of magnificent trees and numerous comfortable-looking countryhouses, affords a charming and thoroughly English picture. - 71/2 М. Wimbledon lies a little to the S. of Wimbledon Common, where the great volunteer rifle-shooting competition was held annually down to 1889 (henceforth to be at Bisley, near Woking). Wimbledon House was once occupied by Calonne, the French minister, and afterwards by the Duc d'Enghien, who was shot at Vincennes in 1804. About 3/4 M. from the station is a well-preserved fortified camp of cruciform shape, probably of Saxon origin.

Beyond Wimbledon a line diverges to the left to Epsom, near which are Epsom Downs, where the great races, the 'Derby' and the 'Oaks', take place annually in May or June (see p. 46). Before reaching (10 M.) Coombe-Malden, we pass, on a height to the right, Coombe House, formerly the property of Lord Liverpool, who in 1815, when Prime Minister, entertained the Emperor of Russia, the King of Prussia, and the Prince Regent here. About 2 M. beyond (12 M.) Surbiton the branch-line to Hampton Court diverges to the right from the main line, passing Thames Ditton, pleasantly situated in a grassy neighbourhood.

On arriving at Hampton Court (Castle, Prince of Wales, at the station; Mitre, beyond the bridge; King's Arms, Greyhound, firstclass inns, at the entrance to Bushy Park; Park Cottage; Queen's Arms, D. from 1s. 6d.), we turn to the right, cross the bridge over the Thames, which commands a charming view of the river, and follow the broad road to the Palace on the right. The Palace is open to the public gratis daily, except Fridays, from 10 to 6, from 1st April to 1st October, and from 10 to 4 in winter; Sundays, 2-6 or 2-4 p.m. The Gardens are open daily until dusk.

The Palace was originally built by Cardinal Wolsey, the favourite of Henry VIII., in red brick with battlemented walls, on the site of a property mentioned in Domesday Book, and was afterwards presented by him to the King. It was subsequently occupied by Cromwell, the Stuarts, William III., and the first two monarchs of the house of Hanover. Since the time of George II., Hampton Court has ceased to be a royal residence, and it is now inhabited by various pensioners of the Crown. The buildings to the left on entering from the W. are used as barracks for a cavalry guard.

The Palace comprises three principal courts, the Entrance Court, the Clock Court, and the Fountain Court. Above the entrance to the central or Clock Court are seen the armorial bearings of Wolsey, with his motto 'Dominus mihi adjutor'. The courtis named from the curious Astronomical Clock, originally constructed for Henry VIII., and recently repaired and set going again. On the towers of the archways between the different courts are terracotta medallions of Roman emperors (the best being that of Nero), obtained by Wolsey from the sculptor, Joannes Maiano. From the S. side of this court we pass through an Ionic colonnade, erected by Wren, to the King's Grand Staircase, adorned with allegorical paintings by Verrio. Umbrellas and sticks are left at the foot of it. The names of the rooms are written above the doors, on the inside; we always begin with the pictures on the left. Visitors are required to pass from room to room in one direction only. The gallery is rich in Italian pictures, especially of the Venetian school, but the names attached to them are often erroneous. The following list pays no regard to the names on the pictures themselves. Comp. E. Law's 'History of the Palace in Tudor Times' (1885) and 'Historical Guide to the Pictures at Hampton Court' (1881). The 'Illustrated Guide' (1889; 18.) is an abridgment of the latter.

ROOM I. (The Guard Chamber). The walls are tastefully decorated with trophies and large star-shaped groups of pistols, guns, lances, and other modern weapons. The best of the pictures are: 9. Canaletto, Colosseum and Arch of Constantine at Rome; 20. Zucchero, Queen Elizabeth's porter; several battle-pieces by Rugendas.

ROOM II. (The King's First Presence Chamber) contains the canopy of the throne of King William III. The wood-carving above the chimneypiece and doors is by Grinling Gibbons; the candelabrum dates from the reign of Queen Anne. The upper row of portraits are the so-called 'Hampton Court Beauties', or ladies of the court of William and Mary, painted by Sir Godfrey Kneller, after the model of the 'Windsor Beauties' of Charles II.'s Court, by Sir Peter Lely, formerly in Windsor Castle, and now in Room VI. of this gallery. The following pictures may also be remarked: 29. Kneller, William III. landing at Torbay, a large allegorical work; 35, 36. Denner, Portraits; 39, 52. Schiavone, Frieze-like landscapes with figures; 57. Kneller, Peter the Great; 58. Unknown Master, Portraits of Villiers, Duke of Buckingham, and his family; 60. Unknown Painter, Man's head; *64. Good Dutch copy, in the style of Mabuse, of a sketch by Leonardo da Vinci, Infant Christ and St. John; 66. De Bray, History of Marc Antony and Cleopatra, the figures being portraits of the artist's family.

ROOM III. (The Second Presence Chamber). On the left: 69. Tintoretto, Esther before Ahasuerus; 72. Leandro Bassano, Sculptor; *73. Bonifazio Veronese, Diana and Actæon in a fanciful landscape, one of the artist's masterpieces; 78. Jacopo Bassano, Dominican; 79. Copy from Titian, Holy Family; *80. Dosso Dossi, Portrait of a man, well preserved; *85. Van Dyck, Equestrian portrait of Charles I.; *90. Velazquez, Consort of Philip IV. of Spain; 91. Tintoretto, Knight of Malta; *97. Dosso Dossi, Holy Family; 98. (above the mantelpiece) Van Somer, Christian IV. of Denmark; 104. Pordenone, His own family (dated 1524).

ROOM IV. (The Audience Chamber). On the left: 117. Giov. Bellini (? or of his school; forged signature), Portrait of himself; 113. Titian (?), Ignatius Loyola; *114. Lorenzo Lotto, Portrait; *115. Palma Vecchio, Holy Family; 130. Unknown Artist, Portrait; 125. Giorgione (?), Portrait; 128. Honthorst, Elizabeth, Queen of Bohemia, wife of Frederick V. of the Palatinate (above the mantelpiece); 138. Savoldo, Warrior in armour; 507. Fialetti, Venetian senators; *144. Wrongly ascribed to Lor. Lotto, Family concert; *148. Lotto, Portrait of Andrea Ordini, a sculptor; *149. Titian, Portrait of an unknown gentleman.

ROOM V. (The King's Drawing Room). On the left: 153. J. Bassano Boaz and Ruth; 175. Schiavone, Judgment of Midas; 182. Master of Treviso, Lawyer; *183. Dosso, St. William taking off his armour.

ROOM VI. (King William the Third's Bedroom) contains the bed of Queen Charlotte. The clock in the corner to the left of the bed goes for a year without re-winding; though in good repair it is no longer wound up. On the walls are the 'Beauties' of the Court of Charles II., chiefly painted by Lely (comp. Room II.), including 190. Duchess of York (above the mantel-piece); 195. Duchess of Richmond, who was the original of the 'Britannia' on the reverse of the British copper coins; 196. Marie d'Este (?, misnamed Nell Gwynne); all three by Lely. The ceiling by

Verrio.

ROOM VII. (The King's Dressing Room). Ceiling paintings by Verrio, representing Mars, Venus, and Cupid. No. 212. Salv. Rosa, Brigand scene; 224. Girol. da Treviso, Marriage of the Virgin.

ROOM VIII. (The King's Writing Closet). On the left: 235. Bordone (? more probably Palma Vecchio), Lucretia, injured by repainting; Artemisia Gentileschi, 227. Sibyl, 226. Her own portrait. The mirror above the chimney-piece here is placed at such an angle as to reflect the whole suite of rooms.

ROOM IX. (Queen Mary's Closet). On the left: 251. Giulio Romano, Holy Family; 267. Dutch Master, Sophonisba. ROOM X. (The Queen's Gallery) is a hall, 69 ft. long and 260 ft. broad, with tapestry representing scenes from the life of Alexander the Great,

after Le Brun.

ROOM XI. (The Queen's Bedroom) contains Queen Anne's bed, and has a ceiling painted by Thornhill, representing Aurora rising from the sea. To the left: 276. Correggio, Holy Family, with St. Jerome on the left, a small and admirable work of the painter's early period. L. Giordano, 278. Offerings of the Magi; 288, 292. Myth of Cupid and Psyche, in 12 small pictures. 307. Francesco Francia, Baptism of Christ.

ROOM XII. (The Queen's Drawing Room), with ceiling painted by Verrio, representing Queen Anne as the Goddess of Justice. The windows command a fine view of the gardens and canal (3/4 M. long). The pictures are all by West: above the door, 309. Duke of Cumberland and his two sisters, when children; 314. Peter denying his Master; 320. Death of General Wolfe (duplicate of the original in Grosvenor House); 321. Queen Charlotte; 322. Prince of Wales and Duke of York.

ROOM XIII. (The Queen's Audience Chamber). On the left: 329. P. Snayers, Battle of Forty; *334. Palamedes, Embarking from Scheveningen. Holbein, 259. (?) Countess of Lennox, mother of Lord Darnley; *340. Henry VIII. and his family; 342. Meeting of Henry VIII. and Francis I. of France, at the Field of the Cloth of Gold. 798. Mytens, Portrait of the dwarf Sir Jeffery Hudson (immortalised in Scott's 'Peveril of the Peak').

ROOM XIV. (The Public Dining Room). On the left: 354. Beechey, George III. reviewing the 10th Dragoons, the Prince of Wales on the right and the Duke of York on the left; 560. Zucchero, Mary, Queen of Scots; 361. Knapton, Family of Frederick, Prince of Wales (the boy with the plan on his knee is George III.); above the fire-place, 663. Van Dyck, Cupid and Psyche; 363. Sir T. Lawrence, F. von Gentz; 365. Walker, Portrait of himself; 366. Gainsborough, Jewish Rabbi; 369. Michael Wright, John Lacy, comedian, in three characters; 376. Dobson, Portrait of himself and his wife. We proceed in a straight direction; the door to the left leads to the Queen's Chapel, etc. (see below).

ROOM XV. (The Prince of Wales's Presence Chamber). On the left. 380. N. Poussin, Nymphs and Satyrs. Rembrandt, 381. Rabbi; 382. Dutch lady. 385. Mabuse, Adam and Eve; 404. Heemskerck, Quakers' meeting. ROOM XVI. (The Prince of Wales's Drawing Room). On the left: 407. Van Belchamp, Louis XIII. of France; 411. Pourbus, Mary de' Medici; 413. Greuze, Louis XVI. of France; 423. Claude Lorrain, Sea-port; 418. Pourbus, Henry IV. of France; 429. Greuze, Madame de Pompadour; above, 428. Mignard, Louis XIV., as a youth.

ROOM XVII. (The Prince of Wales's Bedroom) contains tapestry representing the Battle of Solebay (1672), and a few portraits.

We now return to Room XIV. (Public Dining Room), and pass through the door on the right, indicated by notices pointing the 'Way Out'.

QUEEN'S PRIVATE CHAPEL. On the left: 463. Hondecoeter, Birds; 464. Snyders, Still-life; De Heem, 467, 469. Still-life pieces. The CLOSET adjoining the chapel contains nothing of much interest. The PRIVATE DINING ROOM contains three bright red beds, and some portraits, including one of the Duchess of Brunswick, sister of George III., by Angelica Kaufmann (502). Adjoining it is a second CLOSET with 12 saints by Feti (506).

QUEEN'S PRIVATE CHAMBER. In the centre: *106. Unknown Flemish or German Master, Triptych with the Crucifixion in the centre, the Bearing of the Cross to the left, the Resurrection to the right, and the Ecce Homo on the exterior, of admirable colouring. The KING'S PRIVATE DRESSING ROOM contains some poor copies of various well-known works and a bust of a negro. We then pass through GEORGE II.'S PRIVATE ROOM, with fruit and flower pieces, and a dark corner room into the long

SOUTH GALLERY, where Raphael's famous cartoons, now at South Kensington (p. 284), were formerly preserved. It is divided into five sections by partitions, and contains the most valuable smaller pictures of the collection. SECTION I.: *561. Janet, Queen Eleanor of France; 563. Holbein (?), Henry VIII., as a youth; 576. Van Orley, Death of Adonis; 579. Hemmessen, St. Jerome; 581. Mazzolini of Ferrara, Turkish warrior; 578. Schoreel, Virgin and Child, SS. Andrew and Michael. - SECTION II. : 588. Cranach, The Judgment of Paris; *610. Holbein, Reskemeer (the hands beautifully painted); *589. Dürer, Portrait; *590. School of Van Eyck, Head of a young man; *595. Mabuse, Children of Christian II. of Denmark; 601. Remée (Antwerp; d. 1678), Henry VII. and his queen Elizabeth, Henry VIII. and his queen Jane Seymour, copy of a fresco by Holbein in Whitehall, which was burned with that palace; 600. L. Cranach, St. Christopher and other saints; 602. Lucas v. Leyden, Joseph in prison. Holbein: *603. Frobenius (the famous printer); #608. The artist's parents. 676. School of Frans Hals, Portrait; 629, 637. Gonzales Coques, Portraits; 634. Hendrik Pot, Play scene (the actor here is supposed to be Charles I.); 638. Van Dyck, Dying saint. - SECTION III.: 654. After Rubens, Venusland Adonis; 657. Verdussen, Windsor Castle; 662. Molenaer, Dutch merry-making; 666. Ascribed to Holbein, Face at a window, misnamed Will Somers, court jester of Henry VIII.; 680. Rottenhammer, Judgment of Paris; 684. Withoos, Flower-piece (1665). SECTION IV.: 698. Everdingen (?), Landscape; 707. Janssen, Villiers, Duke of Buckingham; 710. Dutch Master, Portrait (described by the Catalogue as a portrait of Raphael by himself!); 734. P. Brill, Landscape; 731. J. B. Weenix, Dead game. - SECTION V.: 744. Roestraeten, Still-life (the earthenware jug very fine); 745, 754. W. van de Velde, Seapieces (sketches); *746. Wynants, Landscape; 748. Brueghel the Elder, Slaughter of the Innocents, thoroughly Dutch in conception; 751. Holbein, Landscape; 769. James I., copy of a painting by an unknown artist in Ham House. Above, opposite the window, 704. Snyders, Boar-hunt. We now pass through a small, dark chamber on the right, and enter the last long gallery, called the

**MANTEGNA GALLERY, which contains the gem of the whole collection, the Triumphal Procession of Cæsar, by Mantegna (Nos. 873-81), extending the whole length of the wall, and protected by glass. The series of pictures, painted in distemper upon linen, is in parts sadly defaced, and has also been retouched. Mantegna began the work, which was intended for stage-scenery, in 1485, and finished it in 1490-92. The series was purchased by Charles I. along with the rest of the Duke of Mantua's collection, and valued by the Parliament after the king's death at 1000l. It was rescued by Cromwell, along with Raphael's cartoons.

Section I. Beginning of the procession with trumpeters, standardbearers, and warriors; on the flag-poles paintings of the victories of Cæsar. II. Statues of Jupiter and Juno in chariots, bust of Cybele, warlike instruments. III. Trophies of war; weapons, urns, tripods, etc. - IV. Precious vessels and ornaments; oxen led by pages; train of musicians. V. Elephants bearing fruit, flowers, and candelabra. VI. Urns, armour, etc. borne in triumph. VII. Procession of the captives; men, women, and children, and mocking figures among the populace. VIII. Dancing musicians, standard-bearers with garlands; among them a soldier of the German Legion, bearing a standard with the she-wolf of Rome. - IX. Julius Caesar, with sceptre and palm-branch, in a triumphal car; behind him Victoria; on his standard the legend, 'Veni, vidi, vici'.

'With a stern realism, which was his virtue, Mantegna multiplied illustrations of the classic age in a severe and chastened style, balancing his composition with the known economy of the Greek relief, conserving the dignity of sculptural movement and gait, and the grave marks of the classic statuaries, modifying them though but slightly with the newer accent of Donatello. His contour is tenuous and fine and remarkable for a graceful and easy flow; his clear lights, shaded with grey, are blended with extraordinary delicacy, his colours are bright and variegated, yet thin, spare, and of gauzy substance.' Crowe and Cavalcaselle.

The Mantegna Gallery also contains a few other paintings, including portraits of Jane Shore, mistress of Edward IV. (No. 793; immediately to the right of the door by which we enter) and of Christian, Duke of Brunswick, in his youth (No. 569; by Honthorst).

We now pass the top of the QUEEN'S STAIRCASE, embellished with ceiling-paintings by Vick, and a large picture by Honthorst, representing Charles I. and his wife as Apollo and Diana, and reach two other rooms, which contain the remainder of the pictures.

ROOM I. (The Queen's Guard Chamber). On the left: 811. Ciro Ferri, Triumph of Bacchus; 815, 816. Portraits of Giulio Romano and Michael Angelo; 818. Milani, Portrait of a child; 819. Portrait of Tintoretto; 824. Kneller, John Locke; 839. Battoni, Pope Benedict XIV.; 842. Frederick the Great; 846. Kneller, Sir Isaac Newton; 850. Romanelli, after Guido Reni, Triumph of Venus, with Bacchus and Ariadne; 862. Lely, Portrait of himself. The wrought-iron railings, generally ascribed to Huntington Shaw (p. 278), are two of twelve formerly in the gardens. We now pass through a small Ante-Room into

ROOM II. (The Queen's Presence Chamber), with sea-pieces: 871. Zucchero, Adoration of the Shepherds; 873. Post, View in the West Indies. W. van de Velde, *879. British ship engaged with three Spanish vessels; 880. Close of the same action. 884. James, View on the Thames, comprising old London Bridge; 898, 899. Huggins, Battle of Trafalgar. W. van de Velde, 902. British fleet attacking the French fleet in a harbour; *910. Burning of a fleet 887. S. van Ruysdael, River in Holland; 912. W. van de Velde, Boats attacking the Dutch fleet in a harbour. Here also are two pieces of timber from Nelson's flag-ship, the Victory.

The Great Hall, 106 ft. in length, 40 ft. in breadth, and 60 ft. in height, begun by Henry VIII. immediately after the death of Wolsey, and completed in 1536, contains a handsome high-pitched timber roof with pendants, good stained-glass windows (mostly modern), and fine tapestry representing scenes from the life of Abraham. The room at the end has a modern portrait of Wolsey over the chimney-piece.

A door to the right, at the foot of the staircase where umbrellas have been left, leads to the gardens, to reach which we pass through a small court, emerging at the E. façade of the Palace.

The Garden in front of the Palace is laid out in the French style, and embellished with tasteful flower-beds and shady avenues. In the private garden, on the S. side of the Palace, is exhibited a vine of the Black Hamburgh variety, planted in 1768, the stem of which is 38 in. in circumference, and the branches of which spread over an area of 2200 sq. ft. The yield of this gigantic vine amounts annually to 1200 or 1300 bunches of grapes, weighing about 3/4 lb. each. The old Tennis Court, opening from the garden to the N. of the Palace, is still used.

The Maze (adm. 1d.), or labyrinth, in the so-called Wilderness to the N. of the Palace, may be successfully penetrated by keeping in