,the words between equals signs 77 appear in ,old ,english type in the original4 ,a few typographical errors have been made2 a list follows the etext4 7note of etext transcriber47 ,kensington ,palace3 the ,birthplace of the ,queen4 ,illustrated4 ,illustration3 ,,this ,,miniature ,,represents ,,the ,,queen ,,at ,,the ,,age ,,of ,,eight #ahai ,,may #bd,,th #ahii ,illustration3 ,h4,r4,h4 ,,the ,,princess ,,victoria ,,at ,,the ,,age ,,of ,,four4 7,from a ,painting by ,denning47 ,kensington ,palace ,,the ,,birthplace ,,of ,,the ,,queen ,,illustrated ,,being ,,an ,,historical ,,guide ,,to ,,the ,,state ,,rooms1 ,,pictures1 ,,and ,,gardens ,,by ,ernest ,law1 ,b4,a4 ,,barrister-,,at-,,law ,author of ,the ,history of ,hampton ,court ,palace2 ,the ,royal ,gallery of ,hampton ,court2 ,vandyck's ,pictures at ,windsor ,castle1 etc4 ,illustration3 colophon ,notice4--,this ,catalogue and ,guide are copyright1 and immediate proceedings in ,chancery will be taken against any infringers thereof4 ,,london ,,george ,,bell ,,and ,,sons #ahii ,illustration3 ,decoration ,notice to ,visitors4 ,the ,state ,rooms of ,kensington ,palace1 and likewise ,queen ,anne's ,orangery1 will be open to the public every day in the week throughout the year1 except ,wednesdays1 unless notice be1 at any time1 given to the contrary4 ,the hours of opening will be #aj o'clock in the morning on week days1 and #b o'clock in the afternoon on ,sundays4 ,the hours of closing will be #f o'clock in the evening from the #ast of ,april to the #cjth of ,september1 both days inclusive1 and #d o'clock during the winter months4 ,they will be closed on ,christmas ,day and ,good ,friday4 ,illustration3 ,decoration ,illustration3 ,,kensington ,,palace ,,and ,,gardens ,,in ,,the ,,reign ,,of ,,queen ,,anne4 ,illustration3 ,decoration ,contents4 ,,page ,,frontispiece4 ,h4,r4,h4 ,,the ,,princess ,,victoria ,,at ,,the ,,age ,,of ,,four #d ,,notice ,,to ,,visitors #f ,plate--,,kensington ,,palace ,,and ,,gardens ,,in ,,the ,,reign ,,of ,,queen ,,anne #h ,,preface #ad ,historical ,sketch4 ,,early ,,history ,,of ,,kensington #ag ,,building ,,of ,,the ,,palace #ah ,,deaths ,,of ,,queen ,,mary ,,and ,,king ,,william #ai ,,queen ,,anne ,,at ,,kensington ,,palace #bj ,,death ,,of ,,prince ,,george ,,of ,,denmark #bb ,,death ,,of ,,queen ,,anne #bb ,,george ,i4 ,,at ,,kensington ,,palace #bc ,,george ,,ii4 ,,at ,,kensington ,,palace #bd ,,kensington ,,in ,,george ,,iii4',s ,,reign #be ,,birth ,,of ,,queen ,,victoria #bf ,plate--,,the ,,duchess ,,of ,,kent ,,with ,,princess ,,victoria 7,,aged ,,two ,,years7 #bg ,,queen ,,victoria',s ,,early ,,years ,,at ,,kensington #bi ,,the ,,queen',s ,,childhood ,,at ,,kensington ,,palace #cj ,plate--,,the ,,princess ,,victoria ,,in #ahbe #ca ,,princess ,,victoria ,,becomes ,,heiress ,,to ,,the ,,throne #cd ,,queen ,,victoria',s ,,accession #cf ,,queen ,,victoria',s ,,first ,,council #cg ,,kensington ,,palace ,,in ,,recent ,,years #dj ,,restoration ,,of ,,the ,,state ,,rooms #da ,,methods ,,of ,,restoration #db ,,arrangement ,,of ,,the ,,pictures #dd ,,associations ,,with ,,queen ,,victoria #de ,descriptive and ,historical ,guide4 ,,old ,,kensington ,,palace ,,gardens #dg ,,queen ,,anne',s ,,gardens #di ,,queen ,,anne',s ,,orangery #ea ,,terrace ,,of ,,queen ,,anne',s ,,orangery #ec ,,exterior ,,of ,,queen ,,anne',s ,,orangery #ed ,,interior ,,of ,,queen ,,anne',s ,,orangery #ee ,,the ,,alcoves ,,of ,,queen ,,anne',s ,,orangery #ef ,,restoration ,,of ,,queen ,,anne',s ,,orangery #ef ,,kensington ,,gardens #eh ,,queen ,,caroline',s ,,improvements ,,in ,,kensington ,,gardens #eh ,,kensington ,,gardens ,,in ,,the ,,nineteenth ,,century #ei ,plate--,,south ,,front ,,of ,,kensington ,,palace ,,in #ahai--;,,after ,,westall #fa ,,south ,,front ,,of ,,the ,,palace #fc ,,wren',s ,,domestic ,,style #fc ,,east ,,front ,,of ,,the ,,palace #fd ,plate--,,plan ,,of ,,the ,,state ,,rooms #ff ,,public ,,entrance ,,to ,,the ,,palace #fg ,,queen',s ,,staircase #fh ,,old ,,oak ,,wainscoting ,,of ,,the ,,staircase #fi ,,window ,,sashes ,,of ,,the ,,staircase #fi ,,queen ,,mary',s ,,gallery #gj ,,wainscoting ,,and ,,carvings ,,of ,,queen ,,mary',s ,,gallery #ga ,,pictures ,,in ,,queen ,,mary',s ,,gallery4 ,,portraits ,,of ,,the ,,time ,,of ,,william ,,and ,,mary ,,to ,,george ,,ii #gc ,,queen',s ,,closet #gg ,,pictures ,,of ,,old ,,london #gg ,,queen ,,anne',s ,,private ,,dining ,,room #hj ,,pictures ,,in ,,queen ,,anne',s ,,private ,,dining ,,room #ha ,,queen ,,mary',s ,,privy ,,chamber #hc ,,pictures ,,in ,,queen ,,mary',s ,,privy ,,chamber #hc ,,queen ,,caroline',s ,,drawing ,,room #hg ,,painted ,,ceiling ,,of ,,the ,,queen',s ,,drawing ,,room #hh ,,contemporary ,,french ,,and ,,german ,,portraits #hh ,,the ,,cupola ,,or ,,cube ,,room #ic ,,the ,,painted ,,ceiling ,,of ,,the ,,cube ,,room #id ,plate--,,the ,,cupola ,,or ,,cube ,,room ,,as ,,it ,,was ,,when ,,the ,,queen ,,was ,,baptized ,,in ,,it #ie ,,painted ,,walls ,,of ,,the ,,cube ,,room #if ,,general ,,appearance ,,of ,,the ,,cupola ,,room #ih ,,king',s ,,drawing ,,room #ii ,,painted ,,ceiling ,,of ,,the ,,king',s ,,drawing ,,room #ii ,,william ,,kent1 ,,the ,,royal ,,and ,,fashionable ,,decorator #ajj ,plate--,,king',s ,,drawing ,,room #aja ,,kent ,,the ,,father ,,of ,,modern ,,gardening #ajc ,,west',s ,,pictures ,,in ,,the ,,king',s ,,drawing ,,room #ajd ,,king',s ,,privy ,,chamber #ajh ,,portraits ,,of ,,george ,,iii4',s ,,time #ajh ,,the ,,nursery #aac ,pictures and ,prints illustrative of the ,queen's ,life and ,reign #aac ,,ante-,,room #aad ,,prints ,,illustrative ,,of ,,the ,,life ,,and ,,reign ,,of ,,the ,,queen #aad ,,queen ,,victoria',s ,,bedroom #aae ,,prints ,,of ,,the ,,life ,,and ,,reign ,,of ,,the ,,queen #aaf ,,mementoes ,,and ,,relics ,,of ,,the ,,queen',s ,,childhood ,,collected ,,in ,,queen ,,victoria',s ,,bedroom #aaf ,,king',s ,,gallery #aag ,,decorative ,,carvings ,,in ,,the ,,king',s ,,gallery #aag ,,chimney-,,piece1 ,,map ,,and ,,dial #aah ,plate--,,the ,,king',s ,,gallery #aai ,,painting ,,of ,,the ,,ceiling ,,and ,,wainscot ,,of ,,the ,,king',s ,,gallery #aba ,,naval ,,pictures ,,in ,,the ,,king',s ,,gallery #abb ,,king',s ,,grand ,,staircase #abi ,,kent',s ,,alterations ,,in ,,the ,,king',s ,,grand ,,staircase #acj ,plate--,,the ,,king',s ,,grand ,,staircase #aca ,,painted ,,walls ,,of ,,the ,,king',s ,,grand ,,staircase #acc ,,painted ,,ceiling ,,of ,,the ,,king',s ,,grand ,,staircase #ace ,,presence ,,chamber #acg ,,painted ,,ceiling ,,of ,,the ,,presence ,,chamber #ach ,,ceremonial ,,pictures ,,of ,,queen ,,victoria',s ,,reign #aci ,illustration3 ,decoration ,illustration3 ,decoration ,preface4 ,the following pages1 compiled under the sanction of the ,lord ,chamberlain of ,her ,majesty's ,household and the ,first ,commissioner of ,her ,majesty's ,works and ,buildings1 are intended to meet the requirements of visitors to the ,state ,rooms of ,kensington ,palace1 now open by command of the ,queen to the inspection of the public during ,her ,majesty's pleasure4 ,this little book1 therefore1 is to be understood as aiming only at a descriptive and historical account of the particular parts of the building on view--not1 in any sense1 as attempting a general history of the ,palace4 ,nevertheless1 the author may1 perhaps1 be permitted to say that1 as far as his object extends1 he has endeavoured to render the information here given as accurate and complete as possible1 by devoting the same amount of time and labour to research and verification1 as though he had been writing a book of a critical nature for a restricted circle of readers1 instead of a mere handbook for ordinary sightseers4 ,in this way1 the writer conceives1 can he best promote the object which1 it may be assumed1 the ,queen and ,her ,majesty's ,government have had in view in restoring and opening these ,state ,rooms to the public--namely1 that they should serve as an object-lesson in history and art1 and a refining influence of popular culture and education4 ,in pursuance of this design the author has had recourse not only to such well-known standard authorities on his subject as ,pyne's ,history of ,royal ,residences1 #ahai2 ,faulkner's ,history of ,kensington1 #ahbj2 ,leigh ,hunt's ,old ,court ,suburb1 #ahec2 and ,mr4 ,loftie's ,kensington--,picturesque and ,historical1 #ahhg2 but also to a large number of earlier and less known historical and topographical works1 which have served to illustrate many things connected with the history of this interesting old building4 ,his main sources of information1 however1 have been the old manuscripts1 parchment rolls1 and state papers1 preserved in the ,british ,museum and ,record ,office--especially the ,declared ,accounts and ,treasury ,papers1 containing the original estimates1 accounts and reports of ,sir ,christopher ,wren and his successors1 relating to the works and buildings at ,kensington4 ,none of these have ever before been examined or published2 and they throw much light on the art and decoration of this palace1 while also1 for the first time1 setting at rest many hitherto debatable points4 ,the author must here once again--as in works of a similar nature elsewhere--express his obligations for the kind assistance he has received from all those who have charge of the ,queen's palaces--the ,hon4 ,sir ,spencer ,ponsonby ,fane1 ,g4,c4,b41 ,comptroller of ,her ,majesty's ,household2 the ,hon4 ,reginald ,brett1 ,c4,b41 ,secretary of ,her ,majesty's ,board of ,works and ,buildings2 ,sir ,john ,taylor1 ,k4,c4,b41 ,consulting ,architect and ,surveyor to the ,board2 and ,mr4 ,philip1 ,clerk of the ,works at ,kensington ,palace4 ,at the same time he wishes to make it clear that for the information contained herein1 and for the opinions and views expressed1 he himself is alone responsible4 ,here also the author must make his acknowledgments to the editor of ,the ,gentlewoman1 who has kindly lent him the blocks for the portraits of the ,queen4 ,it may be as well to take this opportunity of emphasizing what is more fully insisted on in subsequent pages1 that ,kensington ,palace1 as a public resort1 is not to be considered in the light of an ,art ,gallery1 but as a ,palace with historical pictures in it4 ,the clear understanding of this may prevent misapprehension as to the scheme followed in restoring the state rooms to their original state1 where the pictures--and their frames--are arranged on the walls as a part only of their furniture and decoration4 ,finally1 it may be observed that though the outline of the history of the ,palace1 prefixed to the description of the ,state ,rooms1 has necessarily been brief1 the ,queen's early life1 and the interesting events that took place here in ,june #ahcg1 seemed to require a fuller treatment4 ,these1 therefore1 have been described in detail1 mainly in the words of eye-witnesses1 which1 though they have often been printed before1 may1 being repeated here1 acquire--the compiler has thought--a new vividness and interest1 when read on the very spot where they were enacted2 and thus insure for these famous scenes an even wider popularity than before4 ,illustration3 ,decoration ,illustration3 ,decoration ,,historical ,,sketch4 ,early ,history of ,kensington4 ,kensington ,palace1 built by ,william and ,mary1 occupied by ,queen ,anne as one of her favourite residences1 enlarged by ,george ,i4 and greatly appreciated by ,george ,,ii4 and his queen1 ,caroline1 has received a greater renown and more interesting associations from having been the birthplace and early home of ,queen ,victoria4 ,in celebration of the eightieth anniversary of that ever-memorable and auspicious event1 ,her ,majesty decided on opening the ,state ,apartments free to the public on the #bdth of ,may1 #ahii1 during ,her ,majesty's pleasure4 ,before recapitulating the events of the ,queen's early life here1 we must give a brief outline of the history of the ,palace since it became a royal residence4 ,the original building1 of which it is probable that a good deal still stands1 was erected mainly by ,sir ,heneage ,finch1 ,lord ,chancellor and ,earl of ,nottingham1 who acquired the estate1 including some hundred and fifty acres of meadow and park--now ,kensington ,gardens--from his brother ,sir ,john ,finch4 ,hence it was known as ,nottingham ,house2 and under that title it was bought from ,daniel ,finch1 the second earl1 for the sum of #ah1jjj guineas1 in the summer or autumn of #afhi1 by ,king ,william ,,iii41 who was anxious to have a convenient residence near enough to ,whitehall for the transaction of business1 and yet sufficiently far to be out of the smoky atmosphere1 in which he found it impossible to breathe4 ,the ,king1 assisted by his ,queen1 at once set about enlarging and embellishing the mansion1 and laying out new gardens4 ,building of the ,palace4 ,the works seem to have been begun on or very soon after the #ast of ,october1 #afhi4 ,we learn this from the enrolled account of ,thomas ,lloyd1 ,paymaster of ,their ,majesties ,workes and ,buildinges1 made up from paybookes subscribed with the handes of ,sir ,christopher ,wren1 ,knight ,surveyor of the workes2 ,william ,talman1 ,comptroller2 ,john ,oliver1 ,master ,mason2 and ,matthew ,bankes1 ,master ,carpenter1 and with the hand of ,nicolas ,hawkesmore1 clerke of the said workes1 according to the ancient usual and due course of the office of their ,majesties workes4 ,in the second week of ,november a news-letter informs us that the new apartment1 then being built1 suddenly fell flat to the ground1 killing seven or eight workmen and labourers4 ,the ,queen had been in that apartment but a little while before4 ,by ,february #beth1 #afij1 they were sufficiently advanced for ,evelyn to record in his diary3 ,i went to ,kensington1 which ,king ,william has bought of ,lord ,nottingham1 and altered1 but was yet a patched building1 but with the garden1 it is a very sweete villa1 having to it the ,park1 and a straight new way through this ,park4 ,the making of this new road cost just about #h1jjj4 ,building operations were continued during the ,king's absence in ,ireland2 and the day before the news of the battle of the ,boyne reached ,queen ,mary she spent a few quiet hours in the gardens here1 writing the same evening1 ,july #eth1 to ,william3 ,the place made me think how happy ,i was there when ,i had your dear company4 ,until his return she continued to overlook the building1 and on ,august #fth following1 writes again as to the progress of the building3 ,the outside of the house is fiddling work1 which takes up more time than can be imagined2 and while the schafolds are up1 the windows must be boarded up1 but as soon as that is done1 your own apartment may be furnished4 ,and a week after3 ,i have been this day to ,kensington1 which looks really very well1 at least to a poor body like me1 who have been so long condemned to this place 7,whitehall7 and see nothing but water and wall4 ,the work of improving ,kensington ,house continued for another year or more1 costing during this period #fj1jjj4 ,it was1 however1 far from finished1 when1 in ,november1 #afia1 a serious fire occurred1 necessitating re-building at a cost of upwards of #f1jjj4 ,from the year #afia to #afif another #ce1jjj was spent in further altering the old house1 and in additional works of decoration in the galleries and other rooms--details as to which will be given in our description of those apartments4 ,extensive alterations and improvements were also in progress at the same time in the gardens1 which at this period were confined to the ground east and south of the ,palace1 as to which we shall refer again4 ,deaths of ,queen ,mary and ,king ,william4 ,ere the work1 however1 was completed1 ,queen ,mary was taken ill at ,kensington with small pox in ,december1 #afid4 ,on learning the nature of her illness she locked herself in her closet1 burned some papers1 and calmly awaited her fate1 which quickly came a few days after1 the #bhth of ,december4 ,evelyn visited ,kensington again in #afif1 and speaks of it then as noble but not greate1 commending especially the ,king's ,gallery1 which was then filled with the finest pictures in the royal collection1 a greate collection of ,porcelain1 and a pretty private library4 ,the gardens about it very delicious4 ,peter the ,great's visit to ,william ,,iii4 in this same gallery is referred to in our description of it below4 ,the next event of moment is ,william ,,iii4's own death at ,kensington ,palace1 after his accident in ,hampton ,court ,park4 ,je tirs vers ma fin1 said he to ,albemarle1 who had hurried from ,holland to his master's bedside2 and to his physician3 ,i know that you have done all that skill and learning could do for me2 but the case is beyond your art1 ,i must submit4 ,can this1 he said soon after1 last long8 ,he was told that the end was approaching4 ,he swallowed a cordial1 and asked for ,bentinck4 ,those were his last articulate words4 ,bentinck instantly came to the bedside1 bent down1 and placed his ear close to the ,king's mouth4 ,the lips of the dying man moved1 but nothing could be heard4 ,the ,king took the hand of his earliest friend and pressed it tenderly to his heart4 ,in that moment1 no doubt1 all that had cast a slight passing cloud over their long pure friendship was forgotten4 ,it was now between seven and eight in the morning4 ,he closed his eyes1 and gasped for breath4 ,the bishops knelt down and read the commendatory prayer4 ,when it ended ,william was no more4 ,when his remains were laid out1 it was found that he wore next to his skin a small piece of black silk ribbon4 ,the lords in waiting ordered it to be taken off4 ,it contained a gold ring and a lock of the hair of ,mary4 ,queen ,anne at ,kensington ,palace4 ,fond as ,william and ,mary had been of ,kensington1 ,queen ,anne was even more attached to it still2--and it became her usual residence whenever it was necessary for her to be near the great offices of state4 ,she seems to have remained satisfied with the palace as it had been finished by her predecessors1 except for the addition of one or two small rooms in the little court behind the gallery1 perhaps because ,king ,william bequeathed to her a debt of upwards of #d1jjj for his buildings at ,kensington4 ,she devoted1 however1 a great deal of care and expense to the improving and enlarging of the ,palace gardens--as to which we shall have more to say when we come to describe them4 ,queen ,anne1 indeed1 was1 in this respect1 thoroughly ,english4 ,she loved her plants and flowers1 and would spend hours pottering about her gardens at ,kensington4 ,the appearance of her gardens will best be seen from our reduced facsimile of ,kip's large engraving1 published about #agad in his ,britannia ,illustrata4 ,in the right distance is seen that most beautiful building called the ,orangery or green-house1 erected by her orders--which we shall fully describe on a subsequent page4 ,besides enlarging the gardens round about the ,palace1 ,queen ,anne greatly extended the area of the park-like enclosed grounds attached to ,kensington ,palace4 ,mr4 ,loftie has declared that neither ,queen ,anne nor ,queen ,caroline took an acre from ,hyde ,park4 ,but this we have found not to be the fact4 ,in an old report on the ,state of the ,royal ,gardens and ,plantations at ,ladyday1 #agac1 among the ,treasury ,papers in the ,record ,office1 there is a distinct reference to ,the ,paddock joyning to the ,gardens1 taken from ,hyde ,park in #agje1 and stocked with fine deer and antelopes2 and again in another document1 dated ,may #bfth in the same year1 being a memorial to the ,lord ,high ,treasurer from ,henry ,portman1 ,ranger of ,hyde ,park1 it is stated that near #ajj acres had been enclosed from the park of ,kensington1 whereby the profits he had by herbage were much reduced4 ,later on1 in ,george ,,ii4's reign1 in #agbi1 we find a grant of #bjj made to ,william1 ,earl of ,essex1 ,ranger of ,hyde ,park1 in consideration of loss of herbage of that part of the said park which is laid into his ,majesty's gardens at ,kensington4 ,death of ,prince ,george of ,denmark4 ,it was at ,kensington ,palace that ,anne's husband1 ,prince ,george of ,denmark1 at length succumbed1 in #agjh1 to a prolonged illness of gout and asthma4 ,during his last sickness and death1 ,anne had the consolation of the ,duchess of ,marlborough's sympathy4 ,her ,grace's deportment1 according to an eye-witness1 while the ,prince was actually dying1 was of such a nature that the ,queen1 then in the height of her grief1 was not able to bear it4 ,she actually forced her way1 as ,mistress of the ,robes1 to the poor ,prince's deathbed1 and only drew into the background when peremptorily ordered by the heart-broken wife to leave the room4 ,after ,prince ,george had breathed his last1 she stepped forward again1 and when all the others had left1 insisted on remaining with poor ,anne1 who was weeping and clapping her hands together1 and swaying herself backwards and forwards in an agony of grief4 ,the ,queen was at length induced to accede to the ,duchess's advice to leave that dismal body and remove to ,st4 ,james's4 ,two years later1 in these very same state rooms of ,kensington ,palace took place the famous final interview between the ,queen and her whilom favourite1 also subsequently noticed in our description of ,queen ,anne's ,private ,dining ,room4 ,death of ,queen ,anne4 ,in the summer of the year #agad ,queen ,anne was seized1 at ,kensington ,palace1 with apoplexy1 brought on by political worries4 ,she had been failing in health for some time2 and on ,july #bgth had an attack of blood to the head1 while presiding at her ,cabinet ,council1 and was carried in a dead faint to her bed4 ,four days after1 ,charles ,ford1 an official of the government and a correspondent of ,swift1 wrote3 ,i am just come from ,kensington1 where ,i have spent these two days4 ,at present the ,queen is alive1 and better than could have been expected2 her disorder began about eight or nine yesterday morning4 ,the doctors ordered her head to be shaved2 while it was being done1 the ,queen fell into convulsions1 or1 as they say1 a fit of apoplexy1 which lasted two hours1 during which she showed but little sign of life4 ,at six in the evening of the same day1 another anxious watcher within the palace walls1 says ,miss ,strickland1 wrote to ,swift3 ,at the time ,i am writing1 the breath is said to be in the ,queen's nostrils1 but that is all4 ,no hopes of her recovery1--and in effect she breathed her last the following day1 in the fiftieth year of her age4 ,her life would have lasted longer1 wrote ,roger ,coke1 in his ,detection1 if she had not eaten so much4444 ,she supped too much chocolate1 and died monstrously fat2 insomuch that the coffin wherein her remains were deposited was almost square1 and was bigger than that of the ,prince1 her husband1 who was known to be a fat1 bulky man4 ,george ,i4 at ,kensington ,palace4 ,the day after the death of ,queen ,anne1 ,king ,george was proclaimed her successor2 and soon after his accession he entered into possession of ,kensington ,palace4 ,taking1 on his part1 also1 a fancy to the place1 he decided1 about the year #agba1 to erect a new and additional suite of state rooms1 the building of which was intrusted to ,william ,kent1 as we shall fully explain in our description of the new state rooms constructed by him4 ,otherwise1 we hear scarcely anything of ,george ,i4 in connection with ,kensington4 ,he lived here1 indeed1 in the greatest seclusion with his ,german favourites1 and was scarcely ever seen1 even in the gardens1 which in his reign first became the fashionable promenade1 where1 in the words of ,tickell1 who wrote a poem on the subject1 in imitation of ,pope's ,rape of the ,lock-- ,the dames of ,britain oft in crowds repair ,to groves and lawns1 and unpolluted air1 ,here1 while the town in damps and darkness lies1 ,they breathe in sunshine1 and see azure skies4 ,george ,,ii4 at ,kensington ,palace4 ,in the reign of ,george ,,ii4 ,kensington became more than ever the favourite residence of the court1 and much insight into life within the walls of the ,palace at this time is afforded us by such books as ,lady ,suffolk's ,memoirs1 ,lady ,sundon's ,letters1 ,walpole's ,reminiscences1 and1 above all1 of course1 by ,lord ,hervey's ,memoirs4 ,here is a malignant little sketch drawn by that treacherous1 satiric hand3 ,his ,majesty stayed about five minutes in the gallery2 snubbed the ,queen1 who was drinking chocolate1 for being always 'stuffing2' the ,princess ,emily for not hearing him2 the ,princess ,caroline for being grown fat2 the ,duke of ,cumberland for standing awkwardly2 ,lord ,hervey for not knowing what relation the ,prince of ,sultzbach was to the ,elector ,palatine2 and then carried the ,queen to walk1 and be re-snubbed1 in the garden4 ,it was the ,princess ,emily just mentioned who played a practical joke one evening at ,kensington on ,lady ,deloraine1 by drawing her chair from under her just as she was going to sit down to cards1 thus sending her sprawling on the floor4 ,the ,king burst out laughing1 and1 to revenge herself1 ,lady ,deloraine played his august ,majesty the same trick soon after1 which not unnaturally led to her being forbidden the court for some time4 ,although ,queen ,caroline had to put up with a good deal of snubbing1 she managed1 at the same time1 usually to get her own way4 ,she was very fond of art2 and it was she who discovered1 stowed away in a drawer at ,kensington ,palace1 the famous series of ,holbein's drawings4 ,these she had brought out1 and she arranged all the pictures in the ,state ,rooms according to her liking4 ,her substituting good pictures for bad in the great ,drawing-,room during one of the ,king's absences in ,hanover1 led to the famous and oft-quoted scene between ,lord ,hervey and his ,majesty1 who1 nevertheless1 did not interfere with the ,queen's alterations4 ,caroline was also devoted to the then fashionable craze of gardening1 and was continually planning and altering at ,kensington4 ,it was at her instance--as we shall see presently in greater detail--that the large extent of land1 formerly the park of old ,nottingham ,house1 and also a portion of ,hyde ,park1 was laid out1 planted1 and improved into what we now know as ,kensington ,gardens4 ,queen ,caroline died in #agcg1 while ,george ,,ii4 survived her twenty-three years1 expiring at ,kensington ,palace on the morning of the #beth of ,october1 #agfj1 at the age of seventy-eight4 ,his end was extremely sudden4 ,he appeared to be in his usual health1 when a heavy fall was heard in his dressing-room after breakfast4 ,the attendants hurried in1 to find the ,king lying on the floor1 with his head cut open by falling against a bureau4 ,the right ventricle of his heart had burst4 ,kensington in ,george ,,iii4's ,reign4 ,george ,,ii4 was the last sovereign to occupy ,kensington ,palace1 which thenceforth1 during the long reign of ,george ,,iii41 was left almost entirely neglected and deserted4 ,several members of the royal family1 however1 occupied1 at various periods1 suites of apartments in the ,palace4 ,among others1 ,caroline of ,brunswick1 when ,princess of ,wales1 lived for a short time here with her mother4 ,her behaviour greatly scandalized the sober-minded inhabitants of the old court suburb4 ,she kept a sort of open house1 receiving visitors in a dressing-gown1 and sitting and talking about herself with strangers1 on the benches in the garden1 at the risk of being discovered4 ,another but more worthy occupant of the ,palace in ,george ,,iii4's reign was our present ,queen's uncle1 the ,duke of ,sussex1 who collected a magnificent library here of nearly fifty thousand volumes1 which he spent the last years of his life in arranging and cataloguing4 ,destined1 however1 to invest ,kensington ,palace with associations and memories far transcending any that have gone before1 was the advent here of the ,duke and ,duchess of ,kent1 seven months after their marriage4 ,they occupied most of the old state rooms on the first and second floors of the easternmost portion of the ,palace4 ,three lives then stood between the duke and the throne1 and little could the newly-married pair have imagined that from their union would spring the future ,queen and ,empress of such a vast and mighty empire as now owns the sway of their first and only child4 ,birth of ,queen ,victoria4 ,the ,queen was born on the #bdth of ,may1 #ahai1 at a quarter past four in the morning4 ,some doubt1 says ,mr4 ,loftie1 has been thrown on the identification of the room in which the future ,queen was born2 but the late lamented ,dr4 ,merriman1 whose father attended the ,duchess1 had no doubt that a spacious chamber1 which has been marked with a brass plate1 was that in which the happy event took place4 ,this room1 which is on the first floor1 exactly under the ,king's ,privy ,chamber--the ,state ,rooms being on the second floor--has a low ceiling1 and three windows1 facing east1 looking into the ,private ,gardens4 ,it has been identified by the ,queen as the one ,her ,majesty was always told she was born in4 ,the brass plate1 put up at the time of the first ,jubilee1 in #ahhg1 states3 ,in this room ,queen ,victoria was born1 ,may #bdth1 #ahai4 ,illustration3 ,,the ,,duchess ,,of ,,kent ,,with ,,princess ,,victoria 7,,aged ,,two ,,years74 7,after a picture by ,sir ,william ,beechey47 ,faulkner1 writing the year after the event1 confirms this identification1 insomuch that he says3 ,the lower apartments in the south-east part of the ,palace1 beneath the ,king's ,gallery1 have been for some years occupied by ,his ,royal ,highness the ,duke of ,kent1 whose premature decease--eight months after the birth of his daughter--this nation has so recently and deeply lamented2 and they are still the residence of ,her ,royal ,highness the ,duchess4 ,this is how the event was noticed in the ,memoirs of ,baron ,stockmar3 ,a pretty little ,princess1 plump as a partridge1 was born4 ,the ,duke of ,kent was delighted with his child1 and liked to show her constantly to his companions and intimate friends with the words3 ',take care of her1 for she will be ,queen of ,england4' ,an interesting letter of the ,duke of ,kent's1 written a few weeks after to his chaplain1 ,dr4 ,thomas ,prince1 who had addressed a letter of congratulation to him while1 at the same time1 somewhat condoling with him that a daughter and not a son had been born to him1 was published in the ,times at the time of the ,jubilee of #ahig4 ,in it the duke remarked3 ,as to the circumstance of that child not proving to be a son instead of a daughter1 ,i feel it due to myself to declare that such sentiments are not in unison with my own2 for ,i am decidedly of opinion that the decrees of ,providence are at all times wisest and best4 ,queen ,victoria's ,early ,years at ,kensington4 ,the next reference we have found to the future ,queen1 is in a letter1 written on #bast of ,july1 #ahbj1 when1 consequently1 ,her ,majesty was a little more than a year old1 by ,mr4 ,wilberforce1 who mentions being received at ,kensington ,palace by the ,duchess of ,kent that morning4 ,she received me with her fine animated child on the floor1 by her side1 with its playthings1 of which ,i soon became one4 ,most of the future ,queen's early years were passed at ,kensington ,palace in great privacy and retirement4 ,she was often seen1 however1 in ,kensington ,gardens1 her constant companion in her walks being ,miss1 afterwards ,baroness ,lehzen4 ,leigh ,hunt1 referring to this period1 mentions in his ,old ,court ,suburb1 having seen her coming up a cross path from the ,bayswater ,gate1 with a girl of her own age by her side--probably the ,princess ,feodore1 her beloved half-sister and constant companion of her girlhood--whose hand she was holding1 as if she loved her4444 ,a magnificent footman in scarlet came behind her4 ,the youthful ,princess was sometimes driven in a goat or donkey carriage in the park and gardens1 and1 as she grew older1 in a small phton1 drawn by two diminutive ponies4 ,the following gives a little glimpse of our ,queen at this early period of her life3 ,a party consisting of several ladies1 a young child1 and two men servants1 having in charge a donkey gaily caparisoned with blue ribbons1 and accoutered for the use of the infant 444 who skipped along between her mother and sister1 the ,princess ,feodore1 holding a hand of each4 ,the ,queen's ,childhood at ,kensington ,palace4 ,in further illustration of the ,queen's life as a little girl with her mother at ,kensington ,palace1 we cannot do better than quote what ,mr4 ,holmes1 writing with authority as the ,queen's ,librarian at ,windsor ,castle1 tells us in his interesting work1 ,queen ,victoria1 which1 as he remarks1 presents for the first time an accurate account of the childhood of the ,queen4 ,during these early years1 and before a regular course of studies had been attempted1 the family life at the ,palace was simple and regular4 ,breakfast was served in summer at eight o'clock1 the ,princess ,victoria having her bread and milk and fruit on a little table by her mother's side4 ,after breakfast the ,princess ,feodore studied with her governess1 ,miss ,lehzen1 and the ,princess ,victoria went out for a walk or drive4 ,it has been repeatedly said that at this time she was instructed by her mother2 but this is not the case1 as the ,duchess never gave her daughter any lessons4 ,at two there was a plain dinner1 when the ,duchess had her luncheon4 ,in the afternoon was the usual walk or drive4 ,at the time of her mother's dinner the ,princess had her supper laid at her side4 ,at nine she was accustomed to retire to her bed1 which was placed close to her mother's4444 ,illustration3 ,,the ,,princess ,,victoria ,,in #ahbe4 7,after a picture by ,g4 ,fowler47 ,it was not till the ,princess had entered her fifth year that she began to receive any regular instruction4444 ,in this determination not to force her daughter's mind1 the ,duchess of ,kent acted on the counsel of her mother1 who had advised her 'not to tease her little puss with learning while she was so young4' ,the advice was justified by results1 for the ,princess made rapid progress4 ,the ,earl of ,albemarle1 who was in attendance on the ,duke of ,sussex at ,kensington1 thus describes in his ,recollections the appearance of the ,princess when seven years old3 ,one of my occupations on a morning1 while waiting for the ,duke1 was to watch from the window the movements of a bright1 pretty little girl1 seven years of age4 ,she was in the habit of watering the plants immediately under the window4 ,it was amusing to see how impartially she divided the contents of the watering pot between the flowers and her own little feet4 ,her simple but becoming dress contrasted favourably with the gorgeous apparel now worn by the little damsels of the rising generation--a large straw hat and a suit of white cotton2 a coloured fichu round the neck was the only ornament she wore4 ,her education was now conducted on a regular system4 ,writing1 arithmetic1 singing lessons1 dancing lessons by ,madam ,bourdin1 to whose teaching may be due in some measure the grace of gesture and dignity of bearing which have always distinguished ,her ,majesty1 drawing1 and the ,french language4 ,german was not allowed to be spoken2 ,english was always insisted upon1 though a knowledge of the ,german language was imparted by ,m4 ,barez4 ,the lessons1 however1 which were most enjoyed were those in riding1 which has always been since one of the ,queen's greatest pleasures4 ,princess ,victoria becomes ,heiress to the ,throne4 ,the death of the ,duke of ,york1 and the remote probability of the ,duke and ,duchess of ,clarence having any offspring1 drew increasing attention to the movements of the ,duchess of ,kent and her daughter4 ,many stories are current1 continues ,mr4 ,holmes1 of the behaviour and appearance of the young ,princess4 ,the simplicity of her tastes was particularly noticed and admired4 ,it was this simplicity of living and careful training in home life1 which endeared not only the ,princess1 but her mother also1 to the hearts of the whole nation4 ,charles ,knight1 as well as ,leigh ,hunt1 whom we have already quoted1 has recorded the pleasing impression made upon him by the young ,princess4 ,in his ,passages of a ,working ,life he says3 ,i delighted to walk in ,kensington ,gardens4 ,as ,i passed along the broad central walk1 ,i saw a group on the lawn before the ,palace4444 ,the ,duchess of ,kent and her daughter1 whose years then numbered nine1 were breakfasting in the open air4444 ,what a beautiful characteristic1 it seemed to me1 of the training of this royal girl1 that she should not have been taught to shrink from the public eye2 that she should not have been burdened with a premature conception of her probable high destiny2 that she should enjoy the freedom and simplicity of a child's nature2 that she should not be restrained when she starts up from the breakfast table and runs to gather a flower in the adjoining pasture2 that her merry laugh should be fearless as the notes of the thrush in the groves around her4 ,i passed on and blessed her2 and ,i thank ,god that ,i have lived to see the golden fruits of such a training4 ,the ,queen was just on the eve of her ninth birthday when1 on ,may #aith1 #ahbh1 ,sir ,walter ,scott dined at ,kensington ,palace with the ,duchess of ,kent4 ,he records in his diary3 ,i was very kindly received by ,prince ,leopold1 and presented to the little ,princess ,victoria1 the heir-apparent to the ,crown1 as things stand4444 ,this little lady is educated with much care1 and watched so closely1 that no busy maid has a moment to whisper1 ',you are heir of ,england4' ,i suspect1 if we could dissect the little heart1 we should find some pigeon or other bird of the air had carried the matter4 ,sir ,walter's surmise1 ,mr4 ,holmes informs us1 was not altogether without foundation2 and two years later1 when1 by the death of her uncle1 ,george ,,iv41 only the life of ,william ,,iv4 stood between her and the throne1 she was formally made acquainted with her position4 ,the early part of the year #ahcc was passed at ,kensington4 ,there the course of study was kept up as before1 but the ,princess now went out more into society and was seen more in public4444 ,the ,princess's amusements were her pets1 and her walks and drives1 and during the spring and summer she much enjoyed riding4 ,it was at ,kensington1 in the summer of #ahcf1 that the ,queen first saw her future husband4 ,the ,prince in his diary recorded that his aunt1 the ,duchess of ,kent1 gave a brilliant ball here at ,kensington ,palace1 at which the gentlemen appeared in uniform and the ladies in so-called fancy dresses4 ,we remained until four o'clock4444 ,dear ,aunt is very kind to us1 and does everything she can to please us1 and our cousin also is very amiable4 ,the ,princess ,victoria was at ,kensington when she attained her majority1 on the #bdth of ,may1 #ahcg4 ,she was awakened by a serenade2 she received many presents1 and the day was kept as a general holiday at ,kensington4 ,queen ,victoria's ,accession4 ,less than a month after1 ,king ,william ,,iv4 died at ,windsor at twelve minutes past two on the morning of ,june #bjth4 ,as soon as possible the ,archbishop of ,canterbury1 with ,lord ,conyngham 7the ,lord ,chamberlain71 started to convey the news to ,kensington1 where they arrived at five o'clock in the morning4 ,they knocked1 they rang1 they thumped1 says ,the ,diary of a ,lady of ,quality1 for a considerable time before they could rouse the porter at the gate2 they were again kept waiting in the courtyard2 they hurried into one of the lower rooms1 where they seemed forgotten by everybody4 ,they rang the bell1 desired that the attendant of the ,princess ,victoria might be sent to inform ,her ,royal ,highness that they requested an audience on business of importance4 ,after another delay1 and another ringing to inquire the cause1 the attendant was summoned1 who stated that the ,princess was in such a sweet sleep1 she could not venture to disturb her4 ,then they said1 ',we are come to the ,queen on business of ,state1 and her sleep must give way to that4' ,in a few minutes she came into the room1 says ,mr4 ,holmes1 a shawl thrown over her dressing-gown1 her feet in slippers1 and her hair falling down her back4 ,she had been awakened by the ,duchess of ,kent1 who told ,her ,majesty she must get up2 she went alone into the room where ,lord ,conyngham and the archbishop were waiting4 ,the ,lord ,chamberlain then knelt down1 and presented a paper1 announcing the death of her uncle1 to the ,queen2 and the archbishop said he had come by desire of ,queen ,adelaide1 who thought the ,queen would like to hear in what a peaceful state the ,king had been at the last4 ,queen ,victoria's ,first ,council4 ,at nine o'clock the ,prime ,minister was received in audience alone2 and soon afterwards an informal gathering of ,privy ,councillors1 including the ,queen's uncle1 the ,duke of ,sussex1 the ,duke of ,wellington1 and a dozen or so of ministers1 prelates1 and officials1 was held in the anteroom to the ,council ,chamber1 when an address of fealty and homage was read aloud and signed by those present4 ,after this the doors were opened1 disclosing--to quote the words of ,mr4 ,barrett ,lennard1 now the sole survivor of the scene1 except the ,queen herself--a large ,state ,saloon1 close to whose threshold there stood unattended a small1 slight1 fair-complexioned young lady1 apparently fifteen years of age4 ,she was attired in a close-fitting dress of black silk1 her light hair parted and drawn from her forehead2 she wore no ornament whatever on her dress or person4 ,the ,duke of ,sussex advanced1 embraced and kissed her--his niece the ,queen4 ,lord ,melbourne and others kissed hands in the usual form1 and the ,usher taking the address1 closed the doors1 and the ,queen disappeared from our gaze4 ,no word was uttered by ,her ,majesty or by any present1 and no sound broke the silence1 which seemed to me to add to the impressive solemnity of the scene4 ,the room where this took place is low and rather dark and gloomy1 with pillars in it1 supporting the floor of the ,cube ,room above4 ,the subsequent meeting of the ,queen's first ,council1 which took place at eleven o'clock1 is familiar to everyone from ,wilkie's well-known picture--though1 at the expense of truth he has emphasized the principal figure by painting her in a white dress instead of the black which was actually worn4 ,her ,majesty was introduced to the ,council ,chamber by her uncles1 the ,dukes of ,cumberland and ,sussex1 and at once took her seat on a chair at the head of the table4 ,in describing this famous scene1 it is useless to attempt anything beyond quoting once more--often as it has been quoted--the admirable account given by ,charles ,greville1 ,clerk of the ,council3 ,never was anything like the first impression she produced1 or the chorus of praise and admiration which is raised about her manner and behaviour1 and certainly not without justice4 ,it was very extraordinary1 and something far beyond what was looked for4 ,her extreme youth and inexperience1 and the ignorance of the world concerning her1 naturally excited intense curiosity to see how she would act on this trying occasion1 and there was a considerable assemblage at the ,palace1 notwithstanding the short notice which was given4444 ,she bowed to the ,lords1 took her seat1 and then read her speech in a clear1 distinct and audible voice1 and without any appearance of fear or embarrassment4 ,she was quite plainly dressed and in mourning4 ,after she had read her speech1 and taken and signed the oath for the security of the ,church of ,scotland1 the ,privy ,councillors were sworn1 the two ,royal ,dukes 7of ,cumberland and ,sussex7 first1 by themselves2 and as these two old men1 her uncles1 knelt before her1 swearing allegiance and kissing her hand1 ,i saw her blush up to the eyes1 as if she felt the contrast between their civil and their natural relations1 and this was the only sign of emotion she evinced4 ,her manner to them was very graceful and engaging3 she kissed them both1 and rose from her chair and moved towards the ,duke of ,sussex1 who was farthest from her and too infirm to reach her4 ,she seemed rather bewildered at the multitude of men who were sworn1 and who came one after the other to kiss her hand1 but she did not speak to anybody1 nor did she make the slightest difference in her manner1 or show any in her countenance1 to any individual of any rank1 station or party4 ,i particularly watched her when ,melbourne and the ,ministers and the ,duke of ,wellington and ,peel approached her4 ,she went through the whole ceremony--occasionally looking at ,melbourne for instruction when she had any doubt what to do1 which hardly ever occurred--with perfect calmness and self-possession1 but at the same time with a graceful modesty and propriety particularly interesting and ingratiating4 ,when the business was done she retired as she had entered4 ,peel said how amazed he was at her manner and behaviour1 at her apparent deep sense of her situation1 her modesty1 and at the same time her firmness4 ,she appeared1 in fact1 to be awed1 but not daunted1 and afterwards the ,duke of ,wellington told me the same thing1 and added that if she had been his own daughter he could not have desired to see her perform her part better4 ,this description of ,charles ,greville's1 whose pen was given to anything but flattery1 is confirmed by the testimony of many others present4 ,earl ,grey wrote to ,princess ,lieven3 ,when called upon for the first time to appear before the ,privy ,council1 and to take upon herself the awful duties with which at so early an age she has been so suddenly charged1 there was in her appearance and demeanour a composure1 a propriety1 an aplomb1 which were quite extraordinary4 ,she never was in the least degree confused1 embarrassed or hurried2 read the declaration beautifully2 went through the forms of business as if she had been accustomed to them all her life4 ,lord ,palmerston says in a letter to ,lord ,granville3 ,the ,queen went through her task with great dignity and self-possession2 one saw she felt much inward emotion1 but it was fully controlled4 ,her articulation was particularly good1 her voice remarkably pleasing4 ,next day1 the #bast of ,june1 at ten o'clock in the morning1 ,her ,majesty was formally proclaimed ,queen of ,great ,britain and ,ireland at ,st4 ,james's ,palace1 when a salute was fired in the ,park1 and she appeared at the window of the ,presence ,chamber1 returning afterwards to ,kensington ,palace4 ,on the #acth of ,july the ,queen1 accompanied by her mother1 the ,duchess of ,kent1 took her final departure from the place of her birth and the home of her childhood4 ,kensington ,palace in recent ,years4 ,since the accession of the ,queen1 ,kensington ,palace has had a quiet and uneventful history--though ,her ,majesty has frequently1 in the course of her reign1 privately revisited her old home1 where the ,duchess of ,kent retained her rooms until her death in #ahfa2 and where1 soon after that date1 ,princess ,mary and the ,duke of ,teck also came to reside for a period4 ,here their daughter1 ,princess ,may1 now the ,duchess of ,york1 was born in the ,state ,room called the ,nursery1 in #ahfg4 ,in the meanwhile1 the apartments in the south-west corner of the ,palace1 occupied by the ,duke of ,sussex until his death in #ahdc1 were afterwards tenanted by his widow1 the ,duchess of ,inverness1 who died in #ahgc1 when they were granted by the ,queen to ,princess ,louise and the ,marquis of ,lorne1 who still reside in them4 ,during all these sixty years the ,palace had been suffered gradually more and more to fall into a deplorable state of disrepair4 ,the walls were bulging in many places1 and merely remained standing by being shored up2 the rafters of the roof were beginning to rot away1 tiles and slates were broken and slipping off1 so that it was becoming increasingly difficult to keep the rain and wind at bay4 ,the floors1 also1 were everywhere deteriorating1 the old panelled walls and painted ceilings of the grand reception rooms slowly1 but surely1 crumbling to decay4 ,more than once1 said a leading article in ,the ,times of ,january #abth1 #ahih1 it has been seriously proposed to pull the whole building down1 and to deal otherwise with the land1 and ,her ,majesty's subjects ought to be grateful to her for having strenuously resisted such an act of ,vandalism1 and for having declared that1 while she lived1 the palace in which she was born should not be destroyed4 ,restoration of the ,state ,rooms4 ,the ,queen1 it is believed1 had long desired that her people's wish to be admitted to inspect the ,palace of her ancestors1 and her own birthplace and early home1 should be gratified2 and it seemed a fitting memorial of the ,diamond ,jubilee that this should be done4 ,an obdurate ,treasury1 which1 as we have hinted1 had looked forward rather to demolition than restoration1 was at length induced to recommend the expenditure necessary to prepare the ,state ,rooms for the admission of the public1 and thus1 on the #aath of ,january1 #ahih1 it was possible to make the following gratifying announcement in the press3 ,her ,majesty1 in her desire to gratify the wishes of ,her people1 has directed that the ,state ,rooms at ,kensington ,palace1 in the central part of the building1 which have been closed and unoccupied since #agfj1 together with ,sir ,christopher ,wren's ,banqueting ,room1 attached to the ,palace1 shall after careful restoration be opened to the public1 during her pleasure2 and the ,government will forthwith submit to ,parliament an estimate of the cost of restoration4 ,accordingly the ,board of ,works proceeded to prepare estimates and on ,march #dth following1 the ,first ,commissioner1 ,mr4 ,akers ,douglas1 ,m4,p41 submitted a vote of #bc1jjj for the purpose4 ,by a unanimous vote of the ,house of ,commons on ,april #ast1 the amount required was at once agreed to1 and great gratification was on all sides expressed that so happy solution had at length been arrived at4 ,forthwith1 the restorations were put in hand--the most pressing repairs having1 indeed1 been begun in anticipation1 previous to the passing of the vote--and for many months they consisted entirely in solid structural works1 which scarcely seemed to affect the appearance of the building at all4 ,it was found necessary to rebuild and underpin walls1 to reslate practically the whole of the roof over the ,state ,apartments and renew the timbers that carried it2 and also almost all the floors4 ,after these heavy works1 and those consequent on the installation of the hot-water warming apparatus1 were completed1 the more interesting1 but much more difficult1 business involved in the restoration of the old decorative ironwork1 woodwork1 and paintings of the ,state ,rooms was taken in hand4 ,the more substantial but less salient work having been carried out1 the decorative works were next proceeded with1 under the constant supervision of ,sir ,john ,taylor1 ,k4,c4,b41 ,consulting ,architect and ,surveyor to ,h4,m4's ,board of ,works1 and the continual and immediate control of ,mr4 ,philip1 temporary ,clerk of the ,works for ,kensington ,palace4 ,moreover1 the ,hon4 ,reginald ,brett1 ,c4,b41 ,secretary of the ,board1 to whose initiative the whole scheme of the restoration1 we may say1 has been mainly due1 has given a constant close personal attention to everything that has been done4 ,nor has any trouble1 labour1 or research been spared to render everything as historically and archologically correct as possible4 ,methods of ,restoration4 ,the principles on which the restorations have been carried out will more fully appear1 in the description we give in our subsequent pages1 in regard to every detail of the work4 ,here we need only say that the most studied care has been taken never to renew any decoration where it was possible to preserve it--least of all ever to attempt to improve old work into new4 ,on the contrary1 repairing1 patching1 mending1 piecing1 cleaning1 have been the main occupations of the decorators1 to an extent that would render some impatient1 slapdash builders and surveyors frantic4 ,yet it has been all this minute--though no doubt sometimes costly--attention to details1 this laborious piecing together of old fragments1 this reverential saving of original material and work1 this almost-sentimental imitation of the old style and taste where patching in by modern hands was inevitable1 which has produced a result and effect likely1 we think1 to arouse the admiration of all who relish the inimitable charm of antique time-mellowed work4 ,never before1 we may safely say1 has the restoration of any historic public building been carried out with quite the same amount of loving care as has been lavished on ,kensington ,palace4 ,the spirit has been rather that of a private owner reverentially restoring his ancestral home1 than that of an ordinary public official1 with an energy callous to all sentiment1 sweeping away the old to replace it with a spick-and-span new building4 ,this method of treatment has nowhere been applied more scrupulously1 and we venture to think with greater success1 than in the treatment of the old oak panelling and the beautiful carving1 all of which had been covered over with numerous coats of paint1 so long ago--we have discovered from the old accounts in the ,record ,office--as #agbd4 ,in the cleaning off of these dirty incrustations1 various processes have been resorted to1 as they suited the nature of the work1 and so thoroughly has this been done that the closest inspection would give us no inkling that any part1 either of the flat surface or of the most delicate carving1 had ever been painted at all4 ,equal pains were taken in finishing the surface with oil and wax polish--no stain whatever being used on the panelling1 doors or cornices--so that the real true colour of the wood is seen1 varying only with its natural variation1 and exhibiting all its richness of tone1 and its fullness of grain4 ,it makes one almost glad it should have suffered so many years of long neglect--that when at last it has been taken in hand1 it should have been done when the historical significance and the technical and artistic value of such things are more truly appreciated than formerly4 ,there can be little doubt that if an early nineteenth century upholsterer had got hold of this ,palace1 most of the beautiful old work would have been cleared out to make way for vulgar plaster-work of white and gold4 ,substantially the same principles have been followed in the cleaning and restoration of the painted walls and ceilings1 which work has been executed with the utmost sympathy for the old work1 and the most careful efforts to preserve it4 ,there has not been a touch of paint applied except to make good portions absolutely destroyed1 so that these ceilings--whatever their merits or demerits--remain exactly as they were when first completed1 save for the more subdued and modulated tone they have taken on from the softening hand of ,time4 ,arrangement of the ,pictures4 ,a word should now be said about the pictures1 which have been brought from various ,royal residences to furnish these ,state ,apartments1 and to illustrate the history of this ,palace4 ,the bulk of them have come from ,hampton ,court1 and a large number are pieces which were removed when the ,state ,rooms were dismantled by ,george ,,iv4 and ,william ,,iv41 from the very walls where they now once again hang4 ,their return here from ,hampton ,court1 in the overcrowded galleries of which it has been impossible ever properly to display them1 has been a most auspicious thing for that ,palace1 and has rendered feasible many long-desired rearrangements and improvements4 ,in selecting the pictures which seemed most suitable for hanging at ,kensington1 the principle has been followed of restricting them almost entirely to portraits and historical compositions belonging to the epoch with which the ,palace is connected--the reigns of ,william and ,mary1 ,queen ,anne1 and the ,georges1 and1 finally1 of course that of ,queen ,victoria4 ,in the carrying out of this plan an endeavour has been made to group the pictures together in the various apartments as far as possible according to the periods to which they belong--making separate collections1 at the same time1 of the curious topographical subjects relating to ,old ,london1 in the ,queen's ,closet2 of the interesting series of ,georgian sea-pieces1 sea-fights1 and dockyards1 in the ,king's ,gallery--where for the first time they may now at last be really seen and examined--and the ceremonial and other pictures1 relating to the ,queen's reign1 in the ,presence ,chamber and the actual rooms originally occupied by ,her ,majesty in her youth4 ,having given these general indications as to the arrangements1 it will not be necessary to do more than refer to our subsequent pages for the details of the scheme4 ,nor need we dwell on what will at once be only too obvious to the connoisseur1 that anyone who expects to behold in this ,palace a fine collection of choice works of art will certainly be disappointed4 ,kneller and ,zeeman1 ,paton and ,pocock1 ,huggins and ,serres1 ,west and ,beechey1 are not exactly names to conjure with--nor even1 indeed1 ,scott1 ,monamy1 ,drouais1 or ,hoppner1 in their somewhat second-rate productions here4 ,moreover1 it is to be clearly understood1 that it is not as an ,art ,gallery that these rooms are opened to the inspection of the public1 but as a ,royal ,palace1 with pictures hung in it illustrative of its history and associations1 and as furniture to its walls4 ,nevertheless1 it is not high art only1 nor great imaginative works1 which can interest and instruct2 and1 historically1 these bewigged1 ponderous1 puffy personages of the unromantic eighteenth century1 whose portraits decorate these walls1 are more in accord with their setting1 than would be the finer1 simpler1 and nobler creations of the great epochs of art4 ,associations with ,queen ,victoria4 ,on the other hand1 the ,victorian pictures1 and the apartments in which they are arranged1 stand apart on a different footing of their own4 ,it is to the three small1 plain and simple rooms1 with their contents1 in the south-eastern corner of the building1 that all visitors to the ,palace will turn with the liveliest interest1 and with the keenest1 the most thrilling emotion4 ,romance1 and all the thoughts and feelings of tender1 natural affection1 which appear to have been smothered in the preceding century and a half of powder and gold-lace1 seem to awaken and revive once more with the child born in this ,palace eighty years ago1 in the little girl playing about in these rooms and in these gardens1 in the youthful ,queen1 who stepped forth from her simple chamber here to take possession of the greatest throne in the world6 ,it is as the scene of such memorable events that ,kensington ,palace possesses1 and will hereafter ever possess1 abiding interests and engrossing charms altogether its own2 and that it will ever inspire1 among those who come to visit it1 thoughts and memories moving and deep4 ,and not to us only in these islands2 not to us only of this age2 but to thousands and thousands likewise across the seas2 to countless millions yet unborn1 will this ancient structure become1 now and in the ages yet to be1 a revered place of loving pilgrimage as the birthplace and early home of ,queen ,victoria4 ,illustration3 ,decoration ,illustration3 ,decoration ,,descriptive ,,and ,,historical ,,guide4 ,old ,kensington ,palace ,gardens4 ,before making our way to the public entrance to the state rooms of the ,palace1 let us take a glance at the history of the gardens lying round it1 and the exterior of the building2 and first as to the gardens on the east and south of the building4 ,the whole ground here down to the highway was laid out quite early in the reign of ,william and ,mary2 but its present uninteresting appearance gives us but little idea of how it looked at that time4 ,we find from the old accounts that large sums1 amounting to several thousands of pounds1 were expended on garden works--for levelling1 gravelling1 and planting1 all in the formal ,dutch style1 with figured beds and clipped trees--and also much ornamental work1 such as urns1 stone vases1 statues1 and seats4 ,there are1 for instance1 many items such as these3 ,to ,edward ,pearce for carving a chaire for the garden with a canopy of drapery1 #dc #afs42 more for carving #d chairs and #b seats with ,dolphins1 scollop shells1 etc41 and other works done about the said gardens1 #dc #bs4 #d;d4--in both #hf #ahs4 #d;d4 ,we have also a contemporary account of the gardens as formed by ,william and ,mary1 in a ,view of the ,gardens near ,london1 dated ,december1 #afia3 ,kensington ,gardens are not great1 nor abounding with fine plants4 ,the orange1 lemon1 myrtle1 and what other trees they had there in summer1 were all removed to ,mr4 ,london's and ,mr4 ,wise's greenhouse at ,brompton ,park1 a little mile from them4 ,but the walks and grass laid very fine2 and they were digging up a flat of four or five acres to enlarge the garden4 ,the northern boundary of ,king ,william's gardens is marked by two piers of excellent red brickwork1 evidently erected by ,wren at that time4 ,they are surmounted by very fine vases of carved ,portland stone2 and are perhaps two of the ,four great fflower-pots of ,portland stone1 richly carved1 for which1 we find from the old bills1 the statuary ,gabriel ,cibber1 the father of ,colley ,cibber1 was paid #ahg #es4 ,between these piers1 which stand #ci feet apart1 there was probably1 in old days1 a screen and gates of fine wrought iron4 ,they stand at the south end of what was called ,brazen ,face ,walk1 and between them the visitor passes to the public entrance to the ,palace4 ,the fencing in of this part of the gardens is perhaps referred to in the following entry belonging to the years #afib-ie3 ,william ,wheatley for makeing and setting up ,pallizadoes and gates in and about the said ,palace--#aeb #es4 #aj;d4 ,to the north of these piers lies the north-west corner of the now so-called ,kensington ,gardens1 where were formerly situated that part of the old gardens appurtenant to the ,palace1 laid out by ,queen ,anne4 ,the present bare uninteresting appearance of the ground round about is now entirely different from what it then was4 ,illustration3 ,decoration ,queen ,anne's ,gardens4 ,bowack1 in his ,antiquities of ,middlesex1 writing in the reign of ,queen ,anne1 in #agje1 tells us of her improvements3 ,there is a noble collection of foreign plants and fine neat greens1 which makes it pleasant all the year1 and the contrivance1 variety1 and disposition of the whole is extremely pleasing1 and so frugal have they been of the room they had1 that there was not an inch but what is well improved1 the whole with the house not being above twenty-six acres4 ,her ,majesty has been pleased lately to plant near thirty acres more towards the north1 separated from the rest by a stately green-house1 not yet finished2 upon this spot is near one hundred men daily at work1 and so great is the progress they have made1 that in less than nine months the whole is levelled1 laid out1 and planted1 and when finished will be very fine4 ,her ,majesty's gardener had the management of this4 ,of ,queen ,anne's stately green-house we shall speak in a moment4 ,addison1 also1 in ,no4 #dgg of the ,spectator1 expatiated on the beauties of the gardens3 ,wise and ,london are our heroick poets2 and if1 as a critic1 ,i may single out any passage of their works to commend1 ,i shall take notice of that part in the upper garden1 at ,kensington1 which was at first nothing but a gravel pit4 ,it must have been a fine genius for gardening1 that could have thought of forming such an unsightly hollow into so beautiful an area1 and to have hit the eye with so uncommon and agreeable a scene as that which it is now wrought into4 ,the cost of these improvements amounted to several thousands of pounds--in levelling1 planting1 turfing1 gravelling4 ,the appearance of the east and south gardens in the reign of ,queen ,anne will1 as we have already said1 best be conveyed by ,kip's plate2 the general plan of the new enclosed garden to the north1 north-east1 and north-west1 by ,rocque's engraving1 published in #agcf4 ,from this we see that ,queen ,caroline1 who embarked in so many gardening enterprises1 left ,queen ,anne's new gardens substantially intact2 though she made a clean sweep of all the old fantastic figured flower beds and formal walks of ,william ,,iii4's parterres to the south and east of the ,palace2 substituting therefor bare and blank expanses of lawn and wide gravel paths4 ,during the reigns of ,george ,,iii4 and ,george ,,iv4 all the gardens were allowed to become more and more uncared for2 and at last those to the north of the ,palace were destroyed altogether4 ,the old ,wilderness and old ,gravel ,pit of ,queen ,anne and the early ,georges now exist no longer--converted by an insane utilitarianism partly into park land1 the rest into meadow4 ,the old gardens to the east1 already flattened out and spoilt by ,queen ,caroline1 now exist but in part2 the small portion1 which has not been covered with hideous forcing houses and frames1 is1 however1 to a certain extent nicely shrubbed1 and closed in by trees and hedges4 ,the site of the old south gardens1 curtailed now to a small enclosure1 which retains little of the old ,english picturesque air1 might with advantage1 we think1 be less stiff and bare4 ,there is here little more than a clump or two of trees and shrubs1 a wide gravel path1 and two large vacant lawns1 separated from the public walk by a wire fence1 and between this and ,high ,street mere expanses of grass4 ,fortunately1 the devastating notions of the landscape gardener whose one idea was so to arrange the ground surrounding a house as to look as if it stood plump in the middle of a park--for all the world like a lunatic asylum--are not quite so much in favour as they were4 ,the blankness and barrenness of all the ground between the south front and the street was even more painfully apparent in ,leigh ,hunt's time1 who in his ,old ,court ,suburb drew attention to this salient defect nearly fifty years ago4 ,the house1 he remarked1 nominally possesses 'gardens' that are miles in circumference4444 ,there is room enough for very pleasant bowers in the spaces to the east and south1 that are now grassed and railed in from the public path2 nor would the look of the ,palace be injured with the spectator1 but rescued from its insipidity4 ,his suggestion has been acted on to a certain extent in recent times1 but too partially in our view4 ,queen ,anne's ,orangery4 ,queen ,anne is the sovereign to whom we owe the erection of this exceedingly fine specimen of garden architecture--one of the most beautiful examples of the art of the ,renaissance in ,london1 if not in ,england4 ,if we could say with truth that there ever was a ,queen ,anne style1 this would1 indeed1 be a representative and unrivalled example of it--as it certainly is of ,sir ,christopher ,wren's1 which1 developing in the reign of ,charles ,,ii41 was definitely formed and fixed in that of ,william and ,mary4 ,to an artist like ,wren to beautify the ordinary and useful was to give expression to one of the highest functions of architecture2 and therefore in this mere store-house for the ,queen's treasured plants and flowers1 probably also a place where ,queen ,anne liked to sit and have tea1 we have a building--unimportant though its object may be considered--which attains the very acme of his art1 exhibiting all his well-balanced judgment of proportion1 all the richness of his imagination in design4 ,the building of this greenhouse was begun in the summer of the year #agjd4 ,a plan1 prepared by ,sir ,christopher at ,queen ,anne's express orders1 was submitted to and approved by her1 and the original estimate1 which is still in the ,record ,office1 dated ,june #ajth1 #agjd--probably drawn up by ,richard ,stacey1 master bricklayer1 and entitled3 ,for building a ,greenhouse at ,kensington at a cost of #b1eii #es4 #a;d4--was accordingly laid before the officers of ,her ,majesty's ,works1 ,sir ,christopher ,wren1 ,john ,vanbrugh1 ,benjamin ,jackson1 and ,matthew ,bankes1 for a report thereon4 ,their opinion1 after considering the measures and prices1 was that it may be finished soe as not to exceed the sum therein expressed1 viz41 #b1eii2 and the ,lord ,treasurer was accordingly prayed to pay #b1jjj into the ,office of ,works that it may be covered in before winter1 according to ,her ,majesties expectation4 ,the work was consequently put in hand forthwith1 but there is some reason to suspect that ,wren's original intentions were departed from1 and that the estimate approved by the ,board of ,works was afterwards cut down by the ,treasury by a thousand pounds or so4 ,this appears probable from the fact that ,richard ,stacey1 the bricklayer who contracted for the work1 and who1 in a petition dated ,september #acth1 was clamouring for payment of #hjj1 on account of money then already disbursed by him1 referred to that sum as part of a total of #a1efj1 lately altered from the first estimate4 ,whether this is so or not1 the details of the original estimate are interesting4 ,the bricklayer's charges came to #fig2 mason's1 to #ajb2 ,glass windows1 doors1 and the window shutters1 #cdj2 ,glazier for ,crowne ,glass1 #gd2 ,carpenter1 #cfc1 etc42 added to which was3 ,more to be laid out the next year3 ,the mason to pave it with stone fine-sanded1 #bdf2 more for stone steps to go up into it1 #gb2 more for wainscoting and painting the ,inside up to the top1 #bfd4 ,the last item is especially noteworthy1 proving1 as it does1 that the woodwork was originally painted4 ,the beauty of ,wren's masterpiece of garden architecture seems to have been thoroughly appreciated in the time immediately succeeding its erection2 but with the steady decline in taste during the ,georgian epoch1 it fell more and more into disregard1 until1 when the court deserted ,kensington in #agfj1 it was abandoned to complete neglect4 ,britton and ,brayley1 writing in #ahaj in their ,beauties of ,england1 refer to it regretfully3 ,the whole is now sinking into a state of unheeded decay4 ,soon after this1 however1 it seems to have undergone some sort of repair1 so1 at least1 wrote ,faulkner1 ten years after1 who added3 ,it is now filled with a collection of ,his ,majesty's exotic plants4 ,he called it a superb building1 and clearly regarded it with a much more appreciative eye than did its official guardians1 who probably about this time perpetrated the barbarism of cutting windows in the north wall1 right through the fine panelling and cornice6 ,faulkner1 nevertheless1 was of course quite wrong in declaring1 as he did1 that it was originally built by ,queen ,anne for a ,banqueting ,house1 and frequently used by ,her ,majesty as such4 ,there is absolutely no foundation whatever for either part of this statement1 though it has often been repeated and was improved upon by ,leigh ,hunt1 who asserted that balls and suppers certainly took place in it4 ,funny balls they must have been on the old brick floor6 ,hunt has nothing more to say of it than rather scornfully to call it a long kind of out-house1 never designed for anything else but what it is1 a greenhouse4 ,in so great contempt1 indeed1 does it appear to have been held about this time1 that it is said the idea was once seriously entertained by some official wiseacre of pulling it down and carting it away as rubbish6 ,and this while the ,state was annually devoting hundreds of thousands of pounds to art education1 art schools1 art teachers1 and art collections1 leaving one of our most precious monuments to perish from decay6 ,out-house and greenhouse though it be1 we would rather see it preserved than half the buildings of recent times4 ,terrace of ,queen ,anne's ,orangery4 ,before examining the orangery in detail1 let us stand a moment in front of it1 on the terrace1 platform1 or estrade--by whichever name we may call it--of ,portland stone1 with steps going down from it in front and at both ends4 ,here formerly stood1 in the summer1 some of ,queen ,anne's choicest exotics2 and here ,her ,majesty doubtless often sat to have tea1 gossiping with the ,duchess of ,marlborough or ,abigail ,hill4 ,in front the steps led down into a formal parterre4 ,now1 however1 the most prominent objects to the eye here1 are the glass-houses1 and the tops of the forcing frames1 in which the whole stock for the bedding out in the park and gardens has been reared for the last thirty or forty years4 ,it is truly an amazing thing that a piece of ground1 situated as this is1 close under the windows of the ,palace1 and opposite this orangery1 should have been appropriated to so grossly disfiguring a use4 ,this particular spot is the very last1 one would have supposed1 which would have been pitched on for the purpose4 ,it will not be long1 we trust1 before the whole ground will be cleared1 and devoted once more to an old-fashioned sunk formal garden1 with such quaint devices as clipped shrubs1 trimmed box1 figured beds1 sundials1 leaden vases--such as still survive in many an old country house4 ,nor do we see why such restorations should stop here1 nor why much of the ground around the ,palace should not be laid out in the old ,english style1 with some1 at any rate1 of the many embellishments for which ,evelyn pleaded as suitable for a royal garden3 ,knots1 trayle work1 parterres1 compartments1 borders1 banks1 embossments1 labyrinths1 ddals1 cabinets1 cradles1 close walks1 galleries1 pavilions1 porticoes1 lanthorns1 and other relievos of topiary and horticulan architecture1 fountaines1 jettes1 cascades1 pisceries1 rocks1 grottoes1 crypt1 mounts1 precipices1 and ventiducts2 gazon theatres1 artificial echoes1 automate and hydraulic music6 ,barring the last half dozen items1 something in the antique formal style would1 indeed1 be a relief from the tedious monotony of modern landscape gardening4 ,exterior of ,queen ,anne's ,orangery4 ,as a specimen of an unaffectedly ornamented exterior of brick1 this elevation to the south1 aiming rather at simplicity and plain dignity than magnificence or grandeur1 is to our view admirable4 ,in the centre is a compartment1 more decoratively treated than the rest1 with four rusticated piers or pillars of brick1 supporting an entablature of the ,doric order1 mainly in stone4 ,the cornice1 though probably modelled on the original1 must be modern1 for it is in ,roman cement1 a material which did not come into use in ,england until about a hundred years ago2 and it so happens that the date1 #ahje1 has been found on part of the woodwork adjoining4 ,above the cornice1 over the central window1 or rather doorway1 is a semi-circular window1 apparently to give light into the roof4 ,on each side of the central compartment are four high windows1 with sashes filled with small panes2 and at each end are slightly projecting wings1 or bays1 with window-doors1 extra high1 and reaching to the floor level1 to admit tall-grown oranges and other plants4 ,these are flanked by plain rusticated piers of bright red brick2 beyond which are plain brick niches1 with small brackets above them4 ,a very similar arrangement of windows and niches is repeated at the east and west return ends of the building2 where1 however1 the large window is surmounted by a small semi-circular recess or panel1 and the whole overhung by the deep1 wide eave of the gable of the roof4 ,the total exterior length of the building is #aga feet1 the width #cb feet4 ,interior of ,queen ,anne's ,orangery4 ,it is not1 however1 the exterior of this building1 but the interior1 which will arouse in those who behold it the greatest admiration1 for it is here that we can appreciate ,wren's imaginative and constructive genius at its very best4 ,the longer we know and contemplate it1 the more supremely beautiful does it strike us1 both in the mass and in its details4 ,we will not describe it with any minuteness2 but content ourselves with recording that the central portion of each wall1 is treated more elaborately than the rest1 being ornamented with ,corinthian columns1 supporting a richly carved entablature4 ,the rest of the walls1 both between the windows on the south side1 and on the unbroken surface of the opposite north side1 are panelled in deal wood1 with beautiful carved cornices above4 ,at each end1 both east and west1 there is an arch1 flanked with panelled niches1 and surmounted by festoons of ,gibbons' carving4 ,these1 we may observe in passing1 proved1 after being cleaned1 to be so worm-eaten1 as to necessitate their being repainted--mere staining not being sufficient to prevent their falling to pieces4 ,they are now in fact1 held together by the coatings of new paint4 ,the dimensions of this main portion of the interior are3 #aab feet long and #bd feet wide between the brick walls1 three inches less each way between the woodwork4 ,the height to the ceiling is #bd feet #f inches1 and to the top of the cornice #bb feet #i inches4 ,the ,alcoves of ,queen ,anne's ,orangery4 ,fine1 however1 as is the main and central portion of this interior1 the alcoves1 into which we pass through the arches at each end of it1 impress us still more with their admirable proportions1 their supreme grace of design1 the exquisite beauty of their decorative detail4 ,their shape is circular1 with fluted ,corinthian columns1 supporting highly-carved architraves and cornices1 and flanking the entrances1 the windows opposite these and on the south1 and the panelled spaces on the north wall4 ,there are also intervening niches with semicircular heads1 springing from richly carved imposts4 ,the ceilings1 which are circular1 rising in coves from behind the cornices1 are saucer-domed4 ,the dimensions of these alcoves are3 east one1 diameter1 #bd feet1 west one1 #bd feet #d-a_/b inches2 height to the centre of the dome1 #bd feet #b inches1 to the top of the cornice #bj feet4 ,restoration of ,queen ,anne's ,orangery4 ,the whole of this beautiful interior1 however1 now presents a very different appearance from what it did when taken in hand about a year ago4 ,this is how it was described in an interesting article in ,the ,times on the #bhth of ,january1 #ahih3 ,the exquisite interior has been the victim not merely of neglect1 but of chronic outrage4 ,for1 as the little garden between this and the ,palace has been found a convenient place on which to put up the glasshouses1 frames and potting-sheds necessary for the park gardeners1 what more natural1 to the official eye1 than that the ,orangery close by should be pressed into the same service8 ,accordingly1 at some time or other1 which cannot have been very many years ago1 more than half the beautiful high panelling of this building was torn down and has disappeared1 the gardeners' stands have been let into the walls1 and there the daily work has proceeded with no thought that it was daily desecration4 ,the work of restoring all these beautiful carvings1 which has been in progress during the last fifteen months1 has now put an entirely different aspect on this interior1 and not in vain has every piece of old carving been treasured up1 cleaned1 repaired1 and patched in1 with scrupulous care4 ,when this work was completed1 the question arose1 whether the woodwork was to be all painted over white1 as it doubtless originally was1 or merely lightly stained4 ,white painting would1 perhaps1 have been artistically1 as well as archologically1 the preferable course4 ,but it was thought that white paint1 in the smoky1 foggy atmosphere of modern ,kensington1 and with the clouds of dust particles from the tread of numberless visitors1 would soon take on the dirty tinge of ,london mud2 and thus have required such frequent renewal as eventually to choke up again all the sharpness of the delicate chiselling of the foliated capitals1 architraves and cornices4 ,the decision eventually come to1 therefore1 was to stain it1 with a tone of colour like oak1 which gives full prominence and clearness to the carved surfaces4 ,this staining alone1 apart from the previous cleaning1 has involved no less than eight distinct processes3 7#a7 washing down2 7#b7 vinegaring over to take out lime stains2 7#c7 the same repeated2 7#d7 sizing to keep the stain from penetrating the wood2 7#e7 the same repeated2 7#f7 staining2 7#g7 varnishing2 7#h7 flat-varnishing4 ,illustration3 ,decoration ,kensington ,gardens4 ,the modern so-called ,kensington ,gardens are1 as we have already explained1 identical with the original domain of old ,nottingham ,house1 increased by the addition of some hundred acres or more taken from ,hyde ,park4 ,when ,william ,,iii4 first acquired the ,nottingham estate he appointed his favourite1 ,bentinck1 ,earl of ,portland1 ,superintendent of ,their ,majesties' ,gardens and ,plantations within the boundary lines of ,their ,majesties' said house at ,kensington--an office distinct from that of ,ranger of ,hyde ,park--and some planting and other improvements seem to have been carried out at that time in these plantations4 ,queen ,anne's inclosure of a hundred acres from ,hyde ,park to form a paddock for deer we have already noted4 ,faulkner's exaggerated statement that nearly three hundred acres were taken in and added to ,kensington ,gardens by ,queen ,caroline has been confuted by ,mr4 ,loftie2 but he has gone to the other extreme in declaring that no alteration whatever was1 at any time1 made in the boundary between the park and the gardens4 ,nevertheless1 it is still doubtful whether ,queen ,caroline is to be held responsible for any rectification of these frontiers4 ,the reference already quoted1 in the ,treasury ,papers of the year #agbi1 for an allowance of #bjj to the ranger in consideration of loss of herbage of that part of the said park1 which is laid into ,his ,majesty's gardens at ,kensington1 may of course refer to the portion previously taken in by ,queen ,anne4 ,queen ,caroline's ,improvements in ,kensington ,gardens4 ,to ,queen ,caroline1 however1 is certainly due the main credit of the creation of ,kensington ,gardens1 as we now know them2 for it was her reforming and transforming zeal which made the great ,basin or ,round ,pond2 turned a string of small ponds1 in the course of the ,west ,bourne1 into the ,serpentine2 laid out the ,broad ,walk1 and designed the diverging and converging vistas and avenues of trees intersecting the grounds in all directions4 ,in all these extensive works of improvement ,charles ,bridgeman1 the ,king's gardener1 was employed2 and we find from the old ,treasury ,minute ,book that in #agbi no less a sum than #e1jjj was due to him for works in the paddock and gardens at ,kensington4 ,about the same date1 ,queen ,caroline1 during one of ,george ,,ii4's absences in ,hanover1 issued an order that3 ,the ,king's ministers being very much incommoded by the dustiness of the road leading through ,hyde ,park1 now they are obliged to attend ,her ,majesty at ,kensington1 it was her pleasure that the whole of the said road be kept constantly watered1 instead of the ring in the ,park2 and that no coaches other than those of the nobility and gentry be suffered to go into or pass through the ,park4 ,kensington ,gardens in the ,nineteenth ,century4 ,at that period the gardens were opened to the public only on ,saturdays1 when the company appeared in full dress4 ,this was the time of the great fashionable promenade4 ,during the reign of ,george ,,iii4 they were opened every day in the week1 summer and winter1 under certain regulations1 and the number of the gatekeepers1 says ,faulkner1 writing in #ahai1 have lately been increased1 who are uniformly clothed in green4 ,he adds3 ,the great ,south ,walk1 leading to the ,palace1 is crowded on ,sunday mornings in the spring and summer with a display of all the beauty and fashion of the great metropolis1 and affords a most gratifying spectacle1 not to be equalled in ,europe4 ,in the middle of this century the tide of fashion set back towards ,rotten ,row and ,hyde ,park ,corner2 and ,kensington ,gardens have1 for the last sixty or eighty years1 been very little frequented by the world4 ,their attractions1 however1 have not suffered on this account in the view of the poet1 the artist1 and the lover of nature4 ,here in ,kensington1 wrote ,haydon the painter1 are some of the most poetical bits of trees and stump1 and sunny brown and green glens and tawny earth4 ,but it is not within the scope of these pages1 confined as they are to topics directly connected with ,kensington ,palace as a new public resort1 to describe these two hundred and fifty acres of delightful verdant lawns1 sylvan glades1 and grassy slopes4 ,we must resist the temptation1 therefore1 to wander away into the attractive prospect1 which unfolds itself beneath our gaze when looking out from the windows of the state rooms1 or into which we can saunter when we quit the ,palace4 ,moreover1 their charms1 as they were and are1 have been drawn by too many master hands--by ,tickell1 ,leigh ,hunt1 ,thackeray1 ,disraeli--to encourage any attempt at their description here4 ,in our own day they have still been the favourite resort of many a jaded ,londoner1 in which to snatch a few hours of quiet and repose1 out of the whirl of the great city around4 ,matthew ,arnold's charming poem1 ,lines written in ,kensington ,gardens1 will occur to many1 especially that stanza3 ,in this lone open glade ,i lie1 ,screen'd by deep boughs on either hand2 ,and at its end to stay the eye1 ,those black-crown'd1 red-boled pine trees stand4 ,illustration3 ,decoration ,illustration3 ,,south ,,front ,,of ,,kensington ,,palace ,,in #ahai4 7,after ,westall47 ,south ,front of the ,palace4 ,we may look upon this faade as architecturally the most interesting portion of the existent ,palace of ,kensington1 for it shows us the exterior almost exactly as finished by ,wren for ,william and ,mary1 about the year #afia4 ,while unpretentious and plain1 it is well and solidly built1 and altogether appropriate to the purpose which it was intended to serve1 namely1 that of a comfortable1 homely1 suburban residence for the ,king and ,queen and the court4 ,the long lower building of two main storeys1 in deep purple-red brick1 to the left1 forms the south range of the chief courtyard2 and there is every reason to believe that it is a part of the original ,nottingham ,house1 altered and improved by ,wren4 ,the loftier building1 to the right1 of three storeys1 in bright red brick1 is unquestionably entirely ,wren's1 and in the old accounts is referred to as the new ,gallery ,building4 ,all the windows on the top or second floor here1 except the two on the extreme right1 are those of the ,king's ,gallery 7described on page #aag74 ,the floor beneath consisted1 and consists1 of the sovereign's private apartments4 ,the four fine carved vases of ,portland stone1 surmounting the four pilasters of the same1 are probably those mentioned in the old accounts as carved by ,gabriel ,cibber for #ghg #es4 ,wren's ,domestic ,style4 ,those who are at all acquainted with ,wren's style and inclinations will not be surprised at the marked plainness of his work here--so little accordant with ordinary pompous preconceived notions of what befits a regal dwelling-house4 ,in planning habitable buildings we find he always mainly considered use and convenience--adapting his external architectural effects to the exigencies of his interiors4 ,ever ready1 indeed1 to devote the full range of his great constructive genius to the commonest works1 rendering whatever he designed a model for the use to which it was to be put1 he was1 in these respects1 essentially a builder before all2 not only a designer of elevations and a drawer of plans1 but a practical worker1 thinking nothing useful beneath his notice4 ,there was1 in fact1 nothing of the lofty1 hoity-toity architect about him2 on the contrary1 absorbed with questions of adaptability and convenience2 searching into details of material and workmanship2 we find him in his seat at the head of the ,board of ,works rigorously testing1 sifting and discussing estimates1 values1 specifications and quantities4 ,it is due to this side of his mind that so much of his work has endured intact to this day2 while we owe it to his positive intuitive genius for rendering his creations well-proportioned and dignified1 as well as convenient and comfortable2 to his wonderful skill in arranging positions1 sizes1 and shapes to meet the exigencies of light and air1 that his houses still remain so habitable1 and are distinguished by so homelike an air4 ,east ,front of the ,palace4 ,this aspect of ,kensington ,palace1 which we almost hesitate to dignify with the name of ,front consists mainly of two distinct portions3 first1 the return or end of ,wren's ,gallery ,building1 on the left1 distinguished by its fine red brickwork and its deep cornice1 similar to the same on the south side2 and on the right1 the building tacked on to it1 built for ,george ,i4 by ,kent1 as already mentioned on page #bc1 and further referred to on pages #hf1 #ic1 and #ii4 ,we must frankly say--and few are likely to differ from us--that ,kent's building here is about as ugly and inartistic as anything of the sort could be4 ,it is not alone the common1 dirty1 yellow1 stock brick with which it is built1 but the whole shape and design1 with its pretentious pediment1 ponderous and hideous1 the prototype of acres upon acres of ghastly modern ,london structures in the solid workhouse style4 ,it is amazing that ,kent1 with so excellent a model of plainness and simplicity in ,wren's buildings on each side1 should have stuck in this ill-formed1 abortive block between them4 ,fortunately1 his taste as a decorator was greatly superior to his powers as an architect1 so that the interior portions of this building of his1 which consists of additional state-rooms1 are not entirely deficient in merit1 as we shall see4 ,the three central windows are those of the ,king's ,drawing ,room1 7see page #ii74 ,illustration3 ,,plan ,,of ,,the ,,state ,,rooms ,,kensington ,,palace4 ,to the north-west of the structure comprising ,kent's state apartments lies another of the older parts of the ,palace1 a low building of two storeys1 in deep russet brick1 of uniform appearance1 with fifteen windows in a row on the first floor4 ,this range1 built1 or1 at any rate1 altered and improved by ,wren1 and forming the east side of ,princess's ,court1 comprises the state and habitable rooms of ,queen ,mary and ,queen ,anne4 ,at its extreme north end is the ,queen's ,staircase1 now the public entrance to the state rooms4 ,public ,entrance to the ,palace4 ,access to the state rooms open to the public being by way of the ,queen's or ,denmark ,staircase1 situated in the northernmost angle of the building1 visitors approach it from the north-west corner of ,kensington ,gardens1 where1 as we have already explained1 were formerly situated those parts of the old formal gardens attached to the ,palace1 which were laid out by ,queen ,anne1 called the ,old ,gravel ,pit1 the ,wilderness1 etc4 ,the path here1 leading straight up to the present public entrance1 was then known as ,brazen-face ,walk4 ,going along it southwards1 we pass between a pair of fine gate-posts of red brick1 surmounted by richly-carved vases of ,portland stone1 evidently designed by ,wren1 already referred to in our account of ,old ,kensington ,palace ,gardens on page #dh2 and then between a privet hedge and a wire fence up to the public doorway into the ,queen's ,staircase4 ,this doorway1 on the north wall1 is very commonplace2 with a porch in the later ,georgian style1 consisting of a couple of pillars of ,portland stone1 glazed between1 and supporting a hood above4 ,round the corner1 however1 on the east wall1 is a very different doorway1 both interesting and picturesque4 ,it is the one which originally gave access to the staircase1 and was designed and built by ,sir ,christopher ,wren1 probably in the year #afia4 ,the space within the hood or circular pediment above the door is filled with beautiful stone carving1 in the centre of which is a shield or panel bearing the initials ,w4 ,m4 ,r4 ,above this is a brick niche with a bracket1 on which stands an old urn or flower-pot4 ,something very similar probably stood here formerly1 and was thus charged for in the old parchment accounts for the years #afhi-ia3 ,henry ,long for a large vase of earth 7terra-cotta7 wrought with handles and festoons painted with gilt #f #ajs4 ,queen's ,staircase4 ,this forms the entrance by which the public are admitted into the ,state ,rooms4 ,built by ,sir ,christopher ,wren for ,queen ,mary on the ,queen's ,side of the ,palace1 it was called the ,queen's ,staircase1 while being situated in that part of the ,palace which was at one time occupied by ,queen ,anne and her husband1 ,prince ,george of ,denmark1 it has also been occasionally known as the ,denmark ,staircase1 as this portion of the building itself has been called the ,denmark ,wing4 99 99 99 99 99 ,in the view of the ordinary ,londoner1 with eye too much dazzled and demoralized by the tawdry vulgarities of the over-gilded1 over-looking-glassed1 blazing1 modern ,restaurant style of decoration1 this beautiful staircase1 in its just proportions and its subdued simplicity1 may appear plain1 if not mean4 ,yet as an example of the genuine1 unaffected old ,english treatment of oak wainscoting1 as a cover and ornament to large wall spaces1 nothing could be more pleasing and more appropriate4 ,the deep rich1 almost ruddy1 tone of colour of the wood1 the admirable proportion and balance of the stiles and rails to the sizes of the panels1 their adjustment to the rise of the stairs1 and their fitment to the various spaces on the walls1 produce an effect of soundness and comfort1 most admirable and nowhere to be matched4 ,old ,oak ,wainscoting of the ,staircase4 ,when the work of cleaning down this woodwork was taken in hand last autumn1 it was1 as the phrase is1 as black as your hat2 and it was then supposed to have been smeared over1 at some time or other1 with a black stain4 ,it proved1 however1 to be only ingrained with dirt and dust1 which had been coated over with red-lead and boiled oil1 and which quickly yielded to cleansing4 ,nevertheless1 the oak is not ,english1 but probably ,norwegian1 which seems to be richer in the grain than our own native tree4 ,it is clear that the wood must have been carefully cut in such a way as to show as much figure as possible--the cuttings being1 with this distinct object1 as nearly as possible radiating from the centre of the trunk of the tree--the medullary rays of the wood being1 in fact1 sliced through1 instead of intersected transversely4 ,this has the effect of displaying the largest amount of the grain4 ,window ,sashes of the ,staircase4 ,the visitor should notice the difference in the sashes of the two windows on the left-hand side of the stairs as you go up1 as compared with the other two on the landing at the top4 ,the first two windows have had large panes of glass--#b feet #a inch high by #a foot #b-a_/b inches wide--and thin bars1 substituted for the original smaller panes--#ab-a_/b inches high by #i-a_/b inches wide--and the thick moulded bars1 which still remain in the landing windows4 ,this side by side comparison enables us to estimate how deplorable and stupid was the want of taste1 which led to the destruction here1 as elsewhere in this ,palace1 of the picturesque1 well-proportioned spacings of the window panes1 to insert instead ill-proportioned panes and thin bars4 ,not until the time of ,george ,,ii4 did this foolish1 inartistic fancy come into vogue4 ,wren1 of course1 knew what he was about when he selected the sizes of the spaces and bars4 ,he determined them on definite principles of scale and proportion1 according to the sashes they were intended to fill1 and according1 also1 to the dimensions of the room1 and the plan and shape of the surrounding wainscot4 ,he had1 in fact1 eight or ten different types of sashes--the mouldings1 as well as the widths and sizes of the bars varying1 and the shapes of the panes--square or upright--varying also2 not like your ingenious modern builder1 who runs out mouldings at so much a foot1 mitres them up into equal spaces1 and1 regardless of scale and proportion1 sticks in the same sized sashes1 panes1 and bars everywhere1 in large lofty rooms or small low ones--all alike4 ,the dimensions of this staircase are #bd feet #c inches long by #bb feet #aj inches wide1 and #be feet high4 ,queen ,mary's ,gallery4 ,queen ,mary and ,queen ,anne are the sovereigns with whom this gallery is mainly associated2 and indeed1 it is now--since the restorations of the last twelve months1 which have mainly consisted in repairing the panelling1 and removing the paint with which it was all smeared over in the reign of ,george ,i4--to be seen for the first time for a hundred and seventy-four years1 exactly as it appeared in their time4 ,it remains1 indeed1 more intact than any other room in the ,palace2 and with its beautiful deep-toned oak panelling1 its richly-carved cornice1 its low-coved ceiling1 and its closely-spaced1 thick-barred window-sashes1 it has a most comfortable1 old-fashioned air4 ,there is no storey above this gallery1 but only a span roof2 and it was originally--we do not know exactly when--a true gallery in the old ,english meaning of the word1 that is1 a long chamber with windows on both sides4 ,the window spaces or recesses1 on the right or west side1 still remain behind the panelling1 and are exactly opposite the existent windows on the left or east side4 ,we may observe1 also1 that the room seems at one time to have terminated just beyond the sixth window1 reckoning from the entrance1 the line of the wall behind the wainscot on the right1 setting back at this point about a foot2 while on the left side1 both inside and out1 there is a straight joint in the brickwork1 and a break in the line of the wall4 ,wainscoting and ,carvings of ,queen ,mary's ,gallery4 ,the wainscoting1 as we have already indicated1 was fixed here in the early years of the reign of ,queen ,mary4 ,the panels1 which are very thin and of unusual breadth1 nevertheless have remained but little twisted or buckled to this day1 owing to ,wren's particular and invariable insistence that only the best seasoned wood should be used in all the work under his charge4 ,in the course of the restorations1 it has1 however1 been necessary to take it all to pieces in order to repair the injuries of nearly two centuries of misusage and neglect4 ,here1 as in the staircase1 are to be noticed the extreme richness in grain of the old oak1 and its deep warm tone of colour4 ,from the old enrolled parchment accounts of the years #afhi-afia1 we find that ,henry ,hobb and ,alexander ,forst were the joiners who made the wainscoting1 as well as the shashes1 shutters1 window-boards1 chimney-pieces1 picture frames1 shelves1 etc42 while ,nicolas ,alcocke1 ,william ,emet1 and ,grinling ,gibbons carved #a1dje feet ,ionick medallion and hollow cornish2 #idb feet of picture frame over the doors and chimneys1 and #hi feet of astragall moulding1 about the glasses in the chimneys4 ,another item of payment in the same accounts1 also relating to the work here1 is the following3 ,to ,gerard ,johnson1 ,cabinet maker1 for severall pannells of wainscot1 covered with looking-glass for chimney pieces in the ,king's dining-roome1 the gallerie1 and over the doors1 and for putting them up--#ajj4 ,among others here referred to were doubtless the looking-glasses over the two chimney-pieces in this gallery4 ,these are particularly fine and worthy of notice4 ,when the restorations were begun last summer1 they were literally dropping to pieces1 falling in shreds1 we might say4 ,the greatest care has been taken to piece the bits together2 and to replace the missing portions4 ,only such patched and added parts have been regilt2 the old gilding still remaining almost as bright and untarnished as when these glasses were first put up1 two hundred years ago1 by ,gerard ,johnson1 cabinet maker1 and ,robert ,streeter1 serjeant painter4 ,honour to their names1 as two good old ,english handicraftsmen1 whose honest work thus survives to this day6 ,over each of the four doors are long richly-carved brackets of oak1 similar to those on which rest the looking-glasses over the chimney-pieces4 ,we know from ,pyne's drawing in #ahah1 that these brackets over the doors then still supported looking-glasses1 with richly carved frames4 ,unfortunately1 all trace of them has now disappeared4 ,the chimney-piece of the first fire-place on the right as you enter the gallery is the original one of ,wren's design1 of marble streaked and veined blue-grey4 ,the second1 of white marble streaked with red1 technically known as ,breche-violett-antico1 is new--copied from the first4 ,this fire-place was1 until last summer1 filled with a common cooking range1 inserted many years ago for the use of the soldiers1 when this gallery was used as a barrack6 ,the window-sashes in this gallery are of the charming old-fashioned type1 divided by thick1 deeply moulded bars1 into small rectangular spaces4 ,through these windows we have a pleasant view eastward of the private gardens of the ,palace1 and of ,kensington ,gardens beyond4 ,the dimensions of this gallery are3 #hh feet #d inches long by #bb feet broad by #ac feet #c-a_/b inches high to the top of the cornice1 and #ag feet #ac inches high to the highest part of the ceiling4 ,pictures in ,queen ,mary's ,gallery4 ,portraits of the ,time of ,william and ,mary to ,george ,,ii4 #a ,queen ,mary 4 4 4 4 4 ,,kneller4 ,full-length1 standing1 in royal robes2 her left hand lifting her ermine cloak2 her right holding the orb on the table by her side1 on which also is the crown on a cushion4 ,in the right distance is seen the parapet of the roof of ,wren's building at ,hampton ,court4 ,this and its companion piece of ,king ,william1 at the other end of this gallery1 were painted by ,kneller about #afib1 in which year he was knighted4 #b ,george ,,ii4 7#gah7 4 4 4 4 4 ,by ,shackleton1 after ,,kneller4 ,seated1 in robes of the ,garter1 facing to the left4 #c ,unassigned4 #d ,frederick1 ,prince of ,wales 7#fai7 4 4 4 4 4 ,,vanloo4 ,full-length1 face turned to the right4 ,his right hand is extended1 his left holds back his crimson and ermine cloak4 ,his dress is blue with rich gold lace4 ,he has a short wig4 ,on canvas1 #g ft4 #i in4 high1 by #d ft4 #i in4 wide4 ,vanloo came to ,england in #agcg1 and this portrait was probably painted about two years after4 ,he became a very popular artist1 and made a great deal of money1 for1 as his ,french biographer observes3--,l',angleterre est le pays o il se fait le plus de portraits et o ils sont mieux pays4 ,engraved by ,baron4 ,this picture1 therefore1 dates from the time when the ,prince was about thirty-one years of age1 and had been expelled from ,st4 ,james's ,palace1 and was in declared enmity with his father4 ,his insignificant character1 which excited contempt rather than dislike1 is very happily satirized in the famous epitaph3 ,here lies ,fred1 ,who was alive and is dead2 ,had it been his father1 ,i had much rather2 ,had it been his brother1 ,still better than another2 ,had it been his sister1 ,no one would have missed her2 ,had it been the whole generation1 ,still better for the nation2 ,but since 'tis only ,fred1 ,who was alive and is dead1 ,there's no more to be said4 #e ,unassigned4 #f ,caroline1 ,queen of ,george ,,ii4 7#ghd7 4 4 4 4 4 ,,zeeman8 ,full-length1 standing1 figure to the left1 face a little to the right4 ,her left hand holds up her cloak1 her right is on a table1 on which is a crown and sceptre4 ,she wears a blue velvet dress trimmed with broad gold braid1 and a white satin skirt1 richly worked with gold and jewels4 ,her hair is short and powdered4 ,on canvas1 #g ft4 #i in4 high1 by #d ft4 #i in4 wide4 ,this was formerly attributed to ,kneller1 but it cannot be by him1 as she is represented as queen1 while ,kneller died four years before her accession4 ,caroline was forty-five when her husband became king4 ,her leves1 says ,coxes1 were a strange picture of the motley character and manners of a queen and a learned woman4 ,she received company while she was at her toilette2 prayers and sometimes a sermon were read2 learned men and divines were intermixed with courtiers and ladies of the household2 the conversation turned on metaphysical subjects1 blended with repartees1 sallies of mirth1 and the tittle-tattle of a drawing-room4 #g ,unassigned4 #h ,portrait of ,george ,i4 7#ghb7 4 4 4 4 4 ,,kneller4 ,seated1 facing in front4 ,he is in the robes of the ,order of the ,garter4 ,his left hand on the arm of the chair1 his right on a table1 whereon are a crown and a plumed helmet4 ,on canvas1 #g ft4 #i in4 high1 by #d ft4 #i in4 wide4 ,george ,i4 was the tenth sovereign who sat to ,kneller1 and for this portrait1 which was painted soon after his accession1 the king made him baronet4 ,addison refers to it in his ,lines to ,sir ,godfrey ,kneller on his picture of the ,king1 beginning3 ,kneller1 with silence and surprise ,we see ,britannia's monarch rise1 ,a godlike form1 by thee displayed ,in all the force of light and shade2 ,and1 awed by thy delusive hand1 ,as in the ,presence ,chamber stand4 #i ,william ,,iii4 when ,prince of ,orange 7#hfd7 4 4 4 4 4 ,,kneller4 ,half-length1 facing to the right1 with his right hand extended4 #aj ,george ,,ii4 in his ,old ,age 7#eih7 4 4 4 4 4 ,by ,shackleton1 after ,,pine4 ,full-length2 in a rich dress1 with the ,order of the ,garter1 his left hand on his sword1 his right in his bosom4 ,his eyes are cast upwards4 #aa ,peter the ,great1 ,czar of ,russia 7#fj7 4 4 4 4 4 ,,kneller4 ,full-length1 in armour1 with a truncheon in his left hand1 and his right hand on his hip4 ,from his shoulders hangs a mantle lined with ermine and embroidered with the double eagle4 ,to the left is a table1 on which is the crown imperial4 ,the background1 which shows some ships1 is said to be signed by ,w4 ,vandevelde1 but no trace of this exists4 ,on canvas1 #g ft4 #i in4 high1 by #d ft4 #i in4 wide4 ,there is also an inscription1 of which ,i can only make out the words3 ,petrus ,alexander ,magnus ,domimus ,csar ,magnus ,dux ,moscoui 444 ,eques4 ,pinxit #afih4 ,engraved by ,smith4 ,this picture was painted for ,william ,,iii4 during ,peter the ,great's visit to ,england1 in the early part of #afih1 and probably in the house in ,norfolk ,street1 where he took up his residence and lived in close seclusion4 ,it is considered one of the best portraits of the ,czar extant1 and well portrays his stately form1 his intellectual forehead1 his piercing black eyes1 and his ,tartar nose and mouth4 ,his age was then twenty-six years4 ,he naturally excited the greatest curiosity1 and became the principal topic of conversation4 ,every one was full of stories of him2 of the immense quantities of meat which he devoured1 the pints of brandy which he drank1 the fool who jabbered at his feet1 the monkey which grinned at the back of his chair1 and last1 but not least1 of his filthy habits4 ,when he went to stay at ,evelyn's house1 ,sayes ,court1 at ,deptford1 in order to more conveniently indulge in his favourite pursuit of shipbuilding1 ,evelyn's servant writes to him3--,there is a house full of people1 and right nasty4 ,the ,czar lies next your ,library1 and dines in the parlour next your study4 ,he dines at ten o'clock and six at night1 is very seldom home a whole day1 very often in the ,king's ,yard or by water1 dressed in several dresses4 ,evelyn himself afterwards remarked how miserably the ,czar had left his house1 after three months making it his ,court4 ,peter visited ,king ,william in ,kensington ,palace1 as we have noted in our ,historical ,sketch1 and as we shall notice again in our account of the ,king's ,gallery4 #ab ,king ,william ,,iii 4 4 4 4 4 ,,kneller4 ,full-length1 in royal garter robes2 his left hand by his sword1 his right on his hip4 ,the crown and orb are on a table on his left2 pillars and a curtain behind4 ,this is a companion piece to the portrait of ,queen ,mary at the other end of this gallery4 #ac ,portrait of ,mrs4 ,elliott 4 4 4 4 4 ,,john ,,riley4 ,half-length1 seated2 turned to the left1 but facing in front4 ,she is dressed in black2 her right hand rests on the arm of the chair2 she holds a handkerchief on her lap in her left4 ,this was in ,queen ,anne's catalogue1 ,no4 #cca3--,mrs4 ,elliott at half-length4 ,it is a good specimen of a portrait-painter who flourished in the time of ,charles ,,ii4 and ,james ,,ii41 and whose talents have hardly had justice done them4 ,mrs4 ,elliott was the wife of ,mr4 ,elliott1 ,gentleman of the ,bedchamber to ,charles ,,ii41 and sister to ,secretary ,craggs4 #ad ,two ,daughters of ,george ,,ii 4 4 4 4 4 ,,maingaud4 ,the eldest is to the left1 standing1 her right arm clasping a stem of tree1 round which twines a vine2 her left hand giving a rose to her younger sister2 she is dressed in white4 ,her sister is kneeling to the right1 facing in front1 and takes the rose with her left hand2 her right rests on a lictor's fasces4 ,on canvas1 #d ft4 #f in4 high1 by #c ft4 #g in4 wide4 ,illustration3 ,decoration ,queen's ,closet4 ,this small room1 which is but #bc feet #c inches long by #ab feet wide1 and #ab feet #i inches high1 is called in ,pyne's drawing1 published in #ahag1 ,the ,queen's ,closet1--and this most probably is its correct designation1 though in ,faulkner's ,history of ,kensington1 published but three years after1 it is described as the ,queen's ,dressing ,room4 ,its walls were at that time still entirely panelled with the oak wainscot with which ,wren had covered them4 ,afterwards all this was removed and the walls plastered and distempered1 the room being used as a kitchen4 ,the existent oak chair-rail and cornice1 inserted during the last few months1 are copied from old models in this palace4 99 99 99 99 99 ,across the angle1 where was originally the fire-place1 is temporarily fixed a very beautiful stone chimney-piece1 formerly in ,westminster ,palace1 in one of the rooms on the north side of ,westminster ,hall4 ,when the old law-courts on that side were removed1 this chimney-piece was preserved by the ,office of ,works4 ,it is one of the finest specimens extant of a late ,tudor domestic chimney-piece work1 bearing the initial and crown of ,queen ,elizabeth4 ,pictures of ,old ,london4 ,in this chamber are collected various pictures of ,old ,london1 moved from ,hampton ,court and other royal palaces4 ,few of them1 excepting one or two attributed to ,scott1 have much artistic merit1 but they are interesting as representations of the topography of ,london1 and especially of the banks of the ,thames4 #bj ,view of the ,horse ,guards from ,st4 ,james's ,park 7#ajbb7 4 4 4 4 4 ,,james4 ,the buildings of the ,horse ,guards are seen on the right1 and in the centre distance1 ,westminster4 #ba ,view on the ,thames--,old ,london ,bridge and ,fishmongers' ,hall 7#ajdd7 4 4 4 4 4 ,,james4 ,the view is taken eastward2 and right across the picture is the old bridge1 with the houses built on it4 ,on the left are ,fishmongers' ,hall and the column on ,fish ,street ,hill4 ,these are two of a series of views of ,old ,london from the ,thames1 by ,william ,james1 an imitator and probably a pupil of ,canaletti's1 though he resembles him in little except his mechanical precision4 ,his works1 however1 are interesting to the antiquarian1 as they are almost photographic in their accuracy4 #bb ,view on the ,thames--,old ,somerset ,house and ,temple ,gardens 7#ajbc7 4 4 4 4 4 ,,james4 ,the north bank of the ,thames is seen1 looking eastward1 from about the position of the middle of the present ,waterloo bridge4 ,on the extreme left is old ,somerset ,house1 with its landing-stairs1 next comes the ,temple1 and in the distance ,st4 ,paul's4 ,behind are seen the spires of ,st4 ,mary-le-,strand1 ,st4 ,clement ,danes1 ,st4 ,bride's1 ,fleet ,street1 etc4 ,on canvas1 #b ft4 high1 by #c ft4 #h in4 wide4 #bc ,view on the ,thames--,the ,savoy1 the ,temple1 c4 7#ajca7 4 4 4 4 4 ,,james4 ,on the left is the old ,savoy ,palace with its curious chequered brickwork2 more in the middle old ,somerset ,house1 the ,temple1 etc4 ,on the right is seen a portion of the south bank of the ,thames4 #bd ,view on the ,thames--,old ,fleet ,ditch 7#ajdc7 4 4 4 4 4 ,,james4 ,the mouth of the ,fleet ,ditch is in the centre of the picture1 crossed by a stone foot-bridge of a single arch4 ,on both sides of it are large buildings4 #be ,view on the ,thames--,the ,adelphi1 ,whitehall1 and ,westminster 7#ajcb7 4 4 4 4 4 ,,james4 ,the view is of the north bank looking westward1 and shows1 on the right1 ,inigo ,jones' water-gate2 next the octagonal tower of the waterworks1 then ,whitehall1 and beyond1 ,westminster ,abbey and the old bridge4 #bf ,view on the ,thames--,greenwich ,hospital 7#ajgi7 4 4 4 4 4 ,,james4 ,the view is taken eastward1 and shows ,greenwich ,hospital on the left1 and the church to the right4 #bg ,view on the ,thames--,old ,savoy ,palace 7#ajde7 4 4 4 4 4 ,,scott8 ,the view is the same as ,no4 #bc4 ,in an old inventory there is an entry relating to it3--,recd4 #bcrd ,march #ahai4 ,view of the ,savoy1 with old ,somerset ,house1 on the banks of the ,thames1 painted by ,scott1 the ,english ,canaletti4 ,bought of ,colnaghi1 #bfe4 ,samuel ,scott1 the marine painter1 is the artist referred to4 ,he was a companion of ,hogarth's1 and a jovial one too--but he was also much more1 being an admirable painter of marine and topographical subjects4 ,there are three characteristic views of ,london by him in the ,national ,gallery1 where is also his own portrait by ,hudson4 #bh ,the ,thames from the ,hill above ,greenwich 7#ajaf7 4 4 4 4 4 ,,danckers4 ,to the left is the ,observatory rising high up4 ,below is ,greenwich and the ,hospital1 and the river winding round the ,isle of ,dogs1 and ,london seen in the distance4 ,though hitherto unnamed1 this is doubtless3--,the ,landscape of ,greenwich1 the prospect to ,london2 by ,danckers1 in ,james ,,ii4's catalogue1 ,no4 #aie4 7,royal ,catalogue47 ,illustration3 ,decoration ,queen ,anne's ,private ,dining ,room4 ,this picturesque little room remains almost exactly in the same state as it was when finished about #afij for ,queen ,mary1 who1 perhaps1 as well as ,queen ,anne1 used it as a private dining room4 ,it is1 indeed1 a very characteristic example of one of ,wren's comfortable and eminently habitable rooms4 ,the protruding doorway in the right-hand corner1 the picturesque recess on the left-hand side of the fireplace1 and the porch-like treatment of the similar recess on the other side--where is the doorway into the ,queen's ,closet--all show how the accidents of construction and convenience may be so judiciously laid hold of1 as to render what would otherwise have been a mere uninteresting commonplace room1 a charmingly homelike and picturesque one4 ,such an example as this of ,wren's artistic adaptability should be a most valuable object-lesson to modern builders1 who1 when not planning exactly rectangular rooms1 go to the other extreme of straining after a designed and artificial quaintness4 ,the coved ceiling1 rising from behind the oak cornice1 adds greatly to the apparent height of the room4 ,the dimensions are3 #ag feet #i inches long by #ad feet wide4 ,it was in this and the similar adjoining rooms that took place those many curious intimate conversations between ,queen ,anne and the ,duchess of ,marlborough1 both when ,mrs4 ,morley and her dear ,mrs4 ,freeman1 were all in all to each other1 and also when ,atossa vainly endeavoured by fury1 invective1 and torrents of reproaches and tears1 to regain her fast-waning influence over the dull and feeble1 but stolid and obstinate1 mind of the ,queen4 ,it was at ,kensington ,palace too1 and perhaps in this very room1 that took place their famous interview1 one ,april afternoon in the year #agaj1 when the only reply which the great ,duchess ,sarah could get to her inquiring entreaties was the phrase ,you desired no answer and you shall have none1--reiterated with exasperating and callous monotony by her whilom friend and mistress4 ,pictures in ,queen ,anne's ,private ,dining ,room4 #dj ,installation of ,knights of the ,garter at ,kensington ,palace1 on ,august #dth1 #agac1 by ,queen ,anne 4 4 4 4 4 ,,peter ,,angelis4 ,there has been some question as to the exact ceremony1 which is depicted here1 but there can be but little doubt that it represents the ,chapter of the ,order of the ,garter1 held by ,queen ,anne at ,kensington ,palace on ,august #dth1 #agac1 when ,henry ,grey1 ,duke of ,kent1 ,robert ,harley1 first ,earl of ,oxford1 ,charles ,mordaunt1 third ,earl of ,peterborough1 and ,john1 ,earl ,poulett1 were installed as ,knights of the ,garter4 ,the chapter was the last held by ,queen ,anne1 and was held at ,kensington1 and not at ,windsor1 owing to her physical infirmities4 ,two of these noblemen kneel on the lowest step of the throne1 and have already been invested with the mantle and collar of the ,order and the ,garter itself4 ,the ,queen places her hand upon the joined hand of the two ,knights of the ,garter4 ,it is uncertain which of the noblemen are represented here1 but the ,knight kneeling on the right of the picture would appear to represent ,harley4 ,one of these noblemen is attended by a page boy in grey silk1 and the other has two black boys supporting his long blue mantle4 ,among the ,knights of the ,garter in attendance1 and they all wear their full robes and collars1 one figure is prominent holding a long slender wand4 ,this is probably ,charles ,talbot1 ,duke of ,shrewsbury1 who was ,lord ,chamberlain of the ,household1 ,lord ,lieutenant of ,ireland1 and for a brief period ,lord ,high ,treasurer4 ,two yeoman of the ,guard1 in the well-known costume1 but without ruffs or rosettes to their shoes1 holding halberds1 stand prominently forth on the extreme left4 ,through a wide door1 in the distant apartments1 may be seen a crowd of courtiers waiting for admission1 and through the large square panes of the window in a garden are seen clustered various persons in dark and formal attire1 peering anxiously through the glass as if to obtain a sight of the ceremonial4 ,on canvas1 #b ft4 #e-a_/d in4 high by #a ft4 #aa-c_/d in4 wide4 ,lent by the ,trustees of the ,national ,portrait ,gallery4 #da ,william1 ,duke of ,gloucester1 son of ,queen ,anne 7#hhe7 4 4 4 4 4 ,,kneller4 ,bust2 in an oval turned to the left1 face seen in full4 ,he is in armour1 and has a blue ermine-lined cape4 ,on canvas1 #b-a_/b ft4 high1 by #b ft4 wide4 ,the young duke1 though of feeble constitution1 was not deficient in martial spirit4 ,when but a boy of six years old1 he came to meet his uncle ,william of ,orange1 who had just returned from a campaign1 with a little musket on his shoulder1 and presented arms1 saying1 ,i am learning my drill1 that ,i may help you beat the ,french4 ,the king was so pleased that he made him a knight of the ,garter a few days after4 ,many men have received that honour for less4 ,he died in ,july #agjj4 #db ,prince ,george of ,denmark1 ,husband of ,queen ,anne 7#hhd7 4 4 4 4 4 ,,dahl4 ,in an oval1 to the shoulders2 in armour4--,his death in this ,palace has been mentioned on page #bb4 #dc ,john ,churchill1 #ast ,duke of ,marlborough 4 4 4 4 4 ,,jan ,,wyck4 ,three-quarters length1 in armour2 face turned three-quarters to the left4 ,his left hand is on his hip1 his right on a table by his side1 on which is a plumed helmet4 ,a battle scene is shown in the lower right background4 ,on canvas1 #c ft4 high1 by #b ft4 #d in4 wide4 ,lent by the ,trustees of the ,national ,portrait ,gallery4 ,this portrait would seem to represent him as a comparatively young man--about twenty-three--after he had distinguished himself at ,maestricht1 when he was nicknamed by ,turenne the handsome ,englishman4 ,it was the period of his famous liaison with the ,duchess of ,cleveland1 who had fallen a willing victim to his beauty and his charm of manner4 ,lord ,wolseley1 in his ,life of ,marlborough1 describes his appearance at this period as3 ,strikingly handsome1 with a profusion of fair hair1 strongly-marked1 well-shaped eyebrows1 long eyelashes1 blue eyes1 and refined1 clearly-cut features4 ,a wart on his right upper-lip though large1 did not detract from his good looks4 ,he was tall1 and his figure was remarkably graceful1 although a contemporary says3 ',il avait l'air trop indolent1 et la taille trop effil4' ,queen ,mary's ,privy ,chamber4 ,except for the oak panelling1 which covered the walls of this room as late as the beginning of this century1 but which was removed now many years ago1 we see it exactly as it was finished for ,queen ,mary4 ,her initial1 with that of her husband1 ,king ,william1 appears in the fine carved oak cornice4 ,the ceiling is coved4 ,at one time this room was called ,the ,admiral's ,gallery1 on account of the series of copies of portraits of ,british ,admirals by ,kneller and ,dahl1 which formerly hung here--until their removal in #ahce to ,hampton ,court1 whence they have now been brought back to decorate again the walls of these state rooms at ,kensington4 ,they are now hung1 as we shall see1 in ,the ,king's ,gallery4 ,the dimensions of this room are3 #be feet long by #ag feet #aj inches wide1 by #ab feet #g inches high to the top of the cornice1 #ae feet #h inches to the highest part of the ceiling4 ,pictures in ,queen ,mary's ,privy ,chamber4 #ej ,queen ,mary1 when ,princess of ,orange 7#bc7 4 4 4 4 4 ,w4 ,,wissing4 ,seated1 nearly full length4 ,she is dressed in blue in the costume of a lady of the time1 and with a crimson mantle edged with ermine4 ,her left hand rests on a table1 over which her mantle falls4 ,engraved by ,john ,verkolje4 ,this picture is signed on the left-hand side1 and is the original of many replicas or copies at ,st4 ,james's ,palace1 at ,burley-on-the-,hill1 ,woburn1 ,the ,grove1 etc4 ,it was painted for ,james ,,ii41 who sent ,wissing over to the ,hague for the purpose4 ,his popularity as a portrait-painter was great1 and was partly due no doubt to his making such flattering likenesses4 ,when any lady came to sit to him whose complexion was any ways pale1 he would commonly take her by the hand and dance her about the room till she became warmer4 #ea ,william ,,iii4 when ,prince of ,orange 4 4 4 4 4 ,w4 ,,wissing4 ,three-quarters length1 standing2 facing to the right1 in a rich dress4 ,this is the companion piece to the foregoing4 #eb ,portrait of ,james ,stuart the ,pretender 7#ffd7 4 4 4 4 4 ,b4 ,,luti4 ,half-length2 facing in front1 inclined to the right2 his right hand only is seen4 ,he is in the robes of the ,order of the ,garter1 of which the jewel hangs on his breast1 and has a long full-bottomed wig1 a lace cravat and cuffs4 ,on his left is a table on which is the royal crown of ,england4 ,the background is gray1 with a red curtain4 ,on canvas1 #c ft4 #c in4 high1 by #b ft4 #f in4 wide4 ,the canvas is new4 ,behind was formerly this inscription3--,james son of ,james ,,ii42 by the ,cavaliere ,benedetto ,luti1 from the ,cardinal of ,york's collection at ,frascati4 7,note in the ,royal ,inventory47 ,this picture and ,no4 #hci were bequeathed to ,george ,,iii4 by ,cardinal ,york1 the old ,pretender's son1 and the last of the ,stuarts1 who died in #ahjg4 ,it was no doubt painted at ,rome1 some time between the year #agah1 when ,prince ,james accepted the asylum in the ,eternal ,city offered him by the ,pope1 and the year #agbd1 when ,luti died there4 ,in #agbj he was married to the ,princess ,sobieski1 and at the end of the same year the young ,pretender was born4 ,the ,pretender's countenance has that heavy1 sodden appearance1 and that weak dejected look1 which were due partly to his inert character1 partly to his misfortunes1 and not less to the debauched and indolent life he led4 ,his person1 indeed1 was never impressive2 and even an adherent1 writing of the events at ,perth in #agae1 admits3--,i must not conceal1 that when we saw the man1 whom they called our ,king1 we found ourselves not at all animated by his presence1 and if he was disappointed in us1 we were tenfold more so in him4 ,we saw nothing in him that looked like spirit4 ,he never appeared with cheerfulness and vigour to animate us4 ,our men began to despise him2 some asked him if he could speak4 ,gray the poet gives a similar account of him some years after3--,he is a thin1 ill-made man1 extremely tall and awkward1 of a most unpromising countenance1 a good deal resembling ,king ,james ,,ii41 and has extremely the air and look of an idiot1 particularly when he laughs or prays2 the first he does not do often1 the latter continually4 ,horace ,walpole observed that enthusiasm and disappointment have stamped a solemnity on his person1 which rather creates pity than respect4 #ec ,frederick1 ,prince of ,wales1 at a ,party 7#fjf7 4 4 4 4 4 ,m4 ,,laroon8 ,the ,prince is at the head of the table1 round which eight ladies and gentlemen are seated4 ,he is pouring wine into a glass4 ,some thirteen persons1 attendants1 and a clergyman1 are also in the room4 ,most of them are probably portraits4 ,altogether twenty-three small figures4 ,on canvas1 #c ft4 high1 by #b ft4 #aj in4 wide4 ,this picture1 though long labelled ,vanderbank1 is probably by ,marcellus ,laroon1 the younger1 to whom it is attributed in an old catalogue4 ,the likelihood that he is the painter is greatly strengthened by the close resemblance in style between it and the similar piece that follows--the personages evidently being the same4 ,it is not certain what is the subject represented2 though it has borne the above title for many years4 ,in one of the ,lord ,chamberlain's old inventories it is stated to represent a fte in honour of the marriage of the ,duke of ,wharton4 #ed ,a ,royal ,assembly in ,kew ,palace 4 4 4 4 4 ,,marcellus ,,laroon4 ,this represents some ,royal assembly1 apparently ,augusta of ,saxe-,gotha1 the wife of ,frederick1 ,prince of ,wales1 and her friends1 in ,kew ,palace4 ,the ,princess in blue is pouring out the tea2 a lady in white is singing2 ,handel is at the harpsichord1 and ,orator ,henley close by4 ,the equestrian portrait on the wall appears to be ,george ,,ii4 ,signed ,mar4 ,laroon1 and dated #agdj4 ,lent by ,mr4 ,humphry ,ward4 #ee ,matthew ,prior 4 4 4 4 4 ,by ,thomas ,hudson1 after ,,jonathan ,,richardson4 ,half-length1 seated1 almost in profile to the right4 ,on canvas1 #c ft4 #d in4 high1 by #b ft4 #i in4 wide4 ,lent by the ,trustees of the ,national ,portrait ,gallery4 ,prior--poet1 statesman1 and diplomatist--published with ,charles ,montagu1 afterwards ,earl of ,halifax1 in #afhi1 ,the ,city ,mouse and the ,country ,mouse1 intended to ridicule ,dryden's ,hind and ,panther4 ,he was patronized by ,dorset1 who introduced him to the ,court2 and he was often employed in diplomatic offices4 #ef ,flower-,piece--over the mantelpiece 7#hbf7 4 4 4 4 4 ,,baptiste4 ,a green glass vase with chrysanthemums1 poppies1 honeysuckles1 etc4 ,baptiste was a protg of ,queen ,mary1 and painted a great number of flower-pieces to decorate ,kensington and ,hampton ,court4 #eg ,portrait of ,robert ,boyle the ,philosopher 7#ef7 4 4 4 4 4 ,,kerseboom4 ,nearly full-length1 seated in a big armchair2 turned to the right1 but facing in front4 ,he leans his right arm on the chair2 his left is turning over the leaves of a book on a table in front of him4 ,he wears a large full-bottomed wig4 ,this picture has been engraved by ,baron several times4 ,boyle1 the famous chemist and experimental philosopher1 was the seventh son of the first ,lord ,cork1 and from him received a fortune of #c1jjj a year1 which he devoted in a great measure to scientific research and the promotion of the ,christian religion4 ,he was never married1 being of opinion that a man must have very low and narrow thoughts of happiness or misery who can expect either from a woman's conduct4 ,for his life1 see his ,philaretus4 ,frederic ,kerseboom was a native of ,germany1 who worked at ,paris and ,rome under ,le ,brun and ,poussin4 ,he was in ,england during ,william ,,iii4's reign1 and painted a few indifferent portraits4 #eh ,portrait of ,john ,locke 7#idg7 4 4 4 4 4 ,,kneller4 ,half-length1 standing2 turned to the right1 but facing in front4 ,he rests his left hand on a table1 on which are an inkstand and a pen2 his right hand in front of him4 ,he wears a plain black coat1 with part of his shirt showing2 and he is without his wig1 and shows his long white hair4 ,this is one of ,kneller's best portraits4 ,it was evidently painted in the philosopher's later years1 for he looks here on the point of dying of the asthma to which he succumbed in #agjd4 ,pray1 said ,locke in a letter to ,collins1 get ,sir ,godfrey to write on the back of my picture ',john ,locke2' it is necessary to be done1 or else the pictures of private persons are lost in two or three generations4 #ei ,sir ,isaac ,newton 7#ieg7 4 4 4 4 4 ,,kneller4 ,three-quarters length2 turned to the left1 facing in front4 ,his right arm is by his side1 his left leans on a table1 on which are a globe and a book4 ,he wears a dark1 loose robe1 and a large wig4 ,on the left is inscribed3 ,i ,newton ,esqre tatis #dg4 #afhi4 ,there is a similar portrait to this at ,petworth1 which is engraved in ,lodge4 ,newton was at this time member of the ,convention ,parliament1 for the ,university of ,cambridge4 #ei;,a ,king ,william ,,iii4 7#ggi7 4 4 4 4 4 ,,kneller4 ,three-quarters length in armour1 directed to the right2 face turned round to the left4 ,he wears a blue and gold sash4 ,in the left background is a black servant1 perhaps the one whose marble bust is now in this palace4 ,queen ,caroline's ,drawing ,room4 ,in entering this room we pass from the portion of the palace built in #afij by ,sir ,christopher ,wren for ,william and ,mary1 to that constructed by ,william ,kent about #agbc for ,george ,i4 ,the visitor has thus a good opportunity of comparing the styles and tastes of the two architects and of gauging their relative powers4 ,wren had been driven from his office1 in #agah1 by a shameful backstair intrigue2 and two years afterwards1 ,kent1 doubtless by the influence of his patron1 the ,earl of ,burlington1 was commissioned to build a set of new state rooms4 ,how very mediocre were his talents1 the exterior of his addition to ,wren's work will1 as we have already said1 ever remain a palpable proof2 and though for internal construction he shows less incapacity1 still this room exhibits all his false ideas of pseudo-classicism--developed1 as we shall see1 to a most extravagant extent in the adjoining ,cube or ,cupola ,room4 ,examining the decoration in detail1 we perceive everywhere evidences of his awkward1 graceless style4 ,the doorways1 for instance1 are unnecessarily lofty and gaunt1 and with their heavy cumbrous architraves1 flat moulded1 with little light and shade1 greatly impair the proportions of the room4 ,in the tall semi-circular headed central window also1 surmounted by a purposeless oak bracket--even in such details as the mouldings of the panelling and of the framing of the doors1 and the flatness of the raised panels and their relative sizes to the width of the rails and stiles1--we detect his marked inferiority to ,wren in the designing of such fittings4 ,the chimney-piece1 which is one of ,kent's plainer and less ponderous ones1 is of a choice marble1 veined black and gold4 ,the dimensions of this room are3 #cb feet #i-a_/b inches long1 #bd feet #b inches wide1 and #ai feet #b inches high to the top of the cornice1 #bd feet to the ceiling4 ,painted ,ceiling of ,queen ,caroline's ,drawing ,room4 ,but it is by the ceiling especially1 with its great heavy oval frame of plasterwork1 and its appearance of overhanging crushing weight1 that we can most accurately appreciate ,kent4 ,the central recessed panel1 containing an allegorical representation of ,minerva1 attended by ,history and the ,arts1 gives us a measure of his powers as a pictorial artist4 ,the decorative painting of the cove of the ceiling1 above the oaken cornice1 is more satisfactory4 ,in the four angles1 and in the middle of each side1 are classical pediments with volutes4 ,besides1 the workmanship of the wainscoting being very good1 and the original rawness of the ceiling somewhat faded1 this room1 with its new oak floor1 its gorgeous paper1 its ,georgian furniture1 probably designed by ,kent1 and the magnificent frames of some of the pictures on its walls1 presents a fine and stately appearance4 ,contemporary ,french and ,german ,portraits4 #fj ,madame de ,pompadour 7#ihf7 4 4 4 4 4 ,,drouais4 ,half-length1 seated1 turned to the left4 ,she wears a dress of figured brocade1 worked with coloured flowers and foliage on a white ground1 and trimmed with white ribbons2 her sleeves are short and edged with lace4 ,on her head is a sort of mob cap1 or headdress of lace1 tied under the chin with a striped ribbon2 her hair is short and powdered4 ,in front of her is a frame of embroidery called tambour-work1 which she is working1 her right hand being above1 and her left under the canvas4 ,the background is grey1 with a red curtain to the right4 ,painted in an oval4 ,on canvas1 #b ft4 #g-a_/b in4 high1 by #b ft4 wide4 ,this picture has been attributed1 but quite unwarrantably1 to ,greuze1 who does not appear to have painted ,louis ,,xv4's mistress at all1 and certainly could not have done so when she was as young as she is here represented4 ,it is in fact a replica 7and by no means a bad one7 of a portrait by ,drouais1 of which a great many repetitions are extant1 and of which the original--a full-length--is now at ,mentmore1 ,lord ,rosebery's4 ,the ,mentmore picture was purchased for #a1jjj4 ,drouais was an indifferent artist whose name would long have passed into oblivion1 had he not painted princes and princesses4 ,diderot drew this just estimate of his works3--,tous les visages de cet homme-l ne sont que le rouge vermillon le plus prcieux1 artistement couch sur la craie la plus fine et la plus blanche4444 ,il n'y en a pas une de laide1 et pas une qui ne dplt sur la toile4 ,ce n'est pas de la chair2 car1 o est la vie1 l'onctueux1 le transparent1 les tons1 les dgradations1 les nuances8 ,and ,larousse endorses this view with the following remarks3--,toutes ces peintures1 habilement traites d'ailleurs comme mtier1 n'ont rien de saillant1 aucune puissance1 aucune originalit4 ,les ttes sont banales1 ternes1 sans physionomie4 ,l'allure est gauche et pnible4 ,les personnages sont fort mal habills1 bien que les draperies soient excutes en trompe-l'oeil et avec magnificence4 ,madame de ,pompadour is here represented at about the age of thirty-five1 a period when1 having lost the influence of a lover over the debauched and fickle ,louis ,,xv41 she endeavoured to retain her power by ministering to his pleasures and vices4 ,her appearance completely tallies with the account given of her3--,elle tait assez grande1 bien faite1 les cheveux1 chtain clair1 tres-beaux1 avec une peau d'une grande finesse et d'une blancheur clatante4 ,mais elle avait un genre de beaut qui se fane vite3 ses chairs molles s'infiltraient1 s'enflammaient aisment2 elle avait des langueurs et des pleurs maladives4 ,the tambour-work at which she is engaged was one of her favourite occupations2 and it is pleasant to remember1 with the shocking record of her extraordinary career1 that she created that style in decoration1 furniture1 dress1 literature1 and even art1 which is known by the name of ,louis ,,xv41 a style which1 wanting as it is in the simplicity of medivalism1 and stamped though it be with the character of its meretricious inventor1 is yet always pleasing from a certain refinement and artificial beauty4 #fa ,mademoiselle de ,clermont 7#ihd7 4 4 4 4 4 unnamed4 ,half-length1 facing in front1 hands not seen4 ,she is dressed in a white dress1 with a garland of flowers across it from under her left arm to her right shoulder4 ,behind her she has a blue scarf4 ,her hair is powdered and done high up4 ,on canvas1 #b ft4 #e in4 high1 by #b ft4 wide4 ,behind is written3--,marianne4 de4 bourbon4 nommeo4 ,mademoiselle4 de4 ,clermont4 ,she was born in ,paris in ,october1 #afig1 and was the daughter of ,louis1 the third ,duke of ,bourbon1 and his wife ,louise ,franoise de ,bourbon1 ,mademoiselle de ,nantes1 a natural daughter of ,louis ,,xv4 ,in #agbe she was appointed ,surintendante de la ,maison de la ,reine4 ,the story of her and her lover1 ,m4 de ,melun1 and his tragic end1 forms the basis of ,madame de ,genlis' charming little novel1 ,mademoiselle de ,clermont4 ,this portrait is painted in the style of ,nattier4 #fb ,louis ,,xvi4 in his ,coronation ,robes 7#eaf7 4 4 4 4 4 ,,callet4 ,full-length1 standing1 facing to the left4 ,his left hand holds his hat by his side1 his right leans on his sceptre4 ,he is attired in the royal robes of ,france1 a purple mantle embroidered with fleurs-de-lys1 and an ermine tippet1 etc4 ,he has a small wig2 his face is shaven4 ,behind him is his throne1 with a figure of ,justice4 ,on canvas1 #i ft4 high1 by #f ft4 #e in4 wide4 ,this is the original presentation frame1 decorated with fleurs-de-lys4 ,though formerly labelled ,greuze1 it is really a replica of ,callet's well-known portrait1 of which1 besides the original at ,versailles1 there are other repetitions at ,madrid and elsewhere1 distributed to the various courts of ,europe on the king's accession4 ,the original was engraved by ,bervic1 the greatest of ,french engravers1 the plate being lettered with the painter's name1 ,callet ,peintre du ,roi4 #fc ,portrait of ,louis ,,xv4 when young 7#ibe7 4 4 4 4 4 ,,rigaud4 ,half-length1 turned to the left2 his left hand is in his sash1 his right holds a marshal's bton4 ,his dress is a fawn-coloured doublet with a cuirass1 a blue sash1 and a blue mantle embroidered with a fleur-de-lys over it4 ,short hair1 beardless face4 ,on canvas1 #c ft4 high1 by #b ft4 #e in4 wide4 ,this portrait was painted by ,rigaud1 as the contemporary mezzotint engraving by ,j4 ,simon proves1 and not1 as has been said1 by ,mignard1 who had been dead thirty years4 ,he is considered one of the best ,french portrait-painters of that period4 ,louis ,,xv4 conferred several favours on him1 and decorated him with the ,order of ,st4 ,michael1 in #agbg1 soon after this portrait was painted4 ,this distinction was given1 as he said1 tant en considration de la rputation acquise dans son art1 que pour avoir peint la famille royalle jusqu' la quatrime gnration4 #fd ,marianne1 ,duchess of ,bourbon 7#ihe7 4 4 4 4 4 ,,santerre8 ,half-length1 facing in front2 her hands not seen4 ,her hair is dark1 and dressed high1 with a blue ribbon fastened over with a red jewel1 and carried to the front4 ,her dress is yellow brocade with red drapery4 ,on canvas1 #b ft4 #e in4 high1 by #b ft4 wide4 ,behind is written in ink3--,marianne4 de4 bourbon4 fille4 de4 ,monsieur4 le4 prince4 de4 ,conty4 famme4 de4 ,monsieur4 le4 duc4 de4 bourbon4 ,she married1 in #agac1 ,louis ,henri de ,bourbon1 brother of ,mademoiselle de ,clermont 7see ,no4 #fa71 and died in #agbj4 ,there is a portrait of her husband at ,paris1 by ,drouais4 ,the portrait before us is very possibly by ,jean ,baptiste ,santerre1 a good painter whose works are rare4 ,he died in #agag4 #fe ,the ,emperor ,paul of ,russia 7#hid7 4 4 4 4 4 ----8 ,bust1 turned to the left1 eyes looking at the spectator4 ,he is in a green uniform with red facing2 and on his breast three stars and a green ribbon across from his right shoulder to his left4 ,his hair is curled and powdered4 ,on canvas1 #b ft4 #d in4 high1 by #a ft4 #aj-a_/b in4 wide4 ,behind the picture is inscribed3--,kopal ,t4 ,ep4 ,k4 ,e4 787 #agii and ,catalogue ,no4 #ede1 ,emperor ,paul of ,russia44 ,this portrait represents the emperor in the forty-fifth year of his age1 three years after his accession1 and two years before his assassination4 #ff ,louis ,,xiv41 when young 7#cif7 4 4 4 4 4 ,,mignard8 ,three-quarters length1 facing in front4 ,his left hand hangs by his side1 right is on his hip4 ,he is clad in armour1 over which is a purplish robe1 lined with yellow4 ,he has a long brown wig4 ,on canvas1 #e ft4 high1 by #c ft4 #g in4 wide4 ,if this is really by ,mignard1 it must1 on account of the age of the king1 be one of the first pictures he painted in #afeh1 on his introduction to the ,french ,court4 #fg ,stanislaus1 ,king of ,poland 7#hie7 4 4 4 4 4 ,,lampi4 ,bust1 turned slightly to the left4 ,he is dressed in a purple velvet coat1 across which is a light blue sash1 and on the left side of his breast a star4 ,he wears a small wig and pigtail2 his face is shaven4 ,on canvas1 #b ft4 #d in4 high1 by #a ft #aj-a_/b in4 wide4 ,behind in ink is written3--,cavalieri ,lampi de ,vienna4 ,in an old inventory1 dated #ahai1 is this entry3--,half-length portrait of the ,king of ,poland1 purple velvet coat1 etc41 painted by ,lampi1 member of the ,academy of ,vienna4 ,bought of ,colnaghi for #ba4 ,stanislaus-,augustus ,poniatowski was proclaimed ,king of ,poland on the #gth of ,september1 #agfd1 having owed his election to his lover the ,empress ,catherine4 ,it was during his reign that the infamous partition of ,poland was perpetrated1 to which he lent a passive assistance4 ,he died in #agih4 #fh ,queen of ,prussia 7#ijg7 4 4 4 4 4 ,,anton ,,graff8 ,seated in a high-backed armchair covered with blue velvet2 she is turned to the left1 but faces in front4 ,her right hand rests on a table beside her1 and points to a book2 her left hangs by her side4 ,she is dressed in black trimmed with ermine1 and her head is covered with a black lace veil4 ,her hair is white4 ,on canvas1 #d ft4 #g in4 high1 by #c ft4 #c in4 wide4 ,this is attributed in the ,royal ,inventory to ,graff1 a ,german painter who flourished at the end of the last century4 ,is she ,sophia ,dorothea1 sister of ,george ,,ii41 who married1 in #agjf1 ,william ,i41 ,king of ,prussia1 and who died in #ageg8 #fi ,frederick1 ,prince of ,wales 7#ghi7 4 4 4 4 4 ,,zeeman8 ,small full-length2 turned to the right4 ,his right hand pointing in front of him1 his left on his breast4 ,he wears a red coat1 leather boots to the knees1 and a long wig4 ,though this has long been known as ,frederick1 ,prince of ,wales1 there are reasons to suspect that it is really his ,brother ,william1 ,duke of ,cumberland4 #gj ,louis ,,xiv4 on ,horseback 7#hec7 4 4 4 4 4 ,,charles ,,le ,,brun8 ,he is shown the size of life1 on a cream-coloured charger1 rising on its hind legs1 and turned to the left4 ,his dress is an embroidered coat1 with jack boots and scarlet breeches4 ,in his right hand he holds a bton4 ,on his head is a black laced hat2 he has long flowing hair and curls4 ,in the distance under the horse's forelegs an attack of cavalry is seen4 ,on canvas1 #h ft4 #c in4 high1 by #f ft4 #b in4 wide4 ,this has been attributed to ,van der ,meulen1 but there is a similar picture at ,versailles by ,charles le ,brun of which this is perhaps a replica4 #ga ,frederick the ,great 7#eee7 4 4 4 4 4 ,,antoine ,,pesne4 ,full-length1 standing1 turned to the left1 but facing round to the front4 ,his left hand points to a battle in the distance2 his right holds a marshal's truncheon4 ,he is in armour1 over which is a crimson ermine-lined mantle2 he has a small close-curled wig2 his helmet is on the ground in front of him4 ,on canvas1 #h ft4 #g in4 high1 by #e ft4 #g in4 wide4 ,to this admirable painter 7i4e4 ,pesne7 ,i am inclined to attribute the portrait of ,frederick the ,great4 ,the king1 who is still in youthful years1 is pointing to a battlefield in the background1 probably in allusion to the ,silesian war4 ,a picture of considerable merit4--,waagen4 ,the painter is well remembered by the following couplet by ,frederick the ,great3-- ,quel spectacle tonnant vient de frapper mes yeux1 ,cher ,pesne1 ton pinceau t'gale au rang des ,dieux1 which ,voltaire interpreted thus3--,le roi ne regardant jamais le peintre1 ce dernier tait pour lui invisible comme ,dieu4 ,pesne1 who was a ,frenchman and studied in ,paris1 was in ,england in #agbd4 ,he afterwards went to ,berlin1 where he became court painter to ,frederick the ,great4 ,he died in #ageg1 the year of the ,battle of ,prague4 ,the frame is doubtless a presentation one4 #gb ,frederick the ,great 7#igh7 4 4 4 4 4 unnamed4 ,bust1 turned to the left1 facing in front2 his hands not seen4 ,he wears a small wig and a dark-blue coat1 with the star of the ,order of the ,black ,eagle4 #gc ,charles ,,xii4 of ,sweden 7#igg7 4 4 4 4 4 ,,magnus ,,du ,,blaire8 ,bust2 wearing a blue coat and a black choker2 grey hair1 and a beardless face4 ,a small whole length1 #di in4 by #ci in41 of which this appears to be an enlarged copy of part1 was in the ,hamilton ,palace collection1 ,no4 #ajca1 attributed to ,magnus du ,blaire1 and inscribed3 ,in fatum ,scandici ,die ,,xxx ,nov4 ,,mdccxvii4 ,david ,krafft1 a ,swedish painter1 born in #afee1 painted the portrait of ,charles ,,xii4 at the command of his sister1 afterwards ,queen ,ulrica ,elanora2 but this monarch1 who objected to being portrayed1 was so displeased at the accuracy of the picture1 that he cut out the head4 ,it had1 however1 already been transferred to copper1 and also etched by several engravers4--,bryan4 #gd ,flower ,piece 4 4 4 4 4 ,,baptiste4 #ge ,flower ,piece 4 4 4 4 4 ,,baptiste4 #gf ,flower ,piece 4 4 4 4 4 ,,baptiste4 ,the ,cupola or ,cube ,room4 ,in this sumptuous and gorgeous chamber1 with its marble-pillared doorways1 its painted and gilded walls1 its niches1 brackets1 slabs1 and pediments of white marble1 its gilt antique statues1 its gaudy domed ceiling of blue and gold1 we have the very acme and essence of the style and art of ,william ,kent1 triumphant and rampant4 ,after our remarks on his work in the foregoing room1 we shall not be expected to lose ourselves in admiration over this masterpiece of his pseudo-classic design and decoration4 ,yet little as we may agree with his theories of art1 little as we may admire the way he carried them into practice1 it is not to be denied that1 viewed as a whole1 there is considerable grandeur and stateliness1 and a certain degree of fine proportion1 about this highly-emblazoned saloon4 ,though called the ,cube ,room1 its dimensions are not exactly of that mathematical figure1 the walls being only #bf feet #b inches high1 to the top of the cornice1 and #cd feet #g inches to the centre of the ceiling1 though each side is #cg feet long4 ,the ,painted ,ceiling of the ,cube ,room4 ,the ceiling seems to have been the first portion of the work undertaken by ,kent1 and to have been finished by him by the spring of the year #agbb4 ,that he was employed to do this work occasioned much very justifiable heart-burning4 ,sir ,james ,thornhill was at that time serjeant-painter to the ,king1 and in virtue of his office was entitled to receive the commission for painting this ceiling4 ,indeed1 it appears from a ,memorial of ,sir ,thomas ,hewett1 ,knt41 ,surveyor-,general of ,his ,majesties ,works1 addressed to the ,lords of the ,treasury1 dated #adth ,february1 #agbb-c1 and relating to the painting of the large ,square ,room at ,kensington1 that in the foregoing autumn the ,king had commanded ,hewett's attendance at ,kensington about finishing the ,three ,large ,rooms in the ,new ,building1 and that ,hewett then showed the ,king several sketches of mosaic work1 etc41 for painting the ceiling of the ,great ,square ,room4 ,the ,memorial proceeds to state3 ,his ,majesty chose one of them2 and after ,i ordered a model to be made1 and ,sir ,james ,thornhill painted it1 which ,his ,majesty saw and approved of2 and commanded me to tell the ,vice-,chamberlain he should treat with ,sir ,james ,thornhill for the ,price1 and that it should be done out of ,hand1 which is all ,i know of the matter4 ,nevertheless1 for some reason or other--probably owing to some backstair intrigue--,kent was employed to do the work instead4 ,but before he had half finished it the officers of works were directed by the ,treasury to view and take care that the particulars of ,mr4 ,kent's proposal for painting the ceiling of the ,great ,chamber at ,kensington be well answer'd1 and the work in the best manner performed with l',ultra-,marine4 ,they accordingly commissioned several of the best artists of the day to view and carefully to consider the same and report in writing4 ,illustration3 ,,the ,,cupola ,,or ,,cube ,,room1 ,,as ,,it ,,was ,,when ,,the ,,queen ,,was ,,baptized ,,in ,,it4 ,the artists1 or rather critics as they became--and trust an artist to be no too lenient a critic of a fellow artist's work--were ,john van ,vaart1 ,alexr ,nisbett1 and ,jacob ,rambour4 ,their report is dated ,may #bbnd1 #agbb1 and in it they state as follows3 ,we have been to ,kensington and carefully view'd and considered the said painting1 which we did find better than half done3 ,but having examin'd the particulars thereof1 we have observed1 and 'tis our opinion1 that the ,perspective is not just2 that the principal of the work1 which consists in ornaments and architecture1 is not done as such a place requires4 ,mr4 ,nesbot adds that the ,boys1 ,masks1 ,mouldings1 etc41 far from being well1 he has seen very few worse for such a place3 and ,mr4 ,rambour affirms that the said work1 far from being done in the best manner1 as mentioned in your letter1 it is not so much as tolerably well perform'd4 ,as for the quality of the ,blew used in the work1 ,mr4 ,vandewart and ,mr4 ,rambour declare that they can't judge whether it is true ultramarine1 because it does not look fine enough1 but ,mr4 ,nesbot's opinion is that it is nothing but ,prussian ,blew1 in which perhaps there may be some ,ultra-marine mixt4 ,nevertheless1 the colours have endured unfaded until to-day2 and the gilding also1 both on the ceiling and the walls1 has required but little renewing1 only cleaning and an occasional application of modern leaf gold1 and retouching with the paint brush1 where the old surface had been injured4 ,much of the woodwork1 however1 had to be repaired1 especially the capitals of the pilasters1 some of which had to be renewed4 ,the shape of the ceiling is slightly domed1 the four coved sides terminating above in a flat centre1 painted with a gigantic star of the ,order of the ,garter4 ,the coved sides themselves are painted with octagonal panels1 diminishing upwards to simulate a lofty pierced dome4 ,kent himself seems to have been so well satisfied with the work1 that he made use of almost exactly the same design when painting the ,queen's ,staircase at ,hampton ,court some twelve years after4 ,across1 part of the north cove of the ceiling is painted a deep shadow1 to indicate that cast by the wall and cornice above the windows4 ,the ,painted ,walls of the ,cube ,room4 ,kent1 after finishing the ceiling1 proceeded to decorate the walls with painting and gilding4 ,there is a letter in the ,record ,office1 from ,lord ,grafton1 to the ,lords of the ,treasury1 dated #bith of ,may1 #agbe1 ordering payment of #cdd #bs4 #g;d4 to ,mr4 ,kent1 for painting the sides of the ,cube ,room at ,kensington with ornaments enriched with gold4 ,these walls1 including the four pilasters on each1 are of oak1 painted with a light olive-green colour as a ground1 embellished with niches of white marble1 surmounted by brackets of the same1 let into the woodwork4 ,in the six niches are well-designed statues of classical deities--,ceres1 ,mercury1 ,venus1 ,minerva1 ,bacchus1 ,apollo1 in cast lead1 somewhat under life-size4 ,these were so dirty and tarnished as to necessitate their being entirely new-gilt4 ,above them1 standing on brackets in flat rectangular niches1 were formerly busts representing ,roman poets1 now unfortunately no longer to be found4 ,the two doorways opposite each other are likewise of the same fine polished marble1 with pilasters and pillars of the ,ionic order1 supporting heavy entablatures1 on the apexes of which are antique busts4 ,the chimney-place is of the same design in miniature1 of polished dove-coloured white-veined marble1 similar to that at ,marlborough ,house4 ,on the apex was formerly a gilt bust of ,cleopatra1 now missing4 ,within the fireplace itself are very fine panelled and moulded covings or sides1 of the same dove-coloured marble1 discovered during the progress of the restorations4 ,above the chimney-piece is a large bas-relief in statuary marble representing a ,roman marriage1 sculptured by the statuary ,rysbach4 ,it is a fine work1 but one feels rather as if standing in front of a sepultural monument in some foreign campo santo than before an ,english fireside4 ,rysbach1 who was a native of ,antwerp1 came over to ,england in #agbj1 four or five years before he executed this work4 ,his talents were for some time--as have been those of many an unsuspecting foreigner--exploited by a commercializing ,british impresario1 ,gibbs4 ,two-thirds of the prices paid for his work found its way into the pockets of the unscrupulous intermediary1 until ,rysbach1 at last shaking himself free from this bondage1 took commissions on his own account1 and1 becoming the rage1 he was able to exact great prices for his work4 ,it is possible that he designed the gilt statues in the niches1 which seem too good for ,kent's narrow invention4 ,general appearance of the ,cupola ,room4 ,such was the decoration of this famous ,cupola or ,cube ,room when finished by ,kent1 such it appeared in #ahah1 when ,pyne's drawing1 from which our illustration is taken1 was made1 and such it appears to this day1 save for the large musical clock which then stood in its centre1 for the console tables against the walls1 and the four large chandeliers that hung from the ceiling4 ,these last were most essential features in this saloon1 for its windows1 abutting northwards on the private gardens1 admit but very insufficient light2 and only when illuminated by a blaze of candlelight can full justice have been done to the extravagant glories of its walls and ceilings4 ,it was1 in fact1 intended essentially as a room for grand evening entertainments1 and ,kent evidently bore this in mind when he constructed it2 for he contrived a very ingenious method1 whereby the double doors in the doorways between it and the two drawing-rooms1 with which it communicates1 fold back1 when opened1 into the door jambs1 in which they lie flush1 offering no projecting hindrance to the movement of guests passing either way4 ,this is a point never thought of by modern architects1 who might do worse1 when designing great reception rooms1 than take a hint in this matter from the much contemned ,kent1 and so obviate the usual crush at the too narrow doorways4 99 99 99 99 99 ,it seems to have been in this ,cupola ,room that took place1 on the #bdth of ,june1 #ahai1 the baptism of the infant ,princess ,victoria4 ,faulkner records that the ,royal ,gold ,font was brought from the ,tower and fitted up in the ,grand ,saloon1 with crimson velvet covering from the ,chapel ,royal1 ,st4 ,james's4 ,the ceremony was performed by the ,archbishop of ,canterbury1 assisted by the ,bishop of ,london4444 ,the ,prince ,regent and nearly all the ,royal ,family were present at the ceremony1 or at the dinner in the evening4 ,exactly underneath this room is the famous pillared ,council ,chamber in which1 as we have already stated1 the ,queen held her first council4 ,king's ,drawing ,room4 ,built at the same time as the two preceding rooms by command of ,king ,george ,i41 ,william ,kent here again reigns supreme in the design and decoration4 ,it was on the walls of this drawing-room1 we are told by ,pyne1 writing in #ahah1 that the then new art of paper-hangings1 in imitation of the old velvet flock1 was displayed1 with an effect that soon led to the adoption of so cheap and elegant a manufacture1 in preference to the original rich material from which it was copied4 ,the paper that now covers the walls is a copy of an old pattern1 and has been supplied by ,messrs4 ,bertram1 the decorators4 ,we may again notice here the five lofty doorways1 surmounted by flat architraves1 and the oak pilasters in the dado as characteristic of ,kent4 ,there was originally one of his great massive marble chimney-pieces in this room1 long since replaced by the present plain insignificant one4 ,the dimensions of this room are #ci feet #f inches long 7from east to west71 #bh feet wide1 and #bb feet #h inches high to the top of the cornice4 ,painted ,ceiling of the ,king's ,drawing ,room4 ,this is another of ,kent's artistic efforts4 ,there is in the ,record ,office a letter from ,lord ,grafton dated ,june #bfth1 #agbe1 conveying his majesty's commands that their ,lordships of the ,treasury would give orders to ,mr4 ,william ,kent to paint the ceilings1 etc4 in the new apartments at ,kensington--including this one4 ,the cove of the ceiling1 or portion nearest the cornice1 is elaborately decorated with scroll-work and architectural ornaments1 richly gilt and painted1 and with medallions in the middle of each side supported by female figures4 ,in the centre is a large projecting heavy oval frame of plaster1 with the panel within it recessed about three feet4 ,this is painted with the story of ,jupiter and ,semele1 the ,god appearing in a thunder-cloud1 and ,semele1 in a ridiculous attitude1 on a couch4 ,no painting could be worse4 ,the signature of the artist1 ,william ,kent pinxit1 #agbe1 has been found a little to the left of the right foot of ,semele4 ,when the restoration of this room was taken in hand last winter1 the ceiling was so begrimed with the dirt1 dust1 smoke1 and smuts of upwards of a hundred and fifty years of ,london atmosphere1 as to be nearly black4 ,the cleaning was carried out with the most scrupulous care1 and practically no re-painting or re-gilding has been necessary4 ,william ,kent1 the ,royal and ,fashionable ,decorator4 ,the whole effect of this ceiling if you do not look at it is rich and striking1 and with the fine paper and the pictures on the walls will pass muster as a suitable decorative treatment of a grand state reception room4 ,george ,i4 and ,george ,,ii4 at any rate had no hesitation in extending an unqualified approval to ,kent's work4 ,after having finished this suite he grew into greater favour than ever4 ,he was soon after appointed ,master ,carpenter1 ,architect1 ,keeper of the ,pictures1 and ,principal ,painter to the ,crown1 the whole1 including a pension of #ajj a year1 which was given him for his works at ,kensington1 producing--according to ,walpole--#fjj a year4 ,from the ,court his vogue extended to a large circle of patrons and votaries4 ,he was not only consulted for furniture1 as frames of pictures1 glasses1 tables1 chairs1 etc41 but for plate1 for a barge1 for a cradle2 and so impetuous was fashion1 that two great ladies prevailed on him to make designs for their birthday gowns4 ,the one he dressed in a petticoat decorated with columns of the five orders2 the other like a bronze1 in a copper-coloured satin1 with ornaments of gold6 ,illustration3 ,,king',s ,,drawing ,,room4 ,kent1 the ,father of ,modern ,gardening4 ,kent also had a great reputation as a horticulturist1 and was generally designated1 at the end of last century1 as the ,father of ,modern ,gardening--his ghastly progeny consisting of the destructive and desolating landscape-gardening enterprises of ,capability ,brown1 ,repton1 and their followers4 ,his hand doubtless fell heavy on the old ,queen ,anne formal gardens about ,kensington ,palace4 ,we can see the influence of his taste1 which was followed with enthusiasm by ,queen ,caroline and her gardener ,bridgman1 in the barrenness and commonplace appearance of the grounds that lie immediately below in front of us1 as we look out of the windows of this room1 and in the entire absence of planting or gardening in the large expanse surrounding the ,round ,pond4 ,this ,round ,pond1 or the ,basin as it used to be called1 is1 by the bye1 not round at all1 but of a geometrical figure1 more of an oval form than circular1 and with the four sides flattened and the intermediate portions of the circumference bent into ogees4 ,in thus shaping this basin the designer1 whether ,kent or ,bridgman1 has overstepped artistic discretion2 for from no point of view1 neither in ,kensington ,gardens1 from the ground beside it1 nor even from this window is its real shape to be made out--only from ,rocque's plan or bird's-eye view1 of #agcf1 can it be seen to be so eccentric4 ,the distant view1 however1 beyond the private gardens1 across the ,round ,pond and ,kensington ,gardens1 over grassy slopes and ancient trees to ,hyde ,park1 a mile away1 is one of the pleasantest in the metropolis4 ,not a street1 not a road1 not a house1 not a roof is to be seen4 ,in the spring and early summer1 when the foliage is fresh and green1 one might imagine oneself in the depths of the country1 in some old house overlooking midland pastures and woods4 ,west's ,pictures in the ,king's ,drawing ,room4 ,in this room are hung the paintings of ,west1 all of which were executed for ,george ,,iii41 who greatly admired them1 and extended to him a most liberal patronage4 ,he was equally in favour with the public1 who lauded his performances to the skies1 and with his fellow-artists1 who made him ,president of the ,royal ,academy4 ,we now hardly know which to wonder at most--an obscure lad in the wilds of ,pennsylvania1 who took his earliest lessons in painting from a tribe of ,cherokees1 accomplishing what he did2 or the ,english fetish1 ,public ,opinion1 having been so deluded as to regard his efforts as masterpieces of ,art4 ,the depreciation which has overtaken him may be judged when we hear that an ,annunciation1 for which #hjj was originally paid1 was knocked down in #ahdj for #aj6 ,his portraits1 nevertheless1 are interesting4 #hj ,the ,death of ,general ,wolfe 7#dig7 4 4 4 4 4 ,,west4 ,wolfe lies in the centre1 to the right1 supported by three officers4 ,in front of him is a wounded officer1 standing1 supported by others1 to hear his dying injunctions4 ,at his feet is an ,indian warrior in his war-paint1 gazing at him to see how an ,english chief will die4 ,on the extreme left is a messenger running1 and on the left ships with soldiers disembarking4 ,on canvas1 #e ft4 high1 by #h ft4 wide4 ,wolfe was killed on the #acth ,september1 #agei1 in the moment of victory before ,quebec4 ,the fall of ,wolfe was noble indeed4 ,he received a wound in the head1 but covered it from his soldiers with his handkerchief4 ,a second ball struck him in the belly1 but that too he dissembled4 ,a third hitting him in the breast1 he sank under the anguish1 and was carried behind the ranks4 ,yet1 fast as life ebbed out1 his whole anxiety centred on the fortune of the day4 ,he begged to be borne nearer to the action1 but his sight being dimmed by the approach of death1 he entreated to be told what they who supported him saw3 he was answered1 that the enemy gave ground4 ,he eagerly repeated the question1 heard the enemy was totally routed1 cried ',i am satisfied1' and expired4 7,walpole's ,memoirs47 ,in this picture1 which was painted in #agga1 ,west introduced the sensible innovation of dressing the characters in their proper costume2 previous to that time it was the common practice with painters to dress their figures in historical compositions of any kind1 in the ,greek or ,roman costume4 ,sir ,joshua ,reynolds was one of those who were averse to the innovation1 but when the picture was finished1 he changed his opinion4 ,after a careful examination of the picture1 he observed to the ,archbishop of ,york1 who was with him at the time1 ',west has conquered2 he has treated his subject as it ought to be treated2 ,i retract my objections4 ,i foresee that this picture will not only become one of the most popular1 but will occasion a revolution in the art4' ,when ,west related this to the ,king1 he said1 ',i wish ,i had known all this before1 for the objection has been the means of ,lord ,grosvenor getting the picture1 but you shall make a copy for me4' ,this is the copy ordered by ,george ,,iii41 for which the painter received #cae4 ,the original is at ,grosvenor ,house1 and has been finely engraved by ,woollett4 ,there are several other repetitions of it4 #ha ,prince of ,wales 7,george ,,iv471 and ,duke of ,york 7#ejj7 4 4 4 4 4 ,,west4 ,the ,prince is on the left1 in yellow satin1 his right hand on his hip1 his left on his brother's shoulder1 who leans against a table4 ,they are both in the robes of the ,garter and ,st4 ,andrew4 ,on canvas1 #i ft4 high1 by #g ft4 wide4 ,the ,prince of ,wales was born on ,august #abth1 #agfb2 ,frederick1 ,duke of ,york1 on ,august #afth1 #agfc4 ,this picture represents them when they were about fifteen and fourteen years old1 therefore1 about #aggg4 ,soon afterwards the ,duke of ,york proceeded to ,prussia for the purpose of being educated as a soldier4 #hb ,dukes of ,cumberland1 ,sussex1 and ,cambridge1 and the ,princesses ,augusta-,sophia1 ,elizabeth1 and ,mary 7#dhh74 ,the ,duke of ,cumberland is on the left1 standing2 the ,duke of ,sussex is lying down near his sister ,elizabeth1 who holds on her lap the infant ,princess ,mary 7874 ,kneeling by them is the ,duke of ,cambridge1 and behind is the ,princess ,augusta-,sophia4 ,signed and dated #aggf4 ,on canvas1 #f ft4 #g in4 high1 by #g ft4 #aj in4 wide4 ,prince ,ernest ,augustus1 afterwards ,duke of ,cumberland and ,king of ,hanover1 and grandfather of her ,royal ,highness ,princess ,frederica1 was born ,june #eth1 #agga2 ,prince ,augustus ,frederick1 ,duke of ,sussex1 on ,january #bgth1 #aggc2 and ,prince ,adolphus ,frederick1 ,duke of ,cambridge1 on ,february #bdth1 #aggd4 ,princess ,augusta-,sophia was born on ,november #hth1 #agfh2 ,princess ,elizabeth1 on ,may #bbnd1 #aggj2 and ,princess ,mary1 on ,april #beth1 #aggf4 ,the ,princesses have long been wrongly called1 ,charlotte1 ,augusta1 and ,sophia2 the correct names1 as given above1 are derived from the contemporary mezzotint by ,v4 ,green2 besides1 when this picture was painted the ,princess ,sophia was not born4 #hc ,queen ,charlotte1 aged #cf1 with her thirteen children in the background 7#dih7 4 4 4 4 4 ,,west4 ,standing2 dressed in white1 her hair powdered and piled up high4 ,the thirteen children are seen in the distance to the left1 in a picture which is now at ,windsor ,castle4 ,on canvas1 #i ft4 #f in4 high1 by #g ft4 wide4 #hd ,george ,,iii42 ,lords ,amherst and ,lothian behind 7#did7 4 4 4 4 4 ,,west4 ,he is standing1 facing to the right1 in full regimentals4 ,he holds a scroll of paper in his hands in front of him4 ,behind him is his crown and sceptre2 and in the background the two peers1 and a view of ,coxheath ,camp4 ,on canvas1 #i ft4 #f in4 high1 by #g ft4 wide4 ,it appears from ,west's own memoranda that this picture was painted before #aggi1 consequently the ,king cannot have been more than forty4 #he ,duke of ,cambridge1 and ,princesses ,charlotte and ,augusta 7#dhg7 4 4 4 4 4 ,,west4 ,the ,duke1 in a maroon-coloured suit1 is standing on the right4 ,princess ,charlotte is sitting on a stool1 with her sister on her lap4 ,in the background are a curtain1 a column1 and ,kew ,gardens with the ,pagoda4 ,signed on the top in the left hand corner2 and dated #aggh4 ,on canvas1 #i ft4 high1 by #f ft4 wide4 ,princess ,charlotte1 ,george ,,iii4's eldest daughter1 afterwards ,queen of ,wirtemburg1 was born on ,september #bith1 #agff2 and ,princess ,augusta1 on ,november #hth1 #agfh4 ,it is doubtful whether the names are correct4 #hf ,apotheosis of the ,infant ,princes ,octavius and ,alfred 7#ejc74 ,alfred1 the younger of the two1 is seated on clouds1 with his hands out-stretched to his brother1 who is being conducted up to him by an angel4 ,prince ,octavius was born on ,february #bcrd1 #aggi1 and ,prince ,alfred on ,september #bbnd1 #aghj4 ,alfred died on ,august #bjth1 #aghb4 ,i am very sorry for ,alfred1 said the ,king1 but had it been ,octavius ,i should have died too4 ,octavius followed his brother to the grave on ,may #bnd1 #aghc4 ,for this picture ,west received #cae4 ,engraved by ,sir ,robert ,strange4 #hg ,queen ,charlotte and the ,princess ,royal 7#dib7 4 4 4 4 4 ,,west4 ,the ,queen is sitting on a sofa1 with embroidery on her lap4 ,the ,princess stands on the right1 by her side1 and holds the embroidery4 ,dated #aggf4 ,on canvas1 #e ft4 #e in4 high1 by #f ft4 #h in4 wide4 #hh ,duke of ,clarence 7,william ,,iv471 and ,duke of ,kent 7#ejb7 4 4 4 4 4 ,,west4 ,the ,duke of ,clarence is on the left1 dressed in a blue coat with a white vest2 he has his right hand on a globe1 his left on his hip4 ,the ,duke of ,kent is in red turned full to the front1 but looking at his brother2 his right hand is on his brother's left hand1 his left is pointing upwards4 ,on canvas1 #i ft4 #f in4 high1 by #g ft4 wide4 ,prince ,william ,henry1 ,duke of ,clarence1 afterwards ,william ,,iv41 was born ,august #bast1 #agfe4 ,prince ,edward1 ,duke of ,kent1 father of her present ,most ,gracious ,majesty1 was born ,november #bnd1 #agfg4 ,this picture was painted when they were about thirteen and eleven years4 ,in #aghj1 the ,duke of ,clarence went to sea as a midshipman4 ,west received #bej guineas for the picture4 #hi ,george ,,iii4 ,reviewing the ,tenth ,dragoons in ,hyde ,park in #agig 7#afh7 4 4 4 4 4 ,,beechey4 ,the ,king is in front on a white horse1 whose head is turned to the left4 ,he is in full regimentals1 with a cocked hat4 ,just behind him is the ,prince of ,wales1 in the uniform of the #ajth1 holding up his sword and giving the word of command4 ,to the left of the ,king is the ,duke of ,york1 with ,generals ,goldsworthy and ,sir ,david ,dundas2 ,sir ,william ,fawcett is standing in front of them4 ,the ,king is turning round to speak to them1 and points with his right hand to the cavalry charge in the left distance4 ,on canvas1 #ac ft4 #h in4 high1 by #af-a_/b ft4 wide4 ,the #ajth ,light ,dragoons 7now the #ajth ,hussars7 were frequently reviewed by ,george ,,iii4 in company with the ,prince of ,wales1 who entered the army as brevet-colonel1 ,november #aith1 #aghb1 and after whom the regiment was called ,the ,prince of ,wales's ,own1 on ,michaelmas ,day1 #aghc4 ,in #agic he was appointed colonel-commandant of the corps1 and succeeded as colonel on ,july #ahth1 #agif4 ,the review commemorated here took place not long after that date1 for the picture is mentioned in a biographical sketch of ,sir ,william ,beechey in ,the ,london ,monthly ,mirror for ,july1 #agih1 where we are told that the ,king rewarded him for it with the honour of knighthood4 ,the names of the officers were derived from an account of a review1 which took place in #agii1 and which this picture was formerly supposed to represent2 it is therefore doubtful whether they are quite correct4 7,see ,notes and ,queries47 ,this picture is regarded as ,beechey's masterpiece1 and was very much admired at the time4 ,but although a clever and showy group of portraits1 it has little of real nature1 and is full of the painter's artifices4 ,thus the ,king's white horse forms the principal light1 and comes off the ,prince of ,wales's dark horse1 and so on2 the light and shadow of all the heads being the light and shadow of the studio1 and not of the field4--7,redgrave's ,century of ,painters47 ,the ,king had several copies taken of it2 in one1 which he gave to ,lord ,sidmouth1 the figure of the ,prince was omitted by the ,king's own desire1 a curious proof of his dislike of his son4 ,when the ,prince became ,king he hinted that it should be restored1 but this was evaded4 ,benjamin ,smith engraved the portrait of ,george ,,iii4 from this picture4 ,king's ,privy ,chamber4 ,although this room formed part of the state apartments built by ,kent1 it was much transformed in the reign of ,george ,,iii41 so that it bears little trace of its original decoration4 ,indeed1 it is so commonplace in appearance1 that1 except for the pictures which now hang on its walls1 it looks more like an ordinary bedroom in an old-fashioned country inn than a king's chamber in a palace4 ,the plain deal dado1 the common chimney-piece of black veined marble1 the wood and plaster cornice1 the shutters and windows1 are all of the most ordinary and inartistic pattern4 ,the dimensions of this room are #ca feet long1 #bd feet wide1 and #ag feet high4 ,portraits of the ,time of ,george ,,iii4 #ij ,portrait of ,francis1 #eth ,duke of ,bedford 7#ifa7 4 4 4 4 4 ,j4 ,,hoppner4 ,full-length1 turned to the left1 looking to the front4 ,he is dressed in a peer's full robes4 ,his left hand is on his hip1 his right holds a scroll of paper4 ,he is bareheaded1 face close-shaven1 and his hair short4 ,behind him is a red curtain1 and in the distance on the left a statue of ,hercules4 ,on canvas1 #h ft4 #c in4 high1 by #e ft4 #b in4 wide4 ,behind is written3--,received1 #gth ,april1 #ahaj1 from ,mrs4 ,hoppner4 ,the duke1 who was born in #agfe1 died on ,march #bnd1 #ahjb4 ,more dignified and well painted than the similar one at ,woburn4--,sir ,george ,scharf4 #ia ,francis ,hastings1 ,earl of ,moira 7#iej7 4 4 4 4 4 ,,hoppner4 ,full-length1 figure slightly to the right1 but the face turned round to the left4 ,dressed in uniform1 with the ,ribbon and ,star of the ,garter4 ,his right hand holds a scroll of paper by his side2 his left rests on a document on a table4 ,background1 a green curtain1 and sky on the right4 ,on canvas1 #g ft4 #aj in4 high1 by #d ft4 #aj in4 wide4 ,behind is painted ,r4,a4 #agid1 the year of ,hoppner's election1 and ,the ,star and ,garter added #ahab1 in ,june of which year ,lord ,moira1 after failing to form a ministry1 accepted the ,garter1 but1 says ,lord ,spencer in a letter to ,lord ,buckingham1 whether as a calm to his honour or his understanding1 it is not for me to say4 ,this picture was received from ,hoppner's widow1 in ,june1 #ahaj1 a few months after his death4 #ib ,portrait of ,john ,hely1 ,lord ,hutchinson 7#hgb7 4 4 4 4 4 ,,phillips1 ,r4,a4 ,three-quarters length1 seated1 turned to the left1 and looking downwards4 ,his left leg is crossed over his right1 and in his left hand he holds a map of ,egypt2 his right holds an eyeglass on his breast4 ,he is in his uniform4 ,in front of him on a table are writing materials4 ,on canvas1 #d ft4 high1 by #c-a_/b ft4 wide4 ,john ,hely was born in #ageg1 and in #aggd went into the army4 ,in the expedition to ,egypt in #ahja he was appointed second in command to ,sir ,ralph ,abercrombie2 on whose death the chief command devolved on ,hely1 then a major-general4 ,for his admirable conduct of the campaign1 in which he drove the ,french from ,egypt1 he received the thanks of both ,houses1 and was raised to the peerage in #ahac4 ,in #ahbc he succeeded his brother to the earldom of ,donoughmore4 ,he died in #ahcb4 #ic ,christian ,,vii4 of ,denmark 7#igf7 4 4 4 4 4 ,,dance4 ,a head1 in an oval1 turned to the right2 dressed in a red uniform trimmed with gold2 on his breast a blue ribbon4 ,his hair is powdered and brushed back4 ,this was formerly unnamed1 but the mezzotint engraving after it by ,fisher shows it to have been painted by ,dance2 doubtless when the ,king was over here in #agfg for his marriage to ,princess ,matilda4 ,he was then eighteen years old4 ,their domestic life was not happy4 ,in politics he distinguished himself by granting liberty of the press to his subjects2 in reward for which ,voltaire addressed the famous lines to him1 in which he tells him3 ,je me jette tes pieds au nom du genre humain4 ,he afterwards went out of his mind1 and died in #ahjh4 ,he was the son of ,princess ,louisa1 the daughter of ,george ,,ii41 and succeeded to the throne in #agff4 ,the engraving after this picture by ,g4 ,fisher is dated #agfi4 #id ,portrait of ,richard ,brinsley ,sheridan 7#hia7 4 4 4 4 4 ,k4 ,a4 ,,hickel8 ,bust2 face turned slightly to the right4 ,he has a blue coat and a yellow waistcoat4 ,his face is close-shaven4 ,on canvas1 #b ft4 high1 by #a ft4 #h in wide4 ,whatever ,sheridan has done1 or chosen to do1 has been par excellence always the best of its kind4 ,he has written the best comedy1 the best farce1 and the best address 7',monologue on ,garrick'71 and1 to crown all1 delivered the very best oration 7the famous ,begum speech7 ever conceived or heard in this country4--,byron4 ,this appears to be the study for1 or a replica of1 the head of ,sheridan in the picture of the ,interior of the old ,house of ,commons in #agic1 painted by ,karl ,anton ,hickel1 and now in the ,national ,portrait ,gallery4 #ie ,portrait of ,spencer ,perceval 7#hij7 4 4 4 4 4 ,,joseph4 ,half-length1 turned to the left4 ,in his left hand he holds a paper4 ,he wears a blue coat and a white waistcoat4 ,his face is shaven1 his hair grey1 and his head bald in front4 ,on canvas1 #b-a_/b ft4 high1 by #b ft4 wide4 ,behind is written3--,received from ,mrs4 ,joseph1 #ahth ,june1 #ahad4 ,this is a posthumous likeness1 taken from a mask after death1 but considered by all who knew him to be a faithful resemblance4 ,when ,queen ,charlotte went to see it1 and the curtain which covered it was withdrawn1 she was so struck with its truth1 that she burst into tears4 ,many copies with slight variations were executed2 one of them is now in the ,national ,portrait ,gallery4 ,it is engraved in mezzotint by ,turner4 ,it is a fair specimen of ,george ,francis ,joseph1 an indifferent artist1 who was elected an associate of the ,royal ,academy after painting this portrait4 ,he died in #ahdf4 ,perceval1 who became ,prime ,minister in ,october1 #ahji1 was assassinated in the lobby of the ,house of ,commons by ,bellingham1 on ,may #aath1 #ahab4 ,the official documents he holds in his hand remind us that his state papers were not at all to the taste of the ,prince ,regent1 who remarked1 that it was a great misfortune to ,mr4 ,perceval to write in a style which would disgrace a respectable washerwoman4 #if ,mary ,granville1 ,mrs4 ,delany 7#idd7 4 4 4 4 4 ,,opie4 ,bust1 turned to the left4 ,she is dressed in a black silk dress1 trimmed with lace1 and having a hood over her white widow's cap4 ,round her neck is a locket4 ,on canvas1 #b ft4 #f in4 high4 ,this portrait represents her as a very old woman1 and was probably painted not many years before her death1 in #aghh1 at the age of eighty-eight4 ,she was the eldest daughter of ,bernard ,granville1 grandson of ,sir ,bevil ,granville1 the ,royalist leader1 and was born in #agjj4 ,she was educated under the care of her uncle1 ,lord ,lansdowne1 and married in #agag ,alexander ,pendarves4 ,she was intimate with ,swift1 through whom she became acquainted with her second husband1 ,dr4 ,delany4 ,after his death she spent most of her time with her friend1 the ,duchess of ,portland1 and when she died1 ,george ,,iii41 who1 with the ,queen1 became very intimate with the old lady1 gave her a pension and a house at ,windsor4 ,she occupied her declining years in copying flowers in paper1 and executed as many as #ihj4 ,she died in #aghh4 ,her autobiography was published in #ahfa2 it contains a great many reminiscences of the court and family of ,george ,,iii4 ,this picture first brought ,opie into notice4 ,a replica painted for the ,countess of ,bute is in the ,national ,portrait ,gallery4 #ig ,brownlow ,north1 ,bishop of ,winchester 7#hhh7 4 4 4 4 4 after ,,dance4 ,bust1 nearly a full face1 slightly inclined to the right4 ,he is seated in a purple-covered chair1 in the robes of a ,chancellor of the ,garter1 with the chain of the order on his breast4 ,on canvas1 #b ft4 #h in4 high1 by #b ft4 #b in4 wide4 ,he was a half-brother of ,lord ,north1 the ,prime ,minister2 was born in #agda2 and was successively appointed ,bishop of ,lichfield and ,coventry1 ,worcester and ,winchester1 and died in #ahbj4 #ih ,portrait of ,hurd1 ,bishop of ,worcester 7#hhi7 4 4 4 4 4 ,,gainsborough4 ,bust1 turned to the left1 facing and looking in front4 ,dressed in a bishop's canonicals1 with a small1 but full1 curly wig4 ,painted in an oval4 ,on canvas1 #b ft4 #f in4 high1 by #b ft4 #a in4 wide4 ,compare ,no4 #cga4 #ii ,richard ,hurd1 ,bishop of ,worcester 7#hhg7 4 4 4 4 4 ,,gainsborough4 ,bust1 to the right1 looking to the front ,his left hand is on his breast1 holding his gown4 ,dressed in canonicals1 with a bushy wig4 ,on canvas1 #b ft4 #f in4 high1 by #b ft4 #a in4 wide4 ,he was the son of a farmer at ,congreve1 ,staffordshire1 and was born in #agbj4 ,he was appointed preceptor to the ,prince of ,wales and the ,duke of ,york1 and was nominated ,bishop of ,worcester in #agha2 but declined the primacy offered by ,george ,,iii41 with whom he was a great favourite4 ,he wrote many moral and religious works1 long since relegated to the limbo of insipid mediocrities4 ,engraved by ,holl in #aggd8 ,perhaps the picture exhibited in #agha4 #ajj ,a ,rabbi 7#bff7 4 4 4 4 4 after ,rembrandt1 by ,,gainsborough4 ,bust1 to the right4 ,he wears a dark dress1 and cap with flaps2 his beard is long4 ,on canvas1 #b ft4 #f in4 high1 by #b ft4 #a in4 wide4 ,this was in ,gainsborough's possession at his death1 and was exhibited at ,schomberg ,house1 #aghi4 #aja ,portrait of ,c4 ,f4 ,abel1 the ,musician 7#ich7 4 4 4 4 4 ,,robineau4 ,half-length2 seated at a piano or spinet1 turned towards the right1 but his face looking behind him1 over his shoulder to the left4 ,he is dressed in a red coat and has a small wig4 ,on canvas1 #b ft4 #a in4 high1 by #a ft4 #h in4 wide4 ,signed on the left-hand side3--,c4 ,robineau #aghj4 ,charles ,frederick ,abel was a pupil of ,bach's1 and at one time belonged to the royal band at ,dresden4 ,he came to ,england about #agfe1 and was appointed master of ,queen ,charlotte's band4 ,although he wrote music1 he was more celebrated for his playing than his compositions4 ,abel was a very passionate man1 and much addicted to the bottle1--peculiarities which the visitor would suspect him of1 from his flushed face and red nose4 ,he died in #aghg1 after being three days in a sort of drunken torpor4 ,robineau was a portrait-painter who practised in ,paris and ,london4 #ajb ,duchess of ,brunswick1 ,sister of ,george ,,iii 4 4 4 4 4 ,a4 ,,kauffman4 ,full-length1 turned to the right4 ,she holds a child in her arms on an altar in front of her4 ,she is dressed in white with an orange-coloured mantle1 lined with light blue2 she wears sandals4 ,on canvas1 #h ft4 #aa in4 high1 by #e ft4 #aa in4 wide4 ,on the left at the foot of the column is the signature3--,angelica ,pinx ,a4 #agfg4 ,to the left1 on a vase1 the inscription3-- ,carol4 ,,ille de ,bruns4 ,pri4 ,hered4 ,a4 ,,mdcclx ,m4 ,jul4 apud ,enisdorff ,,victoria4 et ,a4 ,,mdcclxiv ,m4 ,jan4 apud ,lond4 ,,amore4 ,coron4 ,augusta1 the eldest daughter of ,frederick1 ,prince of ,wales1 was born on the #cast of ,july1 #agcg1 and was married to the ,duke of ,brunswick on the #agth of ,january1 #agfd4 ,by him she became the mother1 among other children1 of ,caroline1 ,princess of ,wales1 and of ,duke ,william ,frederick1 ,brunswick's fated chieftain1 who fell at ,quatre-,bras4 ,in #agfg1 when this portrait was painted1 she was in ,england on a visit4 ,the child in her arms must be her eldest son ,charles ,george ,augustus1 who was born #hth ,february1 #agff1 and died in #ahjf4 #ajc4 ,frederick1 ,prince of ,wales 7#hic7 4 4 4 4 4 ,,vanloo8 ,bust1 turned to the left1 facing in front4 ,he wears a blue sash over his coat4 ,see ante1 ,no4 #d4 #ajd4 ,george ,,iii41 when ,prince of ,wales1 aged #ab1 and ,prince ,edward ,augustus1 ,duke of ,york and ,albany1 aged #aa 4 4 4 4 4 ,,richard ,,wilson1 ,r4,a4 ,seated figures1 on a couch by a table1 the ,prince of ,wales on the left4 ,on canvas1 #c feet #c-a_/b inches high1 by #d feet #a-a_/b inches wide4 ,lent by the trustees of the ,national ,portrait ,gallery4 ,the ,duke of ,york was born in #agci1 became an admiral in #agei1 and died at ,monaco in #agfg4 ,the ,nursery4 ,the designation of ,the ,nursery has been for many years applied to this room1 having1 it appears1 been so used at one time by ,queen ,victoria1 whose doll-house is now placed here4 ,it was afterwards occupied by the late ,duchess of ,teck1 and it was here that ,princess ,may1 now ,duchess of ,york1 was born1 on ,may #bfth1 #ahfg4 ,its associations are1 therefore1 exclusively ,victorian1 with which its decoration--so far as it can be said to have any--accords4 ,the shell of the room1 however1 is part of ,kent's addition to the ,state ,rooms4 ,the dimensions of this room are #cj feet #g inches long by #bc feet #e inches wide1 and #ag feet high to the highest point of the ceiling1 #ae feet #b inches to the top of the cornice4 ,pictures and ,prints illustrative of the ,queen's ,life and ,reign4 ,a collection is here being formed by ,mr4 ,holmes1 the ,queen's ,librarian1 of various prints1 illustrative of ,her ,majesty's ,life and ,reign4 ,among them are old prints of the ,queen as a child1 and as the young ,princess ,victoria1 ,heiress to the ,throne2 also of the marriage of the ,prince of ,wales in ,st4 ,george's ,chapel1 the ,baptism of the ,princess ,royal1 etc42 and also the ,jubilee ,celebration of #ahhg in ,westminster ,abbey1 from the painting by ,w4 ,e4 ,lockhart1 ,r4,s4,a4 #aaj ,the ,queen's ,first ,council in the pillared ,council ,chamber at ,kensington ,palace on #bjth of ,june1 #ahcg 4 4 4 4 4 ,after ,,wilkie4 ,for an account of this famous scene1 see page #cg4 ,ante-,room4 ,as we go through the door of ,the ,nursery into this ante-room1 we pass from the portion of the ,palace built by ,kent1 to the original block erected by ,wren1 this ante-room being a part of what was formerly one of ,william ,,iii4's state rooms4 ,through this lobby it was that the ,queen passed to the adjoining staircase when she went downstairs to receive the news of her accession4 ,the dimensions of this room are3 #ai feet #c inches long1 #aj feet #b inches wide1 and #af feet high4 ,prints illustrative of the ,life and ,reign of the ,queen4 ,the wall space here will be devoted to further prints illustrative of the ,queen's ,life and ,reign4 ,illustration3 ,decoration ,queen ,victoria's ,bedroom4 ,to future ages1 if not indeed already to the present one1 this plain1 modestly-decorated chamber must have an interest far transcending that of the more gorgeous ,georgian saloons1 which we have just traversed4 ,for1 it was for many years the bedroom of our own ,queen1 when as a little girl of tender age she lived in quiet simplicity at ,kensington ,palace with her mother1 the ,duchess of ,kent4 ,from the windows of this room we can imagine the little princess1 when she rose in the morning1 gazing out over the gardens and the ,park beyond1 as the beams of the eastern sun struggled through the mists and smoke of distant ,london1 musing on the mighty destiny awaiting her2 or in the evening hour1 when the flower-scented air of the garden beneath floated in at the casement1 looking out where the far-off lights of the great town twinkled among the trees1 her mind filled with solemn thoughts of the awful responsibility that was to be hers4 ,even now1 when the building octopus1 with its stucco tentacles1 has clutched and sucked in so many a fair surrounding green field1 from these windows not a roof1 not a chimney meets the eye2 not an echo1 even1 of the ceaseless roar of the traffic strikes the ear4 ,it was in this room that the ,queen was sleeping on the memorable morning of the #bjth of ,june1 #ahcg1 when she was awakened by her mother1 the ,duchess of ,kent1 to go to the ,drawing ,room downstairs1 where ,lord ,conyngham and the ,archbishop of ,canterbury were awaiting to inform her of her accession to the throne4 ,the dimensions of this room are3 #bc feet #c inches long1 #ai feet #c inches wide1 and #af feet high4 ,prints of the ,life and ,reign of the ,queen4 ,prints in continuation of the series commenced in ,the ,nursery1 are in process of being arranged in this room4 ,mementoes and ,relics of the ,queen's ,childhood1 collected in ,queen ,victoria's ,bedroom4 ,here also will be arranged some of the ,queen's toys1 with which she played as a little girl in these rooms2 and perhaps other similar objects of interest4 ,labels will1 doubtless1 be affixed to explain1 what these are4 ,illustration3 ,decoration ,king's ,gallery4 ,this magnificent gallery1 the finest of all the state rooms at ,kensington ,palace1 was designed and built by ,sir ,christopher ,wren for ,william ,,iii4 about the year #afic4 ,it owes much of its architectural effect to the great architect's wonderful knowledge and appreciation of proportion--an element too often disregarded in buildings of modern times4 ,its length is #if feet1 its breadth #ba feet #f inches1 and its height #ah feet to the top of the cornice1 and #ai feet #h inches to the highest point of the ceiling4 ,it is1 therefore1 #ab feet longer than the already-described ,queen ,mary's ,gallery1 #b feet higher1 but of the same width4 ,compared with it1 the ,king's or ,cartoon ,gallery at ,hampton ,court1 built by ,wren almost exactly at the same time1 it is #ba feet less long1 #c feet less wide1 and #aj feet less high4 ,in relation to it the following items from the old accounts1 dating from about the year #afic1 are interesting3 ,item to ,richard ,hawkesmore1 ,clerk of the ,workes1 for making up an account an estimate8 of the ,king's ,new ,gallery at ,kensington--#e4 ,more to him for ,pasteboard and other ,materialls for making a modell of the said ,gallery for the ,king--#e #bs4 ,cha3 ,houghton for rating1 casting up1 and engrossing the ,books of the said ,building for the ,auditor--#e4 ,decorative ,carvings in the ,king's ,gallery4 ,the oak cornice and the oak doors of this gallery1 especially the beautiful architraves of the doors1 are among the finest specimens anywhere existing of ,wren's decorative art1 designed by him and carried out under the superintendence of ,gibbons4 ,relating to this work we find the following item in the accounts for the years #afia to #afif3 ,to ,grinling ,gibbons1 carver1 for worke done in the new ,gallery building1 in the ,king's great and ,little ,closet1 in three ,roomes under the ,king's apartment1 in the ,king's ,gallery1 and other places about the said ,pallace--#hci #js4 #d;d4 ,in other respects the appearance of this room has been much altered2 for the oak panelling1 which appears originally to have entirely covered its walls was removed1 it would seem1 in the reign of ,george ,i4 or of ,george ,,ii42 when also the ceiling1 which was originally plain1 was painted as we see it now4 ,chimney-,piece1 ,map and ,dial4 ,at the same time a new chimney-piece was inserted4 ,part of the original over-mantel1 however1 of the time of ,william ,,iii41 still remains1 especially a very curious map of the north-west of ,europe1 showing the names of various towns1 especially in the north of ,france1 the ,netherlands1 and the ,british ,isles4 ,relating to it we have discovered1 in the course of our researches among the old parchment rolls in the ,record ,office1 the following entry1 dating from about1 the year #afid3 ,to ,robt ,norden for his paines in drawing a map for the chimney-piece and for attending the painters--#e4 ,round the circumference of the map are the points of the compass2 and an old dial-hand or pointer1 still remains1 which was actuated by an iron rod connected with a vane1 still existing above the roof4 ,this enabled ,king ,william to know from which quarter the wind was blowing2 whether1 therefore1 it was safe for him1 with his asthma1 to venture out of doors1 or whether the wind was favourable for wafting him away from this hated climate to his own dearly-loved country of ,holland4 ,it was this dial which so greatly interested ,peter the ,great1 when he privately visited ,william ,,iii4 in this palace in #afih1 being admitted by a back door4 ,it was afterwards known1 says ,macaulay1 but unfortunately without giving his authority1 that he took no notice of the fine pictures1 with which the palace was adorned4 ,but over the chimney in the royal sitting-room was a plate which1 by an ingenious machinery1 indicated the direction of the wind2 and with this plate he was in raptures4 ,illustration3 ,,the ,,king',s ,,gallery4 ,this old dial is fixed in a square carved and gilt frame1 probably the one referred to in the following item in the old accounts of the years #afia-if3 ,to ,rene ,cousins gilder for a large frame carved and gilt with burnished gold--#aj4 ,the outer frame of deal wood surrounding this gilt one is1 on the other hand1 of a later date1 evidently designed by ,kent1 as was also the decorated panel above it1 itself surmounted by a pediment1 richly carved1 doubtless by men trained in the school of ,wren and ,gibbons4 ,in the centre of this fine ,kentian panel is a medallion picture of the ,virgin and ,child1 painted in fresco1 of the school of ,raphael1 and inscribed behind with the date1 #aehc4 ,all this over-mantel was1 in the time of ,george ,i41 painted over white with enrichments of gold4 ,it so remained until last winter1 when the thick coats of filthy paint were cleaned off4 ,it has been thought best to leave the deal wood in its natural state1 unpainted1 only applying a little stain to tone it into harmony with the colour of the surrounding oak carvings4 ,although this carved over-mantel is an addition1 and as far as the pediment is concerned1 very out of place so close to the cornice1 yet it is very beautiful and of much interest as being one of the finest examples of decorative design executed in ,england during the reigns of the first two ,georges4 ,in it we trace the influence of the lighter ,french taste of ,louis ,,xv41 which ,kent had no doubt become acquainted with when travelling abroad4 ,the marble chimney-piece below1 on the other hand1 is in that architect's regular massive1 heavy style4 99 99 99 99 99 ,almost at once1 after this gallery was finished by ,wren1 it became the receptacle of some of the finest works of art in the ,royal collection4 ,among the manuscripts in the ,british ,museum is the original list of ,william ,,iii4's pictures1 placed in ,kensington ,house1 #afig--some seventy pieces being mentioned as then hanging on its walls4 ,it was in the year following that ,peter the ,great was in ,england2 when1 besides his private interview with the ,king1 mentioned above1 he was a spectator at a ball given in this same gallery on the birthday of ,princess ,anne1 not publicly1 however1 but peeping through one of the doors1 in a closet prepared for him on purpose4 ,in this room1 ,king ,william1 in the month of ,march1 #agjb1 after his accident1 and a few days before his death1 took several turns to exercise himself2 but soon becoming fatigued1 he reclined upon a couch and fell asleep1 but soon to awake in a shivering fit1 which was the beginning of a fever1 attended with serious symptoms1 from which he never recovered4 ,painting of the ,ceiling and ,wainscot of the ,king's ,gallery4 ,this gallery was also a favourite sitting-room of ,queen ,anne and her husband1 and of ,george ,i4 ,it was by command of the latter monarch that ,kent1 about the year #agbd1 undertook the painting of the ceiling1 his charge for which1 with similar work in the little closets1 amounted to #hej4 ,although the richness of the colouring and gilding give it a gorgeous appearance1 neither the design nor the ornaments1 least of all the panels1 painted with mythological subjects1 are interesting4 ,it is divided into seven compartments1 surrounded by elaborate classic scroll and arabesque work1 and allegorical figures4 ,the centre medallion is oval1 the other six oblong or lozenge shaped4 ,the officers of ,works in their ,report1 dated #cjth of ,september1 #agbe1 to the ,lords ,commissioners of ,his ,majesty's ,treasury1 on this work1 added3 ,we have caused an estimate to be made of the charge of painting the wainscot of the sd4 ,gallery and little closets in the same manner as the ,bedchamber and closets are already painted1 amounting to #cb3 #af3 ,gilding the same--#aed3 #d3 ,providing ,scaffolds for the ,painters and covering the floors with ,boards to prevent their being damaged1 etc41 #bcc3 #c3 ,they further added3 ,we crave leave to lay before your ,lordships a letter that we have received from ,sir ,james ,thornhill1 ,serjt ,painter to his ,majesty1 in which he complains that the gilding of the cornishes1 which hath hitherto been done by himself1 and his predecessors1 is by my ,lord ,chamberlain's ,letter directed to be done by another person1 which letter we have hereunto annexed4 ,on ,october #eth1 accordingly1 an order was made to the ,board of ,works to commission ,sir ,j4 ,thornhill to do the gilding of the cornices4 ,on the barbarity of painting the beautiful oak work in this gallery1 and especially the exquisitely carved oak architraves and cornices1 we need not dwell4 ,they remained painted until last autumn1 when with infinite trouble and pains1 the paint was cleaned off1 and all the delicate chiselling of ,gibbons and his assistants revealed to the eye1 after being obscured for a hundred and seventy-four years4 ,the visitor can judge for himself with what success this has been accomplished4 ,no stain has been used in this restoration2 and only after repeated experiments was the method adopted of treating it simply with wax polish4 ,the old panelling of ,wren's time was probably removed in the time of ,george ,,ii41 in order to afford more wall-space for hanging pictures on--which was ,queen ,caroline's great hobby4 ,an even worse barbarism was perpetrated in this superb gallery at the beginning of the century--when it was divided by partitions into three distinct rooms--in which state it remained until the restorations were begun last year4 ,one of these subdivisions was used by ,queen ,victoria1 when a little girl1 for her toys4 ,naval ,pictures in the ,king's ,gallery4 ,in this gallery have now been collected a large number of sea-pieces1 sea-fights1 dockyards1 and admirals1 mainly of the time of the ,georges1 to illustrate the history of the ,british ,navy4 ,though but very few--for instance1 those by ,monamy and ,scott--can be considered fine works of art1 yet all of them will be found interesting and curious2 and no one1 who has known them only when hanging in bad lights on dark screens in the overcrowded rooms at ,hampton ,court1 would have suspected how much there is to be studied in them1 now that they are at length properly displayed4 #bja ,the ,dockyard at ,sheerness 7#ajee7 4 4 4 4 4 ,r4 ,,paton4 ,the dock is on the left1 terminated by a fort in the centre of the picture4 ,on the left are a large man-of-war and a disabled ship towed by a barque4 ,this and ,nos4 #bjd1 #bcb1 #bcc1 and #bcf are pieces of dockyards1 painted by ,paton more than a hundred years ago4 ,they are each on canvas1 #c ft4 #d in4 high1 by #d ft4 #aj in4 wide4 #bjb ,close of the ,action1 ,november #dth1 #ahje1 ,sir ,r4 ,strachan's ,victory 7#ajcg74 ,see ,companion ,piece1 ,no4 #bcd4 4 4 4 4 4 ,n4 ,,pocock4 ,on the left are three ,french vessels18 ,the ,formidable1 ,scipion1 ,mont ,blanc1 or ,duguay ,trouin1 two of them utterly dismantled2 to the right is the ,english fleet4 ,the engagement took place off ,ferrol1 about a fortnight after ,trafalgar1 the ,french ships being under the command of ,rear-,admiral ,dumanoir1 who had escaped from that battle4 #bjc ,george ,,iii4 ,reviewing the ,fleet at ,portsmouth 7#ajaa74 ,see ,no4 #bce4 4 4 4 4 4 ,d4 ,,serres4 ,in the centre is a large man-of-war1 the ,barfleur3 near it the ,worcester firing a salute1 and beyond a line of men-of-war1 the ,royal ,oak and ,lennox being distinguishable on the right4 ,on canvas1 #d ft4 #aj in4 high1 by #g ft4 wide4 ,signed ,d4 ,serres1 #aggf4 #bjd ,the ,dockyard at ,deptford 7#ajjj74 ,see ,no4 #bja 4 4 4 4 4 ,r4 ,,paton4 ,greenwich is seen in the background2 the dock buildings on the right2 and on the left various ships1 one firing a salute4 #bje ,ships in a ,dockyard 7#iii7 4 4 4 4 4 unnamed4 #bjf ,a ,sea-piece 7#ajdf7 4 4 4 4 4 ,d4 ,,serres4 ,a large vessel is seen broadside1 and in front an officer's gig2 other vessels are behind4 ,signed in lower right-hand corner1 ,d4 ,serres1 #aghi4 #bjg ,action between the ,arethusa and ,belle ,poule 7#fgc7 4 4 4 4 4 unnamed4 ,the ,arethusa1 with its stern to the spectator1 is to the left2 ,la ,belle ,poule is on the right4 ,they are discharging heavy broadsides at each other4 ,the moon is seen in the distance between them4 ,the action took place on the #agth of ,july1 #aggh1 off the ,lizard1 and lasted two hours at close quarters without intermission4 ,the ,belle ,poule got away1 though the ,english had got the best of the fight4 #bjh ,sea ,piece 7#ajgh7 4 4 4 4 4 ,,brooking4 ,on the right is an ,english frigate bearing away2 on the left one coming in4 ,a fair specimen of this good marine painter4 #bji ,george ,,iii4 ,reviewing the ,fleet at ,portsmouth 7#ajab74 ,see ,no4 #bce4 4 4 4 4 4 ,d4 ,,serres4 ,a large man-of-war in the centre2 smaller craft on each side4 #baj ,the ,royal ,yacht which brought ,queen ,charlotte to ,england in #agfa1 to be married to ,george ,,iii41 in a storm 7#ajja7 4 4 4 4 4 ,,wright4 ,the ,royal ,yacht is in the centre of the picture1 attended by a convoy of twelve vessels4 ,it had been re-named ,the ,royal ,charlotte1 and was newly ornamented with a profusion of carving and gilding for the occasion4 ,they embarked at ,stade on the #bdth of ,august1 and landed at ,harwich on ,september #fth4 ,richard ,wright was a painter of marine subjects4 #baa ,a ,small ,sea-,piece 7#ajhj7 4 4 4 4 4 ,p4 ,,monamy4 ,in the centre1 towards the left1 is an ,english man-of-war firing a salute2 other smaller craft are to the right and left4 #a ft4 #h in4 high1 by #b ft4 #aa in4 wide4 ,this is an excellent specimen of ,peter ,monamy1 an imitator1 and probably pupil1 of the ,vandeveldes4 ,though much cracked1 it is beautifully painted1 showing a fine quality of texture1 with great precision of touch2 the calm plane of the ocean level receding into the extreme distance1 without that set scenic effect of passing cloud-shadows1 which even the best masters have used to obtain the appearance of recession and distance2 this work well deserves notice1 and might puzzle the best painters of such subjects to rival4--7,redgrave's ,century of ,painters47 #bab ,his ,majesty's ,yacht in ,portsmouth ,harbour 7#ajce7 4 4 4 4 4 ,j4 ,t4 ,,serres4 ,she has twenty-six guns1 and lies across the picture2 other craft are to the right and left4 ,behind is seen ,portsmouth4 ,signed ,j4 ,t4 ,serres1 #ahbj4 #bac ,shipping 4 4 4 4 4 unnamed4 #bad ,on the ,thames--,the ,tower of ,london 7#ajbd7 4 4 4 4 4 unnamed4 #bae ,a ,man-of-,war engaged with two ,vessels 7#ajae7 4 4 4 4 4 ,,monamy4 ,a man-of-war is on the left engaged with two of the enemy's vessels2 behind are others shown in action4 7,see ,no4 #bai47 #baf ,rear-,admiral ,sir ,charles ,knowles's ,squadron attacking ,port ,louis in ,st4 ,domingo 78 ,hispaniola7 ,march #hth1 #agdh 7#iih7 4 4 4 4 4 ,r4 ,,paton8 ,to the left is an ,english vessel1 the ,cornwall1 firing at a fort in the centre of the picture4 ,more to the left is a small ship burning2 on the right are other vessels attacking the fort4 ,the fire-ship of the enemy was towed clear of the squadron by the boats1 and left to burn and blow up at a distance from the fleet4 ,the fort surrendered in the evening1 and was blown up4 ,the ,english lost seventy men4 #bag ,battle of ,trafalgar--,close of the ,action 7#ajeh74 ,see ,companion ,piece1 ,no4 #bbd4 4 4 4 4 4 ,,huggins4 ,in the centre is a large vessel 78 the ,victory7 with rigging much shot away and torn4 ,others are seen behind in action4 ,these are two of three pictures1 painted for ,william ,,iv42 the third is now at ,st4 ,james's ,palace4 #bah ,rear-,admiral ,sir ,charles ,knowles's ,action with a ,spanish ,squadron off the ,havannah1 ,october #ast1 #agdh 7#ajjb7 4 4 4 4 4 ,r4 ,,paton8 ,in the background is the battle-line of the enemy1 under ,vice-,admiral ,reggio1 against which the ,british fleet is bearing4 ,the action began at two o'clock4 ,although defeated1 nearly all the ,spaniards got into port2 they lost eighty-six men4 ,knowles1 when he came home1 was tried by court-martial for not pursuing the enemy with more vigour1 and was reprimanded4 #bai ,sea ,fight--,a ,man-of-,war attacked by ,boats 7#bbf7 4 4 4 4 4 ,,monamy4 ,the vessel is surrounded by boats1 and is responding to their musketry by a fierce cannonade4 #c ft4 #d in4 high1 by #d ft4 #b in4 wide4 #bbj ,admiral ,viscount ,keith 4 4 4 4 4 ,t4 ,,phillips1 ,r4,a4 ,half length1 in robes1 turned to the left4 ,his right hand holds up his cloak1 his left is seen underneath4 ,his hair is gray4 ,he commanded the fleet which1 in #agie1 captured the ,cape of ,good ,hope1 and performed other brilliant services4 ,he died in #ahbc4 #bba ,shipping on the ,thames--,temple ,gardens 7#ajbf7 4 4 4 4 4 unnamed4 #bbb ,sea-,piece--,the ,british ,fleet 7#ajag7 4 4 4 4 4 ,,elliot4 ,in front are some eight large vessels1 some with the yards manned1 others with their sails partly set2 other ships are seen behind4 ,on the frame in front is written3--,to the ,rt4 ,honble4 ,wm4 ,pitt this view of the ,british ,fleet1 which secured to ,england the uninterrupted navigation of the ,southern ,ocean is dedicated4 ,william ,elliot was a bad marine painter in the style of ,serres4 #bbc ,battle of ,camperdown--,close of the ,action 7#ajfd74 ,see ,companion ,piece1 ,no4 #bbe4 4 4 4 4 4 ,j4 ,t4 ,,serres4 ,in the centre is a ,british flag-ship1 shown at the end of a long line of vessels4 ,on the right is one of the enemy on fire1 to which boats are hastening4 ,on the left is a ship with the name ,,wassanaer4 #bbd ,the ,day after the ,battle of ,trafalgar 7#ajeg74 ,see ,companion ,piece1 ,no4 #bag4 4 4 4 4 4 ,,huggins4 ,it represents the storm which separated the squadron the day after the battle4 ,on the right is a dismantled vessel rolling over2 on the left is the ,victory4 ,on canvas1 #h ft4 high1 by #aj ft4 wide4 #bbe ,battle of ,camperdown--,lord ,duncan's ,victory 7#ajec74 ,see ,companion ,piece1 ,no4 #bbc4 4 4 4 4 4 ,j4 ,t4 ,,serres4 ,the ,english fleet is ranged in three lines about to begin the action by breaking the line of the enemy ranged beyond them4 ,the enemy have already opened fire4 ,on canvas1 #c ft4 high1 by #d ft4 wide4 ,signed1 ,j4 ,t4 ,serres1 #agic4 ,john ,thomas ,serres was the son of ,dominic ,serres1 who brought him up as a marine painter4 ,in the year in which this picture was painted he succeeded1 on his father's death1 to the office of marine painter to the ,king1 and one of his duties in this post was to make sketches of the harbours on the enemy's coast4 ,he married the soi-disant ,princess ,olive of ,cumberland1 who lost him his appointment1 and brought him to misery1 destitution1 imprisonment1 and madness4 7,redgrave's ,dict4 of ,artists47 #bbf ,equipment of the ,english ,fleet in #agij 7#ajcc7 4 4 4 4 4 ,,elliott4 ,three full-rigged men-of-war and others partially rigged are in front2 beyond is a port4 ,in front is a label3--,to the ,earl of ,chatham this view of the expeditious equipment of the ,british ,fleet in #agij is dedicated4 #bbg ,a ,man-of-,war going out to ,sea 7#ajcd7 4 4 4 4 4 unnamed4 ,crossing the picture to the left1 following another going into the picture4 #bbh ,admiral ,lord ,anson 7#ai7 4 4 4 4 4 ,after ,hudson by ,,bockman4 ,this appears to be a copy of a picture in ,lord ,lichfield's possession at ,shugborough in ,staffordshire1 by ,thomas ,hudson1 a portrait painter1 who flourished from #agja to #aggi1 and who is chiefly remembered now as the master of ,reynolds4 ,anson was a victorious admiral in the reign of ,george ,,ii41 well known for his famous voyage round the world in the years #agdj-dd1 and for his great exploit of capturing1 in #agdc1 the ,spanish galleon ,manilla1 which had a cargo on board valued at #cac1jjj4 ,he was created a peer in #agdg for his victory over the ,french fleet1 and was ,first ,lord of the ,admiralty during the ,seven ,years' ,war4 ,he is here represented in peer's robes1 which approximately fixes the date of the picture4 ,bockman1 by profession a mezzotint engraver1 was in ,england about #agde-ej1 when he executed copies of various portraits of admirals1 which had been painted by ,kneller for ,james ,,ii41 and ,g4 ,dahl1 a ,swedish painter1 for ,william ,,iii4 ,the originals were presented by ,william ,,iv4 in #ahce to ,greenwich ,hospital4 #bbi4 ,shipping 7#ajbe7 4 4 4 4 4 unnamed4 #bcj4 ,a ,ship 7#cha7 4 4 4 4 4 unnamed4 #bca ,george ,,iii4 ,reviewing the ,fleet at ,portsmouth 7#ajac74 ,see ,no4 #bce4 4 4 4 4 4 ,d4 ,,serres4 ,in the centre is a large three-masted vessel1 with the ,union ,jack flying1 and the royal party on board4 ,many others are behind4 #bcb ,the ,dockyard at ,portsmouth 7#ajea74 ,see ,no4 #bja4 4 4 4 4 4 ,r4 ,,paton4 ,on the left is a large vessel about to be launched2 the dock buildings are behind4 #bcc ,the ,dockyard at ,chatham 7#ajfb74 ,see ,no4 #bja4 4 4 4 4 4 ,r4 ,,paton4 ,the dock is on rising ground to the right2 on the left is seen the ,medway4 ,various ships are on the river4 #bcd ,commencement of ,sir ,robert ,calder's ,action1 ,july #bbnd1 #ahje 7#ajch74 ,see ,companion ,piece1 ,no4 #bjb4 4 4 4 4 4 ,n4 ,,pocock4 ,a small ,english ship is engaging two ,french vessels on the left4 ,on the #aith of ,july1 ,calder had received despatches from ,nelson stating that the combined ,franco-,spanish fleet was on its return from the ,west ,indies1 and he cruised about off ,cape ,finisterre in the hope of intercepting it4 ,though both sides lost heavily1 the action had no very decided result4 ,the small ,english ship is probably the ,hero1 the van-ship of the ,british1 which began the attack4 ,nicholas ,pocock1 like ,d4 ,serres1 acquired his knowledge of the sea in the navy1 which he gave up to adopt marine painting as a profession4 #bce ,george ,,iii4 ,reviewing the ,fleet at ,portsmouth 7#ajad7 4 4 4 4 4 ,d4 ,,serres4 ,to the right is a large line-of-battle ship firing a salute4 ,several yachts with officers and spectators on board are seen4 ,this1 and ,nos4 #bjc1 #bji1 and #bca pieces were painted by ,dominic ,serres1 a native of ,gascony1 who1 after running away from home1 becoming a sailor1 and then master of a trading vessel1 and being captured by an ,english frigate1 settled in ,england and took to painting marine pieces to earn a living4 ,he was one of the original members of the ,royal ,academy1 and frequently exhibited4 ,he is to be distinguished from his son1 ,j4 ,t4 ,serres 7see ,no4 #bbe74 #bcf ,the ,dockyard at ,woolwich 7#ajff7 4 4 4 4 4 ,see ,no4 #bja4 ,r4 ,,paton4 ,woolwich church is seen in the centre background2 the dock buildings are on the right4 #bcg ,admiral ,sir ,john ,jennings 7#aa7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,knighted by ,queen ,anne in #agjd1 died in #agdc1 and is buried in ,westminster ,abbey4 #bch ,admiral ,john ,benbow 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,he was given the command of a ship by ,james1 ,duke of ,york1 for his bravery4 ,in #agjb1 when in command of the ,west ,india squadron1 he sustained1 almost alone1 the fire of the whole ,french fleet under ,du ,casse2 his cowardly officers1 two of whom were afterwards tried by court-martial and shot1 having basely deserted him4 ,he died at ,jamaica very soon afterwards from a wound received in the action4 #bci ,admiral ,george ,churchill 7#aj7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,a brother of the ,duke of ,marlborough's4 ,he died in #agjh4 #bdj ,admiral ,sir ,g4 ,bing1 ,viscount ,torrington 7#g7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,the celebrated admiral of the reigns of ,queen ,anne and ,george ,i4 ,he was especially distinguished for his services against the ,pretender1 and for his great victory over the ,spanish off ,sicily in #agah4 ,his son was the famous ,admiral ,byng1 who was shot1 as ,voltaire said1 pour encourager les autres4 #bda ,admiral ,edward ,russell1 ,earl of ,orford 7#bg7 4 4 4 4 4 ,,sir ,g4 ,,kneller4 ,half length1 to the right2 in blue4 ,his left hand is on his hip1 his right has a bton4 ,this is the famous admiral in the reign of ,william and ,mary1 who gained the victory of ,la ,hogue against the ,french fleet under ,tourville4 ,this portrait is one of the series of admirals painted for ,william ,,iii4 #bdb ,portrait of ,general ,spalken 7#iaj7 4 4 4 4 4 unnamed4 ,three-quarters in length4 ,bareheaded1 with grey hair4 ,his right arm rests on a table1 on which is his cocked hat2 his left is in his belt4 ,he wears a general's uniform1 a red coat with blue facings1 a long white waistcoat with brass buttons1 and white breeches4 ,i can find nothing about ,spalken4 #bdc ,admiral ,sir ,thomas ,dilks 7#i7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,this is the hero of a brilliant action in ,cancalli ,bay in #agjc1 when a small ,english squadron attacked a fleet of forty-three ,french merchantmen with three men-of-war1 and captured them all4 #bdd ,admiral ,sir ,stafford ,fairbourne 7#ah7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,lived in the reigns of ,william ,,iii4 and ,anne4 #bde ,admiral ,sir ,john ,gradin 7#h7 4 4 4 4 4 ,after ,kneller by ,,bockman4 ,served in the reign of ,queen ,anne1 and was dismissed for over-caution4 #bdf ,admiral ,beaumont 7#a7 4 4 4 4 4 ,after ,dahl by ,,bockman4 ,he perished on the ,goodwin ,sands in the great storm such as of late o'er pale ,britannia passed1 in #agjc4 ,king's ,grand ,staircase4 ,sir ,christopher ,wren was the original builder of this staircase1 although ,kent's name has usually alone been associated with it4 ,to the great architect1 however1 we certainly owe the shell of the building1 its proportions1 the black marble steps1 the black and white chequered marble on the landings1 and the fine balustrade of wrought iron4 ,this ironwork was doubtless designed by ,jean ,tijou1 whose name we have found in the contemporary accounts relating to this palace1 and in whose style the design certainly is4 ,as to the stair-treads1 it is worthy of note that in an estimate of ,wren's for the completion of the ,king's ,great ,staircase at ,hampton ,court1 in #afii1 he proposed that they should be made of ,irish stone such as are at ,kensington1 but longer and easier1 which1 in fact1 they are4 ,in ,king ,william's time the windows must have been of a different type to those now here1 which are in the style of ,kent4 ,as to the walls1 they were then probably painted with simple ornaments4 ,among the ,kensington accounts for the year #afib1 we have found the following record of a payment relating to such work3 ,to ,robt4 ,streeter1 ,sergt ,painter1 for japanning1 gilding and painting several ,roomes and ,lodgings in the said ,pallace1 painting severall staircase1 and the ,guard ,chamber1 and other places in and about the said ,pallace--#c1eii4 ,kent's ,alterations in the ,king's ,grand ,staircase4 ,kent's improvements1 which must have been carried out about #agbe1 included--besides the painting of the walls and ceiling--the alteration of the approach to the staircase on the ground floor1 where he inserted1 in the area or well1 an arcade of two plain arches1 which support1 or rather appear to support1 the landing above4 ,under the first arch begins the wide flight of black marble steps1 with two landings in the ascent1 paved with alternate squares of black and white marble1 as is also the long top landing or balcony4 ,the balusters are now painted blue1 their original colour1 found under successive coats of more recent paint4 ,the hand-rail of oak has had its dirty paint cleaned off4 ,illustration3 ,,the ,,king',s ,,grand ,,staircase4 ,no one who did not see this staircase before the restorations were begun can conceive the woeful state of dust1 filth1 decay and rot which it then presented4 ,with the fine iron balusters broken1 damp oozing from the walls1 the paintings indistinguishable from incrustations of smoke1 and strips of the painted canvas hanging from the walls in shreds--it seemed impossible that it could ever be restored to its pristine splendour4 ,the visitor must judge for himself whether this result has not been triumphantly accomplished4 ,the ,painted ,walls of the ,king's ,grand ,staircase4 ,opposite the balustrade1 on the right side as one goes down the stairs1 is a low wainscot of plain moulded panelling2 and above this1 level with the top of the second landing1 is painted a large ,vitruvian scroll4 ,the square space thus formed beside the first landing1 and the spandril space beside the rise of the stairs1 are filled with representations1 in chiaro-oscuro1 of sea-horses1 armorial trophies and other devices1 and scroll-work1 heightened by gilding4 ,these1 as well as similar paintings on the arcade1 opposite and under the stairs1 show that ,kent's taste and skill as a decorative artist were by no means contemptible1 whereas as a painter of subjects or figures he was no artist at all4 ,the two walls of the staircase above the ,vitruvian scroll are painted to represent a gallery1 behind a colonnade of the ,scamozzian ,ionic order1 supporting a corresponding entablature1 with a frieze embellished with unicorns' heads1 masks of lions1 and festoons of foliage1 divided by fleurs-de-lys1 richly heightened with gold4 ,between these columns is painted a balustrade2 with numerous figures of personages of ,george ,i4's court1 looking over it4 ,in the first and second compartments on the left are yeomen of the guard and various ladies and gentlemen2 and a young man in a ,polish dress representing a certain ,mr4 ,ulric1 a page of the ,king's1 and admired by the court1 says ,pyne1 for the elegance and beauty of his person2 while the youth standing on the plinth outside the balcony is a page of ,lady ,suffolk's4 ,in the third or right-hand compartment on the same wall are seen1 among many other unidentified persons1 a ,quaker and an old man in spectacles4 ,two other servants of the court appear in this group1 ,mahomet and ,mustapha1 who were taken prisoners by the ,imperialists in ,hungary4 ,at the raising of the siege of ,vienna in #afhe1 ,george ,i41 then elector of ,hanover1 was wounded1 and was attended by these two ,turks1 who had been retained in his service1 and who were said to have saved his life4 ,mahomet apostatized from the faith of his fathers and became a ,christian2 married a ,hanoverian woman and had several children4 ,king ,george1 on his accession to the ,british throne1 brought these two faithful servants with him to ,england in his suite4 ,they were constantly about his person1 and were credited with obtaining large sums of money from persons who purchased their influence to obtain places about the court4 ,mahomet1 however1 in whatever way he may have obtained his wealth1 made a noble and benevolent use of it2 for among many other recorded acts of benevolence1 he released from prison about three hundred poor debtors by paying their harsh creditors4 ,pope1 at any rate1 believed in ,mahomet's integrity1 for he mentions him in his ,epistle to ,martha ,blount in these lines3 ,from peer or bishop 'tis no easy thing ,to draw the man who loves his ,god or ,king4 ,alas6 ,i copy 7or1 my draught would fail17 ,from honest ,mahomet or plain ,parson ,hale4 ,mahomet died of dropsy in #agbf1 just after these walls were painted4 ,mustapha1 after the death of ,george ,i41 continued in the service of his successor1 and is supposed to have died in ,hanover4 ,in the same group are also a ,highlander1 and a youth known as ,peter the ,wild ,boy4 ,he was found in the woods of ,hamelin1 near ,hanover1 in #agbe1 and when first discovered was walking on his hands and feet1 climbing trees with the agility of a squirrel1 and feeding upon grass and moss of trees4 ,he was supposed to be about thirteen years of age4 ,he was presented to ,george ,i41 then in ,hanover1 when at dinner1 and the ,king made him taste of the different dishes at table4 ,we get this information from ,pyne1 who adds3 ,he was sent over to ,england in ,april1 #agbf1 and once more brought before his ,majesty and many of the nobility4 ,he could not speak1 and scarcely appeared to have any idea of things1 but was pleased with the ticking of a watch1 the splendid dresses of the ,king and princess1 and endeavoured to put on his own hand a glove that was given to him by her royal highness4 ,he was dressed in gaudy habiliments1 but at first disliked this confinement1 and much difficulty was found in making him lie on a bed3 he1 however1 soon walked upright1 and often sat for his picture4 ,he was at first entrusted to the care of the philosophical ,dr4 ,arbuthnot1 who had him baptized ,peter2 but notwithstanding all the doctor's pains1 he was unable to bring him to the use of speech1 or to the pronunciation of words4444 ,he resisted all instruction1 and existed on a pension allowed in succession by the three sovereigns in whose reigns he lived4 ,he resided latterly at a farmer's near ,berkhampstead in ,hertfordshire1 till ,february1 #aghe1 where he died1 at the supposed age of nearly ninety4 ,the east wall of the staircase is painted as far as the width of the second landing with a continuation of the arcade1 showing a fourth compartment1 in which are again figures of yeomen of the guard and ladies--one holding an infant in her arms over the balustrade4 ,further up1 on the same wall1 is painted a pedimented niche1 with a figure of a ,roman emperor2 and higher up still1 on the top landing or balcony1 are figures of ,hercules1 ,diana1 ,apollo1 and ,minerva4 ,all these paintings are on canvas1 stretched on battens fixed to the wall4 ,painted ,ceiling of the ,king's ,grand ,staircase4 ,the ceiling of the staircase being square and flat1 it did not afford much scope for the exercise of imaginative design1 and ,kent was obliged to content himself with a very commonplace pattern--sufficiently apparent in the accompanying plate4 ,in the four corners are a sort of double oblong panels1 with similar square ones intervening between them4 ,the ground colour is gray4 ,the oblongs are painted with ornamental scroll-work and horses' heads1 the squares with human heads4 ,these panels are bordered with very heavy projecting frames of plaster work1 white and gilt1 as is also the great square compartment in the middle4 ,the panel of this last is painted with a representation of a circle1 within which are four semicircular spaces or apertures1 apparently intended to portray a pierced dome with galleries--but they are all in quite impossible perspective4 ,in three of these spaces are seen musicians playing on various instruments1 and spectators looking down upon the company below4 ,in the fourth the painter1 says ,pyne1 has introduced his own portrait1 holding a palette and pencils1 with two of his pupils1 who assisted him in the decoration of the walls1 and a female of a very pleasing countenance1 which is supposed to be a resemblance of an actress with whom he lived in the habits of peculiar friendship1 and to whom he left a part of his fortune4 ,all these decorations--including the female of a very pleasing countenance--the visitor can make out1 if he thinks it worth while to incur a stiff neck in doing so2 but1 in truth1 the figures1 as well as the perspective1 are all so badly drawn and painted1 that the less they are examined the better4 ,they prove to us once more that ,kent1 as a pictorial artist1 was beneath contempt4 ,if1 however1 we are content to look on his paintings on this staircase as mere formless colour decoration1 the general effect is rich and sumptuous enough4 ,the paintings of the staircase were finished1 as we have said1 about #agbf4 ,three years after we find among the records the following warrant3 ,for the delivery of the following for the ,king's service at ,kensington1 viz4 for the ,great ,staircase #f lanthorns1 #ab inches square and #ag high1 with a shade over each1 an iron scroll and #b flat sockets for candles1 #a lanthorn for a pattern #aa inches square and #ai-a_/b inches high1 with scrolls1 etc4 ,our illustration1 taken from ,pyne's drawing dated #ahah1 shows these lanthorns still in it4 ,except for these1 which disappeared a long time ago1 and the tall ,german stove1 which was only removed a few months ago1 the staircase appears exactly the same to-day4 ,presence ,chamber4 ,in this room we have a blending of the style of ,wren1 who originally built and designed it1 and of ,kent1 who redecorated it for ,george ,i4 ,the chimney-piece and over-mantel1 with its fine ,gibbons carving of foliage1 fruit1 and flowers1 the beautifully designed and richly carved oak cornice and the panelled dado are ,wren's2 whereas the painted ceiling and the doors are ,kent's4 ,it was1 doubtless1 he also who altered the spacing of the window sashes1 and substituted the present ugly large panes for the originally picturesque small ones4 ,there is record of this being done in #agbc1 among the old accounts4 ,the walls appear originally to have been entirely lined1 like most of ,wren's rooms1 with oak wainscot1 but this had entirely disappeared long before the beginning of this century1 when they were covered with tapestry1 over which were nailed a great quantity of pictures--among them several which have now been brought back here from ,hampton ,court4 ,at the same period1 in #ahah1 there was still hanging between the windows a looking-glass of large dimensions1 tastefully decorated with festoons of flowers1 painted with great truth and spirit by ,jean ,baptiste ,monnoyer4444 ,queen ,mary sat by the painter during the greatest part of the time he was employed in painting it4 ,this looking-glass has disappeared4 ,gibbons' fine carving1 however1 over the chimney-piece1 of foliage1 fruit1 and flowers in lime wood fortunately remains4 ,when recently cleaned and repaired1 it was found to be so fragile and friable as to necessitate its being all painted over in order to hold the fragments together4 ,an oaken colour1 flatted1 in accord with the prevailing tone of the panelling in the room was thought most suitable4 ,the two windows of this room1 the sashes of which were altered by ,kent1 look into a small courtyard4 ,the dimensions of the room are #bg feet #d inches long1 #bf feet #aj inches wide1 by #af feet #d inches high to the top of the cornice1 #ah feet to the highest part of the ceiling4 ,we presume it to have been in this room that ,william ,,iii4 in ,may1 #afih1 received the ,count de ,bonde1 ,ambassador ,extraordinary from the ,court of ,sweden1 when he returned to the ,king the insignia of the ,order of the ,garter1 which had belonged to ,charles ,,xi41 ,king of ,sweden4 ,the ,sovereign assembled the ,knights ,companions upon this occasion in the ,presence ,chamber1 and all appeared in their mantles1 caps1 and feathers1 attended by the officers of the order in their mantles1 and the heralds in their coats4 ,painted ,ceiling of the ,presence ,chamber4 ,the ceiling of this room1 like most of those in the state apartments built by ,wren1 is coved or saucer-domed1 and was no doubt originally quite plainly-coloured1 with a light cream-tinted wash4 ,as we see it now1 it gives the idea of an attempt by ,kent to imitate ,raphael's ,loggie in the ,vatican4 ,the paintings have been stated to be in imitation of those then recently discovered on the ruined walls of ,herculaneum and ,pompeii1 but these were not unearthed until twenty-five years after4 ,kent has1 however1 carefully followed what indications he could get of the decorative treatment of ,roman classic art4 ,the colours are bright-reds and blues1 enriched with gilding on a white ground4 ,the ceiling1 or rather the plaster behind the cornice1 bears the date1 #agbd4 ,faulkner1 in his ,history of ,kensington1 considers that a proof of his liberal zeal for the interest of his profession is clearly evinced by his adopting this antique ornament rather than his own historical compositions4 ,why this should be the case1 however1 he does not deign to explain4 ,ceremonial ,pictures of the ,queen's ,reign4 ,in this room are arranged the ceremonial pictures of the reign of the ,queen1 copied from well-known pictures by ,british artists4 ,they afford most accurate representations of the events depicted1 and no doubt will live to remotest history1 as interesting and curious specimens of early ,victorian art4 ,the scenes1 and the participants in them are all too well known to require explanation4 ,perhaps later on the numbered key-plans will be put up to assist in the identification of each personage4 #bga ,coronation of the ,queen in ,westminster ,abbey1 ,june #bhth1 #ahch4 ,her ,majesty taking the ,sacrament 4 4 4 4 4 ,after ,c4 ,r4 ,,leslie1 ,r4,a4 ,when the ,queen had been formally invested with the insignia of her sovereignty1 and had received the homage of the peers1 she laid aside the crown and sceptre1 and following the ,archbishop1 advanced to the altar to receive the sacrament4 #bgb ,marriage of the ,queen and ,prince ,albert at the ,chapel ,royal1 ,st4 ,james's1 #ajth ,february1 #ahdj 4 4 4 4 4 ,after ,,hayter4 #bgc ,christening of the ,princess ,royal at ,buckingham ,palace1 #ajth ,february1 #ahda 4 4 4 4 4 ,after ,c4 ,r4 ,,leslie1 ,r4,a4 #bgd ,marriage of the ,princess ,royal to ,prince ,frederick ,william of ,prussia in the ,chapel ,royal1 ,st4 ,james's1 #beth ,january1 #aheh 4 4 4 4 4 ,after ,j4 ,,phillip1 ,r4,a4 #bge ,christening of the ,prince of ,wales in ,st4 ,george's ,chapel1 ,windsor ,castle1 #bhth of ,january1 #ahdb 4 4 4 4 4 ,after ,,hayter4 #bgf ,marriage of the ,prince of ,wales and the ,princess ,alexandra of ,denmark in ,st4 ,george's ,chapel1 ,windsor ,castle1 #ajth ,march1 #ahfc 4 4 4 4 4 ,after ,w4 ,p4 ,,frith1 ,r4,a4 #bgg ,a ,sketch of the ,queen leaving ,westminster ,abbey after her ,coronation 4 4 4 4 4 ,by ,,camille ,,roqueplan4 ,camille ,roqueplan was a ,french artist sent over by ,louis ,philippe to make sketches at the ,queen's ,coronation4 #bgh ,the ,marriage of ,h4,r4,h4 the ,duke of ,connaught and ,strathearn and ,h4,r4,h4 ,princess ,louise ,margaret of ,prussia in ,st4 ,george's ,chapel1 ,windsor1 #acth ,march1 #ahgi 4 4 4 4 4 ,after ,,sidney ,p4 ,,hall4 ,illustration3 ,decoration ,illustration3 ,decoration ,,chiswick ,,press3--,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4 99 99 99 99 99 ,typographical errors corrected by the etext transcriber3 ,william ,talman1 ,comptroler ,william ,talman1 ,comptroller pg #ah his exernal architectural effect his external architectural effect pg #fc being situate being situated pg #fh his face his shaven his face is shaven pg #ia ,prince ,octavious was born on ,february #bcrd1 #aggi ,prince ,octavius was born on ,february #bcrd1 #aggi pg #ajf