of the eye to appreciate
the architecture and the art of Hampton Court, there
are few visitors indeed who do not enjoy the gardens
and the parks. The exquisite neatness appeals to some,
the brightness, the peace, the variety to others. No
115




II6


HAMPTON COURT


gardens within reach of the Londoner have half their
manifold attractions. But besides their general they
have a very special interest. In few places can we trace
so well the history of English gardening.
When Wolsey first obtained the manor, he set himself to make gardens such as he should be able to find
repose in after the long labours of his busy days.
There in "therber" he would say his office; and he
would daily watch the planting and the weeding, of
which the records give such quaint particulars. Strong
walls surrounded this irregular garden. It was a place
of herbs and hedges, with alleys and long shaded walks
-the medieval garden of which we know so little.
When Henry VIII. took the Court for his own,
great alterations were carried out.  The pleasaunce
became "Italianate," and statues of "kynges and
queenys beestes" were set up. The accounts show
continual placing of trees in the King's great orchard
and the "triangle," of roses, gillyflowers, sweetwilliams, violets, and primroses, and setting the
divisions with low walls, on which stood capering or
rampant beasts in stone.  At every convenient spot
stood a sundial.
Of the Tudor garden at Hampton Court, only the
very smallest specimens remain. There is the quaint
fountain still standing in the midst of a trim-set
design of walks and borders, in the hedge-surrounded
plot of low ground that lies between the "banqueting-house" of William III., and the greenhouse,
which is sometimes mistakenly termed the orangery.




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UNDER HENRY


I I7


In the front of this greenhouse is another sunk
parterre.  To the left, as you look towards the
Thames, is the large oriel which Queen Elizabeth
set in the tower that stands between a fine piece
of Wolsey's building and the rigid stateliness of
the end of Wren's south front.     The low walls
stand, it is likely, as they stood in Henry's days,
and on them   may now be trained dwarf creepers,
where the bright gillies with "the mynts and other
sweet flowers" stood out against the red brick in
the old days.   Architecture is brought in to aid
the attraction of horticulture. Steps lead down, in
the little garden hard by, to the fountain in the
midst; and, again, low walls and trim hedges shut
off one walk and one design from another. Rising
a few feet and walking southwards, you would come
upon the terrace that overlooked the river.
I am tempted to quote Ellis Heywood's fascinating
description of that other garden, some miles farther
down the stream, where Henry's faithful Chancellor,
Wolsey's successor, walked with his children.
"There each child, each servant, had his own
domain  and  his own work.     There the friends
gathered to talk with More," he says in his pretty
Italian memory of the martyr More,1 "on a little
lawn set in the midst of the garden, on which was
a little grass ' mount.' It was a happy spot, crowned
with perpetual verdure, having flowering shrubs and
the branches of trees woven together in sort so
1 "I1 Moro," Florence, I556, pp. I3-14.




I I8


HAMPTON COURT


beautiful that it might have been Nature's own
handiwork."
The "monticello" of which Heywood speaks is
a great feature of Tudor gardens, and many besides
More delighted to make the "animala tappezeria"
of flowers. At Hampton Court this tapestry effect
was heightened by the coloured palings and balustrades, green and white, with which the flower-beds
were surrounded.
The "topiary art" came in vogue, too, to add
quaintness to the Tudor gardens, and was seen, no
doubt, by the southern walls of the Hampton Palace.
Besides these gardens at the south, Henry had,
at the north of his Palace, kitchen-gardens and two
orchards, the "great" and the "new," in which
grew hollies, and oaks, and elms, cherries, pears, and
apples, yew, cypress, juniper, and bays.  These are
now entirely destroyed, and are partly covered by the
"wilderness" which  leads to Bushey Park, partly
by the kitchen-gardens, which include also the old
tilt-yard.
In I539 the Honour of Hampton Court was by
statute created a forest-the last, it appears, that was
thus made. It was disafforested under Edward VI.,
but certain peculiarities of the forest jurisdiction still
remain.




UNDER ELIZABETH


II9


II
Elizabeth loved to walk in her gardens, and
foreigners who visited Hampton Court noted their
number and size, and the quaintness with which the
flowers and shrubs were trained and clipped.      The
parks, which her father had increased, she delighted
in; there she hunted and gave hunting to the foreign
princes who were her guests. Gardens stretched to
Kingston,' and the parks extended north and east for
miles.   A  German traveller observed with astonishment the arrangement of the ponds:-" The surrounding land is well arranged in gardens and ponds.
The latter may at pleasure2 be left dry or filled with
water, and fish then let in.   I never before saw the
like of them."3
Throughout all the gardening of this period, the
characteristic excellence is to be found in symmetry,
and everything is precisely planned and designed.
Straight walks surround geometrical flower-beds;
mounds or ponds form a centre to which the walks
converge.   Bacon's essay on gardens is a picture of
elaboration, where the chief garden is surrounded
by a hedge which is clipped after a most complete
and artificial fashion.   Gradually the   garden  was
' Journey of Leopold von Wedel. "Royal Historical Society's
Transactions," N.S., vol. ix. p. 250.
2 Dr. Gottfried von Biilow writes "at leisure." I venture to alter
conjecturally.
3 Journey of Leopold von Wedel, as above, p. 228.




I20


HAMPTON COURT


divided, by the best authorities, into two parts, the
"flower-garden" and the " herb-garden."  Both were
walled, both elaborately designed, but the Italian ornamentation, the statues, fountains, dials - all works
of art in themselves-were reserved for the former.
As system began to rule supreme in the flower-garden,
a concession to man's undisciplined desires was made
in the "heath" or the "wilderness," where a wildness which had no part in the trim order of the gardener's scheme was allowed, though not without some
check, to exist.
The wooden figures of Henry VIII.'s day, the gaily
coloured beasts then set up, soon yielded to the more
durable decoration in stone and lead. Solidity and
permanence came more and more to be marks of
the design. Thus there sprang into existence the
"garden-houses," the  " pleasure-house," " gazebo,"
"banquet-house."   Sir Thomas More built him    a
house in his Chelsea garden, whither he could retire
for study and prayer, and spend, if he willed, the
whole day in seclusion. Henry VIII. had built more
than one of these at Hampton Court-one in the
" Mount" garden and one below; but later alterations
swept them away.
Bacon's picture, in its size at least, might have
been drawn for Hampton Court, with its luxury of
space, where green and heath, or "desart" and main
garden, with its alleys, might find ample room.
"Knots of figures with divers coloured earths" he
will not endure, but the "stately arched hedge," set




UNDER CROMWELL


121


"upon pillars of carpenters' work ten foot high and
six foot broad," delights him.  And he, too, like
More, has "in the very middle a fair Mount, with
three Ascents, and Alleys enough for four to walk
abreast, which I would have to be perfect circles,
without any Bulwarks or Imbossments, and the whole
Mount to be thirty foot high, and some fine Banquetting House, with some chimnies neatly cast, and without too much glass." And in fountains, too, he was
of the same mind as those who planted the gardens of
Henry and Elizabeth.   "For fountains, they are a
great Beauty and Refreshment, but Pools mar all, and
make the garden unwholesome, and full of Flies and
Froggs." Bacon's garden, though he allows for a
"natural wilderness," is formal enough.
III
The Tudor methods, growing more elaborate as time
went on, seem to have governed the gardeners of the
first two Stewarts.  The great Rebellion came as a
break in the history of English horticulture. Gardens,
like images and organs, were sometimes destroyed by
Puritan fanaticism. Cromwell, though he resided frequently at Hampton Court, took no special care of the
gardens, beyond ordering that the water-supply created
by Charles I. in the "New" or "Longford" river
should be restored to use. A tract of the time satirises
his unpopular proceedings:-" Who will have the fine




I22


HAMPTON COURT


houses, the brave parks, the pleasant fields and delightful gardens, that we have possessed without any right
and built at other men's cost? Who shall enjoy the
delight of the new rivers and ponds at Hampton
Court, whose making cost vast sums of money, and
who shall chase the game in the hare-warren, that my
dear master hath inclosed for his own use, and for ours
also that are time-servers?" 1
One of the first cares of Charles II. was the garden
at Hampton Court. In 1661 one May was made their
superior, and " for fifty years we find a succession of
famous gardeners."2    A   new era set in with the
Restoration. French influence became dominant. Le
N6tre, who inspired the magnificent designs of Louis
XIV. in gardening, was widely followed in England.
Rose, the royal gardener, was his pupil, and brought
with him some of the lordly ideas of his master. The
small, delicate, systematic gardening of the past was
replaced by designs no less systematic indeed, but of
a much larger scope. Long avenues, broad terraces,
wide canals came in fashion, and with them the
delight in extensive views and the employment of
large areas.
At this time, too, were added many charming decorations in stone and in lead, such as the beautiful fountain which Evelyn mentions, and which William III.
1 I take this quotation from Mr. Ernest Law's "History of Hampton
Court Palace," vol. ii. pp. I82-I83.
2 "The Formal Garden in England," by Reginald Blomfield and
F. Inigo Thomas, p. 74.




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UNDER CHARLES II


I23


moved to Bushey Park.     It is now called "the Diana
Fountain."
A comparison of the drawing by Wynegaarde1 of
the Palace in Queen Mary's time with that of the
picture by Danckers2 shows something of the revolution which was effected by the new principles which
were derived from Le Notre. That the great gardener
himself visited England is improbable, though some
have ascribed to him the personal origination of the
new garden of Hampton Court. But his influence is
clearly apparent in the scheme by which the gardens
are now treated as part of one design with the house,
and are studied and developed in relation to its architectural features.
Two great changes were inaugurated under this
influence. A great canal was dug from within a few
yards of the east front of the palace for nearly a mile.3
It was bordered, after the Dutch fashion, with lime
trees. By it, no doubt, as by the water in St. James's
Park, the King would often saunter, followed by his
dogs, and throwing food to the ducks. Besides this, three
avenues of limes were planted, extending from the east
front, and Charles, says Switzer (himself a pupil of
London, who studied     under Rose), in his "Ichno1In the Bodleian Library.
2 Now in Hampton Court Palace. It is by no means improbable
that this picture of Hampton Court was the one which Pepys ordered
for his dining-room, January 22, I668-69, and for which he afterwards
substituted (March 31, 1668-69) a view of Rome. This is not, I think,
noticed by Mr. Ernest Law.
3 It is now 3500 yards long, but Danckers' picture shows that it
was originally much longer.




124


HAMPTON COURT


graphia Rustica," " did plant the large semicircle before
the palace... in pursuance of some great design he
had formed in gardening."
This must have been one of his first works, for as
early as June 9, 1662, John Evelyn, who was a great
authority on gardens, noted that the Park, " formerly
a'flat, naked piece of ground," was " now planted with
sweet rows of lime trees," and that the "canal for
water" was " now near perfected."  The whole of the
alterations were in the direction of enlargement, which
was fully in accordance with Evelyn's advice. The
aim  of the changes was to imitate Versailles.  The
House Park stretches for more than a mile to the
south. In that fine space there could be well set the
vistas of tree and water which should lead so appropriately to the sovereign's home.   Every plan was
drawn on strictly geometrical lines, in the gardens, as
later in Wren's buildings.1
Evelyn tells us also of two other features of the
gardens, which fitly represent the two contending
tastes of earlier days.  "In the garden there is a rich
and noble fountain, with sirens, statues, &c., cast in
copper by Fanelli."   This fountain seems to have
disappeared, but many beautiful specimens of architectural decoration remain, chiefly vases, elaborately
designed in lead and stone, and little animal or figure
groups dispersed among the beds.
The second feature which Evelyn mentions-but this
is later-is one which strikes every visitor to-day. It
1 Cf. a delightful article in the Spectator for August I, I896.




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UNDER WILLIAM III


I25


is what is now called "Queen Mary's Bower," from
a tradition that she spent long hours there with her
maids of honour, walking or resting in the shade.
It is a walk of one hundred yards long, the trees
meeting overhead.' There can be little doubt that
it is this of which Evelyn speaks as the " cradle-work
of horn-beam   in the garden," and as, "for the perplexed twining of the trees, very observable;" and
again, "the close walk, with that perplext canopy,
which lately covered the seat in his Majesty's garden
at Hampton Court." The horticultural books of
the period give rules for the construction of these
quaint artificialities, and many, particularly of yews,
still remain in old English gardens. But the Hampton
Court walk is in the stronger wych-elm,2 which was
especially commended by the gardeners of the day.
IV
So the gardens remained for some years, all changes
being undertaken on the same plan, and under the
ruling  influence of Le Notre.     The accession of
William and Mary effected an alteration. William
had all a Dutchman's delight in gardening, and Mary
had the liking of a homely Englishwoman for sweet
flowers. A new scheme was at once undertaken, which
1 Mr. Ernest Law, in his " New Guide" (p. I24), says it is 14 feet
high. In his "History of Hampton Court," vol. ii. p. 37, he gives
the height at 20 feet.
2 Mr. Ernest Law says it is wych-elm, correcting Evelyn.




I26


HAMPTON COURT


Defoe states was "devised by the King himself."
"Especially," he says, "the amendments and alterations were made by the King or the Queen's special
command, or both; for their Majesties agreed so well
in their fancies, and had both so good a judgment in
the just proportion of things which are the principal
beauties of a garden, that it may be said they both
ordered everything that was done."     They effected
a revolution in the appearance of the garden and park.
Everywhere appeared borders and hedges of box, the
great feature of Dutch gardening, which endured,
indeed, only so long as the Dutch king ruled, for
Queen Anne, who was little of a gardener herself,
took pleasure in immediately rooting up most of the
memorials of her brother-in-law's taste.
Throughout the reigns of the two sovereigns the
work was carried on con amore, but two special
periods of activity seem to be noticeable: the beginning of the reign, when George London was
appointed royal gardener, with a post also in the
Queen's household, and the year I699-I700, when
William took in hand the reconstruction of the entire
palace and all that belonged to it. Gardening was
now become a serious business. Great firms of gardeners directed the designs of the great houses
throughout the country. " Gardening," said a literary
gardener, "advanced to its highest meridian."   The
1 Considerable caution is necessary in using any work of Defoe, and
even his "Tour through the whole Island of Great Britain" is not
historically correct; but in this case, though incorrect in some points,
some part at least of his statement may be received.




DEFOE'S TESTIMONY


127


formal garden, in fact, went beyond its formality into
eccentricity, and so sank under the reaction begun by
the protests of Addison and the satires of Pope.
William and Mary were nothing if not systematic.
The very Wilderness was made symmetrical. It was
set in "regular strait walks, bounded on each side by
tall clipped hedges, which divide the whole ground
into angular quarters."  Defoe gives details of the
work, which show that though Queen Mary did not
design the " Bower" called by her name, she actively
encouraged the custom of training trees on espaliers,
and trimming them till they form a compact and
complete protection from sun and wind. "Pleaching "
reached its culmination under William  and Marv.
"On the north side of the house," says Defoe (to
the east, that is, of the old tilt-yard and beyond the
tennis-court), "where the gardens"-he means those
which were now developed at the east —"seemed to
want screening from the weather, or the view of the
chapel, and some part of the old building, required to
be covered from the eye, the vacant ground, which was
large, is very happily cast into a wilderness, with a
labyrinth and espaliers so high, that they effectually
take off all that part of the old building which would
have been offensive to the sight. This labyrinth and
wilderness is not only well designed and completely
finished, but is perfectly well kept; and the espaliers
fitted exactly at bottom to the very ground, and are
led up to proportioned height on the top: so that
nothing of the kind can be more beautiful."




I28


HAMPTON COURT


About the truth of this judgment there may be
two opinions; and indeed, though something of the
formality of the " wilderness " still remains, it has not
been unaffected by the influence of the "landscape
gardeners," who came before long to destroy all the
symmetry they could.   But whatever audacity may
have done in the "Wilderness" by cutting down
hedges and allowing the trees to grow with comparative freedom, no one has been hardy enough to
disturb the Maze.
Now mazes were not uncommon in the sixteenth
century,' and it is possible that the Maze at Hampton Court may have been made earlier than the
reign of William and Mary; but the reconstruction of the whole of the gardens near it make it
probable that it was altered, if not entirely designed,
at this time.  No one who has visited the Palace
will doubt that it still retains its attractions, and few
perhaps have not suffered annoyance, and had to call
1 Cf. Thomas Hill's "The Proffitable Art of Gardening."




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MEMORIALS OF MARY


I29


in the aid of a friendly gardener. Among all changes
the Maze has survived. A curious instance of its
fame is to be found in the British Magazine, July
I749, where a Latin poem is devoted to its honour.
This is probably a schoolboy's exercise, but it is worth
quoting:"Hamptoniae quisquis regales viseret hortos
Hic labyrinthaeos novet inesse dolos.
Quos simul ingreditur ccetus juvenilis in ipso
Introitu, in primo limine fallit iter.
Decepti pergunt errare, retexere, si qua
Ancipitem possint progrediendo viam.
Si regredi statuunt eadem est fortuna regressis
Implicitos idem devius error habet.
Compellunt alios alii, ridentque vicissim;
Sed prope quid prodest, et simul esse procul?
Nec captos tamen illudi cursu atque recursu
Taedet, nec toties est remeare labor.
Scilicet est omnis comites habuisse voluptas,
Falli cum sociis tam patienter amant.
Dulce genus lusus! idem gratissimus error
Decipit, et fessos decipiendo juvat."
A memorial of Queen Mary is still present in
the exotic plants which survive from her collection.
She took considerable interest in botany, employed a
scientist of distinction, and grew   many curious specimens.   The Agave americana variegata may still be
seen, which probably was placed in the greenhouse by
the Queen; and the orange trees which are ranged
1 British Magazine, July 1749, p. 299. Mr. Ernest Law's "Guide
to the Palace" refers to the British Magazine for 1747, but this is a
mistake.
I




130


HAMPTON COURT


along the south wall in summer came, there can be
little doubt, from Holland. So the Queen diverted
herself when her cold and ungrateful husband was
taking enjoyment with Elizabeth Villiers and his
Dutchmen. She lived chiefly in the "Water Gallery,"
a small house looking upon the river, busying herself
with her needle and among her china; and "giving,"
says Burnet, "her minutes of leisure with the greatest
willingness to architecture and gardenage."
The last work for the decoration of the gardens
which we can ascribe to William and Mary together is
the set of thirteen iron gates or screens (more strictly,
twelve screens and a gate), which form the finest
specimens of wrought ironwork that can be seen in
England. They were at first intended to screen the
private gardens from the river path; now one stands
in the Long Walk, two are placed in the Queen's
Guard Chamber, and the rest may be seen in the South
Kensington and Bethnal Green Museums. Mr. Law'
has shown that they were designed by Jean Tijon,
though they were partly executed by a Nottinghamshire man, Huntingdon Shaw.     The extraordinary
delicacy of the work, the rich elaboration of the design,
and the variety of the foliage represented, make the
work unique. The main features of the work are of
course classical, and they link the art of the Renaissance to that of the famous decorative period which
marked the latter part of the eighteenth century in
England; but their originality and variety are among
1 Vol. ii. pp. 54, sqq.




BROAD WALK


I31


their most striking merits.  There could hardly be
a better example of the culmination of Renaissance
influence in England. The monograms of William
and Mary form part of the centre of several of the
screens, and they appear to have been erected in the
years following 1691.
After the Queen's death the works seem for a time
to have been suspended. The King did not live at
Hampton Court for several years, and his mind was
employed on other matters.
The great plans for the reconstruction of the Palace
were in being while she lived, but the greatest changes
in the gardens were made after her death. About 1699
William resumed his interest in the Palace, and gave
minute directions for the addition of a number of
fountains to what was now becoming the "Great
Fountain Garden," which stretched in front eastwards
to the canal and the Long Water. At this time also
Bushey Park was laid out in avenues, and "The
Lynes" with limes and horse-chestnuts.  The park
was to have been an approach to the new entrance
court, as Wren designed it.  But happily the old
buildings beyond the Chapel Court were never destroyed, and the wilderness remains as it was before
Wren drew his magnificent new plans.
In 1700 the completion of the great garden as we
know it was begun. The Broad Walk, which extends
the whole length of the eastern front, from the gate
which touches the road to Hampton Wick and Kingston beyond the private garden to the river, was




132


HAMPTON COURT


already made. The gate at the north end of this
is the beautiful "Flower-pot Gate," of which the
piers are decorated with William's initials and crown,
and are surmounted by putti bearing baskets of
flowers.
In the centre of the great garden was placed the
large fountain which breaks the Broad Walk that leads
from the east front to the Long Water. Four hundred
of the limes which had been planted by Charles II.
were moved so as to form a semicircle skirting the
canal, which was now completed.  The garden thus
enclosed became known as "The Great Parterre."
The elaborate parterre work, in which a complicated
design was carried out in an arrangement of box-edged
beds, filled with different coloured earths, with grass
plots, and sanded walks of different widths, and
decorated by jars full of flowers, by small fountains,
and little pieces of statuary, was completed before the
King's death, and marked the culmination of the formal garden at Hampton Court. The great gardeners,
London and Wise, themselves literary authorities as
well as practical workmen, may fitly have regarded this
as their chef-d'ceuvre.
The changes thus completed were not permanent,
but nothing nearly so revolutionary has been attempted
since the Dutch sovereign died.
In I 700 one of the chief memorials of the Tudor
garden was destroyed-the " Mount," which had been
set as the centre of Henry VIII.'s Italian garden.
Many trees were at the same time transferred from the




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I33


Privy Garden. Under Queen Anne the "great Diana
fountain," which had stood there, was moved to Bushey
Park, and the fine Lion gates were set up at the end of
the Wilderness. With this, and her crusade against
Dutch box, Queen Anne seems to have been satisfied.
V
The gardens as Queen Anne left them, and as
they were when the fat lady ("mere cataract of
animal oils," Carlyle calls her) and the lean lady of
George I. walked up and down what is now called
Frog Walk (some say it was Frow Walk), must
have been, I think, much like those which Thomson
describes in "Spring," published in     I726.   Every
one is supposed to have read "The Seasons," but I
doubt if the quotation is familiar. It certainly expresses the feeling of the period when formality was
beginning to yield to a somewhat artificial Natureworship.
"At length the finished garden to the view
Its vistas open and its alleys green.
Snatched through the verdant maze, the hurried eye
Distracted wanders; now the bowery walk
Of covert close, where scarce a speck of day
Falls on the lengthened gloom, protracted sweeps;
Now meets the bending sky; the river now,
Dimpling along, the breezy-ruffled lake,
The forest darkening round, the glittering spire,
The ethereal mountain, and the distant main.




I34


HAMPTON COURT
But why so far exclusive? when at hand,
Along these blushing borders bright with dew
And in yon mingled wilderness of flowers,


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Fair-handed Spring unbosoms every grace;
Throws out the snowdrop and the crocus first,
The daisy, primrose, violet darkly blue,




UNDER GEORGE II


I35


And polyanthus of unnumbered dyes,
The yellow wallflower, stained with iron brown,
And lavish stock that scents the garden round;
From the soft wing of vernal breezes shed,
Anemones; auriculas, enriched
With shining meal o'er all their velvet leaves;
And full ranunculus of glowing red.
Then comes the tulip race, where beauty plays
Her idle freaks: from family diffused,
To family, as flies the father-dust,
The varied colours run; and, while they break
On the charmed eye, the exulting florist marks
With secret pride the wonders of his hand.
No gradual bloom is wanting from the bud
First-born of Spring to Summer's musky tribes;
Nor hyacinths, of purest virgin white,
Low-bent, and blushing inward; nor jonquils
Of potent fragrance; nor narcissus fair,
As o'er the fabled fountain hanging still;
Nor broad carnations; nor gay-spotted pinks;
Nor, showered from every bush, the damask rose:
Infinite numbers, delicacies, smells,
With hues on hues expression cannot paint,
The breath of Nature, and her endless bloom!"
The next change was effected by Queen Caroline,
wife of George II.     Before the year 1736 much of
the elaboration of the great parterre had been taken
away, grass had been substituted for the minute
flower-beds, the smaller fountains had been banished; and "landscape gardening," in the hands of
Kent, attempted to destroy the work of Le N6tre
and his pupils.
But no violent change was made. The details of
the original plans were altered, but the great semi



I36


HAMPTON COURT


circular design  was not destroyed.   George III.
yielded to the rage for landscape, and invited
"Capability Brown" to reconstruct the gardens; but
he had the wisdom to decline 'the task. It would
have been impossible to combine at Hampton Court
the merits of the two schools. The architecture of
Wren was made to combine with the gardening of
Le Notre; and the "noble art of picturesque gardening, which has given, as it were, a new tint to
the complexion of nature, and a new outline to the
physiognomy of the universe"-to quote Peacock's
happy creation "Mr. Milestone"-would have been
singularly out of place between the classical east
front and the Long Water.    But the more modern
fashion has unhappily not been without effect, and
the mania for "bedding out" has infected even the
conservatives of this ancient place. But what little
has been done, can be, and is being undone.  The
House Park, as well as Bushey, may please to-day, as
they pleased a century or two centuries ago.  In the
great fountain garden we may still very fairly see
the design as William III. left it; while the private garden, with its pretty borders of old English
flowers, its fine grass walks, and its terraces, shows
at once the influence of earlier and later hands.




THE GREAT VINE


I37


VI
A charming writer has lately dwelt upon an aspect
of the parks and gardens which is not always noticed.
They are the home of many birds and fish. The
beautiful canal which separates garden and park is
full of water-fowl, water-hens, ducks, and the stately
swans. For the benefit of the tame birds " exists the
only distinctly Dutch contrivance now surviving at
Hampton Court. Small 'duck-houses,' either built
of boards, or made each spring out of laurel-boughs,
are set along the margin for the ducks and geese to lay
in. This is a very old Dutch custom to protect the
eggs of the waterfowl on the canals and lakes round
the Dutch country-houses from the magpies which
abound in the woods. There are no magpies to steal
them at Hampton Court, but it has always been the
custom to make 'duck-houses' each spring, and the
tradition probably dates from the days of William
III."1 One is tempted to inquire if the phlegmatic
monarch was as fond of duck as he was of green peas.
Fish, particularly the carp, a royal fish that seems
always to speak of ancient days, throng the canals, and
birds haunt the trees-rooks, blackbirds, flycatchers,
redstarts, and many more. A "paradise of birds " it is
indeed.
To forget "the great vine" would be an unpardonable offence in any account of Hampton Court. It has
1 The Spectator, August i, I896.




I38


HAMPTON COURT


now been planted a hundred and twenty-eight years,
and though not uniquely large, is certainly respectable
for its age and dignity. It may be seen in its own
great house near the south-west corner of the Palace,
beyond the " Pond Garden."
Much more might be said about the parks, so
skilfully designed, and yet so free from offensive artificiality-the long terrace that looks upon the Thames,
the bowling-green, and the shady walks under the
limes that skirt the canal. But it would take a book
to describe the gardens for those who do not know
them, and still more, it may be, for those who do.
Their attraction lies in the combination of the styles
of different periods-of which they present the beauties of each-in the continuity of their history, and in
the happy examples which they afford of the history
of horticulture in England. We may still walk in
fancy with Henry VIII. in the Pond Garden, with
Charles II. by the Long Water, and with William III.
along the Broad Walk.




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CHAPTER IV


HAMPTON COURT.AND THE CHURCH
I. Wolsey's chapel and his train of Churchmen: Cavendish's description.-2. Henry's alterations: the Royal pew: present
condition of the chapel: Wren's work: historical associations:
baptism of Edward VI.: funeral of Jane Seymour: the preachers:
James I.: the destruction at the Rebellion: William and Mary:
the King keeps his hat on: the early Hanoverian neglect: the
Queen's private chapel.-3. The religion of the Palace: the
Hampton Court Conference: the introductory discussion: James's
knowledge of theology: the assembly on Monday: the " Turkey
gowns:" the Catechism: the translation of the Bible: the part
played by James himself: his judgment on the Conference: the
later history of religion in the Palace.
BUILT by a great ecclesiastic and adorned with a chapel,
which, much as it has been transformed, is still to-day
a dignified and stately memorial of its founder, it is
natural that Hampton Court should have an interest
for churchmen. In this regard, even more than in
others, it presents a series of detached episodes. During
the three centuries and a half the chapel goes on with
its quiet homely household services, varied from time
to time as the Church varied its rules or royal influence
139




I40


HAMPTON COURT


made itself felt in different directions, and sharply
broken across by the distinct divergence of the Commonwealth.  But certain episodes stand out in its ecclesiastical history, such as the gorgeousness of Wolsey, or
the theological interests of the first Stewart king of
England.
Wolsey, with all his sees and all his dignities, supported
an ecclesiastical establishment of corresponding grandeur; Cavendish seems to glory in its magnificence.
"Now I will declare unto you the officers of his
chapel, and singing men in the same. First, he had
there a Dean, a great divine and a man of excellent
learning; a Sub-dean, a Repeater of the quire; a Gospeller, a Pisteller; of Priests ten; a Master of the
children. The seculars of the chapel, being singing
men, twelve; singing children, ten, with one servant to
attend upon the said children. In the Revestry, a yeoman and two grooms: over and besides divers retainers
that came thither at principal feasts. And as for the
furniture of his chapel, it passeth my capacity to declare
the number of the costly ornaments and rich jewels
that were to be occupied in the same continually. For
I have seen in procession about the hall forty-four of
very rich copes of one suit worn, besides the rich
crosses and candlesticks, and other necessary ornaments
to the furniture of the same. Now shall ye understand
that he had two cross-bearers, and two pillar-bearers:
and in his great chamber and in his privy chamber all
these persons; first, the chief Chamberlain and Vice
Chamberlain; of Gentlemen ushers besides one in his




HENRY'S ADDITIONS


I4I


privy chamber, he had twelve daily waiters; and of
Gentlemen waiters in his privy chamber he had six;
and of Lords nine or ten, who had each of them two
men allowed them to attend upon them, except the
Earl of Derby, who had allowed five men. Then had
he of Gentlemen, of cup-bearers, of carvers, of sewers,
both of the privy chamber and of the great chamber
with Gentlemen daily waiters, there forty persons; of
yeomen ushers he had six; of grooms in the chamber
he had eight; of yeomen of his chamber he had fortysix daily; he had also of almsmen some more in
number than other sometime, there attending upon
his board at dinner. Of doctors and chaplains, beside
them of his chapel which I rehearsed before, he had in
number daily attending sixteen: a clerk of his closet.
Then had he secretaries two, two clerks of his signet;
and four counsellors learned in the law."
Such was the magnificence of the Cardinal's ecclesiastical retinue.
II
The accounts of the years I535 and I536 contain
details as to the cost of the carved oak stalls, of the
chapel door, the windows, paving, the carved roof,
and the men working their " owre tymes and drynkyng
tymes" to finish the font for the baptism of Edward,
Prince of Wales.
Then Henry added to what Wolsey began. It is
difficult, if not impossible, to distinguish his work in




I42


HAMPTON COURT


the chapel from that of his great minister, but it is at
least clear that the situation, general design, and proportions were Wolsey's, and that the King, here as
elsewhere, showed very little originality in his work.
One of the most interesting features of the chapel is
the large royal pew, which forms the west gallery, and
closely resembles the pew found in so many domestic
chapels of great houses. It is approached through
the "haunted gallery," down which it is said that
Catherine Howard's ghost still wanders, trying to
intercept the King as he goes to the devotions which
had so small an effect on his life.
Henry VIII. put painted glass in all the windows,
and then or later a picture of the Crucifixion was
hung over the high altar.
The chapel, owing to a recent restoration which has
opened several of the Perpendicular windows, long disguised by a semi-classical barbarism, now resembles in
some measure what it was when Henry VIII. had completed the roof. The fan tracery, with long pendants
gorgeously decorated with angels, and gilded bosses,
makes one of the most splendid Tudor roofs still in
existence. Evelyn in 1662 speaks of it as "excellently
fretted and gilt." Restoration here, too, has been at
work, and the figures that support the corbels on the
walls are evidently of Wren's design. But the general
effect is that of a not unharmonious blending of late
Tudor gorgeousness with the solid comfort in pews,
and pillars, and panels of the age of Wren and his
followers.




ASSOCIATIONS


I43


The proportion of the work, and the domestic
character which it was evidently the design of Wren
that it should bear, has unfortunately been recently
much spoiled by the addition of somewhat mean seats
up the centre, which was intended to have been a wide
free space, for processions and groups at royal weddings
and the like. Purists would endeavour to restore the
chapel to its state under Wolsey, or at least under
Henry VIII., but a wider sympathy should preserve so
beautiful an example of the taste of our nearer forefathers in church matters from  destruction.  There
are not too many of the "Queen Anne" chapels in
existence; we could better spare some better things.
And the chapel at Hampton Court, like that at Trinity
College, Oxford, should be suffered to endure without
further "restoration" as a valuable memorial of an
interesting epoch in ecclesiastical art.
The chapel is interesting, too, from the scenes that
have taken place within its walls. There Edward VI.
was christened with great pomp, his sister Mary standing godmother. The high altar was " richly garnished
with plate and stuff," and the font of solid silver gilt
was set up on a stage in front of it. The long procession passed through great part of the palace.
A few days later the coffin of Queen Jane Seymour
rested there before it was taken to Windsor. When
King Edward himself was king, he sat long hours
in the chapel listening to the dreary sermons of the
prolix ministers of the day. Protestant Dissenters may
feel a special interest in a chapel in which doubtless




I44


HAMPTON COURT


John Knox and John Howe have preached. Mary
restored all the splendour of pre-Reformation ritual, and
Elizabeth diminished little of its gorgeousness. The
pomp with which she set about her devotions is
described in another chapter, from the diary of
Leopold von Wedel, one of those Pomeranian lords
whom Meinhold has immortalised.
In the chapel few changes were made under James
I. and his son. The unhappy marriage of Buckingham's idiot brother took place there, and from time
to time many of the great Caroline divines occupied
the pulpit. In I645, when Parliament took possession
of the Palace, the altar was destroyed, the pictures
taken away, and the beautiful glass of Henry VIII.'s
day broken to pieces.   Mr Ernest Law    suggests
that some railings of carved oak (now in the "Horn
Room") are remnants from this destruction.' If this
is not so, they are at least work of Charles II.'s day,
removed to make way for the present rails, which suit
with the pillars and canopy-work over the altar.
The chapel was restored at the Restoration, but the
glass was never replaced. William and Mary attended
service there and took some pains with its redecoration. William Henry, Duke of Gloucester, the only
one of Queen Anne's children that survived infancy,
was christened there.  If we may believe Defoe, it
was intended to pull down the chapel, among the
wholesale alterations that William III. happily did
not complete.  Religion in general did not accord
1 " History of Hampton Court," vol. ii. p. I31.




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THE QUEEN'S CHAPEL


I45


very happily with William's life, and his taste in it
did not agree with that of the historical Church of
England. He would wear his hat in Hampton Court
chapel, and his wife must needs turn out the fiddles
and flutes and bass viols from the service. They set
themselves against the old customs. They would not
touch (and the Jacobites said they could not) for the
King's evil; and so the quaint and solemn office was
laid aside till "good Queen Anne" succeeded.
Anne had not her brother-in-law's delight in destruction; she contented herself with redecorating the
whole, and adding the carving now at the top of the
panels, the delicate designs of which are from the hand
of Grinling Gibbons. At the same time the royal
pew assumed its modern aspect of decorous comfort,
and the ceiling above it received the painted cherubim
who support the crown over the initials of Anna
Regina.  A  new organ too was added, which with
some changes still survives. A later restoration of
the roof in I847 cannot be remembered without suspicion; but on the whole, we may be thankful that the
chapel bears such clear marks of its history.
The Tudor and Stewart sovereigns had been content
to worship, often daily, in church like their subjects;
but the Hanoverians were accustomed to take their
religion more easily, and under the Georges there
appears the quaint little private chapel for the Queen,
still pointed out, and filled now with the most inappropriate pictures (as indeed it is said to have been
in George II.'s day), in which the chaplains read
K




146


HAMPTON COURT


the service while the Queen in her "bathing-closet"
next door, according to the witticism of Lord Hervey,
would cry to her lady-in-waiting, "Shut a little that
door; those creatures pray so loud, one cannot hear
oneself speak."
III
Religion, we are bound to admit, has not, at least
since Wolsey's day, been a very obtrusive factor in
the life of Hampton Court Palace; yet it has been
none the less real for that, and, slight though the
ecclesiastical interest of the house may be, it is famous
in the history of the English Church for the Conference which first made clear the irreconcilable division between the Church of England, adhering in its
formularies to the doctrine and discipline of the
undivided Church, and the dissenting bodies who
desired an absolute break with the past.
The Conference met on Saturday, January 14, 1604,
in response to James's proclamation of October 24,
1603, in which he promised to consider the complaints
that had been put before him by the so-called Millennary
petition, and to take cognisance of the state of the
Church. On the evening of the I3th James saw some
of the bishops in his private chamber, and the next day
the King met the bishops in a solemn conclave. It was
proposed that the King, assisted by several bishops and
learned divines, should hear the complaints which were
to be made by ministers who desired further changes in




THE CONFERENCE


I47


the Church, and should express his opinion as to what
concessions it might be well to offer to tender consciences or irritable minds. The Archbishop Whitgift
of Canterbury, himself not a little of a Calvinist in
doctrine, attended, and with him were Bancroft, Bishop
of London, a man of more liberal views; Tobie
Matthew, Bishop of Durham, an Oxford scholar of
fame and a singularly able administrator, who had also
defended the English Reformation with learning and
adroitness against the Jesuit Edmund Campion; Bilson,
Bishop of Winchester, the renowned author of "The
Perpetual Government of Christ's Church;" Bishops
Rudd of St. David's, Babington of Worcester, Watson
of Chichester, Dove of Peterborough, Robinson of
Carlisle. Eight Deans were summoned-Montague,
Dean of the Chapel, and the Deans of Christ Church,
St. Paul's, Worcester, Salisbury, Chester, Windsor,
and Westminster, with Dr. Field and Dr. King. Four
clergy only represented the Puritan position-Reynolds,
whom his friends regarded as the "oracle of his time
for acquaintance with ecclesiastical history, councils,
and fathers," Sparkes, Chaderton, and Knewstubbs.
On the first day the bishops and five deans alone
met the King "in the King's privy chamber, one of
the large rooms of Henry VIII.'s suite of state apartments, on the east side of the Clock-court, which were
altered in the reign of George II."
The King "propounded six points... three in
the Common Prayer-Book, two for the bishops' juris1 Law, " History of Hampton Court Palace," vol. ii. p. 32.




148


HAMPTON COURT


diction, and one for the kingdom of Ireland. In the
Prayer-Book he named the general absolution, the confirmation of children, and the office for private baptism. These three were long disputed between the
King and bishops. In the conclusion the King was well
satisfied in the two former, so that the manner might
be changed and some things cleared. For the private
baptism, it held three hours at the least, the King alone
disputing with the bishops so wisely, wittily, and
learnedly, with that pretty patience, as I think no man
living ever heard the like." 1
James's learning surprised his new subjects. It was
indeed his hobby to study and enlarge upon the
Fathers and the old divines, and, like most lay
students of divinity, he was fascinated with the subject and could never have enough of it. Bilson wrote
of his "sharpness of understanding, matureness of
knowledge, soundness of reason, firmness of memory,
and aptness of speech." The result of the discussion of
the first day was the agreement upon certain changes
with regard to excommunication, restricting private baptism, marking off Confirmation as a separate sacrament
from Baptism, and inserting the words "or remission
of sins " in the title of the Absolution at morning and
evening prayer.
On Monday the King assembled the whole body,
and  addressed  the  "aggrieved  sort," asking  for
their objections.  Dr. Reynolds pleaded   for the
Lambeth Articles, and for alterations in the Thirty1 Montague in Nicholl's " Progresses of King James I.," i. 3I4.




THE CONFERENCE


I49


nine Articles as they stood.   Bancroft burst in
with a somewhat ineffectual attempt to pour contempt upon the Puritans by a far-fetched jest: " I
conclude you are of Master Cartwright's mind, who
affirmed that we ought in ceremonies rather to conform to the Turks than the Papists; otherwise, why
do ye come here in your Turkey gowns instead of
your proper habits?"  The humour of phrase was illtimed. The stout objectors sat on in their rich gowns,
and the King demanded that the objection should be
formally answered. Bancroft was more successful in
his theology than in his wit. He had little difficulty
in persuading the King that it would be rash indeed to
tie down the Church of England by the bonds of the
Lambeth Articles to a rigid Calvinism such as he had
never favoured. James himself would have, he said,
Predestination "tenderly handled." Common sense, it
would appear, was not out of court in the long theological discussion that followed. Such bitter questions
as intention were debated by Dr. Reynolds, and one of
the prime points in the controversy between Laud and
Fisher twenty years later was touched by the King
with a smart onslaught of practical application: " Why,
this is like one Master Craig in Scotland, with his I
renounce and I abhor, his multiplied detestations and
abrenuntiations, which so amazed simple people that
they fell back to Popery. You would swell the Book
of Articles into a volume as big as the Bible: and I
must carry my confession of faith in my table-book,
not in my head."




'IS


HAMPTON COURT


James, shrewd as ever, had hit the weakness of the
Puritan contention. Religion, he would say, must
needs be a matter which, in its fundamentals, we may
carry in our heads: it cannot be for every man to learn
a long catena or corpus lheologife, with its corrections
and its qualifications. The King was reaching towards
the conclusion which the greatest prelate of the age
expressed in after years, "Nor will I ever take upon
me to express that tenet or opinion, the denial of the
foundation only excepted, which may shut any Christian, even the meanest, out of heaven."
Out of the controversies, however, some good did
emerge.   The Church Catechism   was strengthened
by the addition of the question and answers on the
two chief Sacraments, and it was agreed that the
Bible should be newly translated into English.
Hampton Court has thus a special claim on the
interest of all English-speaking people, for it was
there that the plan was made which gave to literature
and religion the priceless treasure of the Authorised
Version.
The High Commission was last touched on
-a tribunal which no one really liked, bishops
nor lawyers, lay folk nor ministers.  It was compared with the Inquisition, and defended, and restricted.  And nothing happened, as might have
been expected. Besides this came the objections to
the cross in baptism, to the surplice, and little matters
which seem trivial to us to-day. James again had his
flouts and jeers.  "You aim at a Scottish Presbytery,




THE CONFERENCE


I 5 I


which agreeth as well with monarchy as God and the
devil."  Again the common-sense test is applied.
Is there reason in taking the judgment upon any
science of men who have not shared the subject?
"Then Jack and Tom and Will and Dick shall meet,
and at their pleasure censure me and my council
and all our proceedings.  Then Will shall stand
up, and say, 'It must be thus;' then Dick shall
reply, and say, 'Nay, marry, but we will have it
thus.'  And therefore, here I must reiterate my
former speech, Le roi s'avisera.  Stay, I pray you,
for one seven years before you demand that from
me, and if then you find me pursey and fat and my
wind-pipes stuffed, I will, perhaps, hearken to you;
for let that government be once up, I am sure I
shall be kept in breath; then shall we all of us have
work enough, both our hands full.   But, Doctor
Reynolds, until you find that I grow lazy, let that
alone." And again when Master Knewstubbs, having
failed in endeavours to bind his own burden on the
back of all others, asked for a toleration some
time for "weak brethren," James sharply retorted
with questions-" How long should they be weak?
Whether forty-five years were not sufficient for them
to grow strong?   Who they were that pretended
that weakness, for we require not now subscriptions
from laics and idiots, but preachers and ministers,
who are not now, I trow, to be fed with milk, but
are enabled to feed others."
Much might be written, and much has been-indeed,




152


HAMPTON COURT


too much-on the theological aspects of the Conference which gives Hampton Court a claim to commemoration in the history of the English Church;
but two points are enough to emphasise here.  It
was this Conference which made it clear that, now
the Reformation struggle itself was over, the English
Church and its prelates and kings had no thought
of accepting any changes which should sever them
from the old order of the Catholic world.  They
still followed the Fathers as well as the Bible, and in
ceremonies, as in doctrine, would not abandon the
old, nor be led into the new straitness of a grim
Genevan model.   And if this point concerns historians and divines, there is another which is worth
noting by the world at large.  There is no theologian more vociferous than your layman.   Give
him free speech and he will never have done.
Learning and wit behind him, he will tell his clergy
their duty, and teach them their lesson with light
heart and long tongue.   James delighted in the
Hampton Court Conference, for he could say his
best and his utmost. And so, when men went away, it
was the King's sayings and doings they most thought
of. "No bishop, no king,"-and the strange comparison for the Presbyterian system, in which he had
been brought up,-and his last words, "If this be all
they have to say, I shall make them conform themselves, or I will harry them out of the land, or else
do worse."
It was clear, when the Conference was over, that




JAMES'S OPINION


I53


the new King was determined to take the English
Church   as he found it.     "Whereas," says worthy
Fuller, "it was     hitherto  disputable  whether the
north, where he long lived, or the south, whither
he lately came, should prevail most on the King's
judgment in Church government, this doubt was now
clearly decided.   Henceforth many cripples in conformity were cured of their former halting therein,
and such as knew not their own till they knew the
King's mind' in the matter, for the future quietly
digested the ceremonies of the Church."
James's own opinion of it all is on record clearly
enough.   He had already, on January   9, 1604, written
to the two Universities warning them not to allow
any man to "defend any heresie or maintaine any
schismaticall trickes." 2  Now, he wrote to the Earl
of Northampton:3 "We have kept such a Revell
with the Puritans here these two days as was never
heard the like, quhaire I have peppered thaime as
soundlie as ye have done the Papists thaire. It were
no Reason that those that will refuse the airy sign
of the Cross after Baptism should have their purses
stuffed any more with solid and substantial crosses.
They fled me so from Argument to Argument, without
ever answering me directly, ut est eorum      moris, as
1 " Church History," Book x.
2 Strype's " Whitgift," Appendix, p. 238.
3 Ibid., 239. Mr. Gardiner (" History of England," I603-I642, vol. i.
p. I59 note) pointed out the absurd mistake by which this letter
has been taken by its editors and by historians, as it was even by
Archdeacon Perry in his " History of the Church of England," to be
addressed to a Mr. Blake. Blake = black: ' Black Northampton.'




I54


HAMPTON COURT


I was forced at last to say unto thaime, that if any
of thaime had been in a college disputing with their
scholars, if any of thair disciples had answered them
in that sort, they would have fetched him up short
in Place of a Reply; and so should the Rod have
played upon the poor Boys"!
The Conference is certainly a prominent episode in
the history of the Palace, and it is one which is not
likely to be repeated. The Church now quietly and
soberly pursues her course, ministering to the residents of the Palace. Some have of modern times dissented from her worship, but the order of the English
Church has never ceased to be followed since the days
of Wolsey, with the exception of the period of suppression under the Commonwealth, when Cromwell's
daughter, Mary, privately married by the Church,
was publicly wedded in the chapel according to the
fashion of the Independents. Nor has the sovereign
ever failed to provide a royal chaplain and a choir.
The chapel is well cared for. We must hope that
it will not undergo further "restoration." Only the
return of the old Caroline altar-rails may be pleaded
for.




CHAPTER V


THE ART COLLECTIONS
i. The interest of the art collections: the china: the glass mostly
destroyed.-2. The tapestries: embroidered hangings: beds:
Wolsey's collection of tapestry: the great Watching Chamber:
an unidentified subject: the triumph of Fate or Death: characteristics of the work: the Seven Cardinal Virtues and the Seven
Deadly Sins: Flemish work: the Horn room: Bernhard van
Orlay: the history of Abraham: its value: the different subjects: the richness of treatment.-3. Tapestries under Queen
Elizabeth: in the Commonwealth: at the Restoration: under
George I.: needlework: famous beds: carved chairs.-4. The
pictures: general classification: the panel pictures in the Confessionary.-5. The Tudor pictures: Elizabeth's porter: scenes from
the reign of Henry VIII.: portraits of the King: other persons
of the age: the Holbeins: Sir Antonio More: Mary Queen of
Scots: the four portraits of Elizabeth.-6. The collection of
Charles I.: James I.'s pictures as illustrations of the history of
his time: Vandyke, a prince of Court painters: Rubens: minor
artists: the great works in Charles I.'s gallery.-7. The Triumph
of Julius Caesar by Mantegna: the history of the purchase: the
condition and the position of the pictures: characteristics of
Mantegna's work, illustrative of the Renaissance: the dignity of
ancient Rome: an account of each scene of the Triumph: other
works of Mantegna with the same idea.-8. Other Mantuan
acquisitions in Charles's gallery: fifteenth - century painters:
Jerome Bosch: sixteenth century; Giulio Romano: Milanese
school: Venetians: the Shepherd of Giorgione: "The Concert:"
Lorenzo Lotto: minor masters: Tintoretto: Dosso Dossi:
I55




I56


HAMPTON COURT


Correggio: Albrecht Diirer: Mabuse.-9. The Georgian age:
portraits of Madame de Pompadour and Benedict XIV.: the
House of Hanover: Gainsborough's portraits of Hurd, Fischer,
Colonel St. Leger, Hoppner's Lord Moira: the West gallery:
West's merits and defects: the Death of Wolfe: the collection
as a whole.
IF Hampton Court had not its unique charms of
situation, or its delights of architecture and building, it
would still be visited for its art collections. Tapestry,
china, pictures are here which the connoisseur spends
many an hour over, and which characteristically recall
important periods of English taste. The china itself
might give excuse for a volume to an enthusiast.
Queen Mary II.'s beautiful Delft jars and bowls, and
ornaments of all kinds, the relics of her "Delft ware
closett," still add harmonious colour to the dark walls
of galleries and little chambers. In the Queen's gallery are some charming specimens of the best Delft
work, with the royal arms and cypher of William and
Mary, the motto "Je maintiendray," and emblems of
the three kingdoms. A case in George II.'s private
chamber has some exquisite Oriental china. But it is
impossible now to linger over this. Two special collections of pictures have been already spoken of-the
"Beauties" of Lely and the "Beauties" of Kneller.
The other pictures need a further examination. Before
them a word may be said about the tapestries, which
represent almost every period of the manufacture from




TAPESTRIES


I57


the days of Wolsey.  The glass is also of various dates;
a little of the old here and there has escaped the
ravages of Puritanism, though all the chapel windows
and all those in the hall have perished. Some new
glass was put in in 1847, of which perhaps the less said
the better, save that the shields in the windows in the
great hall trace the descent of each of Henry VIII.'s
wives from Edward I.
II
Of the decorative memorials of the Tudor age that
now remain, the tapestries are the most important and
the most conspicuous. Embroideries, the work of the
hands of queens and fair ladies, have passed away: they
have been mentioned in another connection.1 One
further word, however, may be allowed here.       Embroidered curtains were made, with a curious and
pleasing reverence, to veil pictures which might seem
incongruous with a scene of revelry.2 Beside the embroideries hung rich arras and tapestries.   Skelton's
bitter satire on Wolsey speaks of"Hanging about their walles
Clothes of golde and palles,
Arras of ryche arraye,
Fresh as floures in Maye."
1 Page 58.
2 " It is interesting to find in an old catalogue of Hampton Court
how pictures of sacred subjects were thus decently veiled in the pro



HAMPTON COURT


Eight rooms, said Giustiniani,l must be crossed
before audience of the great Cardinal could be obtained
-the way can still be traced, though doors are now
here and there closed-" and they are all hung with
tapestry, which is changed once a week." And Du
Bellay, who came with old Anne de Montmorenqy,
enthusiastically declares that "the very bed-chambers
had hangings of wonderful value, and every place did
glitter with innumerable vessels of gold and silver.
There were two hundred and fourscore beds, the
furniture to most of them being silk, and all for the
entertainment of strangers only."    One remembers
Cavendish's proud description of the occasion when
Du Bellay was entertained, and can thus compare the
foreigner's impressions with the statements of the
gentleman of the household.2
Wolsey indeed, as Mr. Law has said, had a passion
for tapestry: just as a century later the ambassadors
and political agents of the English King ransacked
Europe, and even the far East, for books and manuscripts for Laud, the great bibliophile, so now the
churchman at the head of affairs set his master's
envoys to work to collect tapestry and arras whereever it could be obtained. At home it was the same.
Sir Richard Gresham was directed to measure eighteen
rooms, and to buy hangings for them at over a
faner moments of court gaieties" (see inventory of Henry VI II.'s goods
and I Edward VI., Harl. I419, quoted by Felix Summerly (the late Sir
Henry Cole), in his "Complete Handbook to Hampton Court").
1 "Venetian Relation," ii. 3I4.
2 Cf above, p. 43.




WOLSEY'S TAPESTRIES


I59


thousand marks. In December 1522 he bought a
hundred and thirty-two pieces, to decorate the tower
and great gate-house, with the story of Esther, of
Samuel, of Tobit, of Moses, of Tobias, our Lady, and
so forth. The inventory of Wolsey's goods shows the
enormous number of hangings that he had obtained.
Some of the smaller pieces may be seen now set against
the gallery in the great hall, worked with the arms of
Wolsey and of York.
The quantity of tapestry collected by Wolsey was
so enormous that a description of it here would be
impossible. Attention therefore may be directed only
to those pieces which still remain in the Palace. The
most important are in the great hall and in the
adjoining "great watching chamber."  The latter is
the more ancient. There are decorative strips with
Henry VIII.'s arms, the Tudor badges, and the
like. Beside these there are three sets of remarkably
beautiful work, still wonderfully well preserved,
and of the best age of Renaissance art.   Of the
first I must be content to quote Mr. Ernest Law's
description.1
"In the foreground is a female figure kneeling,
and offering a chalice"-but it certainly is not a
chalice; it is much more like a cake-dish-" 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.
1 Guide-book, p. 95.




i6o


HAMPTON COURT


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."
Many suggestions rise to the mind, but none gives
a wholly satisfactory explanation.  Yet, like "what
song the sirens sung, or the name that Achilles bore
when he was among the women," we may hope, with
Sir Thomas Browne, that the secret is not past all
reasonable hope of discovery. Perhaps it is but a
variety of the story of the choice of Hercules; the
young lady offers pleasure, the elder wisdom, and the
Fates look on to decide the young man's career. Next
stand three delightful examples of old Flemish work,
dated circa 1470; three designs they are, out of a
set of six, it is said, illustrating Petrarch's triumph of
Love, Chastity, Death, Fame, Time, and Divinity.
Death, Fame, and Time stand here in triumph; they
have been here since Wolsey's day, nor is there trace
in the inventories of I568 and I649 of any other
of the series. The official description of these three
extremely interesting pieces is the best that can be
obtained.
I. ae triumpP of JFate or Deati.
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.




I -. — j-,,
'I.Tk;-.     - 1\I           i-li 


~           r dno5


t}.
P








WOLSEY'S TAPESTRIES


i6i


Left-hand side.-Above is the legend:Combienque. I'omme. soit. cbaste. tout. puiique
iLes. eurt. fatalte. par. feur. top autentique,
aranctent. te. flerf. et. fil et.  f lt  e. la. ie,. celai. la. nort to. to iaEl. e. bibal. armotie.
On a car, drawn by four unicorns, is seated CHASTETE, attended
by her maidens, who walk behind and at the side, carrying palms,
while three angels suspend a veil above her head. On the far
side the three Destinies, labelled ATROPOS, LACHESIS, and CLOTO,
and riding on bulls, are seen attacking her, Atropos holding the
shears in her left hand and with her right striking Chastity on the
breast with her fatal dart. On the front part of the car, at the
feet of Chastity, is a naked boy with his arms bound, representing
Cupid; and below is a figure labelled VENVS being trampled under
foot by the unicorns which draw the car, and on the backs of
which angels are seated bearing lilies emblematic of Purity. In
the foreground, on this side of the car, is LVCRECE, bearing a long
pillar, with her train held up by a youth, BONVOLONTE, who offers
her the dagger with which she destroyed herself after her violation
by Tarquin. On the other side is a man on horseback labelled
CHIPIONLAFICAN (that is, Scipion 1'Africain).
Right-hand side.-Above is the legend:Le. QLbate. au. fort. plu i. nainement. peutt. btre,
Cui. ge. trette. Be. grant. tirce. betibre;
%@ai.a. Ia. fin if. nt. a. rop. ine. pape
rrant. ne. petit. qui. Be  e. la0. eclrbappe.
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
slitting 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.
L




162


HAMPTON COURT


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
farther side is a crowd of figures being knocked down and
crushed by the relentless progress of the car of Fate. Underneath the wheels and the bulls' feet lie many prostrate forms,
which are being trampled on; and among them may be distinguished a king in his crown and robes, a burgher, a knight in his
helmet, another king, and a pope with the triple tiara and cross.
Preceding the car is an armed figure, COVRONS, brandishing in his
right hand a javelin, labelled MALHEVR, and carrying over his left
shoulder a club, labelled FORTITVDO.
There is a duplicate of this piece, with slight varieties, under the
Minstrel Gallery.
2. ae;riump# of tlenotun.
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:iLa. fSort. morn. tout, m. ai. cdere. Renomee,
aur. qort. triumpne. et la t. tient. teprimme
De    ^otb - ed.pier,. maiu. apre. ef o. effor
JFame. stucite leo.  at but. fais * e. gens. mrt.
Here we see again the car of Fate, with the same motto on it as
before, but LACHESIS and CLOTO are lying prostrate under the
wheels; and ATROPOS is tottering from her throne, stunned by
the blast of the trumpet of Fame, which RENOMEE is sounding in
her ears. All around the car, in answer to the summons of
Renown, throng a host of figures, labelled with the names of
departed heroes, such as ROI PRIAM, PARIS, HERCVLES, MENELA,
ALEXANDER, SALATINO.
Right-hand side.-Above is the legend:tui. par. Girt. ont. meritee. gloire,
u'. apreo. Ieur. sort. te. Ieur. fai. < ooit. memoire,
Jlncdite fame. neust. jamafi. congnoisance
De. Letbeu 5. Ie. grant. Tac. 'outbiance.




WOLSEY'S TAPESTRIES                         I63
The same incident in another aspect is continued here.
RENOMMEE, represented as a very beautiful winged female figure
with a trumpet, is now standing on a magnificent car, drawn by
four elephants, and captive at her feet appears ATROPOS seated.
Attendant on her are a crowd of heroes on foot and on horseback, one of whom with an imperial crown is intended for Julius
Caesar. Others are labelled TORQVAT, CATHON, MARTIAS, PO'PEE
LE GRANT, FABIRVS MAXIMVS.
3. <te Zriulmp, of rimeM
Finally, there is portrayed in this piece, which hangs opposite
the last on the north wall, the ultimate triumph of Time over
Renown or Fame.
Left-hand side.-Above is the legend:utoique fanme. indite, et bonoree
apre. la  t.ortt. o eit. te. ongue. Bturee
QLere. et. fluant. neantmoino. tout. e ] pawe
tout  oWtite. par tep.   e t. ltongue. + palwle
The car of RENOMME is again shown here, but it is now turned in
the opposite direction, and both the elephants that draw it, and
the surrounding throng on horseback and on foot, appear to be in
flight before some overmastering influence. Above this part of
the picture are shown the signs of the Zodiac-Gemini and
Cancer-and the flight of the fleeting hours, represented as
female figures.
Right-hand side.-Above is the legend:JLongumentut bibre. que. t'ara prouffite,
tuant. ttt. era. et. Iatebre. geete
De. ce  iet. tempo. qut tout. ronge et. affine
Ct +ur e. apreo. qu e. famet. eurt. et. fine.
The car of Time is here shown drawn by four winged horses.
Renown is seated in front submissive at the feet of Time, represented as an old man with a flowing beard, crutches, and wings.
Over all this are more fleeting hours, and the sun in a full blaze
of splendour in the sign of the Lion.




i64


HAMPTON COURT


Below, in the centre of this piece, is a scroll with the motto in
hopeless dog-Latin:Gemporitlti. fulcor. quantumtifiet incliftt famna.
31pja. me. claurunt. tenepore. sera. piam.
fttin  ptoarert. titie. ait. ctan. forttitet   et.t
aIfit, tn. latetrio. jain me. temtpus. etcav.
Two points especially invite attention. The classical
and the literary interests are here combined in a manner
eminently characteristic of the Renaissance. There is
the ostentation of antique learning, the sense of design
and unity of composition which is obtained from the
study of classic models in literature and art. And besides this there is the curious similarity in idea, and even
here and there in detail, to the magnificent "Triumph
of Julius Casar" by Mantegna, which Charles I. bought
and placed so appropriately at Hampton Court.
The third series consists of the three pieces which
are now hung on the west side of the room. They
are also of old Flemish manufacture.      They represent the warfare of the Seven Cardinal Virtues with
the Seven Deadly Sins, and the Blessed Trinity' in
judgment, with Peace, Mercy, Truth, and Justice
standing  before.   Pride, Gluttony, Acedia, Anger,
Envy, Luxury, Covetousness, all mounted on strange
beasts, are attacked by Hope. Latin legends explain
each scene. The ideas are of a piece with those of old
moralities, which, it may be, were often played in the
hall adjoining the room where these tapestries now
hang. These are probably the sets which are mentioned
1 " Three old persons in episcopal habits with crowns on their heads
and sceptres in their hands."




HENRY'S TAPESTRIES


i65


in the inventory of Cromwell's goods as hanging in the
Paradise-room.   The points chiefly noticeable in all
are the merits of the designs and the formality of the
execution.  The stiffness of the figures is characteristic of Flemish work, and there is an ignoring of
perspective, which may be intentional, and is not
always unpleasing.
In the Horn-room, which opens from the " Great
Watching-chamber," a room originally used for the
serving of dishes to the high table in the hall, with
which it also communicates, are other pieces of
tapestry -the story of IEneas, and an allegorical
piece of which it is difficult to identify the subject.
In the great hall itself are copies of the Triumph
of Fate, and two subjects from the history of Hercules
— he taming of the steeds of Diomed, and his death.
The tapestries under the gallery are valuable as illustrations of contemporary costume, and in some cases
the faces are beautifully worked, reminding one of
the best work on fifteenth century vestments that
have come down to us. In date they stand between
those of the Great Watching-chamber and the story
of Abraham   in the hall.  Of the greatest treasure
of all, the story of Abraham, only eight of the ten
original designs now remain at Hampton Court.
These have been hung in the great hall for the last
half-century.  They are believed to have been designed by Bernhard van Orlay,' court-painter to the
1 There is a picture by him, " Venus mourning over Adonis," in the
Hampton Court Gallery, No. 576.




i66


HAMPTON COURT


Regent of the Netherlands, and executed between
1530 and I541.     Evelyn speaks of them as "designed
by Raphael,"    under whom Van Orlay is supposed to
have studied. The clearness and a certain simplicity
in the designs may be said to show the influence of
the great Umbrian.       They are proved by marks to
have been    manufactured    at Brussels.    Their    continuous connection with Hampton Court is traceable
from the time of Henry VIII., in the inventory of
whose possessions they are mentioned with the exact
measurements, as "Tenne pieces of new arras of the
Historie of Abraham."        They are mentioned      again
by the Duke of Saxe-Weimar in 1613, and when the
property of Charles I. was valued in I649, were
estimated   at /io    a yard-in      all /8260.      They
were taken for Cromwell's own use, and were seen
at  Hampton      Court   by   Evelyn    in  1662.    This
was the period of the greatest value of tapestry.
James I. and Charles I. were both very fond of
it, and generously supported the manufacture at
1 "There is much in the style of Raphael in the treatment of the
subjects. One boy in particular appears to have stepped from the
cartoon of the Beautiful Gate. Bernard van Orlay, who was a successful pupil of Raffaelle, was in the employment of Charles V., and
was highly esteemed by that monarch.  A peculiarity in his style
of painting assimilated strongly to the richness of these hangings, and
he very usually painted his subjects on a gilt ground. He was also
employed by the Prince of Nassau to paint cartoons for tapestry.
He has been frequently called Bernard of Brussels. It is more probable that the two B.'s worked on the edge belong to the director
of the loom than to the designer, or they might seem to confirm
the idea that these tapestries came from the Imperial Court."Jesse, "A Summers Day at Ham/ton Court," p. 25.




HISTORY OF ABRAHAM


I67


Mortlake.  In I625 Charles owed ~6000 for three
suits of gold tapestry made for him,' and the whole
of the arras and tapestry hangings of the royal
palace fetched  ~30,000 when    they  were bought
for Cromwell.
Of all the tapestry of the sixteenth century that still
remains in England, the "History of Abraham" is
incomparably the most rich and the most beautiful.
Each subject is enclosed in an elaborate border, in
which the ideas of the story are introduced, and set in
a fine canopy and scroll-work.
The first subject represents the departure of Abraham
from his country, the farewells of his servants, while he
kneels in prayer to God, Who from a cloud bids him go
forth. The second contains the birth and circumcision
of Isaac and the expulsion of Hagar. In the third,
Eliezer is swearing to find a wife for Isaac from his
father's kindred, and costly stuffs are being packed for
him in quaint boxes, while the camels wait without.
In the fourth,2 Sarah is restored by Pharaoh with rich
gifts.  The fifth (which, again, is earlier than the
second and third) shows the Three Men promising
Abraham a son. In the sixth Abraham buys the field
of Ephron. In the seventh Lot and Abraham separate,
dividing the land; and in the last Abraham prepares
to sacrifice Isaac.
These magnificent pieces of tapestry are remarkable
alike for the clearness and boldness of the designs, and
Cf. Countess of Wilton's " Art of Needlework."
2 Surely this should be the second.




i68


HAMPTON COURT


for the beauty and richness of the colours. Of the
work itself, its combination of dignity with decorative
effect, it can only be said that nothing like it has
been produced till in our own day Mr. William Morris
and Sir Edward Burne-Jones have given us " The
Epiphany."
The ground of the borders, nearly two feet wide,
is worked entirely in gold. In richness indeed the
tapestries are unsurpassed.   Of such Spenser may
well have thought when he wrote"For round about the walls yclothed were
With goodly arras of great maiesty,
Woven with gold and silk so close and nere,
That the rich metall lurked privily,
As faining to be hid from envious eye."
A competent authority has even styled them "the
finest ancient tapestries in existence."
III
From what remains of Henry's and Wolsey's tapestries, we can well imagine the magnificence of the
Palace when Cavendish described it.   This gorgeousness was maintained under Elizabeth. She delighted
in tapestry as well as in needlework.     Her "two
presence-chambers shone with tapestry of gold and
silver, and silk of various colours; her bed was covered
with costly coverlets of silk, wrought in various
1 Miss Lambert, "Handbook of Needlework," 1846.




GEORGE I.'S TAPESTRIES


I69


patterns by the needle, and she had many 'chusions,'
movable articles of furniture of various shapes, answering to our large family of tabourets and ottomans, embroidered with gold and silver thread." 1
Prince Otto   of Hessen in 1611 made notes of
many of the beautiful curios of the Virgin Queen
and her successor, and among them he names several
pieces of tapestry, some of which have now disappeared.   Many of them      were probably sold, all
were certainly valued in 1649.     The list of "goods
viewed and appraised at Hampton Court in the
custody of William Smithsbie, Esq., wardrobe-keeper,
October Sth, 1649," is in the British Museum.2
Some of the hangings were purchased by Mazarin,3
but most of the furniture and tapestries passed into the
possession of Cromwell, and much was brought back
or recovered at the Restoration.4   Evelyn, as well as
Mandeslo and other travellers, mentions the tapestries
with admiration during Charles II.'s reign.      Other
pieces are mentioned as existing under William III.
The latest addition to the tapestries was made in
George I.'s reign.    Seven pieces now    hang in the
Queen's Gallery.   These are from   designs of Charles
le Brun, and represent scenes from the life of
1 The Countess of Wilton's " Art of Needlework," p. 292. This was
published in 1846. We may thankfully welcome the disappearance
of the "tabouret" and the exile of the "ottoman," relics of the
" early Victorian period."
2 Harleian MSS. 4898, f. 238.
3 Cf. Pyne's "Royal Residences," p. 71.
4 The " Inventory of Cromwell's Goods" is printed entire by Mr.
Law in an appendix to his " History of Hampton Court," vol. ii.




I70


HAMPTON COURT


Alexander the Great. They were bought by Cadogan,
but it is not clear whether they were made at Brussels
or at the Gobelin factory. They are a contrast to the
older work, but they have a certain richness and decorative effect, and are certainly extremely fine examples
of the eighteenth century tapestries, and admirably in
keeping with their surroundings.
Of other work of needle and loom the Palace still
contains several specimens, all worthy of minute inspection, such as the canopy that stood over the throne
of William III., the bed of Queen Anne,-a beautiful composition of silk velvet elaborately worked in
orange and crimson on a white ground,-and the
bed of Queen Charlotte,-a charming specimen of
the work of Mrs. Pawsey, a lady who started a school
of needlework at Aylesbury, and was employed by the
Queen. Her work in this case, lilac satin with wreaths
of flowers in crewels touched up with silk, is extraordinarily delicate, and in the best style of Louis Seize.
Other furniture, chairs of William III.'s day, the
very pattern of those the illustrator of the collected
edition of Pope (I75i) drew the ladies sitting on
when they take coffee in the "Rape of the Lock,"
settees, cabinets, andirons, firebacks, all of great interest,
still remain in the Palace, but over these we may
not linger.
The great feature of the art collections is of course
the pictures.  These have been so long neglected
that they seem especially to demand an attentive consideration.




THE PICTURES


I71


IV
Scott when he went to Hampton Court said in
1828 very truly of the pictures as a whole, " They are
not very excellent, but they are curious, which is as
interesting except to connoisseurs." It is impossible
here to consider all the pictures of note in any detail.
They will, therefore, best be treated in connection
with their historical associations. Thus viewed, they
fall into four groups. First, are the pictures and portraits which belonged to, or which illustrate, the period
of the Tudor sovereigns. Next are the remains of
the collection formed by Charles I.    Thirdly, the
pictures of the age of William III. and of Anne
form a group by themselves. And, lastly, come the
portraits of the Georgian period. Besides these are the
two special collections of "Beauties" already noticed.
The ceilings may be rapidly dismissed. Nobody now
admires Verrio's " sprawling saints," or is impressed
by Thornhill's ridiculous apotheoses. As decorations,
the farther off they are seen the better; as works of
art, they plead to be forgotten. Very different is the
ceiling in the "Confessionary,"  which recalls, says
Sir J. C. Robinson, "the celebrated ceilings of the
apartments of Isabella Gonzaga in the old palace at
Mantua... and might almost be supposed to have been
the work of the same artists." The panel pictures in
the same room are, says the same eminent authority,
1 See above, p. io.




172


HAMPTON COURT


"exactly the kind of productions which would have
proceeded from the hands of good but not pre-eminent
masters originally trained in the severe Roman school,
and chiefly accustomed to work in tempera or fresco."
They represent five subjects in the Passion.
V
The Tudor pictures have an interest all their own.
Many of them, if not all, have been in the Palace since
first they were painted, and all are closely associated
with the English rulers who made the place their home.
The first to attract attention is the very problematical Zuccaro, an enormous picture of the giant
porter of Elizabeth. It is dated I58o, and is a grim,
unlovely thing: a curiosity, and as such it was retained
by Cromwell. We then pass through many rooms before we come on any of this period. At length, in the
large " Queen's Audience Chamber," we find a number
of curious scenes commemorating the chief events of
Henry VIII.'s reign.  They are of very doubtful
authorship, some showing the influence of Holbein,
some merely the stiffest early Flemish work. They
are certainly contemporary glorifications of the King's
victories in diplomacy and war. In one he meets
Maximilian outside Terouanne on August 9, 1513,
resplendent in gold armour and vizor, as the histories
tell. In another he stands on the deck of the Great
Harry, ready to sail to France. This is not without




TUDOR GROUP


I73


skill in the painting of the great ship, with her sails set,
leaving the harbour.  The "Battle of the Spurs"
again presents the King in his gold armour. The
" Field of the Cloth of Gold" itself displays the extraordinary minuteness in which the court painters of the
age delighted.  It is like a newspaper report or a
photograph. Every historical incident is crowded into
the canvas, and thus as a picture of the social order
the work is invaluable.   There is spirit, too, in
the charming insouciance with which riders hurry
hither and thither, kings meet, or stately ladies proceed in impressive line. To the " school of Holbein "
may be ascribed, with the laxity of catalogue-makers,
the stiff composition, rich with gold in canopy and
decorative work, No. 340. It is strangely mis-labelled
as it now stands. The catalogue of Charles I. says,
" A long piece painted with gold, where King Henry
VIII. sits with his Queen, and his son Prince Edward
on the right side, and his two daughters, Queen Mary
and Queen Elizabeth, standing at each side, and a fool
at the left side in the door, with a jackanapes on his
shoulder, and on the other side a waiting-woman."
The Queen is probably Catherine Parr; on the right is
Elizabeth, on the left Mary. The fool is the famous
Will Somers, and the woman is probably "Jane the
fool." The picture has special interest here because
the background, through archways, shows the old
Tudor garden of Hampton Court, exactly as the
accounts describe it, with painted wooden rails and
the king and queen beasts. The portrait of Henry




I74


HAMPTON COURT


himself is small, and of the nature of illumination
work, though it is eminently a portrait and a characteristic one.
More interesting and powerful portraits of the King
are in other rooms. In the King's Gallery, made
originally for the Raffaelle cartoons, is a remarkably
fine picture.1 This was obtained by Charles I. from
Lord Arundel, and is one of the best portraits of the
King. His beard is still small and thin, his hair is
cropped short, his eyes dark and penetrating, his expression coarse and sinister. It seems to be certain
that Holbein had no hand in it, nor does it seem probable from  the style that it is by Janet. A much
smaller picture of the King as an older man is in the
same room, and is almost equally interesting.
There are many other pictures of Henry VIII.'s
period, nearly all worth examination.  There is the
Francis I. and his wife Eleanor of Spain, painted
apparently by "Maistre Ambroise" at the time of
their wedding. There are various contemporary battle
scenes, such as the Pavia (No. 605), which belonged
to Henry VIII. It is an interesting composition as
an historical sketch of the scene, in which Francis I.
is prominent. The extremely fine portrait of Thomas
Howard, Earl of Surrey,2 is worth a careful examination. It is clear, impressive, telling, and the red
dress is very effective, relieved only by the white at
the sleeves and breast, and by the gold chain and
gold on the shoes and the scabbard. There is a
I No. 563.           2 No. 606.




ELIZABETHAN PICTURES 175


charming drawing at Windsor of Surrey by Holbein,
in which his prim, round face is looking full at the
spectator. Here he looks to the right, and has his
left hand on his sword-hilt. Experts will not admit
the picture to be Holbein's, but it is impossible to
deny its beauty and charm.      More striking still
is the "John Reskimeer of Cornwall" (No. 6Io),
given to Charles I. and admittedly by Holbein.  He
wears a black cap falling slightly over the right eye.
The left side of his face is turned towards the spectator.
He has a long yellow or reddish beard and a pale
face. It is a masterly picture.
Other Holbeins may be mentioned here, though they
also came from Charles I.'s collection. The splendid
portrait of Froben,l the great Bale printer, solid,
capable, humorous; the inferior Erasmus;2 the Elizabeth Lady Vaux,3 are all well worth consideration-all
interesting and significant portraits.
There is a very doubtful portrait of Queen Mary I.,
No. 640. This is more probably Christina, Grand
Duchess of Tuscany. Her husband, Philip II. (No.
633), in a "black cassock lined with white fur," as
Charles I.'s catalogue says, painted probably at the
time of his marriage, is very probably the work of the
great Fleming, Sir Antonio More, Holbein's successor
as the chief portrait-painter of the English court. The
reign of Elizabeth can be well studied here-at least
1 No. 603.                   2 No. 597.
3 No. 59I. Of this the drawing is at Windsor, and was engraved
by Bartolozzi, as was the Reskimeer.




176


HAMPTON COURT


there are striking portraits of herself and of her great
rival, and of a number of ladies and gentlemen of her
court. Sir Antonio More has some other fine examples
here of his rapid, impressive work.     Walsingham,
Dudley, Howard of Effinghain, and other worthies,
are here in their habits as they lived; and the pale,
meagre face of Francis II., Mary of Scots' first husband.
One of Queen Mary herself, by Francois Clouet, now
removed to Windsor, a charming picture, is, like the
most authentic portraits-as, for instance, that in the
Bodleian Library at Oxford, formerly belonging to
Dr. Wellesley-not too beautiful for belief. She is
herel in white, with cap and veil, and curly reddish
hair fringing the face.2 Another portrait remains as
No. 560. It is a copy by Mytens of an original now
in the National Portrait Gallery and signed "P. Oudry."
This is not so pleasing, and certainly has no better
claims to be considered authentic. Her mother-in-law,
Margaret, Countess of Lennox (No. 559), is probably
another of Mytens's copies.
But the portraits of Elizabeth herself far outweigh
these in importance.    There are four besides the
smaller figures in the family group already mentioned.3
The first (No. 349) is most delightful and characteristic. It is a fanciful picture, probably by Zuccaro,
in what some call a "Persian-looking costume," but
1 Formerly No. 631.
2 Is this "the Queen of Scotland with the Dolphin of Fraunce, of
Gennett's doeinge," in the list drawn up for Charles when Prince of
Wales?
3 Above, p. I73.




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ELIZABETH'S PORTRAIT


I77


which more fitly might be called the dress of an
Arcadian shepherdess. It is all in the style of the
literary rusticity of the day. The Queen, with her
fantastic dress worked with birds and flowers, her open
bosom, and her high head-dress, worked like the gown,
stands in a woodland scene with her hand on a stag
decked with flowers.    Perhaps she is "Dian chaste and
fair," or a "passionate shepherdess."    Certainly she is
very sentimental, and the picture is loaded with mottoes
more or less intelligible. Verses, perhaps her own,
which seem to contain an allusion to one of her love
affairs, complete the mystery of the picture:"The restles swallow fits my restles minde,
In still revivinge, still renewinge wronges;
Her just complaintes of cruelty unkinde
Are all the musique that my life prolonges.
With pensive thoughtes my weepinge stagg I crowne,
Whose melancholy tears my cares expresse;
Hes teares in sylence, and my sighes unknowne,
Are all the physicke that my harmes redresse.
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 see
The shales be mine, the kernels others are.
My musique may be plaintes, my physique teares,
If this be all the fruite my love-tree beares."
It is a picture which should be looked at again and
again. There is no other which so happily conveys
the idea of Elizabeth's coquetry and quaintness with
her shrewd, direct common sense.
M




178


HAMPTON COURT


In No. 616, which again may be by Zuccaro, she is
dressed in black and white with a high ruff, her hair in
small rows of curls, with a fan in her small, white
hand.  In No. 635 she is every inch a queen, with the
"crown imperiall" on her head, the sceptre in her
right hand, and the orb in her left. Two ladies stand
behind her. In front are Juno, Pallas, and Venus,
who all show surprise, admiration, and submission to
this mightier divinity.
The frame bears an inscription which shows the
spirit of the composition:"Juno potens sceptris et mentis acumine Pallas;
Et roseo Veneris fulget in ore decus;
Adfuit Elizabeth, Juno perculsa refugit;
Obstupuit Pallas, erubuitque Venus."
Her dress is magnificent, her face far more pleasing
and gracious than in other works. The artist was
Lucas da Heere, who painted the picture in I569,
when the Queen was thirty-six.
A portrait of her in old age   completes the list.
Here she is in white, with a red silk head-dress and
a close ruff. This is believed to be the work of
Marcus Gheerardt-Garrard, as the English called
him-the elder. This is dignified, astute, weary, and
an admirable completion of the cycle of portraits,
which shows her in prim youth, artificial womanhood,
queenly dignity, and cunning old age.
With Elizabeth the Tudor portraits end. There
1 No. 6i9.




STEWART PICTURES


I79


are many other pictures I have not mentioned, and
there is much from the artist's point of view that is
illuminative and suggestive. The Antonio Mores, the
Reskimeer and Froben of Holbein, the Surrey, and the
portraits of Elizabeth herself, are as important in art
as in history.
VI
From the Tudor pictures we pass naturally to the
great collection of Charles I., of which so many
examples still remain at Hampton Court. This is
fitly introduced by the few pictures which belong to
the time of James I. These are mostly portraits, and
most of them have been already mentioned in their
historical setting. A record of Charles's madcap visit
to Madrid is the Philip IV., and so also the Elizabeth
of Bourbon his wife, both poor enough in the eyes of
those who saw the magnificent Spanish Exhibition of
I895-96.   They were probably sent to England sometime after Charles's return. But the large group of
the family of the Duke of Buckingham, himself a
great collector, painted by Honthorst1 within three
months of the Duke's murder, and Cornelius Janssen's
charming full-face of him, with Garter robes, with a
melting eye and somewhat of a simper; Mirevelt's
charming boy, Prince Rupert, and a Count Gondomar,
which may be by Mytens, stand out conspicuously
1 I see Mr. Claude Phillips calls it "well known and particularly
tiresome." But it is historically of great interest.




I80o


HAMPTON COURT


from the portraits of the period of Charles and his
father.
Mytens is an artist who can be studied in England
nowhere so satisfactorily as at Hampton Court.
"Sincere  and   skilful, but cold  and   prosaic," an
eminent critic calls him;    but an examination of
the thirteen examples here may serve to justify a
somewhat higher estimate of his power. There is
perhaps no picture so striking as the Laud which
was so long unknown,2 but the portrait of James,
second Marquis of Hamilton, is extremely interesting;
and the Duke of Richmond and Lennox (No. 155)
is equally attractive. The Count Mansfeldt is not so
agreeable a work, but certainly merits the praise of
being " sincere."
Next to Mytens, we look naturally at Hampton
Court to Vandyke for illustrations of the reign of
Charles I.   First and foremost is, of course, the
replica of the great Windsor picture of the King
himself on his horse, with M. Saint Antoine at his
bridle. It is a magnificent piece of dignity and colour,
not, like so much that came from his studio, entirely
of his own hand. A contrast is the voluptuous Mrs.
Lemon, Venetian in its richness, and a step, as has been
said, towards the still more sensuous presentments of
Lely.  The "prince of court painters" he was in a
sense somewhat different to that in which Mr. Pater
1 Mr. Claude Phillips, "The Picture Gallery of Charles I.," p. I 7.
2 It was exhibited at the Laudian Exhibition, January I895, and is
in a private collection.




CHARLES I.'S COLLECTION


i8i


gave the title to the delightful Antoine Watteau, and
it is in such a place as Hampton Court that we should
look to find a gallery from his hand. But the dispersion of Charles's collection scattered the portraits
that once were here, and there remain only (besides
the charming sketch of Madame de Cante Croix, of
which the finished picture is at Windsor), sacred or
mythological compositions, not always in his happiest
style. The most important is the Cupid and Psyche,
a late work, unfinished, with a singular charm.
"Rare artisan, whose pencil moves
Not our delights alone, but loves!
From out thy shop of beauty we
Slaves return, that entered free.
The heedless lover does not know
Whose eyes they are that wound him so,
But, confounded with thy art,
Inquires her name that has his heart."
Pity 'tis that there are not here some of those fair
ladies of whom Waller is thinking, and who walked
through the trim gardens of Hampton Court when
Charles the First was King.
Rubens we should name if there were much here of
his to be observed; but there is only the very doubtful
Sir Theodore Mayerne (No. 711), and his composition, a great, coarse, yet powerful work, of Dian with
nymphs and satyrs, with game by Snyders.
There are many other artists of this age here represented with whom we would gladly linger-Gentileschi;
his daughter Artemisia, whose bright and vigorous




I82


HAMPTON COURT


portrait of herself at the easel should be studied;
Steenwyck the younger, precise and graceful artist;
Honthorst, too, with his night-pieces, the Joseph and
Mary (No. 383), and "Singing by lamplight" (No.
393), and that fine portrait of the unhappy Elizabeth of
Bohemia (No. 128), worthy to stand beside Merevelt's
charming presentment of her little son. This last
picture, Mr. Law shows, was left to Charles II. (then
Prince of Wales), by Sir Henry Wotton, in the words,
" I leave to the most hopeful prince the picture of the
elected and crowned Queen of Bohemia, his aunt, of
clear and resplendent virtues through the clouds of her
fortune." There are also the Poelembergs, and especially that of the children of Elizabeth of Bohemia; Van
Bassen, Charles and his wife dining in public, which,
though the scene is probably Whitehall, may give an
idea of their life at Hampton Court; and many more.
"Old Stone" is here with a fine copy of Titian's
Comaro family (No. 444).     William  Dobson, the
kindly "English Vandyck," has here a "portrait of
two gentlemen," and a charming half-length of himself
and his wife.
From the portraits that belong to the historical
setting of Charles's life we pass naturally to the collection which he formed. Here it is well to include other
pictures of the same masters not necessarily collected
by him. Charles was the only king who set himself
to make a fine gallery at Hampton Court, and when we
consider the masterpieces he collected, we may well put
with them other works added at other times.




ANDREA MANTEGNA


i83


Charles it was who has enabled us at Hampton Court
to study not a few of the great painters in a special
and illuminative way. The galleries as we see them
now are crowded, it is true, with a number of inferior
pictures, and yet we feel that we are in the midst of a
collection which could have been founded by no petty
princeling, but by an English king, and a king who was
an artist too. There is really a considerable number of
pictures of the first class. Arranged together in a room
like the " Tribuna" at Florence, they would be even
more impressive than now, when we have to search for
them among many inferior things. But when they are
found, the great Tintorettos, the " Shepherd " of Giorgione, the Andrea Odoni of Lotto, the "Adam and
Eve" of Mabuse, even Vandyke's " Cupid and Psyche,"
are enough to give fame to any great collection. And
besides these, and the many charming works of lesser
men, there is one mighty ruin from which we cannot
withhold the tribute of a mingled admiration and
regret.
VII
Of all the great acquisitions of Charles I., there
was none greater than the nine pictures of Andrea
Mantegna, the "Triumph of Julius Caesar," and
this is the one work of supreme merit which remains to us at Hampton Court from the magnificent
collection the King made there. The picture-dealer
Daniel Nys was employed from the beginning of




I84


HAMPTON COURT


Charles's reign, or even before it, to purchase for
him in Italy the works of the great masters.   A
special agent, Nicholas Lanier, was sent to join him.
In I627-29 were carried on the negotiations which
ended in the purchase from Duke Vincenzo Gonzaga
of much of his famous collection, of which the most
precious portion was Mantegna's masterpiece.  Nys
bid against Richelieu, against Marie de' Medici, and
her kinsman the Grand Duke of Tuscany. Month
by month he was able to announce new successesCorreggios, Titians, Raffaelles-some of them  sent
home by Lanier, and at length, at the beginning of
I629, he secured, with "the Duke's collection of
marbles and certain other pictures," for the price of
0Io,500, the great "Triumph" itself, "a thing rare
and unique and its value past estimation."
The pictures from the date of their arrival in
England have never left Hampton    Court.   They
were valued for sale by the agents of the Commonwealth at ooo000, but Cromwell had them reserved
for himself. It may well be, as has been said, that
their austere majesty appealed to him. William III.
arranged them in the long "Queen's Gallery," now
hung with the tapestries from Charles le Brun's designs which were bought for George I. Within the
present reign they have been moved to the Communication Gallery, which connects the apartments
of the King with those of the Queen.
We see them now under almost every conceivable disadvantage. They are arranged, it is true, in




ANDREA MANTEGNA


185


order, and on one wall, so that the scheme may be
followed, and none of the effect which that stately
march is intended to give is lost.  But in summer
at least, the sunshine, or the reflection, on the glass,
makes it difficult to observe them clearly or continuously.  It is rarely, indeed, that the whole of any
picture can be seen at one time.   No arrangement
of position that I can discover, or of the blinds that
can be drawn down the great windows, makes much
difference.  We can only see them   imperfectly and
piecemeal. It is bad enough to see them; but worse
remains behind.  They have been patched, restored,
repainted, treated with every indignity that can be
imagined.   "In the entire series there are perhaps
not a dozen square inches in which Mantegna's hand
is still visible," is the judgment of one of the latest
and most competent critics.' They are rather, says
another, "a memory than a work still extant; the
question not being which parts of the composition
are due to the restorer, but which, if any, reveal to
the careful observer any traces of Mantegna's own
handling." 2
This is true enough, it must be admitted; and
from the point of view of the connoisseur, who
judges a picture according to the standard which
his knowledge of its artist compels him to set up,
it is fatal. But for the historian, and for the general
observer, the "Triumph" retains an attraction which
1 Mary Logan, "The Italian Pictures at Hampton Court."
2 C. Phillips, " The Picture Gallery of Charles I.," p. 69.




I86


HAMPTON COURT


it would be impossible to over-estimate.  It represents the strength of the Renaissance, and that strange
feature of it, as it seems to us-though it is not so
rare a feature as some would suppose-its austerity.
In descriptions of luxurious despots, sensuous popes,
pedantic scholars, we are ready to forget the
ideal which the best minds of the great revival
of learning set before them. If Greece appealed to
the imagination of the fifteenth century from the
side of its free delight in life, its sense of the beauty
of form, of the essential dignity of man as man, of
the width and the satisfying power of any human
interest, yet the solemnity, the justice, the impressive
authority of Rome was little less attractive.  The
Roman ideal of political life was quoted even when
it was not followed; the stateliness, the majesty, the
formal pomp of old Roman society set the fashion
for Italian courts, and gave a tone to many a poet
and many a painter. And the greatest of all those
whom Rome influenced was Andrea Mantegna.     Few
men knew more of its history, no one caught so much
of its spirit.  The story of the influences which
made him so great a master will bear telling again.
Squarcione was the founder of the school of learned
painters which grew up under the shadow of the
University of Padua, and gave itself to the study of
ancient sculpture, and to the realisation of its principles in  painting.  Mantegna, his pupil (I43II506), was the greatest master of the school. Two
characteristics of his work are those, so far as we




ANDREA MANTEGNA


I87


know it, of the whole school, -his sense of form,
"plastic rather than pictorial," and his use of classical
ornaments and designs in the details of his pictures.
No one like him has ever turned a statue into a
picture.  The same austerity of pose, the absence
of all triviality, the subordination of colour, of all
the outer world of nature, to the recognition of the
essential dignity of man, are in Mantegna's painting
-the reminiscences of what we see in the greatest
works of the classical sculptors. Thus his pictures
have an indefinable sense about them of purity and restraint, and at the same time they show humanity, thus
simple and severe, as the master of terrestrial things.
Not the luxury, but the severity of Rome appealed
to him,
"The moon of Rome, chaste as the icicle
That's curdled by the frost from purest snow,
And hangs on Dian's temple."
Mantegna was much more than a painter, though
as an artist he was supreme in technical excellence.
He was a historian and scholar, and it might almost
be said an architect. He took, as in the pictures at
Hampton Court, or the "Triumph of Scipio" at the
National Gallery, a well-defined but single subject
from ancient history, and he poured into it all the
knowledge that an antiquary could acquire. Statues,
busts, medallions, coins, inscriptions, reliefs, the decorations of ancient columns and houses, the dignity of
great buildings, the minuteness of detail and the
sweep of great design-all these in the remains of




I88


HAMPTON COURT


the old world had come to form and to mature his
style.  A simple austere man in idea, if not always
in his life, which had something of the luxury as
well as the pride of old Rome, he was himself a
collector of antiquities, and it was his boast to have
assimilated the ideas of the great nameless artists
among whose works he delighted to live.   "Good
ancient statues" Vasari tells us that he believed "were
more perfect and displayed more beauty in the different parts than is shown by nature."
In such a painter it might seem that the design
was of supreme importance, and this at least is still
preserved to us in the " Triumph of Caesar." It is the
extraordinary strength of the whole scheme, the overpowering sense of mastery that it has-the power that
belongs to it, so that as you look long the whole scene
seems to move, and you hear the steady tramp of
the soldiers, and the majestic appeal of the trumpets
as the mighty line sweeps on-it is its unique completeness of impression that makes this great work
still one of the greatest of the world. In the painting,
much if not everything is gone: the sweet faces of
Mantegna, with their chaste simplicity, are bedizened
with red cheeks and artificial smirks. The beautiful
expression, the pathos and tenderness, which he knew
so well how to impart (as in his Madonna and Babe
in the National Gallery), have disappeared, but the
perfection of form remains.
The pictures appear to have been painted between
I485 and I492 for the Mantuan Duke Ludovico




ANDREA MANTEGNA


I89


Gonzaga, in the hands of whose descendants they
remained till war and wrack and the coming end of
the dynasty induced the sale to Charles I. Thus
they have been practically in the hands only of two
States from the day they were painted until now;
and but for William III. and Laguerre they might
have been worthy of so clear a descent.
They are worthy still of a detailed explanation, from
the proud trumpeters who lead the procession to the
pale Caesar in his car, with palm branch and sceptre,
and crowned by Victory with a laurel wreath. But
only a brief word must be said here. The first picture
contains the heralds, trumpeters with " tables" hanging
from their trumpets, soldiers bearing S.P.Q.R., leaders
of the triumph, with censers aflame, and a bust of
Roma Victrix held high above their heads.  In the
second are the spoils of temples, antiquities such as
Mantegna loved to paint, statues, busts, drawn on
cars or carried in the arms of the crowd. The splendid
triumphal car has not been repainted. One tablet is
inscribed Imp. ulio Casari ob Galliam devict. militari
potentia triumph/us decrectus invidia spreta superata.
Next come soldiers and youths turning to each other
as they walk, with trophies, urns, and vases. Among
those in this third picture a strong young man, with
breastplate and short white breeches, rosy-faced (but
with the colour of La Guerre), and confident, arrests
attention.  Behind come the oxen decked for the
sacrifice, a flaxen-haired lad leading with his right hand
on one of the oxen, whose unhappy simper reveals




I90o


HAMPTON COURT


the later hand.    More trumpets herald the fifth
picture, in which torches and candelabra are held aloft,
and urns carried, while mighty elephants, richly caparisoned, close the scene.  In the sixth, men carry
vases on a stretcher, and behind them others bear
helmets, shields, and breastplates, the arms of the
vanquished.   In nothing is Mantegna's mastery of
detail and his appreciation of chaste classical design
seen more clearly than in the armour which is the
chief feature of this picture. In the seventh division
are the captives, stately women, senators, children, with
a wonderful dignity and resignation upon their faces.
Behind are musicians and singers, soldiers with eagles
and the emblems of the Roman state; and last of
all, in a -car which still preserves much of the beauty
of the master's touch, comes the solemn Julius proud
and unmoved, fit representative of the state which
conquered the world. Before him a man holds up a
medallion with the words Veni, Vidi, Vici; behind are
men with incense-burners, and around are boys with
branches of laurel.
No doubt the impressiveness of the whole picture
is due not a little to the size. The small studies
in grisaille at Vienna, undoubtedly not from Mantegna's hand, but designs for the woodcuts executed
by Andrea Andreani in I599, are clear and exquisite
themselves as a sculptured frieze, but have not the
dignity and solemn stateliness of this great work; nor
has the " Triumph of Scipio " in the National Gallery,
1 Only eight of the drawings are now in the Vienna Gallery.




ANDREA MANTEGNA


I9I


masterpiece though it is of historical accuracy and
skilful arrangement. There are other copies of the
"Triumph of Caesar," but I have not seen them.
The Vienna work, in the clearness with which every
scene can be traced and every design understood,
and the Hampton Court pictures for their size
and magnificence, may well represent to us what
Mantegna meant in what was probably his greatest
memorial of old Rome.     The severity, the power
of it all, is what impresses: the virile domination, the invincible air of mastery.  The soldiers
may keep tune to the soft music of flutes, but
we see that they have come from sterner music.
They remind one irresistibly of " Coriolanus" or of
Handel's marches and songs of triumph. One would
think that Charles I., keenest of Shakespeare's lovers,
read his "Julius Casar" in the light of this picture.
The stately Romans who triumph in it are each of
them men such as the Brutus who loved not Caesar
less but Rome more, or the Coriolanus to whom
Rome's honour and his own pride were one; and
Handel may surely have looked on it when he wrote
"See the conquering hero comes."
How differently the classical age appeals to different
men may be seen if we turn from the magnificent stateliness of the fifth of these pictures to Rubens' imitation of it in the National Gallery. To the Fleming the
glory of triumph means luxury and joy: to the staid
master of the Paduan school it is stern simplicity even
in its greatest success.




192


HAMPTON COURT


VIII
The "Triumph of Caesar" remains unique. Many
other Mantuan acquisitions may be traced in the
dispersion of Charles's collection, but few are still at
Hampton Court. Perhaps the charming S. Catherine
reading, a Correggio of exquisite grace, may have been
one which Lanier brought from Mantua for Charles,
but it is by no means certain.
We may turn also to the splendid and significant
Francia (No. 307), which it seems certain came from
Mantua. It is a baptism, greatly resembling that at
Dresden, which is dated 1509. In the background are
the crowds on the margin of the stream; the Lord
stands with hands in the attitude of prayer; S. John
with humble, attentive face bends to take the water
from the shallow stream in which He stands. Not
far from  this is the picture called a "portrait of
Giovanni Bellini by himself" (No. 317), which is almost
certainly neither of nor by Bellini.  Mr. Phillips
cannot " with confidence ascribe a name " to it: another
writer says it is certainly by Bissolo. In any case, it is
a characteristic piece of fifteenth-century Venetian art,
showing still, with all its damage, a fine feeling and
individuality.
To the fifteenth century belongs, too, that most
startling of contrasts, from the early Netherlands
painter, here coarsely humorous and incongruous,




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VENETIAN SCHOOL


I93


Jerome Bosch-a "fantastic representation of Hell."
This was certainly in Charles's collection; it was
given him by the Earl of Arundel.
Charles's gallery reached its climax of splendour in
its representation of the sixteenth-century painters.
The man with a black cap (No. 7Io) cannot sustain
its claim to be a Raffaelle, and the gallery is robbed
by South Kensington of the majestic cartoons; but his
favourite pupil, Giulio Romano, is happily represented
by his two equestrian Caesars (Nos. 257 and 290).
There are several others-such as 247, "An Ancient
Sacrifice," in the archaeological style that was his forte
-and a copy, very charming, of the Madonna della
Quercia, by his hand.
There is (No. 64) a very good version of Lionardo's
Infant Christ with S. John, which Mr. Phillips ascribes
to Marco d'Oggionno; and another edition of a
Lionardo, "Portrait of a Woman with Flowers" (No.
6 I), which some have declared to be a Luini.
Among the Milanese pictures are the S. Catherine
with a palm-branch (No. 259), by Giampetrino, and
the Salome (No. 241) which Mr. Claude Phillips
says is a copy from Cesare da Sesto.2
When we turn to the Venetians we find the true
splendour of the gallery. In spite of warring critics
and the severe judgment of Mr. Claude Phillips,3 it
1 No. 753.
2 He refers to the Vienna Gallery, No. 20, for the original: I did
not discover this in a visit in April 1896.
3 " Picture Gallery of Charles I.," p. 88: "The execution too flimsy
and superficial, the loose style of painting too late for him."
N




I94


HAMPTON COURT


is difficult to resist the feeling that in the Shepherd,'
in white shirt and grey cloak, holding a flute in his
hand, we have a genuine and exquisite Giorgione.
It is a picture full of a real and unspoiled delight
in life, pastoral, human, simple, pure. The sympathetic writer whose charming brochure should be in
the hand of every visitor to the gallery, says: "The
face is so radiantly beautiful, that even retouching and
blackening have not been able to hide the fine oval,
the exquisite proportions, the lovely brow, the warm
eyes, the sweet mouth, the soft waving hair, and the
easy poise of the head."2 This enthusiastic writer,
following Mr. Bernhard Berenson, will allow no other
picture in England to be by the hand of Giorgione,
dismissing not only the National Gallery "Knight " as a
"poor copy" of the figure in the famous altarpiece
that Mr. Ruskin has so loftily praised, but also all the
others at Hampton Court-60 and 183, as by Dosso
Dossi, 87 "from the workshop of Bonifazio," I58 as
of the school of Paris Bordone, and the rest as "an
insult to the name of any master."
" The Concert" (No. I44), a rather sly damsel singing, and three male faces, which Mr. Berenson3 will
not admit to be a Lotto, still less a Giorgione, is
assigned to the little-known Morto da Feltre.    Its
chief interest " lies in its mystery."
From Giorgione we pass to Titian, whose magnificent
1 No. 1oI.
2 Mary Logan, "The Italian Pictures at Hampton Court," p. 13.
3 - Lorenzo Lotto," preface.




LORENZO LOTTO


I 95


though injured portrait-not Alessandro de' Medici(No. I49) is one of his finest works. With this may
be compared the No. II3, indeed a noble face nobly
rendered, which is by 'Mary Logan' considered to be
a Titian, but which has been identified with a portrait
declared in Charles I.'s catalogue to be by Tintoretto.
It is a more personal picture, and more advanced in
style. Copies or works of his school which are worth
consideration are the pretty Holy Family with S.
Bridget (No. 79), an exquisite group, of which the
original is at Madrid.
Mr. Berenson's new and elaborate book1 has given
a fresh interest to the study of Lorenzo Lotto. He
has traced his artistic origin, his history, his development, and the surviving examples of his work, with the
patience and the acuteness of a true critic. He places
first among the pictures of this master at Hampton
Court No. IT4, bust of a young man-a full face,
personal and expressive, painted when he was still
under the influence of Alvise Vivarini. It is certainly
one of the finest of his portraits, the pose so striking,
the face so firm  and unconventional.   Interesting
though this is, it bears no comparison with the
magnificent Andrea Odoni, which is not fully sympathetic perhaps, but in its technical qualities is
superb. Many minor masters, who felt the same influence as Lotto, here claim attention-Savoldo, Palma
Vecchio (a fine Madonna and Saints, No.   15), and
a " Shepherd's Offering" (No. 163), Cariani (No. I35,
1 "Lorenzo Lotto," Putnam, 1896.




I96


HAMPTON COURT


the "Shepherd's Family"); and not far from these
may be ranked the fine Pordenone (a man in a red
girdle, No. 92) and the rather clumsy Bernardino
Licino family (No. I04). Paris Bordone too can be
studied here in his love of beauty untouched by high
thought (No. 18).
Tintoretto, the great, single-minded, powerful, proud
genius who painted the Nine Muses (No. 77), shows
here his mastery of colour and of form. They are
playing musical instruments, turning to each other
in delight, and in poses which show the master's
supremacy in modelling. The centre of the picture is
in a flood of light. "Queen Esther before Ahasuerus"
(No. 69), stately, vivid, hangs in the same room. Portraits, too, from his hand are here, Nos. I20, 78, 9I
-all fine examples of his power of rich and impressive
presentation.
Nor must we forget Bassano, in whose work the
gallery is rich, or that graceful and decorative artist,
Andrea Schiavone, whose charming "Tobias and the
Angel" is No. 88; and his large "Judgment of Midas"
(No. 175) in the King's Drawing-Room. Palma the
younger, too, has the "Expulsion of Heresy," from
King Charles's collection (No. 159)-angels at the
word of three doctors of the Church driving downwards the heresiarchs-and the "Prometheus chained
to a Rock." Minor pictures crowd round us, all
deserving some attention, such as the number of
portraits by or related to A. Solario; the twelve
scenes, so fresh and brilliant, from the story of




ALBRECHT DURER


I97


Psyche, by L. Giordano; to the broad decorative
pictures of Ricci in the audience-chamber.
Dosso Dossi has the "S. William taking off his
Armour" (No. 183), a fine, pathetic, impressive halflength, with flashes of colour across the steel; and the
fine and characteristic Holy Family (No. 97), and the
quieter portrait No. 80.   They are not unworthy
examples of the greatest master of the Ferrarese school,
a colourist who in his way is fitly compared to Titian.
Correggio was an artist whom Charles particularly
affected; and here we have his early Holy Family,
suggestive of Dosso, and with an exquisite charm in
the face of the Madonna (No. 276); and beside it
(No. 281) is the late S. Catherine.  These are, of
course, but small examples of Charles's collection, and
of a master who can be studied most satisfactorily in
the great gallery of his native Parma. But the taste
for Correggio, with all his modernness, is a special
one, and in such a gallery as that at Hampton Court
two specimens are enough.. In the Holy Family the
artificiality and affectation so prominent in his later
works are but slight. Parmegianino, his exaggeration,
may be seen in Nos. 174 and 306, the latter a charming picture.  Allori's "Judith" (No. 99), I think a
copy, is impressive.
Italy furnished by far the largest proportion of
Charles's collection, but there still remain at Hampton
Court some significant examples of the art of other
nations.  The fine, cold, "red-faced man, without a
beard" (No. 589) is a genuine Albrecht Direr, with




I98


HAMPTON COURT


much of his impressive and solemn feeling about it.
Remigius van Leemput preserved for Charles II.
Holbein's "Henry VII. and Elizabeth of York, with
Henry VIII. and Jane Seymour," a fine little copy of
the Holbein fresco destroyed at Whitehall. Mabuse's
Adam and Eve, ugly and ungainly enough though
one sometimes thinks it, is famous as a characteristic
blending of the Flemish feeling and the ideal Italian
Renaissance. Solomon de Bray's Family Group (No.
66) is a notable specimen of a rare artist. The two
heads by Rembrandt (Nos. 381, 382) will not easily
be forgotten. Among the Dutch pictures, though it
is probably not from Charles I.'s collection, is a
striking Crucifixion triptych by Lucas van Leiden.
It is ill to hurry over a field so vast, but enough has
been said to show that the gallery, of which Charles's
collection is the nucleus, is worthy of a far more
minute inspection than it is the custom to give it.
It is still an honourable memorial of the connoisseurking who gave it its greatest glories.
IX
The next broad division of the Hampton Court
pictures is formed by the Georgian age. Charles II.
had his collection, it is true. Indeed, the Dutch States
made him a fine present in the collection of Van
Regust, a collector who had bought much from the
gallery of Charles I. James II. added some Vandevelde




GEORGIAN AGE


199


sea-fights, William 1II. some glorifications of himself.
The Hanoverian additions are of a different kind.
Severe critics might say that the Hampton Court galleries have been regarded as the rubbish-heap of the
royal palaces. But this would be a short-sighted judgment. Much that is of very considerable historical
interest has been added to the galleries within the last
century. There are, in the first place, a few interesting
portraits which have no special English connection.
Two of these cannot fail to attract attention.
No. 429 is a charming replica of Drouais' portrait
of Madame de Pompadour, now in the possession of
Lord Rosebery. This has been very unfairly criticised.
Artificial and mincing no doubt it is, but so was its
subject. The colour is exquisitely pure, the tone exquisite; an undefinable charm lingers on the face, so
sweet, so prettily set in its quiet mobcap. The dress
of figured brocade, the tambour frame in front, add to
the decorative effect of a very charming picture.
Another equally interesting portrait is that by
Battoni of the reforming Pope Benedict XIV., a happy
presentment of a keen and kindly face. It is pleasant
to have at Hampton Court so good a memorial of so
enlightened and beneficent a man. There are many
other portraits of foreign statesmen and kings, among
them a pretty Louis XIV. when young, in armour,
ascribed to Mignard.
English royalties, of course, claim attention. There
is a not unpleasing portrait of Queen Caroline, George
II.'s "fat Venus." George himself appears in four




200


HAMPTON COURT


examples, as Prince of Wales and as King, in the Garter
robes. There is a good Kneller George I. George II.'s
three elder daughters, so well known to us from Lord
Hervey's Memoirs, are No. 5 I4, painted by Maingaud,
artificial and unattractive, and more prettily the Princesses Emily and Caroline, in No. 517. Near them are
their brothers, William Duke of Gloucester (if it be he)
and Frederick Prince of Wales, the latter by Vanloo.
The whole family of " Prince Fred" is also represented
in No. 361, with a portrait of their father, then dead,
on the wall.   George III. appears several times in
the galleries, notably among the collection of West's
pictures, and in the picture of his review of the Tenth
Hussars by the "attractively superficial" Sir William
Beechey, most prolific of all English painters. There
are several portraits of Queen Charlotte and her
children, all interesting, and some pretty ones of some
of the Princes when young.    On the whole, the
Hanoverian royal family could hardly be more completely studied than at Hampton Court.
The prominent personages of the time are also well
represented. There are two portraits by Gainsborough
of Hurd, Bishop of Worcester, tutor' to George III., a
kind, good man, whose face gave no great opportunity
to the artist. His Dr. Fischer (No. 352) is far more
significant, a speaking likeness indeed, full of vivacity
and genius. Next to it is the charming Colonel St.
Leger, in red uniform, so happy, light, sympathetic,
and yet so expressive of the fact that there is little to
express. There are several Hoppners, too, but, strange




BENJAMIN WEST


20I


to say, not a single Reynolds. Perhaps the most interesting of the Hoppners is the portrait of the first
Marquis of Hastings, better known as Lord Moira
(No. 358), the friend of George IV., who atoned for
political failures in England by a brilliant governorgeneralship in India. He is in uniform, the tight,
white breeches set off by the red coat-a little, monkeyfaced man. The words in which Scott recorded his
death are an admirable comment on the picture: " Poor
old Honour and Glory dead-once Lord Moira, more
lately Lord Hastings. He was a man of very considerable talents, but had an overmastering degree of
vanity of the grossest kind. It followed, of course,
that he was gullible. In fact, the propensity was like
a ring in his nose into which any rogue might put a
string. He had a high reputation for war, but it was
after the pettifogging hostilities in America, where he
had done some clever things.   He died, having the
credit, or rather having had the credit, to leave more
debt than any man since Cesar's time. 4I,200,000 is
said to be the least. There was a time that I knew
him well, and regretted the foibles which mingled with
his character, so as to make his noble qualities sometimes questionable, sometimes ridiculous."  There is
a pleasing portrait of the literary lady Mrs. Delany by
Opie (No. 375), and there are many more of the same
period.
But most characteristic of the age of George III.
is the collection of the pictures of Benjamin West
1 Diary, December 22, I826.




202


HAMPTON COURT


in Queen Anne's Drawing-Room. This artist, so
greatly belauded in his day, and of so singular a
history, can nowhere be studied, for his defects and
his not inconspicuous merits, so well as here.
The first of American artists, he was born at
Springfield, Chester, Pennsylvania, on October I0,
1738; he studied in Rome, became an honorary
member of the Academies of Parma, Bologna, and
Florence, and in London not only competed as a
portrait painter and in classical scenes with the great
artists of his day, but successfully introduced a revolution in historical portraiture. His classical and
his Scriptural pictures at Hampton Court show him
at his weakest, when he does not even rise to be "the
king of mediocrity."  They are utterly tame and
cold, and profoundly dull. Stilted, antiquarian, stiff,
academic, he endeavoured what artists such as Wilhelm
Kaulbach and Charles le Brun had in their different
ways achieved with more success-a spiritless representation of the past according to the methods of
the cinque-centisti. His portraits are certainly much
better. There is a quaint one of Queen Charlotte
with her thirteen children, quite small, seen as it
were in a vision; a quite pretty picture of the Prince
of Wales and the Duke of York, and another of the
Duke of Clarence and the Duke of Kent. George III.
(No. 318) in military uniform, with a view of Coxheath Camp in the background, and Lords Amherst
and Lothian in attendance, is well worth attention. This
plain, sober, straightforward picture, thoroughly natural




BENJAMIN WEST


203


and human, prepares us for his greatest work, "The
Death of General Wolfe " (No. 320). This is the highwater mark of his style. He had dared to paint military
scenes without a cloak of classicalism. He dressed his
soldiers as they lived. It was a veritable revolution,
and it may be said to have founded a whole modern
school of art. Though they have long ago cast off
his stiffness, his classical poses, his methodical arrangement, our modern battle-painters may trace their
origin to Benjamin West. And "The Death of General
Wolfe" is really a triumph of its kind. Careful as
is the grouping, it is not too obviously artificial;
skilful as is the lighting of the picture, it is not unnatural. And the scene is told with sober sincerity,
honesty, and with a genuine pathos.
What a furore it created we all know, from the
popularity of the engravings of it, and the host of
imitations which the next fifty years produced. For
half a century there was not a prominent military
death which was not painted in a composition more
or less closely modelled on West's chef d'Xuvre.
From Copley, also an American, to the artists who
painted Nelson's battles, the line continues.  It is
hardly even now extinct.
"The Death of Wolfe" is a picture easy enough
to sneer at, but in historical interest, in sympathy,
in composition, and in colour, it is a work which is
worthy of a full and respectful attention. The " West
Room" at Hampton Court is not the least interesting
or characteristic in historic attractions of the Palace.




204        HAMPTON COURT
So we may bid farewell to the pictures. The whole
collection is an eminent example of the merits and
defects of the eighteenth century galleries.  If it
is not, nor ever has been, a rubbish-heap, there is a
vast deal of rubbish in it. Pictures crowd the walls
which were bought because they were popular, but
which were not meant to "live."   But with all its
defects, the collection is that of a king; and not
many a palace anywhere can show so many striking
pictures.
To have opened it to the public is a service for
which the British people, students as well as sightseers, owe to Queen Victoria a debt of very genuine
gratitude.




CHAPTER VI


LITERATURE AND GOSSIP IN THE
LAST CENTUR
I. Hampton Court in literature: Thomson's rhapsody.-2. The
" Rape of the Lock": Pope's fondness for the Thames: his
country inspiration limited to its banks: the origin of the poem:
its three foundations: the "Rosicrucian doctrine of spirits":
Marmontel's Sylphs and Pope's "The Expedition to Hampton Court": the game of ombre: the severed lock: Pope's
letters: the life of a Maid of Honour.-3. Lord Hervey's life:
Miss Bellenden and Miss Lepel: Queen Caroline: George II.
and his family: Prince Frederick: the hasty drive to St. James's:
Queen Caroline's death: later visits of George II.: changes
since his time: the Royal fondness for Hanover: English
character of Hampton Court.
I
HAMPTON COURT was so popular a resort for society
under Anne and the Georges, that the difficulty in
writing of its literary souvenirs is rather to exclude
than  to  illustrate.   Jimmy Thomson        brings in the
Palace as the climax of his enthusiastic rhapsody on
the Thames:"In lovely contrast to this glorious view,
Calmly magnificent, then will we turn
To where the silver Thames first rural grows.
There let the feasted eye unwearied stay;
205




206


HAMPTON COURT


Luxurious, there, rove through the pendent woods
That nodding hang o'er Harrington's retreat.
And stooping thence to Ham's embowering walks,
Now let us trace the matchless vale of Thames,
Fair winding up to where the Muses haunt
In Twitnam's bowers, and for their Pope implore
The healing god-to Royal Hampton's pile."
The home of the court for so many years, the
interests of politics and literature met within its walls.
It would be difficult to say whether it was better
known as the home of statesmen or the resort of wits.
But one distinction it enjoys which no other royal palace
can rival.  It is the scene of the most characteristic,
and in its way the most perfect, poem of the age,
"The Rape of the Lock."
II
"Close by those meads, for ever crown'd with flow'rs,
Where Thames with pride surveys his rising tow'rs,
There stands a structure of majestic frame,
Which from the neighb'ring Hampton takes its name.
Here Britain's statesmen oft the fall foredoom
Of foreign Tyrants, and of Nymphs at home;
Here thou, great ANNA, whom three realms obey,
Dost sometimes Counsel take-and sometimes Tea."
A generation which ignores Pope, as it has forgotten Dryden, should yet find time to read, in the
summer afternoons on the terrace by the Thames, the
poem in which the former has given Hampton Court
a literary immortality.




POPE


207


Among all the century's delightful legacies, there
is nothing more characteristic or more charming than
"The Rape of the Lock."        Most delicious of all
poems of artificial society, most polished, most redolent of court and fashion, of wit and grace and
insouciant ease, its crisp couplets seem to compress
the very spirit of the life that was so naturally artificial when Anna took Tea and Pope rhymed and
told scandalous stories.
"Fair Thames, flow gently from thy sacred spring
While on thy banks Sicilian Muses sing,"
young Master Pope had said, when at sixteen he
lisped in numbers, the first fruits of his friendship" at very unequal years," as the learned Mr. Warburton,
his editor, has it-with Sir William    Trumbal, late
Secretary of State to his Majesty King William.
Often, it is likely, the elderly politician had walked
with the clever boy in the gardens of the Palace,
whence he had retired" Too wise for pride, too good for pow'r,"
that he might
" Enjoy the glory to be great no more "telling tales of public business and court intrigue.
The scenes amid which the young poet first tried his
hand at verse-making remained the favourite setting
for his stories all his life long.   Public life and
1 Pope's " Pastorals," Sfiring.




208


HAMPTON COURT


society indeed were centred, during the first half of
the eighteenth century, round the Thames valley.
From Pope, in his villa at Twickenham, when he had
left
"Thy forests, Windsor, and thy green retreats,
At once the monarch's and the Muses' seats," 1
to Horace Walpole, in his Gothic castle, is a step
which includes all the literature and much of the
learning of a brilliant age. It is a dazzling prospect
which combines memories of Gibbon and Lord Hervey,
Swift and Arbuthnot, Steele and Addison, Chesterfield
and George Selwyn, essayists and poets, wits and
historians. It would be interesting to inquire, too,
how much of the rural poetry of the age2 owed its
inspiration to the banks of the Thames, or how many
a Strephon had wandered beyond the woods and fields
which skirt its
"Swelling waters and alternate tides,"
when he began to hymn the charms of his Chloe in
strains which seemed to his age to express the very
genius of country life. Pope himself can never get
far beyond the Thames or its tributaries.   When he
is in his tower at Stanton Harcourt, telling the pretty
tale of the two innocent rustic lovers struck by
lightning, it is in the water-meadows which that
1 "Windsor Forest."
2 And, of course, of the preceding age. Cf; Dunciad, iii. I9-20:" Taylor, their better Charon, lends an oar,
Once swan of Thames, tho' now he sings no more."




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"RAPE OF THE LOCK"


209


river floods that the tragedy has occurred. When
he stays with my Lord Bathurst at Cirencester, he is
dreaming of a great canal which shall wed the Severn
to the river by whose streams he was nurtured.
Thames is the presiding deity of his rustic pantheon,
and round him circle the satellites, the little streams
which combine to enhance his glory:"Around his throne the sea-born brothers stood,
Who swell with tributary arms his flood;
First the famed authors of his ancient name,
The winding Isis, and the fruitful Thame;
The Kennet swift, for silver eels renown'd;
The Loddon slow, with verdant alders crown'd;
Cole, whose dark streams his flow'ry islands lave;
And chalky Wey, that rolls a milky wave;
The blue, transparent Vandalis appears;
The gulphy Lee his sedgy tresses rears;
And sullen Mole, that hides his diving flood;
And silent Darent, stained with Danish blood."
"The Rape of the Lock" is the culmination of this
influence. The story, like its fair heroine, is
" Launched on the bosom of the silver Thames,"
and under all its brilliant epigram, and clipt, biting
phrase, the ripple of the water is heard in every line.
An excursion to Hampton Court was the foundation
of the "heroi-comical poem," as its author calls it;
and in nothing is the charm of the Palace in its renewed
youth more happily expressed. To compose a serious
dissension was the object, it is said, of Mr. Caryll (" a
1 "Windsor Forest."
0




210


HAMPTON COURT


gentleman," in Warburton's words,' who was secretary
to Queen Mary, wife of James II., whose fortunes he
followed into France, author of the comedy of Sir
Sblomon Single, and of several translations in Dryden's
Miscellanies"), in proposing to Mr. Pope that he
should record in verse"What dire offence from am'rous causes springs,
What mighty contests rise from trivial things,"
"on the trifling occasion" of Lord Petre's having cut
off a lock of the hair of Miss Arabella Fermor.   At
first a mere jeu d'espril, for the entertainment of the
lady herself and her friends, it grew into a long poem,
by the addition of the "machinery of the sylphs."
The Thames, the sylphs, and a lock of hair are the
foundations for this most charming of all delicate
satires on human folly.
For the Thames, the love of it was in Pope's blood,
and no one, till Thomas Love Peacock in "Crochet
Castle," so happily could paint the pleasures of a water
party:
"But now secure the painted vessel glides,
The sunbeams trembling on the floating tides;
While melting music steals upon the sky,
And softened sounds along the waters die.
Smooth flow the waves, the zephyrs gently play,
Belinda smiled, and all the world was gay."
And no less happy in mastery is Pope when he
adds the sylphs to the "machinery" of the poet's
craft.  The "Rosicrucian doctrine     of spirits" he




POPE AND MARMONTEL


21 I


calls it in his slyly ceremonious introduction, and
" I know how disagreeable it is to make use of hard
words before a lady:" so "the Rosicrucians are a
people I must bring you acquainted with. The best
account I know of them is in a French book called
Le Comte de Gabalis, which both in its title and size
is so like a novel, that many of the fair sex have read
it for one by mistake."  What the Count of Gabalis
has introduced into literature and Mr. Pope into
poetry, Monsieur J. F. Marmontel' has shown as
entering  into  the  most intimate   thoughts  of
the fanciful ladies of the age.  Pope's delightful
"machinery" made the sylphs the fashion.     "La
fable des Sylphes etoit a la mode."   The "Airy
Beings" who wait upon Belinda become of the very
texture of the dreams of the fair Elise when she quits
the convent to be the wife of the Marquis de Volange,
persuaded that next to a lover the most dangerous
being in all nature is a husband.  So "il lui etoit
tombe sous la main quelques-uns de ces romans oi
l'on peint le commerce delicieux de ces esprits avec
les mortelles; et pour elle ces brillantes chimeres
avoient tout le charme de la verite."  Belinda, or
Mrs. Arabella Fermor, must needs be informed of
the gentle spirits who wait upon her; as that "the
four elements are inhabited by spirits, which they call
Sylphs, Gnomes, Nymphs, and Salamanders.     The
gnomes, or Daemons of Earth, delight in mischief,
but the Sylphs, whose habitation is in the air, are
1 Contes Moraux, "Le Mari Sylphe."




212


HAMPTON COURT


the best-conditioned creatures imaginable. For they say
any mortals may enjoy the most intimate familiarities
with these gentle spirits, upon a condition very easy to
all true Adepts, an inviolate preservation of Chastity."
But Elise accepts them as a part of her religion.
Elle croyait aux Sylphes et bruloit d'envie d'en avoir
un."   The transition from " The Rape of the Lock"
to "Le Mari Sylphe" is an easy one.      In both there
is the charm which invests the Hampton Court of the
prosy Anne and the phlegmatic George of Denmark
with an original air of fanciful mystification-a "je
ne sais quoi d'aerien," as Marmontel says.
If we read the espizglerie of Marmontel into the
witty scheme of Pope, we have a clear impression of
what the court beauties and the beaux thought of
the " Rape of the Lock."    So " Beauty draws us with
a single hair."   Belinda's locks, nourished   to  the
destruction of mankind, allure the Baron; and the
expedition to Hampton Court furnishes the occasion
for the bold attempt. It is the home of scandal and
of wit, of beaux' audacity, and of the triumphs of the
fair:
"Hither the heroes and the nymphs resort,
To taste awhile the pleasures of a Court;
In various talk th' instructive hours they past,
Who gave the ball, or paid the visit last;
One speaks the glory of the British Queen,
And one describes a charming Indian screen;
A third interprets motions, looks, and eyes;
At ev'ry word a reputation dies.
Snuff, or the fan, supply each pause of chat,
With singing, laughing, ogling, and all that.'




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RIVER FRONT


213


Doubtless they sat in some stately parlour looking
upon the gardens, where the work of homely Queen
Mary adorned the couches, and the ceiling displayed
the genius of Signor Verrio or Sir James Thornhill. A
game of ombre beguiles the afternoon, and all goes
happily till
"On one nice trick depends the gen'ral fate."
Belinda triumphs and
"exulting fills with shouts the sky.
The walls, the woods, and long canals reply."
Coffee relieves their excited feelings and inspires the
Baron to a dauntless deed. The sylphs in vain interpose to check the robber or rouse the thoughtless
fair. He draws nearer with the glitt'ring Forfex;
her looks remain fixed on her coffee-cup of rich " china
earth," or on the long expanse of garden, canal, and
wood.   In a moment the crime is committed, and
the severed lock is in the hands of the victor. G As
for the "wretched maid," she
"spread her hands and cry'd,
While Hampton's echoes, wretched maid! reply'd."
The Palace itself is cursed by her tragic misfortune,
and only an apotheosis of the lock can satisfy the
maiden and poetic justice alike.
It is impossible to pass up the Thames to the
river front, which Mr. Railton has so charmingly
imaged, without memories of Pope's lines. Hampton




214


HAMPTON COURT


Court preserves Belinda, the Baron, and Sir Plume;
and Pope's immortality is safe in its keeping.
What served the most polished of poets for the
setting of his true (but not too true) story served
him also for subject when he wrote some of the
pleasantest of his very artificial letters.  "I went by
water," he wrote    in  1717, "to Hampton Court,
unattended by all but my own virtues, which were
not of so modest a nature as to keep themselves or me
concealed; or met the Prince, with all his ladies,
on horseback, coming from    hunting.   Mrs. B. and
Mrs. L.2 took me into protection, contrary to the
laws against harbouring papists, and gave me a
dinner, with  something I liked better, an opportunity of conVersing with Mrs. H.3    We all agreed
that the   life of a Maid of Honour was of all
things the most miserable, and wished that every
woman who envied it had a specimen of it.         To
eat Westphalia ham in morning, ride over hedges
and ditches on borrowed hacks, come home in
the heat of the day with a fever, and (what is
worse an hundred times) with a red mark on the
forehead from an uneasy hat-all this may qualify
them  to make them    excellent wives for foxhunters,
and bear abundance of ruddy-complexioned children.
As soon as they can wipe off the sweat of the day,
1 " Works," ed. Warburton (I75 ), vol. vii. p. I32.
2 Mary Bellenden, whom Horace Walpole says contemporaries
always remembered as the most perfect creature they had ever
known; and "dear Molly Lepel."
3 Mrs. Howard, afterwards Countess of Suffolk.




LORD HERVEY


215


they must simper an hour and catch cold in the
Princess's apartment; from thence (as Shakespeare
has it) to dinner, with what appetite they may;and after that, till midnight, walk, work, or think,
which they please.  I can easily believe no lone
house in Wales, with a mountain and a rookery, is
more contemplative than this Court; and as a proof
of it I need only tell you Miss L. walked with me
three or four hours by moonlight, and we met no
creature of any quality but the King, who gave
audience to the Vice-Chamberlain, all alone under
the garden wall."
Mr. Alexander Pope was very proud of his neat
phrases, for he must needs repeat them next year in
a letter to Lady Mary Wortley Montagu.
III
From Pope to Lord Hervey is an easy step. The
poet was a good hater, a bitter little man, as warped
in mind as in body, with a talent for artificial pathos
no doubt on occasion, and even some real tears
now and then, but at bottom a cold-hearted fellow
and a bitter.  Lord Hervey was much that Pope
could not be, and yet had enough of qualities like
his own to make him doubly obnoxious. He was
strikingly handsome, a man of birth and fashion, a
successful gallant, unscrupulous in "affairs of the
heart," of low morals and with a large spice of aris



216


HAMPTON COURT


tocratic contempt.  Pope was in all these things a
contrast to his enemy.. Again, Lord Hervey was
for a long time more intimate, as an individual, with
the inner life of the King and Queen and the court
than any other man in England. He had claims to
be a statesman: he had the deserved reputation of
a wit: and he had the misfortune to attempt to be
a poet and a satirist-to shine in verse in the manner
in which Pope was supreme.
Pope and Lord Hervey represent not inadequately
to us the literary associations of Hampton Court,
and it is that Palace which first makes us link their
names together.   It was the   charming maids of
honour, Miss Lepel and Miss Bellenden, who brought
the poet to Hampton Court, taking him none too
seriously,
"Tuneful Alexis on the Thames' fair side,
The ladies' plaything and the Muses' pride."
And here it was, or at Richmond, that Lord Hervey
found a home when his kindred were engaged in
their duties of waiting on the Prince and Princess
of Wales-" dapper George" and "cette diablesse
la Princesse." Soon he won the heart of the charming half French beauty, than whom, says Lady Louisa
Stuart, "there never was so perfect a model of the
finely polished, highly bred, genuine woman of
fashion." In 1720 the attachment was notorious.
"Now Hervey, fair of face, I mark full well
With thee youth's youngest daughter, sweet Lepel,"




HERVEY AND POPE


217


wrote Gay; and indeed, on April 21, as Lord Bristol's
diary records, they had been privately married. On
October 28 the marriage was announced. Three years
later, on the death of his elder brother, the husband
became Lord Hervey. At the beginning of George
II.'s reign he attached himself to Walpole and his
Administration. From that time, if not before, until
her death, he was essential to Queen Caroline. He
came at length to be with her for many hours each
day, save for his Saturday and Sunday holiday, of
which he writes so slyly; her adviser, gossip, buffoonin sickness or in health alike indispensable. In the
same year Pope dates his own quarrel with him; and
he left off his familiarity with Chesterfield and Hervey
for the same reason, he says, "merely because they
both had too much wit for him."      It was soon a
pretty squabble, and Lady Mary Wortley Montagu
did not pour oil on the waters.     "Verses to the
Imitator of Horace" and "A Letter from a Nobleman at Hampton Court to a Doctor of Divinity"
were Hervey's contributions to the fray; and Pope's
culminated in the bitter character of Sporus, "that
mere white curd of asses' milk." The sharpest personal taunts are joined to political references, stinging
alike to the Queen and the favourite.
"Eve's tempter thus the rabbins have express'd:A cherub's face-a reptile all the rest!
Beauty that shocks you, parts than none can trust,
Wit that can creep, and pride that licks the dust."




2 I 8


HAMPTON COURT


That is himself, and his dangerous work is when he... at the ear of Eve, familiar toad,
Half froth, half venom, spits himself abroad."
This came out years later, and later still Hervey's
feeble rejoinder. And meanwhile the peer was living
on asses' milk and biscuits, a miserable life enough, of
which almost the only pleasure was the honourable one
of being of service to Queen Caroline. He lived till
1743; and six years before, the great Duchess of Marlborough, more bitter and more witty than ever in her
old age, speaking of him as " always with the King
and in vast favour," added "he has certainly parts and
wit, but is the most wretched profligate man that ever
was born, besides ridiculous; a painted face and not
a tooth in his head."  In I740 he at last obtained
political office, and in I742 he was dismissed after
Walpole's fall. A wretched career was his, which
achieved nothing worthy, and only in its devotion to
the Queen was above contempt. He began life a Whig
and a Ministerialist: he died a "patriot" by the side
of those young statesmen, Lord Lyttelton and Cornet
Pitt, whom he had ridiculed.
And yet Lord Hervey was not the worst member of
the court which resided at Hampton Court in the early
years of George II.'s reign. One feels inclined to cry, like
MatthewArnold of the party, the Godwins and the sordid
hangers-on, that surrounded Shelley, " What a set! "
The King, utterly brutal, licentious, coarse, unfeeling, passionate, and reckless; the Queen, cynical,




HERVEY AND CAROLINE


219


cold-hearted, without any fixed standard of religion
or morals; the Prince dissolute, false, fatuously conceited; the Princesses hypocritical, or weak, or callous.
"What a set!"    It was a court which the manners
of a Chesterfield might adorn, and which certainly his
morals did not disgrace.
My Lord Hervey, who writes his "Letter to a
Doctor of Divinity from a Nobleman at Hampton
Court," was scornful enough against the clergy, contemptuous and bitter by turns, and, like most men of
ill life in that age, he professed to hold the most
sceptical opinions on religion. But he had at least
one Bishop to his friend, and was by no means unconcerned in the matter of ecclesiastical patronage.
Here he copied the Queen his mistress, who, says
Chesterfield, "after puzzling herself with all the
whimsies and fantastical speculations of different sects,
fixed herself ultimately in Deism," but who was
keenly active in the distribution of Church appointments, and commended Butler on her deathbed. It
is not unnatural that he should never give credit for a
good motive or hesitate to attribute a bad one. But
though he certainly extenuates nothing, he makes of
the Queen, after all, not a little of a heroine. Lord
Chesterfield in a few words gives a view not dissimilar
to the impression that comes from all Lord Hervey's
Memoirs: "Upon the whole, the agreeable woman
was liked by most people, while the Queen was neither
esteemed, beloved, nor trusted by any one but the
King"-and, we may add, Lord Hervey.




220


HAMPTON COURT


Queen Caroline, living her hard life in those fine
rooms that look out upon the Fountain Garden, was,
with all her coarseness, a very different woman from the
Schulenberg or the Kilmansegge, or the "avaricious
fury of a niece" Lady Walsingham, or Lady Deloraine
with her utter disregard of self-respect, or Madame de
Walmoden, or even the good-natured, kind-hearted
Lady Suffolk. She was a stateswoman, not a mere
leader of a court.
"You may strut, dapper George, but 'twill all be in vain;
We know 'tis Queen Caroline, not you that reignYou govern no more than Don Philip of Spain.
Then if you would have us fall down and adore you,
Lock up your fat spouse, as your dad did before you."
Yet very different was her life to that of Elizabeth
Farnese, to whom this squib compared her. Elizabeth's
was a servitude, but Caroline's was slavery. George's
"fat Venus" was snubbed, and bullied, and worried
night and day. Hour after hour she must listen to
her husband's silly gasconading, or his immoral tales,
or his ill-tempered condemnation of everything and
every person that did not suit his humour.
Lord Hervey tells a story of the change in the
pictures in the great drawing-room at Kensington as
an instance of the "accumulated trifles" that marked
his ill-temper and insolence; and he ends it by a
picture of a typical morning scene.' "His Majesty
stayed about five minutes in the gallery, snubbed the
Queen, who was drinking chocolate, for being always
1 Memoirs, vol. ii. p. 35.




HERVEY'S MEMOIRS


221


stuffing; the Princess Emily for not hearing him; the
Princess Caroline for being grown fat; the Duke [of
Cumberland] for standing awkwardly; Lord Hervey
for not knowing what relation the Prince of Sultzbach
was to the Elector Palatine; and then carried the
Queen to walk and be re-snubbed in the garden."
And all the while, as so often-Lord Hervey tells it
of another occasion when George was explaining the
singularly inappropriate pictures which he had brought
over from Hanover to hang in the Queen's drawingroom-the only friend the Queen could rely upon,
"whilst he was peeping over his Majesty's shoulder
at these pictures, was shrugging up his own, and now
and then stealing a look to make faces at the Queen,
who, a little angry, a little peevish, and a little tired
with her husband's absurdity, and a little entertained
with his lordship's grimaces, used to sit and knot in
a corner of the room, sometimes yawning and sometimes smiling, and equally afraid of betraying those
signs either of her lassitude or of her mirth."'
As time went on, and after a new entanglement in
Hanover, George from uncivil became absolutely
brutal, "abominably and perpetually so harsh and
rough, that she could never speak one word uncontradicted, nor do any act unreproved; and though
the Queen, whilst she knew the King's heart was as
warm to her as his temper, could, for the sake of
the agreeable advantages she reaped from the one,
support and forgive the irksome inconveniences she
1Memoirs, vol. ii. p. 84.




222


HAMPTON COURT


was exposed upon the other, yet now the case was
altered, for, as his heart grew cooler and his temper
warmer, so her sufferings were increased, and the
usual recompense for them lessened."1
Into this unhappy relation there was introduced
the miserable, and, as it seemed then and for some time
after, traditional hostility between the sovereign and
the heir to the throne. Frederick, Prince of Wales,
a profligate, faithless, intriguing puppy-his parents
used much worse words of him-was married to the
Princess Augusta of Saxe-Gotha in 1736, and from that
time the family dissensions, bad enough already,
became worse than ever. The Prince must needs tell
his wife to approach as near to insulting the Queen
as she could do without open insolence, and for himself, he must pass the bounds of deliberate affront.
The last scene of the domestic tragi-comedy was
the hurrying of the Princess of Wales from Hampton
Court on Sunday, 3 Ist July 1737, when her child
was on the point of being born, full gallop to Saint
James's.
It was a marvel that the Princess did not die, and
the indignation of the King and Queen was for once
justifiable in its extravagance.
The night, which Lord Hervey describes with such
vivacity, was one such as many another at the Palace,
which the courtiers professed to find so dull. The
King, Queen, Prince and Princess of Wales had dined
together.  Then the King retired below-stairs to
1 Memoirs, vol. ii. p. 43.




COURT SCANDALS


223


rooms on the ground-floor of the Fountain Courtwhere years before he could often be seen, watch in
hand, waiting for the exact moment of his visit to
Lady Suffolk-and was playing commerce.      The
Queen sat in her rooms playing quadrille, and with
her "the Princess Emily at her commerce-table, and
the Princess Caroline and Lord Hervey at cribbage,
just as usual." And meanwhile the poor Princess was
hurried down the staircase from her apartments, which
were at the end of the east front beyond the Queen's
and separated from them by the public dining-room,
into a coach without any one knowing.
They kept early hours in those days, for the royal
party separated at ten, and every one went to bed by
eleven. At half-past one the King and Queen were
awoke, and told of what was happening, and by four
o'clock the Queen with her daughters, the Duke
of Grafton and Lord Hervey, was at Saint James's
and saw the " little rat of a girl," her new-born grandchild. When she had seen it, she walked across the
court to Lord Hervey's rooms and took chocolate,
and she was back at Hampton by eight o'clock.
The extraordinary story, almost incredible as we
read it in Lord Hervey's calmly realistic Memoirs,
is not out of keeping with the amazing character of
the court life at that day. The vice, and meanness,
and brutality, the wit, and charm, and politeness, make
a picture difficult to realise. Caroline on her deathbed, piteous sight, while George is sobbing out before
her "J'aurai des mattresses," is hardly more human




224


HAMPTON COURT


in her heroism than in her horrible hatred of her
son.  "I will give it you under my hand, if you are
in any fear of relapsing, that my dear first-born is
the greatest ass, and the greatest liar, and the greatest
canaille, and the greatest beast in the whole world,
and I most heartily wish he was out of it."
George III. has been blamed for giving up the
Palace as a royal residence; and the little story of
his grandfather having boxed his ears is made to
account for it. But can one wonder that a prince of
such a fine moral feeling should shrink from associations such as his youth would recall of the palace of
George II.?   For the last years, when the Queen
was dead, were worse than    ever.  Now   Madame
Walmoden had come over from     Hanover, and was
Countess of Yarmouth, and she would drive with the
King to Hampton Court on Saturday afternoons, says
Horace Walpole, "in coaches and six, with heavy
horseguards kicking up the dust before them-dined,
walked an hour in the garden, returned in the same
dusty parade, and his Majesty fancied himself the most
gallant and lively prince in Europe."
The short visits of George II. are almost the last
royal memories of Hampton Court. Some of the
rooms are just as he left them. In the Queen's
bathing-closet one can fancy that the chaplains may
be heard praying next door, as in Lord Hervey's
satiric play. The public dining-room, of which the
decoration is said to date from I740, with its rather
later Georgian pictures, effectively recalls the last years




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THE PALACE DESERTED 225


of George II. The little rooms of the Prince of
Wales's suite next to it have lost their furniture,
save the pieces of tapestry worked at Mortlake in
Charles II.'s time to commemorate the battle of Solebay. The Venus has gone from the chimneypiece of
the Queen's private chapel, but the little marble bath
which Caroline used is still in the next room. The
King's Gallery has lost the Raffaelle cartoons, and
there is little else save the rooms themselves from this
point that recalls dapper George till we come to the
Queen's great staircase, of which the decoration, unpleasing and uncomely, is by Kent. We turn away our
eyes from the work of this architect in the Clockcourt; and we may best end our chapter with the
charming story Horace Walpole tells of the " beautiful
Gunnings" in I75I. They came to the Palace, as
folk do now, to see the sights. As they entered the
room where hung Kneller's beauties of William III.'s
court, another party arrived, and the housekeeper said,
"This way, ladies; there 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
shown as a sight themselves."
Already the Palace was becoming a show place. It
was left to the reminiscences of royalty and to literary
associations. Every one, as time went on, came to see it,
but no sovereign lived there again. And yet, as Miss
Mitford said, " How can anybody leave Hampton Court
and live in the Pavilion? "
There is an air of homeliness about the royal life
p




226


HAMPTON COURT


there in the eighteenth century, with all its coarseness, which, in spite of the early Hanoverian hatred
of everything English, has an air strongly national
about it.
"Hanover," says Lord Hervey in one of his
bitterest passages about George II., "had so completed the conquest of his affections, that there was
nothing English ever commended in his presence that
he did not always show, or pretend to show, was
surpassed by something of the same kind in Germany.
No English, or even French cook, could dress a
dinner; no English confectioner set out a dessert;
no English player could act; no English coachman
could drive, or English jockey ride; nor were any
English horses fit to be drove or fit to be ridden;
no Englishman knew how to come into a room, nor
any Englishwoman how to dress herself; nor were
there any diversions in England, public or private;
nor any man or woman in England whose conversation
was to be borne-the one, as he said, talking of
nothing but their dull politics, and the others of
nothing but their ugly clothes. Whereas at Hanover
all these things were in their utmost perfection."
Yet King George might storm as he would,
Hampton Court, even in his time, was a thoroughly
English house.  The pictures, the furniture, the
house and grounds, were, in the most obvious
manner, those of an English King, not a German
Elector. Space, and light, and decoration-thoroughly
1 Memoirs, vol. ii. p. 29.




ITS ENGLISH CHARACTER 227
English characteristics-are the marks of the age as
they are left at Hampton Court. There is nothing
extravagant or fantastic. Even the richness is sobriety
itself. The decoration in woodwork, seen so happily
here, as in stucco, is homely as well as classical: and
so the effect remains to-day. What splendour there
may have been of Gobelin tapestry, of Louis Quinze
furniture, foreign both, has become insignificant. The
rooms may be dingy and brown, but they have never
ceased to be homely and national.




CHAPTER VII


MEMORIES ACND LEGENDS OF TO-DAT
Residents of later days: the families to whom the Crown has given
apartments: the Wellesleys: Lady Mornington, the "mother of
the Gracchi": the caretaker of the Palace: its condition today: its romantic interests: Charles I.: Catherine Howard:
the White Lady: Mrs. Penn: ghost stories: the artistic pictures on the verge of the twentieth century: a picture of the
future by William Morris.
HAMPTON COURT, the most homely of English palaces,
has now become the most interesting of all English
dwelling-houses. In no other certainly are to be found
members of so many families distinguished in the
service of the Crown and the State. Since the accession
of George III., the custom of assigning private apartments to persons favoured by the sovereign has been
continued without intermission, and the Palace has
ceased, apparently for ever, to be a royal residence.
Among the personages of royal blood who have since
that date resided there was William, Stadtholder of
the Netherlands, who fled from   Holland in I795; and
in i880 the Queen gave the beautiful apartments of
the Lady-Housekeeper in the south-west wing of the
west front (of which Mr. Railton has given a charming
228




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LATER RESIDENTS


229


representation) to her Royal Highness PrincessFrederica,
daughter of the late King of Hanover, her Majesty's
cousin, and sister of the Duke of Cumberland. Her
Royal Highness still resides in these apartments with
her husband, Baron von Pawel Rammingen.
During the century and a quarter which have passed
since George III. finally removed the royal furniture,
and gave up the state rooms, the Palace has held many
hundreds of distinguished inhabitants. Talbots and
Walpoles, Berkeleys, Greys, Wellesleys, Burgoynes,
and Gordons,-the record is one that reads like the
index to a history of England. It were invidious to
particularise among so distinguished a list. Happily
the tone of contempt with which the dwellers in the
private apartments were spoken of by some of the
sovereigns, and by many of the Radical newspapers,
may now be considered a thing of the past. The
recognition of public service could take no form more
graceful, or more in accordance with the best popular
feeling, than in assigning to the widows or kindred of
distinguished public servants a share in the life of a
great historic palace.
The association of the later history of the Palace
with two ladies whose name has a very special interest cannot be forgotten. In 1795 the Countess of
Mornington (Anne, daughter of the first Lord Dungannon, who had married Garret Wesley, Lord
Mornington, musician and politician, in the year in
which he was raised to an earldom), received rooms
in the Palace.  A  keen-eyed and stately old lady,




230


HAMPTON COURT


as her picture shows her, beautiful even in old age,
she was the mother of the most eminent triad of
public servants that the same family ever produced —
Richard, the "great proconsul," Arthur, Duke of
Wellington, and Henry, Lord Cowley. Her other
children would rank as distinguished were their brothers
less famous.  The Wellesleys, as they came to call
themselves before the end of the century (Richard was
matriculated at Christ Church as Wellesley in I778),
soon formed a little colony in the Palace. Another
son, Gerald Valerian, who held one of the rich prebends of Durham, was chaplain of the Palace-and a
daughter, Lady Anne, had also rooms in what are called
"the Queen's half-storey."  Years afterwards, in 1843,
the beautiful Marchioness of Wellesley received apartments in the Palace. An American lady, whose sisters
were Duchess of Leeds and Lady Stafford, she had
married the great Marquis in 1825, when he was for the
first time Viceroy of Ireland. They had lived happily
together till his death in I842, chiefly in London, in
literary society and among old friends. The Marquis's
little  volume, "Primitia  et Reliquiac,"  published
when he had reached the age of eighty, shows the
charm of those quiet years; and in the copy which he
gave to his wife he wrote Dryden's lines"All of a tenour was their after-life,
No day discoloured with domestic strife,
No jealousy, but mutual truth believed,
Secure repose and kindness undeceived."
Lady Wellesley lived till 1853. It is interesting to




PRESENT CARE


231


observe that the papers of her distinguished husband
have recently found a home in the precincts.'
Lady Mornington's rooms were on the ground-floor
of the north-east corner of the Palace, looking upon a
charming little garden and across to the end of " Prince
Edward's lodgings." The garden in which she often
sat is still called Lady Mornington's garden. By the
arch from the cloister into the garden, at the right
hand, is the little nook to which the Duke of Wellington gave the name of "purr corner" from its attraction for the old ladies who in his mother's day delighted
to sit and gossip there.
The Wellesley family affords a happy instance of the
pleasant domestic life which has sprung up and been
nourished in the Palace under the kindly and gracious
arrangements of the sovereign. Her Majesty has delighted to reward public service in this most delicate
and appropriate fashion.
It is impossible to walk through the Palace or the
grounds without recognising the care which is now
taken of everything which may preserve or enhance its
historic interest. In the early days of July this year
(I896), I have seen some of the old statues which
formerly decorated the south front being replaced in
their old positions among the oranges which line the
walk in the summer.
It would be invidious to particularise the persons to
1 Four hundred volumes of his official correspondence, &c., given
by his representatives, are in the British Museum; but the mass of his
private correspondence passed into the hands of the late Mr. Alfred
Montgomery, who left it, I believe, to Mr. Ernest Law.




232


HAMPTON COURT


whose care so much is due, where all work together
with common enthusiasm for the public good. But a
word must be said of that admirable Surveyor of the
Royal Parks and Palaces, Mr. Edward Jesse, who, more
than any man, made the experiment of the free opening
to the public a success. He wrote a charming little
"Summer Day at Hampton Court," which very
pleasantly expresses his interest, his knowledge, and
his activity.  Sir Henry Cole revised an earlier
guide, under the nom  de plume of "Felix Summerly," and Mr. Ernest Law has re-issued it with
the improvements which his own knowledge has enabled him to add.
Hampton Court to-day appeals to the visitor in two
different aspects. It is the holiday-ground of thousands
of Londoners, and it is in this light that travellers
and foreign critics regard it with pleasure and a little
wonder. Thousands of orderly folk, merry, and not
very attentive to historic association or even natural
beauty, make sport and play here, as to the manner
born. "As some men gaze with admiration at the
colours of a tulip or the wing of a butterfly, so I was
by nature an admirer of happy human faces," said the
good Vicar of Wakefield: it is a happiness many a
parish priest and many a philanthropist can now enjoy
to the full at Hampton Court.
But this is not the only sight or the only thought.
Hampton Court belongs to-day not only to the present
but to the mighty past. Still a royal palace, with its
guard of honour, its chapel royal, its chaplain and




MEMORIES OF THE PAST 233


choir, its staff of royal officials and servants, it has its
close links with the past in the continuous occupation
of many of its rooms by those who have borne their
part, themselves or their kindred, in making England
great.  So we may walk through its courts with
thronged memories of great names-and from them
we may pass to "thick-coming fancies" of a world
invisible or half known.  Imagination and tradition
vie in bringing forth tales of strange noises and
mysterious presences. That long room, now so grey
and wan in the moonlight, that leads round the great
kitchen-court from the great watching chamber to
the top of the Queen's staircase, bears the name of
the Haunted Gallery. Was it here-for it opens into
the Pages' Chamber-that the Guards heard the sad,
stern voice of Strafford give the countersign " Christ,"
as he passed by the sleeping pages and Mr. Inglesant
on to where the King slept? Mr. Shorthouse may
tell us that the vision was earlier and in another place;
but Charles in those last days of his at Hampton must
have had dark memories of the days that could not be
recalled. Or is it Catherine Howard who tears herself
from her guardians and runs shrieking to the door
of the royal closet, that is in the west gallery of the
chapel? Henry sits still within at his prayers, and
the door will not open, and the guard force her back;
but her shrieks can still be heard above the storm on
windy nights. It is locked, and we may not enter it
at night; but the custodian of the pictures, who has
here some canvases that need his treatment, will not




234


HAMPTON COURT


tell us that he has seen the vision of the White Lady
who weeps and wrings her hands.
Or those two young cavaliers whose bones were
found under the pavement of the cloister in the
Fountain Court, and whose ghostly presence was felt
in the rooms of a lady near; do they now sleep well
where they lie in  Hampton Churchyard?      What
tragedy lies behind their burying in the "Cloister
Green " in hugger-mugger?
Edward VI.'s nurse, or Mistress Penn-not the
"Mother Jak" (so labelled) of Holbein's drawing,
whom we now know to be Margaret Clement, Sir
Thomas More's adopted child -cannot she rest in
peace in Hampton Church under her fine tomb-she
" Whose virtue guided hath her shippe unto the quiet rode? "
She died in 1562 of small-pox, and her body reposed,
they tell you, till 1829, when the old church was
destroyed.  She then returned to the Palace, and
worked her ancient spinning-wheel in a room that
had remained concealed for two centuries. She walks,
so say those who have seen her, in a " long grey robe
with a hood over her head, and her lanky hands outstretched before her;" and, like Hamlet's father to
the sentries " on their watch in the dead waist and
middle of the night" she comes, and being challenged,
passes into air.
Hampton Court is certainly the very place where
This is one of the very few points where Mr. Ernest Law is
at fault (" History of Hampton Court," vol. i. p. 197, note 2).




ITS ATTRACTION


235


one would expect to hear " ghost stories," if not to
see ghosts; and if ghosts are to be seen, what more
impressive sight could there be than that of those who
have walked here when living, now in mysterious stateliness haunting the scenes where they lived and suffered?
The White King, the lonely Cardinal who served his
earthly lord better than his Heavenly Master, Elizabeth,
and meek Catherine of Braganza, and the long line
of the great Harry's wives-we may see them all in
memory or in fancy, and maybe some will tell us
that they still walk the night. Or we may wander
by the great old trees, the oaks and elms in the
House Park, of mighty girth, some of which perhaps
may look back to Wolsey's days, as one fine elm, at
least by tradition, belongs to that of the Stewarts"King Charles's swing" it is called.    And as the
twilight brings memories of romance with it, and
soon the moon takes up the wondrous tale, we may
murmur with Keats, whose words sound so naturally
in this great galaxy of trees"Upon a tranced summer night
Those green-robed senators of mighty woods,
Tall oaks, branch-charmed by the earnest stars,
Dream, and so dream all night without a stir,
Save for one gradual solitary gust
Which comes upon the silence, and dies off,
As if the ebbing air had but one wave."
So by night or day Hampton Court still has its
fascination for artists and for poets. One who knows
almost every stone has drawn it, as long months have




236


HAMPTON COURT


taught him, with a touch of mastery. With him we
may wander round and see old scenes in a new light,
as the old walls lighted by the bright creepers, or the
quaint nooks approached from some new corner, pass
on to the paper with deft, rapid strokes.  There is
very much that will bear seeing very many times.
Custom will not stale its varieties. Each season, each
hour, adds a new charm. And so happily men come
and go, the crowds pass through, while the artist
lingers, and fixes for us with his pencil what the old
Palace looked like in the last years before the twentieth
century.
To some the present, beautiful as it is, is but a poor
image of the future; and the old Palace has been
imaged in the fine prose of a modern master as it may
be when the revolution, which he imagined was to
come, is passed and the new time has come. Still, he
says, in that dim future, when things shall have changed
so much, there was a sort of tradition of pleasure and
beauty clinging to the group of buildings, and still
people would go there for a summer day. In the
great hall tables are spread for dinner, and the old
rooms still keep the pictures and the tapestry. And
the old place still bears its beauty of old days, and no
one can tell what that is so well as he who strives
"To build a shadowy isle of bliss,
Midmost the beating of the steely sea,
Where tossed about all hearts of men must be."


"A little town of quaint and pretty houses, some




ITS FUTURE PICTURED


237


new, some old," he sees as he rows up from the new
London that is so far off from the London of to-day,
all "dominated by the long walls and sharp gables of
a great red-brick pile of building, partly of the latest
Gothic, partly of the court style of Dutch William,
but so blended together by the bright sun and beautiful
surroundings, including the bright blue river which it
looked down upon, that even amidst the beautiful
buildings of that new happy time it had a strange
charm about it." 1
Since I wrote down these words of his, he has passed
from the earth that was so beautiful to him; and he
knows now the realities that were sometime dim in
his eyes. He has left us many visions that we shall
not forget; chiefest, perhaps, those that belong to
the banks of the silver Thames.
Those who go to Hampton Court on a. bright
summer day may well think, even now, that it does
not fall very far below the poet's picture of its
future.
1 William Morris, " News from Nowhere," p. 162.








INDEX


AMBROISE, Maistre, his " Francis I.
and Eleanor," 174
Anne Bullen's Gateway, 8
Anne of Cleves, 57
Anne, Queen, oo; her alterations
in the gardens, 1 33, in the chapel,
145; her bed, 170
Astronomical clock, the, I I
BACON'S Essay on Gardening, I 9,
120
Base Court, the, 6
Battoni's " Pope Benedict XIV.,"
199
Bellini, the portrait ascribed to him,
I92
Bernhard van Orlay, his tapestry of
the "History of Abraham," 165
Bosch, Jerome, his "fantastic representation of Hell," I93
Bray, Solomon de, his "Family
Group," 198
Broad Walk, the, 131
Bullen, Anne, her badge, 8; apartments assigned to her, 43; her
"tablet of gold," 5; she becomes Queen, 55
CAROLINE, Queen, as Princess of
Wales, I I; her alterations in


the gardens, 135; anecdote of,
146; as Queen, 217; her friendship with Lord Hervey, 217;
Lord Chesterfield's opinion of
her, 2 9; the King's brutality to
her, 221; her death, 223
Catherine of Aragon, 58
Cavendish, George, his contemporary memorials of Wolsey's
life, 33, 35; his description of
Henry's visits, 36, of the reception of the French ambassage,
43; he carries the news of
Wolsey's death to the King, 51;
his description of Wolsey's ecclesiastical establishment, 140
Chapel, the, 139; Wolsey's ecclesiastical establishment, 140; accounts for years 1535 and 1536,
141; Henry's alterations, 141;
the royal pew, 142; associations,
I 43; its restoration,  44; its
present state, I54
Chapel Court, 131
Charles I., his pictures, 70, I79,
183; his new water-supply, 70;
commencement of the Civil War,
70; his flight from London and
hurried visit to Hampton Court,
71; his return to the Palace after


239




240


INDEX


Naseby, 71; Sir Thomas Herbert's account of the King's last
days at Hampton Court, 71; he
prepares to escape, 78; his last
days, 78; his execution, 79
Charles II., his return, 80; his
honeymoon, 80; his life at
Hampton Court, 80; his Queen,
8; his liaison with  Barbara
Palmer, 81; his life at Hampton Court, 82; his pictures, I98
Charles le Brun, his tapestry designs, 169
China, the, I56
Clock-court, the, 8
Clock-tower, the, 9
Clouet, Franqois, his portrait of
Mary Queen of Scots, 176
Conference of I604, the, I46; its
members, 147; the points propounded  by the King, I47;
differences of opinion, 148; the
High Commission considered,
50o; theological aspects, I52;
James's opinion of it all, 1 53
Confessionary, the, 9; its restoration by Sir J. C. Robinson, Io;
its character, I o; its ceiling, I 7
Correggio, his "S. Catherine Reading," 92; his other pictures, 197
Cromwell, Oliver, his negotiations
with Charles, 75; his occupation
of Hampton Court, 79
DEFOE, Daniel, his evidence as to
Wren's designs, 23; his account
of the royal dwellers in the
Palace, 12; on William III.'s
garden, 126


Dobson, William, his portraits, 182
D'Oggionno, Marco, 193
Dossi, Dosso, his "S. William"
and 4( Holy Family," 197
Drouais, his '( Madame de Pompadour," 199
Direr, Albrecht, his "redfaced
man,"  97
EAST Front, the, 19
Edward VI., his birth, 56; his
early days, 57; his troubles as
King, 58
Elizabeth, Queen, her detention at
Hampton Court, 58; as Queen,
61; scandals, 6i; her portraits,
176; Leopold von Wedel's description of her state, 62; her initials at Hampton Court, 63; Paul
Hentzner's account of the Queen
and the Palace, 64; her death, 67
Embroideries, the, 58, I57
Evelyn, John, the diarist, 89; on
Charles II.'s gardens, 124
FLOWER-POT Gate, 132
Fountain Court, the, I6
Fountain Garden, the, 18, 131
Francia, his " Baptism," I92
Frederica of Hanover, Princess,
her apartments, 6, 228
Frederick, Prince of Wales, 222;
the hasty drive to Saint James's,
223
Frog Walk, the, 33
Furniture, the, 170
GAINSBOROUGH'S portraits, 200
Gate-house, the Great, 5; its dignity
gone, 6




INDEX


24I


George I., confusion and scandals
in his court,  I I; plays acted
before him at the Palace, i I
George II., the sordid character of
his court, 218; his ill-temper,
220; his last visits to Hampton
Court, 224; his anti-English
nature, 226
George III., his ears boxed by his
grandfather, 2; his desertion of
Hampton Court, 224
Gheerardt, Marcus, the elder,
I78
Gibbons, Grinling, his carvings at
Hampton Court, 84, I45
Giorgione, his reputed   "Shepherd," I94
Glass, the, I 57
Great Canal, 123
Great Hall, the, 9, 13; its size
and character, 14
Great Parterre, the, 132
HAMPTON Court, its historical associations, 2, 29, 30; architectural features, 3, 7, I 8; external
grandeur, 5; the interior, 20;
the great galleries, 21; changes
made since Wolsey's day, 22;
its magnificence under Elizabeth,
30; under Wolsey, 36; it ceases
to be a royal residence,  4; its
English characteristics, 226; residents of later days, 228; its
aspects to-day, 232; its memories of the past, 233, 235; a
picture of its future by William
Morris, 236
Haunted Gallery, the, 63, 142


Heere, Lucas da, his portrait of
Elizabeth, 178
Henry VIII., his arms on the
gateway tower, 8; his great hall,
9, I3; his visits to Wolsey at
Hampton Court, 36; his covetousness, 42, 53; he enters upon
possession of Hampton Court,
51; his additions and alterations, 5; his portrait in the
King's Gallery, 174
Hervey, Lord, 21 5; his quarrel
with Pope, 217; his character
and career, 218; his anecdotes
of Queen Caroline and George
II., 146, 220; denunciation of
the King's anti-English nature,
226
Holbein, his reputed portrait of the
Earl of Surrey, I75; his John
Reskimeer, 175; other pictures,
175; his Tudor group, 198
Honthorst's " Family of the Duke
of Buckingham," 179; other
pictures, 182
Hoppner's " Marquis of Hastings,"
201
Horn-room, the, I15; tapestry contained in it, I65
Howard, Catherine, 57; her ghost,
I42
Howard, Thomas, Earl of Surrey,
his portrait at the Palace, 174;
Holbein's drawing of him at
Windsor, 175
JAMES I. at Hampton Court, 68;
his reception of Christian IV.
and of the Duke of Lorraine, 69
Q




242


INDEX


James II., 89
Janssen, Cornelius, his portrait of
the Duke of Buckingham, 179
Jesse, Edward, 232
KITCHEN, the Great, 13
Kneller, his "Beauties" of William
and Mary's Court, 107; his portraits of William and of Peter
the Great of Russia, o09
LADY-HOUSEKEEPER, the, 6
Laud, Bishop of Bath and Wells,
170
Leiden, Lucas van, his Crucifixion
triptych, 198
Lely, Peter, his "Beauties of the
Court," 83; his reputation, 83;
history of his "Beauties," 85
Le Notre (gardener), 123, 125,
I35, I36
Lepel, Miss, and Lord Hervey, 216
Lotto, Lorenzo, his pictures, I95
MABUSE, his "Adam and Eve," 198
Maiano, Gian da, his busts of
Roman emperors, 12
Maid of honour, the life of a, 214
Mantegna, Andrea, his " Triumph
of Julius Cesar," I83, 188; his
style, 187; Rubens's imitation,
I9I
Marmontel's "Le Mari Sylphe,"
211
Mary, Queen, her early betrothal to
Francis I., 43; her marriage with
Philip, 58; her favourite recreation, 58; Taylor's Sonnet to
her, 60




Mascall, Eustace, 22
Maze, the, 128
Milton at Hampton Court, 80
Minstrels' Gallery, the, I4
Montmorency, the Duc de, his reply
to Henry Quatre, 42; his visit
to Hampton Court, 43
More, Sir Antonio, 175
More, Sir Thomas, his " Utopia,"
4; his predictions as to Henry,
34; Henry's visits to him at
Chelsea, 36; his garden, I 117, 120
Mornington, Countess of, 229; her
apartments, 231
Morris, William, a picture of the
Palace's future, 236
Mount, the, 132
Mytens, his portrait of Queen Mary,
176; a reputed portrait, 179;
his style, 180
OMBRE, the game of, 213
Oudry, P., his portrait of Queen
Mary, 176
PARKS and gardens, I 115; under
Wolsey, 16;     under Henry
VIII., 116, I 8; under Edward
VI., 18; under Elizabeth, I 9;
under the Stewarts, 12; under
Cromwell, 121; under Charles
II., 122; under William  and
Mary, 125; the Wilderness, I127;
the Maze, 128; Queen Mary's
exotics, 129; the wrought-iron
gates of William and Mary, 130;
under Queen Anne, 133; under
George I., 133; under George
II., I35; under George III.,






INDEX


243


136; the birds and fish, 137;
the great vine, 137
Parr, Catherine, 57
Pawsey, Mrs., her needlework for
Queen Charlotte's bed, 170
Penn, Mistress, 57, 234
Philip and Mary, 58
Pictures, the, 7 I; the " Confessionary" ceiling, 171; the Tudor
pictures, 172; Elizabeth's porter,
172; scenes from the reign of
Henry VIII., 172; a family
group, 173; portraits of Elizabeth, I76; Charles I.'s great
collection, 179; artists of the
Stewart age, I81; Mantegna's
"C Triumph," I83; sixteenthcentury painters, removal of
Raffaelle's Cartoons, Milanese
school, Venetian school, 193;
Ferrarese school, 197; Parmese
school, 197; the Flemish and
Dutch school, 197; Georgian
age, I98; the West gallery,
20; the collection as a whole,
and the public debt of gratitude,
204
Pond Garden, the, 138
Pope, Alexander, his "Rape of
the Lock," 206; his quarrel
with Lord Hervey, 217
QUEEN'S private chapel, the, 145
Queen Mary's Bower, or Hornbeam Walk, I06, 125
RAFFAELLE, a doubtful attribution,
1 93; removal of theCartoons, 1 93
Rembrandt's heads, 198


Robinson, Sir J. C., his restoration
of the Confessionary, 10; his
opinion of its ceiling, I 7
Romano, Giulio, his "Caesars"
and other pictures, 193
Rubens, his doubtful "Sir Theodore
Mayerne," 18; his "Dian," 81
SCOTT, Sir Walter, his opinion of
the pictures, 17I; his comment
on Lord Hastings' death, 2o0
Seymour, Jane, she succeeds Anne
as Queen, 55; her lodgings, 56;
her death, 56
South front, the, 19
TAPESTRIES, the, 157; Wolsey's
tapestries, I 58; the Tudor tapestries, 159; "Ye Triumph of Fate
or Death," 160; "Ye Triumph
of Renown," 162; "YeTriumph
of Time," 163; the Flemish tapestries,  64; the "History of
Abraham," I65, I67; Elizabeth's tapestries, 168; George
I.'s tapestries, I69
Taylor's Sonnets, 59
Thomson's "Seasons," 133; his
rhapsody on the Thames, 205
Tintoretto, his " Nine Muses " and
"Queen Esther before Ahasuerus," 196
Titian, his portraits, 194
"Trophy gates," the, 5
VANDYKE, his portrait of Charles I.,
80o; other pictures, 18
Verrio, his decorations at the Palace
for Charles II., 88




244


INDEX


Villiers, Elizabeth, 97, 130
Villiers, Francis, 79
WALLER, Edmund, 181
Walpole, Horace, his anecdote of
the Gunnings, 225
Watching-chamber, 15
Water Gallery, the, Io6, 130
Wellesleys, the, 230
West, Benjamin, 201o; his life and
work, 202; his "Death of General Wolfe," 203
William and Mary, their initials on
the east front, I9; their respective rights to the sovereignty, 94;
death of Mary, o09
William III., his designs for the
gardens, 18, 23; his connection
with Hampton Court, 31; his
state bedroom, 84; his claims
to greatness considered, go; his
private character, 95; his part
in the murder of the De Witts
considered, 99; his inexcusable
attack upon Marshal Luxembourg, Ioo; his complicity in
the Glencoe massacre, I00;
his character as King, o12;
Hallam's opinion of him as
King, o4; his preference for
Hampton Court as a residence,
Io5; his intention to pull down


the chapel, I44; wearing his hat
in chapel, I45; his neglect of
Mary,   o6; his last years and
death,  09
Windsor Castle, its inferiority to
Hampton Court, 2
Withdrawing-room, the, 5
Wolsey, Cardinal, as architect, 3;
his private rooms, 9; his Confessionary or closet, 9; his arms,
12; his claims to greatness, 32;
as Statesman and Churchman,
34; his life at Hampton Court,
35; his gift of Hampton Court
to Henry, 42; assignment of
rooms to Henry and Catherine,
43; his reception of the French
ambassage, 43; his fall, 50; his
death, 5I; his chapel and his
ecclesiastical state, 139
Wren, Christopher, his colonnade,
i; his architectural style, I6,
I8, 19, 25; his monogram in
the Fountain  Court, I7; his
plans for the work, 23, 24; his
dismissal from  his post, 25;
criticisms upon his work, 26;
his work in the chapel, I42
ZUCCARO, his reputed portrait of a
porter, 172; his portrait of Queen
Elizabeth, 176, 178


Printed by BALLANTYNE, HANSON & Co.
Edinburgh and London