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

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164 HAMPTON COURT Below, in the centre of this piece, is a scroll with the motto in hopelessdog-Latin: — Cemporfbus. fulcor.quantumlibct.inclitu. fama. 31psa. me.claiisctuut. tempore.sera . piam. dun.proDest. )iin»3. .Diu.cum. fortiter. no. 31>DiDt. in.latcbrts. jam.me. tempus.cDar. Two points especially invite attention. The classical and the literary interests are here combined in a manner eminently characteristic of the Renaissance. There is the ostentation of antique learning, the sense of design and unity of composition which is obtained from the study of classic models in literature and art. And besides this there is the curioussimilarityin idea, andeven here and there in detail, to the magnificent " Triumph ofJulius Cæsar " by Mantegna, which CharlesI.bought and placed so appropriately at Hampton Court. The third series consists of the three pieces which are now hung on the west side of the room. They are also of old Flemish manufacture. They represent the warfare of the Seven Cardinal Virtues with the Seven Deadly Sins, and the Blessed Trinity1 in judgment, with Peace, Mercy, Truth, and Justice standing before. Pride, Gluttony, Acedia, Anger, Envy, Luxury, Covetousness, all mounted on strange beasts, are attacked by Elope. Latin legends explain each scene. The ideas are of a piece with those of old moralities, which, it may be, were often played in the hall adjoining the room where these tapestries now hang. These are probably the sets which are mentioned 1 " Three oldpersons inepiscopalhabits with crowns on theirheads and sceptres in theirhands."
HENRY'S TAPESTRIES 165 in the inventory of Cromwell's goods as hanging in the Paradise-room. The points chiefly noticeable in all are the merits of the designs and the formality of the execution. The stiffness of the figures is characteristic of Flemish work, and there is an ignoring of perspective, which may be intentional, and is not always unpleasing. In the Horn-room, which opens from the " Great Watching-chamber," a room originally used for the serving of dishes to the high table in the hall, with which it also communicates, are other pieces of tapestry — the story of Æneas, and an allegorical piece of which it is difficult to identify the subject. In the great hall itself are copies of the Triumph ofFate, and two subjects from the history of Hercules — the taming of the steeds of Diomed, and his death. The tapestries under the gallery are valuable as illustrations of contemporary costume, and in some cases the faces are beautifully worked, reminding one of the best work on fifteenth century vestments that have come down to us. In date they stand between those of the Great Watching-chamber and the story of Abraham in the hall. Of the greatest treasure of all, the story of Abraham, only eight of the ten original designs now remain at Hampton Court. These have been hung in the great hall for the last half-century. They are believed to have been designed by Bernhard van Orlay,1 court-painter to the 1 There is a picture by him, " Venusmourning over Adonis,"in the Hampton Court Gallery, No. 576.
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Rampton Court
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Rampton Court BY WILLIAM HOLDEN HUT
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PREFACE A word, with all apologies
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PREFACE VII the privileges which th
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INTRODUCTION " Iam never merry when
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CONTENTS CHAPTERI THE BUILDINGS AND
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CONTENTS XIII Queen Mary and Knelle
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CONTENTS XV PAGE characteristics of
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LIST OF ILLUSTRATIONS By HERBERT RA
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HAMPTON COURT CHAPTER I THE BUILDIN
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WOLSEY'S BUILDING 3 ing, it is scar
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-5** "a ■* I? ll. &
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6 HAMPTON COURT the bricks intermin
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8 HAMPTON COURT There is no better
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10 HAMPTON COURT his "Anecdotes of
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12 HAMPTON COURT Henry VIII., is as
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14 HAMPTON COURT The hall is entere
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16 HAMPTON COURT VII So, leaving th
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18 HAMPTON COURT If the court, when
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20 HAMPTON COURT interiors can hard
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GREAT GALLERIES 21 eminently suitab
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WREN'S PLANS 23 whom England has pr
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UNCOMPLETED WORK 25 shows how minut
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CHARACTERISTIC MERITS 27 Wren's wor
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EARLY HISTORY 29 King and Parliamen
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HISTORICAL MEMORIES 31 dwelling-pla
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WOLSEY'S GREATNESS 33 Cardinal-mini
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WOLSEY'S LIFE 35 which Wolsey built
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FESTIVITIES 37 satin paned, and cap
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FESTIVITIES 39 To whom the Cardinal
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ANNE BULLEN 41 passed they forth th
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FRENCH AMBASSADORS 43 Rooms already
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WOLSEY'S HOUSEHOLD 45 friends sent
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COSTLY BANQUETS 47 all others were,
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REVELRY 49 with ladies, some on hor
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WOLSEY'S DEATH 51 they were English
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HENRY'S AVARICE 53 there, they were
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QUEEN JANE 55 sorrow for the most f
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PRINCE EDWARD 57 The young Prince o
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TAYLOR'S SONNETS 59 skein of red si
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QUEEN ELIZABETH 61 Y Though Elizabe
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QUEENLY STATE 63 hair she wore a la
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THE PALACE IN 1598 65 " Hampton Cou
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ELIZABETH'S DEATH 67 The Palace whi
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JAMES I. 69 and say little of relig
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CHARLES I. 71 decisive step in the
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HOSTILE AGITATIONS 73 the King in t
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CROMWELL'S NEGOTIATIONS 75 servants
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HIS LAST DAYS 77 have been satisfie
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CROMWELL'S TENANCY 79 was his custo
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COURT SCANDALS 81 when he doth not
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PETER LELY 83 VIII At Hampton Court
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LELY'S "BEAUTIES" 85 ladies." x If
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LELY'S "BEAUTIES" 87 latter is the
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WILLIAM OF ORANGE 89 does your Maje
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CLAIMS TO GREATNESS 91 which he ach
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AS DIPLOMATIST 93 certain unconscio
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PRIVATE CHARACTER 95 that the issue
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FAULTS AND VICES 97 withheld for ye
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DE WITT MURDERS 99 of York's childr
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GLENCOE MASSACRES 101 January 1692
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AS KING 103 Parliament had declared
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AT HAMPTON COURT 105 was not virtuo
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KNELLER'S "BEAUTIES" 107 her husban
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DEATH OF MARY 109 which the "Beauti
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GEORGE I 111 Queen continued her ki
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DEFOE ON THE PALACE 113 royal party
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CHAPTER III THE PARKS AND GARDENS i
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UNDER HENRY 117 In the front of thi
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UNDER ELIZABETH 119 II Elizabeth lo
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UNDER CROMWELL 121 " upon pillars o
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UNDER CHARLES II 123 moved to Bushe
Page 195 and 196: UNDER WILLIAM III 125 is what is no
Page 197 and 198: DEFOE'S TESTIMONY 127 formal garden
Page 201 and 202: MEMORIALS OF MARY 129 in the aid of
Page 203 and 204: BROAD WALK 131 their most striking
Page 207 and 208: UNDER GEORGE I 133 Privy Garden. Un
Page 209 and 210: UNDER GEORGE II 135 Andpolyanthusof
Page 211 and 212: THE GREAT VINE 137 VI A charming wr
Page 215 and 216: CHAPTER IV HAMPTON COURT AND THE CH
Page 217 and 218: HENRY'S ADDITIONS 141 privy chamber
Page 219 and 220: ASSOCIATIONS 143 The proportion of
Page 223 and 224: THE QUEEN'S CHAPEL 145 very happily
Page 225 and 226: THE CONFERENCE 147 the Church, and
Page 227 and 228: THE CONFERENCE 149 nine Articles as
Page 229 and 230: THE CONFERENCE 151 which agreeth as
Page 231 and 232: JAMES'S OPINION 153 the new King wa
Page 233 and 234: i CHAPTER V THE ART COLLECTIONS The
Page 235 and 236: TAPESTRIES 157 the days of Wolsey.
Page 237 and 238: WOLSEY'S TAPESTRIES 159 thousand ma
Page 241 and 242: WOLSEY'S TAPESTRIES 161 Left-handsi
Page 243: WOLSEY'S TAPESTRIES 163 The same in
Page 247 and 248: HISTORY OF ABRAHAM 167 Mortlake. In
Page 249 and 250: GEORGE I.'S TAPESTRIES 169 patterns
Page 251 and 252: THE PICTURES 171 IV Scott when he w
Page 253 and 254: TUDOR GROUP 173 skill in thepaintin
Page 255 and 256: ELIZABETHAN PICTURES 175 charming d
Page 259 and 260: ELIZABETH'S PORTRAIT 177 which more
Page 261 and 262: STEWART PICTURES 179 are many other
Page 263 and 264: CHARLES I.'S COLLECTION 181 gave th
Page 265 and 266: ANDREA MANTEGNA 183 Charles it was
Page 267 and 268: ANDREA MANTEGNA 185 order, and on o
Page 269 and 270: ANDREA MANTEGNA 187 know it, of the
Page 271 and 272: ANDREA MANTEGNA 189 Gonzaga, in the
Page 273 and 274: ANDREA MANTEGNA 191 masterpiece tho
Page 277 and 278: VENETIAN SCHOOL 193 Jerome Bosch
Page 279 and 280: LORENZO LOTTO -■95 though injured
Page 281 and 282: ALBRECHT DURER 197 Psyche, by L. Gi
Page 283 and 284: GEORGIAN AGE 199 sea-fights, Willia
Page 285 and 286: BENJAMIN WEST 201 to say, not a sin
Page 287 and 288: BENJAMIN WEST 203 and human, prepar
Page 289 and 290: CHAPTER VI LITERATURE AND GOSSIP IN
Page 291 and 292: POPE 207 Among all the century's de
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"RAPE OF THE LOCK" 209 river floods
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POPE AND MARMONTEL 211 calls it in
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RIVER FRONT 213 Doubtless they sat
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LORD HERVEY 215 they must simper an
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HERVEY AND POPE 217 wrote Gay; and
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HERVEY AND CAROLINE 219 cold-hearte
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HERVEY'S MEMOIRS 221 stuffing; the
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COURT SCANDALS 223 rooms on the gro
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THE PALACE DESERTED 225 of George I
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ITS ENGLISH CHARACTER 227 English c
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LATER RESIDENTS 229 representation)
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PRESENT CARE 231 observe that the p
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MEMORIES OF THE PAST 233 choir, its
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ITS ATTRACTION 235 one would expect
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ITS FUTURE PICTURED 237 new, some o
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240 Naseby, 71; Sir Thomas Herbert'
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242 INDEX JamesII., 89 Janssen, Cor
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244 Villiers,Elizabeth, 97, 130 Vil
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Hampton Court ... Illustrated with forty-three drawings by Herbert ...

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