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Hampton Court ... Illustrated with forty-three drawings by Herbert ...

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130<br />

HAMPTON COURT<br />

along the south wall in summer came, there can be<br />

little doubt, from Holland. So the Queen diverted<br />

herself when her cold and ungrateful husband was<br />

taking enjoyment <strong>with</strong> Elizabeth Villiers and his<br />

Dutchmen. She lived chiefly in the " Water Gallery,"<br />

a small house looking upon the river, busying herself<br />

<strong>with</strong> her needle and among her china; and " giving,"<br />

savs Burnet, " her minutes of leisure <strong>with</strong> the greatest<br />

willingness to architecture and gardenage."<br />

The last work for the decoration of the gardens<br />

which we can ascribe to William and Mary together is<br />

the set of thirteen iron gates or screens (more strictly,<br />

twelve screens and a gate), which form the finest<br />

specimens of wrought ironwork that can be seen in<br />

England. They were at first intended to screen the<br />

private gardens from the river path; now one stands<br />

in the Long Walk, two are placed in the Queen's<br />

Guard Chamber, and the rest may be seen in the South<br />

Kensington and Bethnal Green Museums. Mr.Law1<br />

has shown that they were designed <strong>by</strong> Jean Tijon,<br />

though they were partly executed <strong>by</strong> a Nottinghamshire<br />

man, Huntingdon Shaw. The extraordinary<br />

delicacy of the work, the rich elaboration of the design,<br />

and the variety of the foliage represented, make the<br />

work unique. The main features of the work are of<br />

course classical,and they link the art of the Renaissance<br />

to that of the famous decorative period which<br />

marked the latter part of the eighteenth century in<br />

England ; but their originality and variety are among<br />

1 Vol. ii. pp. 54, sqq.

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