Part 9

From the windows of this room we can imagine the little princess, when she rose in the morning, gazing out over the gardens and the Park beyond, as the beams of the eastern sun struggled through the mists and smoke of distant London, musing on the mighty destiny awaiting her; or in the evening hour, when the flower-scented air of the garden beneath floated in at the casement, looking out where the far-off lights of the great town twinkled among the trees, her mind filled with solemn thoughts of the awful responsibility that was to be hers.

Even now, when the building octopus, with its stucco tentacles, has clutched and sucked in so many a fair surrounding green field, from these windows not a roof, not a chimney meets the eye; not an echo, even, of the ceaseless roar of the traffic strikes the ear.

It was in this room that the Queen was sleeping on the memorable morning of the 20th of June, 1837, when she was awakened by her mother, the Duchess of Kent, to go to the Drawing Room downstairs, where Lord Conyngham and the Archbishop of Canterbury were awaiting to inform her of her accession to the throne.

The dimensions of this room are: 23 feet 3 inches long, 19 feet 3 inches wide, and 16 feet high.

Prints of the Life and Reign of the Queen.

Prints in continuation of the series commenced in "The Nursery," are in process of being arranged in this room.

Mementoes and Relics of the Queen's Childhood, collected in "Queen Victoria's Bedroom."

Here also will be arranged some of the Queen's toys, with which she played as a little girl in these rooms; and perhaps other similar objects of interest. Labels will, doubtless, be affixed to explain, what these are.

=King's Gallery.=

This magnificent gallery, the finest of all the state rooms at Kensington Palace, was designed and built by Sir Christopher Wren for William III. about the year 1693. 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 times. Its length is 96 feet, its breadth 21 feet 6 inches, and its height 18 feet to the top of the cornice, and 19 feet 8 inches to the highest point of the ceiling. It is, therefore, 12 feet longer than the already-described Queen Mary's Gallery, 2 feet higher, but of the same width. Compared with it, the "King's or Cartoon Gallery" at Hampton Court, built by Wren almost exactly at the same time, it is 21 feet less long, 3 feet less wide, and 10 feet less high.

In relation to it the following items from the old accounts, dating from about the year 1693, are interesting:

"Item to Richard Hawkesmore, Clerk of the Workes, for making up an account [an estimate?] of the King's New Gallery at Kensington--£5."

"More to him for Pasteboard and other Materialls for making a modell of the said Gallery for the King--£5 2_s._"

"Cha: Houghton for rating, casting up, and engrossing the Books of the said Building for the Auditor--£5."

Decorative Carvings in "the King's Gallery."

The oak cornice and the oak doors of this gallery, especially the beautiful architraves of the doors, are among the finest specimens anywhere existing of Wren's decorative art, designed by him and carried out under the superintendence of Gibbons. Relating to this work we find the following item in the accounts for the years 1691 to 1696:

"To Grinling Gibbons, carver, for worke done in the new Gallery building, in the King's great and Little Closet, in three Roomes under the King's apartment, in the King's Gallery, and other places about the said Pallace--£839 0_s._ 4_d._"

In other respects the appearance of this room has been much altered; for the oak panelling, which appears originally to have entirely covered its walls was removed, it would seem, in the reign of George I. or of George II.; when also the ceiling, which was originally plain, was painted as we see it now.

Chimney-Piece, Map and Dial.

At the same time a new chimney-piece was inserted. Part of the original over-mantel, however, of the time of William III., still remains, especially a very curious map of the north-west of Europe, showing the names of various towns, especially in the north of France, the Netherlands, and the British Isles. Relating to it we have discovered, in the course of our researches among the old parchment rolls in the Record Office, the following entry, dating from about, the year 1694:

"To Rob^{t} Norden for his paines in drawing a map for the chimney-piece and for attending the painters--£5."

Round the circumference of the map are the points of the compass; and an old =dial-hand= or pointer, still remains, which was actuated by an iron rod connected with a vane, still existing above the roof. This enabled King William to know from which quarter the wind was blowing; whether, therefore, it was safe for him, with his asthma, to venture out of doors, or whether the wind was favourable for wafting him away from this hated climate to his own dearly-loved country of Holland.

It was this dial which so greatly interested Peter the Great, when he privately visited William III. in this palace in 1698, being admitted by a back door. "It was afterwards known," says Macaulay, but unfortunately without giving his authority, "that he took no notice of the fine pictures, with which the palace was adorned. But over the chimney in the royal sitting-room was a plate which, by an ingenious machinery, indicated the direction of the wind; and with this plate he was in raptures."

This old dial is fixed in a square carved and gilt frame, probably the one referred to in the following item in the old accounts of the years 1691-96:

"To Rene Cousins gilder for a large frame carved and gilt with burnished gold--£10."

The outer frame of deal wood surrounding this gilt one is, on the other hand, of a later date, evidently designed by Kent, as was also the decorated panel above it, itself surmounted by a pediment, richly carved, doubtless by men trained in the school of Wren and Gibbons.

In the centre of this fine "Kentian" panel is a medallion picture of the "Virgin and Child," painted in fresco, of the school of Raphael, and inscribed behind with the date, 1583.

All this over-mantel was, in the time of George I., painted over white with enrichments of gold. It so remained until last winter, when the thick coats of filthy paint were cleaned off. It has been thought best to leave the deal wood in its natural state, unpainted, only applying a little stain to tone it into harmony with the colour of the surrounding oak carvings.

Although this carved over-mantel is an addition, and as far as the pediment is concerned, very out of place so close to the cornice, 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 Georges. In it we trace the influence of the lighter French taste of Louis XV., which Kent had no doubt become acquainted with when travelling abroad. The marble chimney-piece below, on the other hand, is in that architect's regular massive, heavy style.

* * * * *

Almost at once, after this gallery was finished by Wren, it became the receptacle of some of the finest works of art in the Royal collection. Among the manuscripts in the British Museum is the original list of William III.'s pictures, placed "in Kensington House, 1697"--some seventy pieces being mentioned as then hanging on its walls.

It was in the year following that Peter the Great was in England; when, besides his private interview with the King, mentioned above, he was a spectator at a ball given in this same gallery on the birthday of Princess Anne, not publicly, however, but peeping through one of the doors, in a closet prepared for him on purpose.

In this room, King William, in the month of March, 1702, after his accident, and a few days before his death, "took several turns" to exercise himself; but soon becoming fatigued, he reclined upon a couch and fell asleep, "but soon to awake in a shivering fit, which was the beginning of a fever, attended with serious symptoms, from which he never recovered."

Painting of the Ceiling and Wainscot of the King's Gallery.

This gallery was also a favourite sitting-room of Queen Anne and her husband, and of George I. It was by command of the latter monarch that Kent, about the year 1724, undertook the painting of the ceiling, his charge for which, with similar work in "the little closets," amounted to _£_850. Although the richness of the colouring and gilding give it a gorgeous appearance, neither the design nor the ornaments, least of all the panels, painted with mythological subjects, are interesting. It is divided into seven compartments, surrounded by elaborate classic scroll and arabesque work, and allegorical figures. The centre medallion is oval, the other six oblong or lozenge shaped. The officers of Works in their Report, dated 30th of September, 1725, to the "Lords Commissioners of His Majesty's Treasury," on this work, added:

"We have caused an estimate to be made of the charge of painting the wainscot of the sd. Gallery and little closets in the same manner as the Bedchamber and closets are already painted, amounting to £32: 16:

Gilding the same--£154: 4:

Providing Scaffolds for the Painters and covering the floors with Boards to prevent their being damaged, etc., £233: 3:"

They further added:

"We crave leave to lay before your Lordships a letter that we have received from Sir James Thornhill, Serj^{t} Painter to his Majesty, in which he complains that the gilding of the cornishes, which hath hitherto been done by himself, and his predecessors, is by my Lord Chamberlain's Letter directed to be done by another person, which letter we have hereunto annexed."

On October 5th, accordingly, an order was made to the Board of Works to commission Sir J. Thornhill to do the gilding of the cornices.

On the barbarity of painting the beautiful oak work in this gallery, and especially the exquisitely carved oak architraves and cornices, we need not dwell. They remained painted until last autumn, when with infinite trouble and pains, the paint was cleaned off, and all the delicate chiselling of Gibbons and his assistants revealed to the eye, after being obscured for a hundred and seventy-four years. The visitor can judge for himself with what success this has been accomplished. No stain has been used in this restoration; and only after repeated experiments was the method adopted of treating it simply with wax polish.

The old panelling of Wren's time was probably removed in the time of George II., in order to afford more wall-space for hanging pictures on--which was Queen Caroline's great hobby.

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 year. One of these subdivisions was used by Queen Victoria, when a little girl, for her toys.

Naval Pictures in the King's Gallery.

In this gallery have now been collected a large number of sea-pieces, sea-fights, dockyards, and admirals, mainly of the time of the Georges, to illustrate the history of the British Navy. Though but very few--for instance, those by Monamy and Scott--can be considered fine works of art, yet all of them will be found interesting and curious; and no one, who has known them only when hanging in bad lights on dark screens in the overcrowded rooms at Hampton Court, would have suspected how much there is to be studied in them, now that they are at length properly displayed.

201 The Dockyard at Sheerness (_1055_) . . . . . R. PATON.

The dock is on the left, terminated by a fort in the centre of the picture. On the left are a large man-of-war and a disabled ship towed by a barque.

This and Nos. 204, 232, 233, and 236 are pieces of dockyards, painted by Paton more than a hundred years ago. They are each on canvas, 3 ft. 4 in. high, by 4 ft. 10 in. wide.

202 Close of the Action, November 4th, 1805, Sir R. Strachan's Victory (_1037_). [See Companion Piece, No. 234.] . . . . . N. POCOCK.

On the left are three French vessels,? The Formidable, Scipion, Mont Blanc, or Duguay Trouin, two of them utterly dismantled; to the right is the English fleet.

The engagement took place off Ferrol, about a fortnight after Trafalgar, the French ships being under the command of Rear-Admiral Dumanoir, who had escaped from that battle.

203 George III. Reviewing the Fleet at Portsmouth (_1011_). [See No. 235.] . . . . . D. SERRES.

In the centre is a large man-of-war, the "Barfleur": near it the "Worcester" firing a salute, and beyond a line of men-of-war, the "Royal Oak" and "Lennox" being distinguishable on the right. On canvas, 4 ft. 10 in. high, by 7 ft. wide. Signed "D. Serres, 1776."

204 The Dockyard at Deptford (_1000_). [See No. 201] . . . . . R. PATON.

Greenwich is seen in the background; the dock buildings on the right; and on the left various ships, one firing a salute.

205 Ships in a Dockyard (_999_) . . . . . _unnamed._

206 A Sea-piece (_1046_) . . . . . D. SERRES.

A large vessel is seen broadside, and in front an officer's gig; other vessels are behind. Signed in lower right-hand corner, "D. Serres, 1789."

207 Action between the "Arethusa" and "Belle Poule" (_673_) . . . . . _unnamed._

The "Arethusa," with its stern to the spectator, is to the left; "La Belle Poule" is on the right. They are discharging heavy broadsides at each other. The moon is seen in the distance between them.

The action took place on the 17th of July, 1778, off the Lizard, and lasted two hours at close quarters without intermission. The "Belle Poule" got away, though the English had got the best of the fight.

208 Sea Piece (_1078_) . . . . . BROOKING.

On the right is an English frigate bearing away; on the left one coming in. A fair specimen of this good marine painter.

209 George III. Reviewing the Fleet at Portsmouth (_1012_). [See No. 235.] . . . . . D. SERRES.

A large man-of-war in the centre; smaller craft on each side.

210 The Royal Yacht which brought Queen Charlotte to England in 1761, to be married to George III., in a storm (_1001_) . . . . . WRIGHT.

The Royal Yacht is in the centre of the picture, attended by a convoy of twelve vessels. It had been re-named "The Royal Charlotte," and was newly ornamented with a profusion of carving and gilding for the occasion. They embarked at Stade on the 24th of August, and landed at Harwich on September 6th.

Richard Wright was a painter of marine subjects.

211 A Small Sea-Piece (_1080_) . . . . . P. MONAMY.

In the centre, towards the left, is an English man-of-war firing a salute; other smaller craft are to the right and left. 1 ft. 8 in. high, by 2 ft. 11 in. wide.

This is an excellent specimen of Peter Monamy, an imitator, and probably pupil, of the Vandeveldes. Though much cracked, it is beautifully painted, "showing a fine quality of texture, with great precision of touch; the calm plane of the ocean level receding into the extreme distance, without that set scenic effect of passing cloud-shadows, which even the best masters have used to obtain the appearance of recession and distance; this work well deserves notice, and might puzzle the best painters of such subjects to rival."--(Redgrave's _Century of Painters_.)

212 His Majesty's Yacht in Portsmouth Harbour (_1035_) . . . . . J. T. SERRES.

She has twenty-six guns, and lies across the picture; other craft are to the right and left. Behind is seen Portsmouth. Signed "_J. T. Serres_, 1820."

213 Shipping . . . . . _unnamed._

214 On the Thames--The Tower of London (_1024_) . . . . . _unnamed._

215 A Man-of-War engaged with two Vessels (_1015_) . . . . . MONAMY.

A man-of-war is on the left engaged with two of the enemy's vessels; behind are others shown in action. (See No. 219.)

216 Rear-Admiral Sir Charles Knowles's Squadron attacking Port Louis in St. Domingo (? Hispaniola) March 8th, 1748 (_998_) . . . . . R. PATON?

To the left is an English vessel, the "Cornwall," firing at a fort in the centre of the picture. More to the left is a small ship burning; on the right are other vessels attacking the fort.

The fire-ship of the enemy was towed clear of the squadron by the boats, and left to burn and blow up at a distance from the fleet. The fort surrendered in the evening, and was blown up. The English lost seventy men.

217 Battle of Trafalgar--Close of the Action (_1058_). [See Companion Piece, No. 224.] . . . . . HUGGINS.

In the centre is a large vessel (? the "Victory") with rigging much shot away and torn. Others are seen behind in action.

These are two of three pictures, painted for William IV.; the third is now at St. James's Palace.

218 Rear-Admiral Sir Charles Knowles's Action with a Spanish Squadron off the Havannah, October 1st, 1748 (_1002_) . . . . . R. PATON?

In the background is the battle-line of the enemy, under Vice-Admiral Reggio, against which the British fleet is bearing. The action began at two o'clock. Although defeated, nearly all the Spaniards got into port; they lost eighty-six men. Knowles, when he came home, was tried by court-martial for not pursuing the enemy with more vigour, and was reprimanded.

219 Sea Fight--A Man-of-War attacked by Boats (_226_) . . . . . MONAMY.

The vessel is surrounded by boats, and is responding to their musketry by a fierce cannonade. 3 ft. 4 in. high, by 4 ft. 2 in. wide.

220 Admiral Viscount Keith . . . . . T. PHILLIPS, R.A.

Half length, in robes, turned to the left. His right hand holds up his cloak, his left is seen underneath. His hair is gray.

He commanded the fleet which, in 1795, captured the Cape of Good Hope, and performed other brilliant services. He died in 1823.

221 Shipping on the Thames--Temple Gardens (_1026_) . . . . . _unnamed._

222 Sea-Piece--The British Fleet (_1017_) . . . . . ELLIOT.

In front are some eight large vessels, some with the yards manned, others with their sails partly set; other ships are seen behind.

On the frame in front is written:--"_To the R^{t}. Hon^{ble}. W^{m}. Pitt this view of the British Fleet, which secured to England the uninterrupted navigation of the Southern Ocean is dedicated_." William Elliot was a bad marine painter in the style of Serres.

223 Battle of Camperdown--Close of the Action (_1064_). [See Companion Piece, No. 225.] . . . . . J. T. SERRES.

In the centre is a British flag-ship, shown at the end of a long line of vessels. On the right is one of the enemy on fire, to which boats are hastening. On the left is a ship with the name "WASSANAER."

224 The Day after the Battle of Trafalgar (_1057_). [See Companion Piece, No. 217.] . . . . . HUGGINS.

It represents the storm which separated the squadron the day after the battle. On the right is a dismantled vessel rolling over; on the left is the "Victory." On canvas, 8 ft. high, by 10 ft. wide.

225 Battle of Camperdown--Lord Duncan's Victory (_1053_). [See Companion Piece, No. 223.] . . . . . J. T. SERRES.

The English fleet is ranged in three lines about to begin the action by breaking the line of the enemy ranged beyond them. The enemy have already opened fire. On canvas, 3 ft. high, by 4 ft. wide. Signed, "J. T. Serres, 1793."

John Thomas Serres was the son of Dominic Serres, who brought him up as a marine painter. In the year in which this picture was painted he succeeded, on his father's death, to the office of marine painter to the King, and one of his duties in this post was to make sketches of the harbours on the enemy's coast. He married the _soi-disant_ Princess Olive of Cumberland, who lost him his appointment, and brought him to misery, destitution, imprisonment, and madness. (Redgrave's _Dict. of Artists_.)

226 Equipment of the English Fleet in 1790 (_1033_) . . . . . ELLIOTT.

Three full-rigged men-of-war and others partially rigged are in front; beyond is a port. In front is a label:--"_To the Earl of Chatham this view of the expeditious equipment of the British Fleet in 1790 is dedicated_."

227 A Man-of-War going out to Sea (_1034_) . . . . . _unnamed._

Crossing the picture to the left, following another going into the picture.

228 Admiral Lord Anson (_19_) . . . . . _After Hudson by_ BOCKMAN.

This appears to be a copy of a picture in Lord Lichfield's possession at Shugborough in Staffordshire, by Thomas Hudson, a portrait painter, who flourished from 1701 to 1779, and who is chiefly remembered now as the master of Reynolds.

Anson was a victorious admiral in the reign of George II., well known for his famous voyage round the world in the years 1740-44, and for his great exploit of capturing, in 1743, the Spanish galleon "Manilla," which had a cargo on board valued at £313,000. He was created a peer in 1747 for his victory over the French fleet, and was First Lord of the Admiralty during the Seven Years' War.

He is here represented in peer's robes, which approximately fixes the date of the picture.

Bockman, by profession a mezzotint engraver, was in England about 1745-50, when he executed copies of various portraits of admirals, which had been painted by Kneller for James II., and G. Dahl, a Swedish painter, for William III. The originals were presented by William IV. in 1835 to Greenwich Hospital.

229. Shipping (_1025_) . . . . . _unnamed._

230. A Ship (_381_) . . . . . _unnamed._

231 George III. Reviewing the Fleet at Portsmouth (_1013_). [See No. 235.] . . . . . D. SERRES.

In the centre is a large three-masted vessel, with the Union Jack flying, and the royal party on board. Many others are behind.

232 The Dockyard at Portsmouth (_1051_). [See No. 201.] . . . . . R. PATON.

On the left is a large vessel about to be launched; the dock buildings are behind.

233 The Dockyard at Chatham (_1062_). [See No. 201.] . . . . . R. PATON.

The dock is on rising ground to the right; on the left is seen the Medway. Various ships are on the river.

234 Commencement of Sir Robert Calder's Action, July 22nd, 1805 (_1038_). [See Companion Piece, No. 202.] . . . . . N. POCOCK.

A small English ship is engaging two French vessels on the left.

On the 19th of July, Calder had received despatches from Nelson stating that the combined Franco-Spanish fleet was on its return from the West Indies, and he cruised about off Cape Finisterre in the hope of intercepting it. Though both sides lost heavily, the action had no very decided result. The small English ship is probably the "Hero," the van-ship of the British, which began the attack.

Nicholas Pocock, like D. Serres, acquired his knowledge of the sea in the navy, which he gave up to adopt marine painting as a profession.

235 George III. Reviewing the Fleet at Portsmouth (_1014_) . . . . . D. SERRES.

To the right is a large line-of-battle ship firing a salute. Several yachts with officers and spectators on board are seen.