Part 3

This description of Charles Greville's, whose pen was given to anything but flattery, is confirmed by the testimony of many others present. Earl Grey wrote to Princess Lieven: "When called upon for the first time to appear before the Privy Council, and to take upon herself the awful duties with which at so early an age she has been so suddenly charged, there was in her appearance and demeanour a composure, a propriety, an _aplomb_, which were quite extraordinary. She never was in the least degree confused, embarrassed or hurried; read the declaration beautifully; went through the forms of business as if she had been accustomed to them all her life." Lord Palmerston says in a letter to Lord Granville: "The Queen went through her task with great dignity and self-possession; one saw she felt much inward emotion, but it was fully controlled. Her articulation was particularly good, her voice remarkably pleasing."

Next day, the 21st of June, at ten o'clock in the morning, Her Majesty was formally proclaimed Queen of Great Britain and Ireland at St. James's Palace, when a salute was fired in the Park, and she appeared at the window of the Presence Chamber, returning afterwards to Kensington Palace. On the 13th of July the Queen, accompanied by her mother, the Duchess of Kent, took her final departure from the place of her birth and the home of her childhood.

=Kensington Palace in recent Years.=

Since the accession of the Queen, Kensington Palace has had a quiet and uneventful history--though Her Majesty has frequently, in the course of her reign, privately revisited her old home, where the Duchess of Kent retained her rooms until her death in 1861; and where, soon after that date, Princess Mary and the Duke of Teck also came to reside for a period. Here their daughter, Princess May, now the Duchess of York, was born in the State Room called "the Nursery," in 1867.

In the meanwhile, the apartments in the south-west corner of the Palace, occupied by the Duke of Sussex until his death in 1843, were afterwards tenanted by his widow, the Duchess of Inverness, who died in 1873, when they were granted by the Queen to Princess Louise and the Marquis of Lorne, who still reside in them.

During all these sixty years the Palace had been suffered gradually more and more to fall into a deplorable state of disrepair. The walls were bulging in many places, and merely remained standing by being shored up; the rafters of the roof were beginning to rot away, tiles and slates were broken and slipping off, so that it was becoming increasingly difficult to keep the rain and wind at bay. The floors, also, were everywhere deteriorating, the old panelled walls and painted ceilings of the grand reception rooms slowly, but surely, crumbling to decay.

"More than once," said a leading article in "The Times" of January 12th, 1898, "it has been seriously proposed to pull the whole building down, and to deal otherwise with the land, and Her Majesty's subjects ought to be grateful to her for having strenuously resisted such an act of Vandalism, and for having declared that, while she lived, the palace in which she was born should not be destroyed."

=Restoration of the State Rooms.=

The Queen, it is believed, had long desired that her people's wish to be admitted to inspect the Palace of her ancestors, and her own birthplace and early home, should be gratified; and it seemed a fitting memorial of the Diamond Jubilee that this should be done. An obdurate Treasury, which, as we have hinted, had looked forward rather to demolition than restoration, was at length induced to recommend the expenditure necessary to prepare the State Rooms for the admission of the public, and thus, on the 11th of January, 1898, it was possible to make the following gratifying announcement in the press:

"Her Majesty, in her desire to gratify the wishes of Her people, has directed that the State Rooms at Kensington Palace, in the central part of the building, which have been closed and unoccupied since 1760, together with Sir Christopher Wren's Banqueting Room, attached to the Palace, shall after careful restoration be opened to the public, during her pleasure; and the Government will forthwith submit to Parliament an estimate of the cost of restoration."

Accordingly the Board of Works proceeded to prepare estimates and on March 4th following, the First Commissioner, Mr. Akers Douglas, M.P., submitted a vote of £23,000 for the purpose. By a unanimous vote of the House of Commons on April 1st, the amount required was at once agreed to, and great gratification was on all sides expressed that so happy solution had at length been arrived at. Forthwith, the restorations were put in hand--the most pressing repairs having, indeed, been begun in anticipation, previous to the passing of the vote--and for many months they consisted entirely in solid structural works, which scarcely seemed to affect the appearance of the building at all. It was found necessary to rebuild and underpin walls, to reslate practically the whole of the roof over the State Apartments and renew the timbers that carried it; and also almost all the floors. After these heavy works, and those consequent on the installation of the hot-water warming apparatus, were completed, the more interesting, but much more difficult, business involved in the restoration of the old decorative ironwork, woodwork, and paintings of the State Rooms was taken in hand.

The more substantial but less salient work having been carried out, the decorative works were next proceeded with, under the constant supervision of Sir John Taylor, K.C.B., Consulting Architect and Surveyor to H.M.'s Board of Works, and the continual and immediate control of Mr. Philip, temporary Clerk of the Works for Kensington Palace. Moreover, the Hon. Reginald Brett, C.B., Secretary of the Board, to whose initiative the whole scheme of the restoration, we may say, has been mainly due, has given a constant close personal attention to everything that has been done. Nor has any trouble, labour, or research been spared to render everything as historically and archæologically correct as possible.

=Methods of Restoration.=

The principles on which the restorations have been carried out will more fully appear, in the description we give in our subsequent pages, in regard to every detail of the work. 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 new. On the contrary, repairing, patching, mending, piecing, cleaning, have been the main occupations of the decorators, to an extent that would render some impatient, slapdash builders and surveyors frantic. Yet it has been all this minute--though no doubt sometimes costly--attention to details, this laborious piecing together of old fragments, this reverential saving of original material and work, this almost-sentimental imitation of the old style and taste where patching in by modern hands was inevitable, which has produced a result and effect likely, we think, to arouse the admiration of all who relish the inimitable charm of antique time-mellowed work.

Never before, we may safely say, 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 Palace. The spirit has been rather that of a private owner reverentially restoring his ancestral home, than that of an ordinary public official, with an energy callous to all sentiment, sweeping away the old to replace it with a spick-and-span new building. This method of treatment has nowhere been applied more scrupulously, and we venture to think with greater success, than in the treatment of the old oak panelling and the beautiful carving, all of which had been covered over with numerous coats of paint, so long ago--we have discovered from the old accounts in the Record Office--as 1724. In the cleaning off of these dirty incrustations, various processes have been resorted to, as they suited the nature of the work, and so thoroughly has this been done that the closest inspection would give us no inkling that any part, either of the flat surface or of the most delicate carving, had ever been painted at all. Equal pains were taken in finishing the surface with oil and wax polish--no stain whatever being used on the panelling, doors or cornices--so that the real true colour of the wood is seen, varying only with its natural variation, and exhibiting all its richness of tone, and its fullness of grain. It makes one almost glad it should have suffered so many years of long neglect--that when at last it has been taken in hand, it should have been done when the historical significance and the technical and artistic value of such things are more truly appreciated than formerly. There can be little doubt that if an early nineteenth century upholsterer had got hold of this Palace, most of the beautiful old work would have been cleared out to make way for vulgar plaster-work of white and gold.

Substantially the same principles have been followed in the cleaning and restoration of the painted walls and ceilings, which work has been executed with the utmost sympathy for the old work, and the most careful efforts to preserve it. There has not been a touch of paint applied except to make good portions absolutely destroyed, so that these ceilings--whatever their merits or demerits--remain exactly as they were when first completed, save for the more subdued and modulated tone they have taken on from the softening hand of Time.

=Arrangement of the Pictures.=

A word should now be said about the pictures, which have been brought from various Royal residences to furnish these State Apartments, and to illustrate the history of this Palace. The bulk of them have come from Hampton Court, and a large number are pieces which were removed when the State Rooms were dismantled by George IV. and William IV., from the very walls where they now once again hang. Their return here from Hampton Court, in the overcrowded galleries of which it has been impossible ever properly to display them, has been a most auspicious thing for that Palace, and has rendered feasible many long-desired rearrangements and improvements.

In selecting the pictures which seemed most suitable for hanging at Kensington, 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 Mary, Queen Anne, and the Georges, and, finally, of course that of Queen Victoria.

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 collections, at the same time, of the curious topographical subjects relating to "Old London," in the Queen's Closet; of the interesting series of Georgian sea-pieces, sea-fights, and dockyards, 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 pictures, relating to the Queen's reign, in the "Presence Chamber" and the actual rooms originally occupied by Her Majesty in her youth.

Having given these general indications as to the arrangements, it will not be necessary to do more than refer to our subsequent pages for the details of the scheme. Nor need we dwell on what will at once be only too obvious to the connoisseur, that anyone who expects to behold in this Palace a fine collection of choice works of art will certainly be disappointed. Kneller and Zeeman, Paton and Pocock, Huggins and Serres, West and Beechey, are not exactly names to conjure with--nor even, indeed, Scott, Monamy, Drouais, or Hoppner, in their somewhat second-rate productions here. Moreover, it is to be clearly understood, that it is not as an Art Gallery that these rooms are opened to the inspection of the public, but as a Royal Palace, with pictures hung in it illustrative of its history and associations, and as furniture to its walls.

Nevertheless, it is not high art only, nor great imaginative works, which can interest and instruct; and, historically, these bewigged, ponderous, puffy personages of the unromantic eighteenth century, whose portraits decorate these walls, are more in accord with their setting, than would be the finer, simpler, and nobler creations of the great epochs of art.

=Associations with Queen Victoria.=

On the other hand, the Victorian pictures, and the apartments in which they are arranged, stand apart on a different footing of their own. It is to the three small, plain and simple rooms, with their contents, in the south-eastern corner of the building, that all visitors to the Palace will turn with the liveliest interest, and with the keenest, the most thrilling emotion. Romance, and all the thoughts and feelings of tender, natural affection, which appear to have been smothered in the preceding century and a half of powder and gold-lace, seem to awaken and revive once more with the child born in this Palace eighty years ago, in the little girl playing about in these rooms and in these gardens, in the youthful Queen, who stepped forth from her simple chamber here to take possession of the greatest throne in the world!

It is as the scene of such memorable events that Kensington Palace possesses, and will hereafter ever possess, abiding interests and engrossing charms altogether its own; and that it will ever inspire, among those who come to visit it, thoughts and memories moving and deep. And not to us only in these islands; not to us only of this age; but to thousands and thousands likewise across the seas; to countless millions yet unborn, will this ancient structure become, now and in the ages yet to be, a revered place of loving pilgrimage as the birthplace and early home of Queen Victoria.

DESCRIPTIVE AND HISTORICAL GUIDE.

=Old Kensington Palace Gardens.=

Before making our way to the public entrance to the state rooms of the Palace, let us take a glance at the history of the gardens lying round it, and the exterior of the building; and first as to the gardens on the east and south of the building. The whole ground here down to the highway was laid out quite early in the reign of William and Mary; but its present uninteresting appearance gives us but little idea of how it looked at that time. We find from the old accounts that large sums, amounting to several thousands of pounds, were expended on garden works--for levelling, gravelling, and planting, all in the formal Dutch style, with figured beds and clipped trees--and also much ornamental work, such as urns, stone vases, statues, and seats. There are, for instance, many items such as these:

"To Edward Pearce for carving a chaire for the garden with a canopy of drapery, £43 16_s._; more for carving 4 chairs and 2 seats with Dolphins, scollop shells, etc., and other works done about the said gardens, £43 2_s._ 4_d._--in both £86 18_s._ 4_d._"

We have also a contemporary account of the gardens as formed by William and Mary, in a "View of the Gardens near London," dated December, 1691: "Kensington Gardens are not great, nor abounding with fine plants. The orange, lemon, myrtle, and what other trees they had there in summer, were all removed to Mr. London's and Mr. Wise's greenhouse at Brompton Park, a little mile from them. But the walks and grass laid very fine; and they were digging up a flat of four or five acres to enlarge the garden."

The northern boundary of King William's gardens is marked by two piers of excellent red brickwork, evidently erected by Wren at that time. They are surmounted by very fine vases of carved Portland stone; and are perhaps two of the "Four great fflower-pots of Portland stone, richly carved," for which, we find from the old bills, the statuary Gabriel Cibber, the father of Colley Cibber, was paid £187 5_s._ Between these piers, which stand 39 feet apart, there was probably, in old days, a screen and gates of fine wrought iron. They stand at the south end of what was called "Brazen Face Walk," and between them the visitor passes to the public entrance to the Palace. The fencing in of this part of the gardens is perhaps referred to in the following entry belonging to the years 1692-95:

"William Wheatley for makeing and setting up Pallizadoes and gates in and about the said Palace--£152 5_s._ 10_d._"

To the north of these piers lies the north-west corner of the now so-called "Kensington Gardens," where were formerly situated that part of the old gardens appurtenant to the Palace, laid out by Queen Anne. The present bare uninteresting appearance of the ground round about is now entirely different from what it then was.

=Queen Anne's Gardens.=

Bowack, in his "Antiquities of Middlesex," writing in the reign of Queen Anne, in 1705, tells us of her improvements: "There is a noble collection of foreign plants and fine neat greens, which makes it pleasant all the year, and the contrivance, variety, and disposition of the whole is extremely pleasing, and so frugal have they been of the room they had, that there was not an inch but what is well improved, the whole with the house not being above twenty-six acres. Her Majesty has been pleased lately to plant near thirty acres more towards the north, separated from the rest by a stately green-house, not yet finished; upon this spot is near one hundred men daily at work, and so great is the progress they have made, that in less than nine months the whole is levelled, laid out, and planted, and when finished will be very fine. Her Majesty's gardener had the management of this." Of Queen Anne's "stately green-house" we shall speak in a moment.

Addison, also, in No. 477 of the "Spectator," expatiated on the beauties of the gardens: "Wise and London are our heroick poets; and if, as a critic, I may single out any passage of their works to commend, I shall take notice of that part in the upper garden, at Kensington, which was at first nothing but a gravel pit. It must have been a fine genius for gardening, that could have thought of forming such an unsightly hollow into so beautiful an area, and to have hit the eye with so uncommon and agreeable a scene as that which it is now wrought into."

The cost of these improvements amounted to several thousands of pounds--in levelling, planting, turfing, gravelling. The appearance of the east and south gardens in the reign of Queen Anne will, as we have already said, best be conveyed by Kip's plate; the general plan of the new enclosed garden to the north, north-east, and north-west, by Rocque's engraving, published in 1736. From this we see that Queen Caroline, who embarked in so many gardening enterprises, left Queen Anne's new gardens substantially intact; though she made a clean sweep of all the old fantastic figured flower beds and formal walks of William III.'s _parterres_ to the south and east of the Palace; substituting therefor bare and blank expanses of lawn and wide gravel paths.

During the reigns of George III. and George IV. all the gardens were allowed to become more and more uncared for; and at last those to the north of the Palace were destroyed altogether. 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 land, the rest into meadow.

The old gardens to the east, already flattened out and spoilt by Queen Caroline, now exist but in part; the small portion, which has not been covered with hideous forcing houses and frames, is, however, to a certain extent nicely shrubbed, and closed in by trees and hedges. The site of the old south gardens, curtailed now to a small enclosure, which retains little of the old English picturesque air, might with advantage, we think, be less stiff and bare. There is here little more than a clump or two of trees and shrubs, a wide gravel path, and two large vacant lawns, separated from the public walk by a wire fence, and between this and High Street mere expanses of grass. Fortunately, 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 were.

The blankness and barrenness of all the ground between the south front and the street was even more painfully apparent in Leigh Hunt's time, who in his "Old Court Suburb" drew attention to this salient defect nearly fifty years ago. "The house," he remarked, "nominally possesses 'gardens' that are miles in circumference.... There is room enough for very pleasant bowers in the spaces to the east and south, that are now grassed and railed in from the public path; nor would the look of the Palace be injured with the spectator, but rescued from its insipidity." His suggestion has been acted on to a certain extent in recent times, but too partially in our view.

=Queen Anne's Orangery.=

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 London, if not in England. If we could say with truth that there ever was a "Queen Anne style," this would, indeed, be a representative and unrivalled example of it--as it certainly is of Sir Christopher Wren's, which, developing in the reign of Charles II., was definitely formed and fixed in that of William and Mary.

To an artist like Wren to beautify the ordinary and useful was to give expression to one of the highest functions of architecture; and therefore in this mere store-house for the Queen's treasured plants and flowers, probably also a place where Queen Anne liked to sit and have tea, we have a building--unimportant though its object may be considered--which attains the very acme of his art, exhibiting all his well-balanced judgment of proportion, all the richness of his imagination in design.

The building of this greenhouse was begun in the summer of the year 1704. A plan, prepared by Sir Christopher at Queen Anne's express orders, was submitted to and approved by her, and the original estimate, which is still in the Record Office, dated June 10th, 1704--probably drawn up by Richard Stacey, master bricklayer, and entitled: "For building a Greenhouse at Kensington" at a cost of £2,599 5_s._ 1_d._--was accordingly laid before the officers of Her Majesty's Works, Sir Christopher Wren, John Vanbrugh, Benjamin Jackson, and Matthew Bankes, for a report thereon. Their opinion, after "considering the measures and prices," was that "it may be finished soe as not to exceed the sum therein expressed, viz., £2,599;" and the Lord Treasurer was accordingly prayed "to pay £2,000 into the Office of Works that it may be covered in before winter, according to Her Majesties expectation."

The work was consequently put in hand forthwith, but there is some reason to suspect that Wren's original intentions were departed from, and that the estimate approved by the Board of Works was afterwards cut down by the Treasury by a thousand pounds or so. This appears probable from the fact that Richard Stacey, the bricklayer who contracted for the work, and who, in a petition dated September 13th, was clamouring for payment of £800, on account of money then already disbursed by him, referred to that sum as part of a total of £1,560, "lately altered from the first estimate."