Chapter III: Part 3

Half-length, seated; turned to the left, but facing in front. She
is dressed in black; her right hand rests on the arm of the chair;
she holds a handkerchief on her lap in her left.

This was in Queen Anne's catalogue, No. 331:--"Mrs. Elliott at
half-length." It is a good specimen of a portrait-painter who
flourished in the time of Charles II. and James II., and whose
talents have hardly had justice done them.

Mrs. Elliott was the wife of Mr. Elliott, Gentleman of the
Bedchamber to Charles II., and sister to Secretary Craggs.

14 Two Daughters of George II . . . . . MAINGAUD.

The eldest is to the left, standing, her right arm clasping a stem
of tree, round which twines a vine; her left hand giving a rose to
her younger sister; she is dressed in white. Her sister is kneeling
to the right, facing in front, and takes the rose with her left
hand; her right rests on a lictor's fasces. On canvas, 4 ft. 6 in.
high, by 3 ft. 7 in. wide.

=Queen's Closet.=

This small room, which is but 23 feet 3 inches long by 12 feet wide, and 12 feet 9 inches high, is called in Pyne's drawing, published in 1817, "The Queen's Closet,"--and this most probably is its correct designation, though in Faulkner's "History of Kensington," published but three years after, it is described as the "Queen's Dressing Room." Its walls were at that time still entirely panelled with the oak wainscot with which Wren had covered them. Afterwards all this was removed and the walls plastered and distempered, the room being used as a kitchen. The existent oak chair-rail and cornice, inserted during the last few months, are copied from old models in this palace.

* * * * *

Across the angle, where was originally the fire-place, is temporarily fixed a very beautiful =stone chimney-piece=, formerly in Westminster Palace, in one of the rooms on the north side of Westminster Hall. When the old law-courts on that side were removed, this chimney-piece was preserved by the Office of Works. It is one of the finest specimens extant of a late Tudor domestic chimney-piece work, bearing the initial and crown of Queen Elizabeth.

Pictures of Old London.

In this chamber are collected various pictures of Old London, moved from Hampton Court and other royal palaces. Few of them, excepting one or two attributed to Scott, have much artistic merit, but they are interesting as representations of the topography of London, and especially of the banks of the Thames.

20 View of the Horse Guards from St. James's Park (_1022_) . . . . . JAMES.

The buildings of the Horse Guards are seen on the right, and in the
centre distance, Westminster.

21 View on the Thames--Old London Bridge and Fishmongers' Hall (_1044_) . . . . . JAMES.

The view is taken eastward; and right across the picture is the old
bridge, with the houses built on it. On the left are Fishmongers'
Hall and the column on Fish Street Hill.

These are two of a series of views of Old London from the Thames,
by William James, an imitator and probably a pupil of Canaletti's,
though he resembles him in little except his mechanical precision.
His works, however, are interesting to the antiquarian, as they are
almost photographic in their accuracy.

22 View on the Thames--Old Somerset House and Temple Gardens (_1023_) . . . . . JAMES.

The north bank of the Thames is seen, looking eastward, from about
the position of the middle of the present Waterloo bridge. On the
extreme left is old Somerset House, with its landing-stairs, next
comes the Temple, and in the distance St. Paul's. Behind are seen
the spires of St. Mary-le-Strand, St. Clement Danes, St. Bride's,
Fleet Street, etc. On canvas, 2 ft. high, by 3 ft. 8 in. wide.

23 View on the Thames--The Savoy, the Temple, &c. (_1031_) . . . . . JAMES.

On the left is the old Savoy Palace with its curious chequered
brickwork; more in the middle old Somerset House, the Temple, etc.
On the right is seen a portion of the south bank of the Thames.

24 View on the Thames--Old Fleet Ditch (_1043_) . . . . . JAMES.

The mouth of the Fleet Ditch is in the centre of the picture,
crossed by a stone foot-bridge of a single arch. On both sides of
it are large buildings.

25 View on the Thames--The Adelphi, Whitehall, and Westminster (_1032_) . . . . . JAMES.

The view is of the north bank looking westward, and shows, on the
right, Inigo Jones' water-gate; next the octagonal tower of the
waterworks, then Whitehall, and beyond, Westminster Abbey and the
old bridge.

26 View on the Thames--Greenwich Hospital (_1079_) . . . . . JAMES.

The view is taken eastward, and shows Greenwich Hospital on the
left, and the church to the right.

27 View on the Thames--Old Savoy Palace (_1045_) . . . . . SCOTT?

The view is the same as No. 23. In an old inventory there is an
entry relating to it:--"Rec^{d}. 23^{rd} March 1819. View of the
Savoy, with old Somerset House, on the banks of the Thames, painted
by Scott, the English Canaletti. Bought of Colnaghi, £265." Samuel
Scott, the marine painter, is the artist referred to. He was a
companion of Hogarth's, and a jovial one too--but he was also much
more, being an admirable painter of marine and topographical
subjects. There are three characteristic views of London by him in
the National Gallery, where is also his own portrait by Hudson.

28 The Thames from the Hill above Greenwich (_1016_) . . . . . DANCKERS.

To the left is the Observatory rising high up. Below is Greenwich
and the Hospital, and the river winding round the "Isle of Dogs,"
and London seen in the distance. Though hitherto unnamed, this is
doubtless:--"The Landscape of Greenwich, the prospect to London; by
Danckers," in James II.'s catalogue, No. 195. (_Royal Catalogue._)

=Queen Anne's Private Dining Room.=

This picturesque little room remains almost exactly in the same state as it was when finished about 1690 for Queen Mary, who, perhaps, as well as Queen Anne, used it as a private dining room. It is, indeed, a very characteristic example of one of Wren's comfortable and eminently habitable rooms. The protruding doorway in the right-hand corner, the picturesque recess on the left-hand side of the fireplace, 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 of, as to render what would otherwise have been a mere uninteresting commonplace room, a charmingly homelike and picturesque one. Such an example as this of Wren's artistic adaptability should be a most valuable "object-lesson" to modern builders, who, when not planning exactly rectangular rooms, go to the other extreme of straining after a designed and artificial "quaintness."

The coved ceiling, rising from behind the oak cornice, adds greatly
to the apparent height of the room.

The dimensions are: 17 feet 9 inches long by 14 feet wide.

It was in this and the similar adjoining rooms that took place those many curious intimate conversations between Queen Anne and the Duchess of Marlborough, both when "Mrs. Morley" and her "dear Mrs. Freeman," were all in all to each other, and also when "Atossa" vainly endeavoured by fury, invective, and torrents of reproaches and tears, to regain her fast-waning influence over the dull and feeble, but stolid and obstinate, mind of the Queen. It was at Kensington Palace too, and perhaps in this very room, that took place their famous interview, one April afternoon in the year 1710, 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 none,"--reiterated with exasperating and callous monotony by her whilom friend and mistress.

Pictures in Queen Anne's Private Dining Room.

40 Installation of Knights of the Garter at Kensington Palace, on August 4th, 1713, by Queen Anne . . . . . PETER ANGELIS.

There has been some question as to the exact ceremony, which is
depicted here, but there can be but little doubt that it represents
the Chapter of the Order of the Garter, held by Queen Anne at
Kensington Palace on August 4th, 1713, when Henry Grey, Duke of
Kent, Robert Harley, first Earl of Oxford, Charles Mordaunt, third
Earl of Peterborough, and John, Earl Poulett, were installed as
Knights of the Garter. The chapter was the last held by Queen Anne,
and was held at Kensington, and not at Windsor, owing to her
physical infirmities. Two of these noblemen kneel on the lowest
step of the throne, and have already been invested with the mantle
and collar of the Order and the Garter itself. The Queen places her
hand upon the joined hand of the two Knights of the Garter. It is
uncertain which of the noblemen are represented here, but the
Knight kneeling on the right of the picture would appear to
represent Harley. One of these noblemen is attended by a page boy
in grey silk, and the other has two black boys supporting his long
blue mantle. Among the Knights of the Garter in attendance, and
they all wear their full robes and collars, one figure is prominent
holding a long slender wand. This is probably Charles Talbot, Duke
of Shrewsbury, who was Lord Chamberlain of the Household, Lord
Lieutenant of Ireland, and for a brief period Lord High Treasurer.
Two yeoman of the Guard, in the well-known costume, but without
ruffs or rosettes to their shoes, holding halberds, stand
prominently forth on the extreme left. Through a wide door, in the
distant apartments, may be seen a crowd of courtiers waiting for
admission, and through the large square panes of the window in a
garden are seen clustered various persons in dark and formal
attire, peering anxiously through the glass as if to obtain a
sight of the ceremonial.

On canvas, 2 ft. 5-1/4 in. high by 1 ft. 11-3/4 in. wide. Lent by
the Trustees of the National Portrait Gallery.

41 William, Duke of Gloucester, son of Queen Anne (_885_) . . . . . KNELLER.

Bust; in an oval turned to the left, face seen in full. He is in
armour, and has a blue ermine-lined cape. On canvas, 2-1/2 ft.
high, by 2 ft. wide.

The young duke, though of feeble constitution, was not deficient in
martial spirit. When but a boy of six years old, he came to meet
his uncle William of Orange, who had just returned from a campaign,
with a little musket on his shoulder, and presented arms, saying,
"I am learning my drill, that I may help you beat the French." The
king was so pleased that he made him a knight of the Garter a few
days after. Many men have received that honour for less. He died in
July 1700.

42 Prince George of Denmark, Husband of Queen Anne (_884_) . . . . . DAHL.

In an oval, to the shoulders; in armour.--His death in this Palace
has been mentioned on page 22.

43 John Churchill, 1st Duke of Marlborough . . . . . JAN WYCK.

Three-quarters length, in armour; face turned three-quarters to the
left. His left hand is on his hip, his right on a table by his
side, on which is a plumed helmet. A battle scene is shown in the
lower right background. On canvas, 3 ft. high, by 2 ft. 4 in. wide.
Lent by the Trustees of the National Portrait Gallery.

This portrait would seem to represent him as a comparatively young
man--about twenty-three--after he had distinguished himself at
Maestricht, when he was nicknamed by Turenne "the handsome
Englishman." It was the period of his famous _liaison_ with the
Duchess of Cleveland, who had fallen a willing victim to his beauty
and his charm of manner. Lord Wolseley, in his "Life of
Marlborough," describes his appearance at this period as:
"Strikingly handsome, with a profusion of fair hair,
strongly-marked, well-shaped eyebrows, long eyelashes, blue eyes,
and refined, clearly-cut features. A wart on his right upper-lip
though large, did not detract from his good looks. He was tall, and
his figure was remarkably graceful, although a contemporary says:
'Il avait l'air trop indolent, et la taille trop effilé.'"

=Queen Mary's Privy Chamber.=

Except for the oak panelling, which covered the walls of this room as late as the beginning of this century, but which was removed now many years ago, we see it exactly as it was finished for Queen Mary. Her initial, with that of her husband, King William, appears in the fine carved oak cornice. The ceiling is coved.

At one time this room was called "The Admiral's Gallery," on account of the series of copies of portraits of British Admirals by Kneller and Dahl, which formerly hung here--until their removal in 1835 to Hampton Court, whence they have now been brought back to decorate again the walls of these state rooms at Kensington. They are now hung, as we shall see, in "The King's Gallery."

The dimensions of this room are: 25 feet long by 17 feet 10 inches wide, by 12 feet 7 inches high to the top of the cornice, 15 feet 8 inches to the highest part of the ceiling.

Pictures in Queen Mary's Privy Chamber.

50 Queen Mary, when Princess of Orange (_23_) . . . . . W. WISSING.

Seated, nearly full length. She is dressed in blue in the costume
of a lady of the time, and with a crimson mantle edged with ermine.
Her left hand rests on a table, over which her mantle falls.
Engraved by John Verkolje.

This picture is signed on the left-hand side, and is the original
of many replicas or copies at St. James's Palace, at
Burley-on-the-Hill, Woburn, The Grove, etc. It was painted for
James II., who sent Wissing over to the Hague for the purpose. His
popularity as a portrait-painter was great, and was partly due no
doubt to his making such flattering likenesses. "When any lady
came to sit to him whose complexion was any ways pale, he would
commonly take her by the hand and dance her about the room till she
became warmer."

51 William III. when Prince of Orange . . . . . W. WISSING.

Three-quarters length, standing; facing to the right, in a rich
dress. This is the companion piece to the foregoing.

52 Portrait of James Stuart the Pretender (_664_) . . . . . B. LUTI.

Half-length; facing in front, inclined to the right; his right hand
only is seen. He is in the robes of the Order of the Garter, of
which the jewel hangs on his breast, and has a long full-bottomed
wig, a lace cravat and cuffs. On his left is a table on which is
the royal crown of England. The background is gray, with a red
curtain. On canvas, 3 ft. 3 in. high, by 2 ft. 6 in. wide.

The canvas is new. Behind was formerly this inscription:--"_James
son of James II.; by the Cavaliere Benedetto Luti, from the
Cardinal of York's collection at Frascati._" (Note in the _Royal
Inventory_.) This picture and No. 839 were bequeathed to George
III. by Cardinal York, the old Pretender's son, and the last of the
Stuarts, who died in 1807.

It was no doubt painted at Rome, some time between the year 1718,
when Prince James accepted the asylum in the Eternal City offered
him by the Pope, and the year 1724, when Luti died there. In 1720
he was married to the Princess Sobieski, and at the end of the same
year the young Pretender was born.

The Pretender's countenance has that heavy, sodden appearance, and
that weak dejected look, which were due partly to his inert
character, partly to his misfortunes, and not less to the debauched
and indolent life he led. His person, indeed, was never impressive;
and even an adherent, writing of the events at Perth in 1715,
admits:--"I must not conceal, that when we saw the man, whom they
called our King, we found ourselves not at all animated by his
presence, and if he was disappointed in us, we were tenfold more so
in him. We saw nothing in him that looked like spirit. He never
appeared with cheerfulness and vigour to animate us. Our men began
to despise him; some asked him if he could speak."

Gray the poet gives a similar account of him some years after:--"He
is a thin, ill-made man, extremely tall and awkward, of a most
unpromising countenance, a good deal resembling King James II., and
has extremely the air and look of an idiot, particularly when he
laughs or prays; the first he does not do often, the latter
continually." Horace Walpole observed that "enthusiasm and
disappointment have stamped a solemnity on his person, which rather
creates pity than respect."

53 Frederick, Prince of Wales, at a Party (_606_) . . . . . M. LAROON?

The Prince is at the head of the table, round which eight ladies
and gentlemen are seated. He is pouring wine into a glass. Some
thirteen persons, attendants, and a clergyman, are also in the
room. Most of them are probably portraits. Altogether twenty-three
small figures. On canvas, 3 ft. high, by 2 ft. 10 in. wide.

This picture, though long labelled "Vanderbank," is probably by
Marcellus Laroon, the younger, to whom it is attributed in an old
catalogue. 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
same.

It is not certain what is the subject represented; though it has
borne the above title for many years. In one of the Lord
Chamberlain's old inventories it is stated to represent "a fête in
honour of the marriage of the Duke of Wharton."

54 A Royal Assembly in Kew Palace . . . . . MARCELLUS LAROON.

This represents some Royal assembly, apparently Augusta of
Saxe-Gotha, the wife of Frederick, Prince of Wales, and her
friends, in Kew Palace. The Princess in blue is pouring out the
tea; a lady in white is singing; Handel is at the harpsichord, and
"Orator" Henley close by. The equestrian portrait on the wall
appears to be George II.

Signed _Mar. Laroon_, and dated _1740_. Lent by Mr. Humphry Ward.

55 Matthew Prior . . . . . _By Thomas Hudson, after_ JONATHAN RICHARDSON.

Half-length, seated, almost in profile to the right. On canvas, 3
ft. 4 in. high, by 2 ft. 9 in. wide. Lent by the Trustees of the
National Portrait Gallery.

Prior--poet, statesman, and diplomatist--published with Charles
Montagu, afterwards Earl of Halifax, in 1689, "The City Mouse and
the Country Mouse," intended to ridicule Dryden's "Hind and
Panther." He was patronized by Dorset, who introduced him to the
Court; and he was often employed in diplomatic offices.

56 Flower-Piece--_over the mantelpiece_ (_826_) . . . . . BAPTISTE.

A green glass vase with chrysanthemums, poppies, honeysuckles, etc.
Baptiste was a _protégé_ of Queen Mary, and painted a great number
of flower-pieces to decorate Kensington and Hampton Court.

57 Portrait of Robert Boyle the Philosopher (_56_) . . . . . KERSEBOOM.

Nearly full-length, seated in a big armchair; turned to the right,
but facing in front. He leans his right arm on the chair; his left
is turning over the leaves of a book on a table in front of him. He
wears a large full-bottomed wig. This picture has been engraved by
Baron several times.

Boyle, the famous chemist and experimental philosopher, was the
seventh son of the first Lord Cork, and from him received a fortune
of _£_3,000 a year, which he devoted in a great measure to
scientific research and the promotion of the Christian religion. He
was never married, 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 conduct." For his life, see his _Philaretus_.

Frederic Kerseboom was a native of Germany, who worked at Paris and
Rome under Le Brun and Poussin. He was in England during William
III.'s reign, and painted a few indifferent portraits.

58 Portrait of John Locke (_947_) . . . . . KNELLER.

Half-length, standing; turned to the right, but facing in front. He
rests his left hand on a table, on which are an inkstand and a pen;
his right hand in front of him. He wears a plain black coat, with
part of his shirt showing; and he is without his wig, and shows his
long white hair.

This is one of Kneller's best portraits. It was evidently painted
in the philosopher's later years, for he looks here on the point of
dying of the asthma to which he succumbed in 1704. "Pray," said
Locke in a letter to Collins, "get Sir Godfrey to write on the back
of my picture 'John Locke;' it is necessary to be done, or else the
pictures of private persons are lost in two or three generations."

59 Sir Isaac Newton (_957_) . . . . . KNELLER.

Three-quarters length; turned to the left, facing in front. His
right arm is by his side, his left leans on a table, on which are a
globe and a book. He wears a dark, loose robe, and a large wig. On
the left is inscribed: "_I Newton Esq^{re} Ætatis_ 47. 1689."

There is a similar portrait to this at Petworth, which is engraved
in Lodge. Newton was at this time member of the Convention
Parliament, for the University of Cambridge.

59A King William III. (_779_) . . . . . KNELLER.

Three-quarters length in armour, directed to the right; face turned
round to the left. He wears a blue and gold sash. In the left
background is a black servant, perhaps the one whose marble bust is
now in this palace.

=Queen Caroline's Drawing Room.=

In entering this room we pass from the portion of the palace built in 1690 by Sir Christopher Wren for William and Mary, to that constructed by William Kent about 1723 for George I. The visitor has thus a good opportunity of comparing the styles and tastes of the two architects and of gauging their relative powers. Wren had been driven from his office, in 1718, by a shameful backstair intrigue; and two years afterwards, Kent, doubtless by the influence of his patron, the Earl of Burlington, was commissioned to build a set of new state rooms.

How very mediocre were his talents, the exterior of his addition to Wren's work will, as we have already said, ever remain a palpable proof; and though for internal construction he shows less incapacity, still this room exhibits all his false ideas of pseudo-classicism--developed, as we shall see, to a most extravagant extent in the adjoining "Cube or Cupola Room."

Examining the decoration in detail, we perceive everywhere evidences of his awkward, graceless style. The doorways, for instance, are unnecessarily lofty and gaunt, and with their heavy cumbrous architraves, flat moulded, with little light and shade, greatly impair the proportions of the room. In the tall semi-circular headed central window also, surmounted by a purposeless oak bracket--even in such details as the mouldings of the panelling and of the framing of the doors, and the flatness of the raised panels and their relative sizes to the width of the rails and "stiles,"--we detect his marked inferiority to Wren in the designing of such fittings.

The =chimney-piece=, which is one of Kent's plainer and less ponderous ones, is of a choice marble, veined black and gold.

The dimensions of this room are: 32 feet 9-1/2 inches long, 24 feet 2 inches wide, and 19 feet 2 inches high to the top of the cornice, 24 feet to the ceiling.

Painted Ceiling of Queen Caroline's Drawing Room.

But it is by the ceiling especially, with its great heavy oval frame of plasterwork, and its appearance of overhanging crushing weight, that we can most accurately appreciate Kent. The central recessed panel, containing an allegorical representation of Minerva, attended by History and the Arts, gives us a measure of his powers as a pictorial artist. The decorative painting of the cove of the ceiling, above the oaken cornice, is more satisfactory. In the four angles, and in the middle of each side, are classical pediments with volutes.

Besides, the workmanship of the wainscoting being very good, and the original rawness of the ceiling somewhat faded, this room, with its new oak floor, its gorgeous paper, its Georgian furniture, probably designed by Kent, and the magnificent frames of some of the pictures on its walls, presents a fine and stately appearance.

Contemporary French and German Portraits.

60 Madame de Pompadour (_986_) . . . . . DROUAIS.

Half-length, seated, turned to the left. She wears a dress of
figured brocade, worked with coloured flowers and foliage on a
white ground, and trimmed with white ribbons; her sleeves are short
and edged with lace. On her head is a sort of mob cap, or headdress
of lace, tied under the chin with a striped ribbon; her hair is
short and powdered. In front of her is a frame of embroidery called
tambour-work, which she is working, her right hand being above, and
her left under the canvas. The background is grey, with a red
curtain to the right. Painted in an oval. On canvas, 2 ft. 7-1/2
in. high, by 2 ft. wide.

This picture has been attributed, but quite unwarrantably, to
Greuze, who does not appear to have painted Louis XV.'s mistress at
all, and certainly could not have done so when she was as young as
she is here represented. It is in fact a replica (and by no means a
bad one) of a portrait by Drouais, of which a great many
repetitions are extant, and of which the original--a
full-length--is now at Mentmore, Lord Rosebery's. The Mentmore
picture was purchased for £1,000.

Drouais was an indifferent artist whose name would long have passed
into oblivion, had he not painted princes and princesses. Diderot
drew this just estimate of his works:--"Tous les visages de cet
homme-là ne sont que le rouge vermillon le plus précieux,
artistement couché sur la craie la plus fine et la plus blanche....
Il n'y en a pas une de laide, et pas une qui ne déplût sur la
toile. Ce n'est pas de la chair; car, où est la vie, l'onctueux, le
transparent, les tons, les dégradations, les nuances?" And Larousse
endorses this view with the following remarks:--"Toutes ces
peintures, habilement traitées d'ailleurs comme métier, n'ont rien
de saillant, aucune puissance, aucune originalité. Les têtes sont
banales, ternes, sans physionomie. L'allure est gauche et pénible.
Les personnages sont fort mal habillés, bien que les draperies
soient exécutées en trompe-l'oeil et avec magnificence."

Madame de Pompadour is here represented at about the age of
thirty-five, a period when, having lost the influence of a lover
over the debauched and fickle Louis XV., she endeavoured to retain
her power by ministering to his pleasures and vices. Her appearance
completely tallies with the account given of her:--"Elle était
assez grande, bien faite, les cheveux, châtain clair, tres-beaux,
avec une peau d'une grande finesse et d'une blancheur éclatante.
Mais elle avait un genre de beauté qui se fane vite: ses chairs
molles s'infiltraient, s'enflammaient aisément; elle avait des
langueurs et des pâleurs maladives."

The tambour-work at which she is engaged was one of her favourite
occupations; and it is pleasant to remember, with the shocking
record of her extraordinary career, that she created that style in
decoration, furniture, dress, literature, and even art, which is
known by the name of Louis XV., a style which, wanting as it is in
the simplicity of mediævalism, and stamped though it be with the
character of its meretricious inventor, is yet always pleasing from
a certain refinement and artificial beauty.

61 Mademoiselle de Clermont (_984_) . . . . . _unnamed._

Half-length, facing in front, hands not seen. She is dressed in a
white dress, with a garland of flowers across it from under her
left arm to her right shoulder. Behind her she has a blue scarf.
Her hair is powdered and done high up. On canvas, 2 ft. 5 in. high,
by 2 ft. wide.

Behind is written:--"_Marianne. de. bourbon. nommeo. Mademoiselle.
de. Clermont._"

She was born in Paris in October, 1697, and was the daughter of
Louis, the third Duke of Bourbon, and his wife Louise Françoise de
Bourbon, Mademoiselle de Nantes, a natural daughter of Louis XV. In
1725 she was appointed "Surintendante de la Maison de la Reine."
The story of her and her lover, M. de Melun, and his tragic end,
forms the basis of Madame de Genlis' charming little novel,
"Mademoiselle de Clermont."

This portrait is painted in the style of Nattier.

62 Louis XVI. in his Coronation Robes (_516_) . . . . . CALLET.

Full-length, standing, facing to the left. His left hand holds his
hat by his side, his right leans on his sceptre. He is attired in
the royal robes of France, a purple mantle embroidered with
fleurs-de-lys, and an ermine tippet, etc. He has a small wig; his
face is shaven. Behind him is his throne, with a figure of Justice.
On canvas, 9 ft. high, by 6 ft. 5 in. wide.

This is the original presentation frame, decorated with
fleurs-de-lys.

Though formerly labelled "Greuze," it is really a replica of
Callet's well-known portrait, of which, besides the original at
Versailles, there are other repetitions at Madrid and elsewhere,
distributed to the various courts of Europe on the king's
accession. The original was engraved by Bervic, the greatest of
French engravers, the plate being lettered with the painter's name,
"Callet Peintre du Roi."

63 Portrait of Louis XV. when young (_925_) . . . . . RIGAUD.

Half-length, turned to the left; his left hand is in his sash, his
right holds a marshal's bâton. His dress is a fawn-coloured doublet
with a cuirass, a blue sash, and a blue mantle embroidered with a
fleur-de-lys over it. Short hair, beardless face. On canvas, 3 ft.
high, by 2 ft. 5 in. wide.

This portrait was painted by Rigaud, as the contemporary mezzotint
engraving by J. Simon proves, and not, as has been said, by
Mignard, who had been dead thirty years. He is considered one of
the best French portrait-painters of that period. Louis XV.
conferred several favours on him, and decorated him with the Order
of St. Michael, in 1727, soon after this portrait was painted. This
distinction was given, as he said, "tant en considération de la
réputation acquise dans son art, que pour avoir peint la famille
royalle jusqu'à la quatrième génération."

64 Marianne, Duchess of Bourbon (_985_) . . . . . SANTERRE?

Half-length, facing in front; her hands not seen. Her hair is dark,
and dressed high, with a blue ribbon fastened over with a red
jewel, and carried to the front. Her dress is yellow brocade with
red drapery. On canvas, 2 ft. 5 in. high, by 2 ft. wide.

Behind is written in ink:--"_Marianne. de. bourbon. fille. de.
Monsieur. le. prince. de. Conty. famme. de. Monsieur. le. duc. de.
bourbon._"

She married, in 1713, Louis Henri de Bourbon, brother of
Mademoiselle de Clermont (see No. 61), and died in 1720. There is a
portrait of her husband at Paris, by Drouais.

The portrait before us is very possibly by Jean Baptiste Santerre,
a good painter whose works are rare. He died in 1717.

65 The Emperor Paul of Russia (_894_) . . . . . ----?

Bust, turned to the left, eyes looking at the spectator. He is in a
green uniform with red facing; and on his breast three stars and a
green ribbon across from his right shoulder to his left. His hair
is curled and powdered. On canvas, 2 ft. 4 in. high, by 1 ft.
10-1/2 in. wide.

Behind the picture is inscribed:--"_Kopal T. Ep. K. E._ (?) 1799"
and "_Catalogue No. 545, Emperor Paul of Russia._."

This portrait represents the emperor in the forty-fifth year of his
age, three years after his accession, and two years before his
assassination.

66 Louis XIV., when young (_396_) . . . . . MIGNARD?

Three-quarters length, facing in front. His left hand hangs by his
side, right is on his hip. He is clad in armour, over which is a
purplish robe, lined with yellow. He has a long brown wig. On
canvas, 5 ft. high, by 3 ft. 7 in. wide.

If this is really by Mignard, it must, on account of the age of the
king, be one of the first pictures he painted in 1658, on his
introduction to the French Court.

67 Stanislaus, King of Poland (_895_) . . . . . LAMPI.

Bust, turned slightly to the left. He is dressed in a purple velvet
coat, across which is a light blue sash, and on the left side of
his breast a star. He wears a small wig and pigtail; his face is
shaven. On canvas, 2 ft. 4 in. high, by 1 ft 10-1/2 in. wide.

Behind in ink is written:--"Cavalieri Lampi de Vienna."

In an old inventory, dated 1819, is this entry:--"Half-length
portrait of the King of Poland, purple velvet coat, etc., painted
by Lampi, member of the Academy of Vienna. Bought of Colnaghi for
£21."

Stanislaus-Augustus Poniatowski was proclaimed King of Poland on
the 7th of September, 1764, having owed his election to his lover
the Empress Catherine. It was during his reign that the infamous
partition of Poland was perpetrated, to which he lent a passive
assistance. He died in 1798.

68 Queen of Prussia (_907_) . . . . . ANTON GRAFF?

Seated in a high-backed armchair covered with blue velvet; she is
turned to the left, but faces in front. Her right hand rests on a
table beside her, and points to a book; her left hangs by her side.
She is dressed in black trimmed with ermine, and her head is
covered with a black lace veil. Her hair is white. On canvas, 4 ft.
7 in. high, by 3 ft. 3 in. wide.

This is attributed in the _Royal Inventory_ to Graff, a German
painter who flourished at the end of the last century.

Is she Sophia Dorothea, sister of George II., who married, in 1706,
William I., King of Prussia, and who died in 1757?

69 Frederick, Prince of Wales (_789_) . . . . . ZEEMAN?

Small full-length; turned to the right. His right hand pointing in
front of him, his left on his breast. He wears a red coat, leather
boots to the knees, and a long wig.

Though this has long been known as Frederick, Prince of Wales,
there are reasons to suspect that it is really his Brother William,
Duke of Cumberland.

70 Louis XIV. on Horseback (_853_) . . . . . CHARLES LE BRUN?

He is shown the size of life, on a cream-coloured charger, rising
on its hind legs, and turned to the left. His dress is an
embroidered coat, with jack boots and scarlet breeches. In his
right hand he holds a bâton. On his head is a black laced hat; he
has long flowing hair and curls. In the distance under the horse's
forelegs an attack of cavalry is seen. On canvas, 8 ft. 3 in. high,
by 6 ft. 2 in. wide.

This has been attributed to Van der Meulen, but there is a similar
picture at Versailles by Charles le Brun of which this is perhaps a
replica.

71 Frederick the Great (_555_) . . . . . ANTOINE PESNE.

Full-length, standing, turned to the left, but facing round to the
front. His left hand points to a battle in the distance; his right
holds a marshal's truncheon. He is in armour, over which is a
crimson ermine-lined mantle; he has a small close-curled wig; his
helmet is on the ground in front of him. On canvas, 8 ft. 7 in.
high, by 5 ft. 7 in. wide.

"To this admirable painter (_i.e._ Pesne) I am inclined to
attribute the portrait of Frederick the Great. The king, who is
still in youthful years, is pointing to a battlefield in the
background, probably in allusion to the Silesian war. A picture of
considerable merit."--_Waagen._ The painter is well remembered by
the following couplet by Frederick the Great:--

"Quel spectacle étonnant vient de frapper mes yeux,
Cher Pesne, ton pinceau t'égale au rang des Dieux,"

which Voltaire interpreted thus:--"Le roi ne regardant jamais le
peintre, ce dernier était pour lui invisible comme Dieu."

Pesne, who was a Frenchman and studied in Paris, was in England in
1724. He afterwards went to Berlin, where he became court painter
to Frederick the Great. He died in 1757, the year of the Battle of
Prague.

The frame is doubtless a presentation one.

72 Frederick the Great (_978_) . . . . . _unnamed._

Bust, turned to the left, facing in front; his hands not seen. He
wears a small wig and a dark-blue coat, with the star of the Order
of the Black Eagle.

73 Charles XII. of Sweden (_977_) . . . . . MAGNUS DU BLAIRE?

Bust; wearing a blue coat and a black choker; grey hair, and a
beardless face.

A small whole length, 49 in. by 39 in., of which this appears to be
an enlarged copy of part, was in the Hamilton Palace collection,
No. 1031, attributed to Magnus du Blaire, and inscribed: "In fatum
Scandici Die XXX Nov. MDCCXVII."

"David Krafft, a Swedish painter, born in 1655, painted the
portrait of Charles XII. at the command of his sister, afterwards
Queen Ulrica Eléanora; but this monarch, who objected to being
portrayed, was so displeased at the accuracy of the picture, that
he cut out the head. It had, however, already been transferred to
copper, and also etched by several engravers."--_Bryan._

74 Flower Piece . . . . . BAPTISTE.

75 Flower Piece . . . . . BAPTISTE.

76 Flower Piece . . . . . BAPTISTE.

=The Cupola or Cube Room.=

In this sumptuous and gorgeous chamber, with its marble-pillared doorways, its painted and gilded walls, its niches, brackets, slabs, and pediments of white marble, its gilt antique statues, its gaudy domed ceiling of blue and gold, we have the very acme and essence of the style and art of William Kent, triumphant and rampant. After our remarks on his work in the foregoing room, we shall not be expected to lose ourselves in admiration over this masterpiece of his pseudo-classic design and decoration. Yet little as we may agree with his theories of art, little as we may admire the way he carried them into practice, it is not to be denied that, viewed as a whole, there is considerable grandeur and stateliness, and a certain degree of fine proportion, about this highly-emblazoned saloon.

Though called the "Cube" Room, its dimensions are not exactly of that mathematical figure, the walls being only 26 feet 2 inches high, to the top of the cornice, and 34 feet 7 inches to the centre of the ceiling, though each side is 37 feet long.

The Painted Ceiling of the Cube Room.

The ceiling seems to have been the first portion of the work undertaken by Kent, and to have been finished by him by the spring of the year 1722. That he was employed to do this work occasioned much very justifiable heart-burning. Sir James Thornhill was at that time serjeant-painter to the King, and in virtue of his office was entitled to receive the commission for painting this ceiling. Indeed, it appears from a "Memorial of Sir Thomas Hewett, Knt., Surveyor-General of His Majesties Works," addressed to the Lords of the Treasury, dated 14th February, 1722-3, and "relating to the painting of the large Square Room at Kensington," that in the foregoing autumn the King had commanded Hewett's attendance at Kensington "about finishing the Three Large Rooms in the New Building," and that Hewett then showed the King "several sketches of mosaic work, etc., for painting the ceiling of the Great Square Room." The Memorial proceeds to state:

"His Majesty chose one of them; and after I ordered a model to be
made, and Sir James Thornhill painted it, which His Majesty saw and
approved of; and commanded me to tell the Vice-Chamberlain he
should treat with Sir James Thornhill for the Price, and that it
should be done out of Hand, which is all I know of the matter."

Nevertheless, for some reason or other--probably owing to some backstair intrigue--Kent was employed to do the work instead. 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 Mr. Kent's proposal for painting the ceiling of the Great Chamber at Kensington be well answer'd, and the work in the best manner performed with l'Ultra-Marine." They accordingly commissioned several of the best artists of the day "to view and carefully to consider the same and report in writing."

The artists, 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 Vaart, Alex^{r} Nisbett, and Jacob Rambour. Their report is dated May 22nd, 1722, and in it they state as follows:

"We have been to Kensington and carefully view'd and considered the
said painting, which we did find better than half done: But having
examin'd the particulars thereof, we have observed, and 'tis our
opinion, that the Perspective is not just; that the principal of
the work, which consists in ornaments and architecture, is not done
as such a place requires. Mr. Nesbot adds that the Boys, Masks,
Mouldings, etc., far from being well, he has seen very few worse
for such a place: and Mr. Rambour affirms that the said work, far
from being done in the best manner, as mentioned in your letter, it
is not so much as tolerably well perform'd. As for the quality of
the Blew used in the work, Mr. Vandewart and Mr. Rambour declare
that they can't judge whether it is true ultramarine, because it
does not look fine enough, but Mr. Nesbot's opinion is that it is
nothing but Prussian Blew, in which perhaps there may be some
Ultra-marine mixt."

Nevertheless, the colours have endured unfaded until to-day; and the gilding also, both on the ceiling and the walls, has required but little renewing, only cleaning and an occasional application of modern leaf gold, and retouching with the paint brush, where the old surface had been injured.

Much of the woodwork, however, had to be repaired, especially the capitals of the pilasters, some of which had to be renewed.

The shape of the ceiling is slightly domed, the four coved sides terminating above in a flat centre, painted with a gigantic star of the Order of the Garter. The coved sides themselves are painted with octagonal panels, diminishing upwards to simulate a lofty pierced dome. Kent himself seems to have been so well satisfied with the work, that he made use of almost exactly the same design when painting the Queen's Staircase at Hampton Court some twelve years after. Across, part of the north cove of the ceiling is painted a deep shadow, to indicate that cast by the wall and cornice above the windows.

The Painted Walls of the Cube Room.

Kent, after finishing the ceiling, proceeded to decorate the walls with painting and gilding. There is a letter in the Record Office, from Lord Grafton, to the Lords of the Treasury, dated 29th of May, 1725, ordering payment of "£344 2_s._ 7_d._ to Mr. Kent, for painting the sides of the Cube Room at Kensington with ornaments enriched with gold."

These walls, including the four pilasters on each, are of oak, painted with a light olive-green colour as a ground, embellished with niches of white marble, surmounted by brackets of the same, let into the woodwork.

In the =six niches= are well-designed statues of classical deities--Ceres, Mercury, Venus, Minerva, Bacchus, Apollo, in cast lead, somewhat under life-size. These were so dirty and tarnished as to necessitate their being entirely new-gilt. Above them, standing on brackets in flat rectangular niches, were formerly busts representing Roman poets, now unfortunately no longer to be found.

The two =doorways= opposite each other are likewise of the same fine polished marble, with pilasters and pillars of the Ionic order, supporting heavy entablatures, on the apexes of which are antique busts.

The =chimney-place= is of the same design in miniature, of polished "dove-coloured" white-veined marble, similar to that at Marlborough House. On the apex was formerly a gilt bust of Cleopatra, now missing. Within the fireplace itself are very fine panelled and moulded "covings" or sides, of the same "dove-coloured" marble, discovered during the progress of the restorations.

Above the chimney-piece is a large =bas-relief= in statuary marble representing a Roman marriage, sculptured by the statuary Rysbach. It is a fine work, but one feels rather as if standing in front of a sepultural monument in some foreign _campo santo_ than before an English fireside.

Rysbach, who was a native of Antwerp, came over to England in 1720, four or five years before he executed this work. His talents were for some time--as have been those of many an unsuspecting foreigner--exploited by a commercializing British impresario, Gibbs. Two-thirds of the prices paid for his work found its way into the pockets of the unscrupulous intermediary, until Rysbach, at last shaking himself free from this bondage, took commissions on his own account, and, becoming the rage, he was able to exact great prices for his work. It is possible that he designed the gilt statues in the niches, which seem too good for Kent's narrow invention.

General appearance of the Cupola Room.

Such was the decoration of this famous Cupola or Cube Room when finished by Kent, such it appeared in 1818, when Pyne's drawing, from which our illustration is taken, was made, and such it appears to this day, save for the large musical clock which then stood in its centre, for the console tables against the walls, and the four large chandeliers that hung from the ceiling. These last were most essential features in this saloon, for its windows, abutting northwards on the private gardens, admit but very insufficient light; and only when illuminated by a blaze of candlelight can full justice have been done to the extravagant glories of its walls and ceilings.

It was, in fact, intended essentially as a room for grand evening entertainments, and Kent evidently bore this in mind when he constructed it; for he contrived a very ingenious method, whereby the double doors in the doorways between it and the two drawing-rooms, with which it communicates, fold back, when opened, into the door jambs, in which they lie flush, offering no projecting hindrance to the movement of guests passing either way. This is a point never thought of by modern architects, who might do worse, when designing great reception rooms, than take a hint in this matter from the much contemned Kent, and so obviate the usual "crush" at the too narrow doorways.

* * * * *

It seems to have been in this Cupola Room that took place, on the 24th of June, 1819, the baptism of the infant Princess Victoria. Faulkner records that "the Royal Gold Font was brought from the Tower and fitted up in the Grand Saloon, with crimson velvet covering from the Chapel Royal, St. James's. The ceremony was performed by the Archbishop of Canterbury, assisted by the Bishop of London.... The Prince Regent and nearly all the Royal Family were present at the ceremony, or at the dinner in the evening."

Exactly underneath this room is the famous pillared "Council Chamber" in which, as we have already stated, the Queen held her first council.

=King's Drawing Room.=

Built at the same time as the two preceding rooms by command of King George I., William Kent here again reigns supreme in the design and decoration. "It was on the walls of this drawing-room," we are told by Pyne, writing in 1818, "that the then new art of paper-hangings, in imitation of the old velvet flock, was displayed, with an effect that soon led to the adoption of so cheap and elegant a manufacture, in preference to the original rich material from which it was copied."

The paper that now covers the walls is a copy of an old pattern, and has been supplied by Messrs. Bertram, the decorators.

We may again notice here the five lofty doorways, surmounted by flat architraves, and the oak pilasters in the dado as characteristic of Kent. There was originally one of his great massive marble chimney-pieces in this room, long since replaced by the present plain insignificant one.

The dimensions of this room are 39 feet 6 inches long (from east to west), 28 feet wide, and 22 feet 8 inches high to the top of the cornice.

Painted Ceiling of the King's Drawing Room.

This is another of Kent's artistic efforts. There is in the Record Office a letter from Lord Grafton dated June 26th, 1725, conveying his majesty's commands that "their Lordships of the Treasury would give orders to Mr. William Kent to paint the ceilings, etc. in the new apartments at Kensington"--including this one.

The cove of the ceiling, or portion nearest the cornice, is elaborately decorated with scroll-work and architectural ornaments, richly gilt and painted, and with medallions in the middle of each side supported by female figures. In the centre is a large projecting heavy oval frame of plaster, with the panel within it recessed about three feet. This is painted with the story of Jupiter and Semele, the God appearing in a thunder-cloud, and Semele, in a ridiculous attitude, on a couch. No painting could be worse. The signature of the artist, "_William Kent pinxit_, 1725," has been found a little to the left of the right foot of Semele.

When the restoration of this room was taken in hand last winter, the ceiling was so begrimed with the dirt, dust, smoke, and smuts of upwards of a hundred and fifty years of London atmosphere, as to be nearly black. The cleaning was carried out with the most scrupulous care, and practically no re-painting or re-gilding has been necessary.

William Kent, the Royal and Fashionable Decorator.

The whole effect of this ceiling _if you do not look at it_ is rich and striking, and with the fine paper and the pictures on the walls will pass muster as a suitable decorative treatment of a grand state reception room. George I. and George II. at any rate had no hesitation in extending an unqualified approval to Kent's work. After having finished this suite he grew into greater favour than ever. He was soon after appointed "Master Carpenter, Architect, Keeper of the Pictures, and Principal Painter to the Crown, the whole, including a pension of £100 a year, which was given him for his works at Kensington, producing--according to Walpole--£600 a year." From the Court his vogue extended to a large circle of patrons and votaries. "He was not only consulted for furniture, as frames of pictures, glasses, tables, chairs, etc., but for plate, for a barge, for a cradle; and so impetuous was fashion, that two great ladies prevailed on him to make designs for their birthday gowns. The one he dressed in a petticoat decorated with columns of the five orders; the other like a bronze, in a copper-coloured satin, with ornaments of gold!"

Kent, the "Father of Modern Gardening."

Kent also had a great reputation as a horticulturist, and was generally designated, at the end of last century, as the "Father of Modern Gardening"--his ghastly progeny consisting of the destructive and desolating "landscape-gardening" enterprises of "Capability Brown," Repton, and their followers. His hand doubtless fell heavy on the old Queen Anne formal gardens about Kensington Palace. We can see the influence of his taste, which was followed with enthusiasm by Queen Caroline and her gardener Bridgman, in the barrenness and commonplace appearance of the grounds that lie immediately below in front of us, as we look out of the windows of this room, and in the entire absence of planting or gardening in the large expanse surrounding the "Round Pond."

This =Round Pond=, or "=the Basin=" as it used to be called, is, by the bye, not round at all, but of a geometrical figure, more of an oval form than circular, and with the four sides flattened and the intermediate portions of the circumference bent into "ogees." In thus shaping this basin the designer, whether Kent or Bridgman, has overstepped artistic discretion; for from no point of view, neither in Kensington Gardens, from the ground beside it, nor even from this window is its real shape to be made out--only from Rocque's plan or bird's-eye view, of 1736, can it be seen to be so eccentric.