I

HAMPTON COURT PALACE.

T is by no means our intention to give our readers anything like a historical sketch of Wolsey's famous old Palace-that has been done before-nor do we propose to write a "guide book" to Hampton Court, as that has been admirably done by Mr. E. Law. Our purpose is simply to illustrate and describe certain views of the old Palace which are not so well known to the public as those usually published or described.

It is a very curious fact that Hampton Court is nothing like so well known to the middle classes of London as it deserves to be, and we have often heard it described as being a "vulgar" or "cockneyfied" place, and that too by people who have Versailles and Chantilly at their fingers' ends. Now, we do not hesitate to say that Hampton Court is more interesting than either of these French rivals. It is more charming in situation, more striking as to its architecture, and more historically important. We have heard this opinion expressed by Frenchmen themselves. By the way, how very much Frenchmen seem to like Hampton Court! A friend of ours used to say that the French had "discovered" Hampton Court, which was previously unknown to the English! This is probably a slight exaggeration, though it carries with it a just reproof to the middle-class Londoners, who neglect what is probably the most interesting palace in Europe. Even those who have "done" Hampton Court often know little about the palace, which is apt to be "rushed" instead of being carefully examined, yet it deserves the most thorough investigation. Do not think you know Hampton Court when you have hurried through the terraces, great courts, and picture-galleries. There are out-ofthe-way nooks, passages, courts, chambers, and gardens which will well repay inspection.

As an example there is the view of the Great Hall from the little court to the north, with the quaint approach to the Cloisters (see sketch No. 1). The gable and pinnacles of the Great Hall rise over the low buildings to the left, and what were called the "Kynge's Beastes," or Lions: hounds and dragons, carved in stone to form the finials of the pinnacles. Probably none of the existing terminals, or the vanes they hold in their paws, are the genuine "Kynge's

Beastes" set up by King Henry VIII. when he completed the Hall, but they may be regarded as restorations. The curious form of the exterior roof of the Hall can be seen from this point: it is what is called a "Mansard roof" that is to say, instead of forming one angle up to its ridge it has three; and it is evident that Mansard did not invent this form of roof, as is usually stated to be the case, because we find a few examples existing long before his date. This, however, and the roof of the chapter-house at Canterbury, are the most important ones we have met with.

Our sketch No. 2 represents the east front of Hampton Court Palace. It is the most perfect contrast to the former view the first is quaint, medieval, and thoroughly Gothic, with that Tudor look of comfort and old English charm which is always so attractive; the second is Wren's work, with a stately portico and classic regularity. Both are delightful in their way, and show that two very different styles displayed in the same building do not produce "incongruity," proIvided each is excellent in its way. Hampton Court the contrast between the Tudor portion and the Renaissance additions add to the interest, and one

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may walk from one to the other questioning which is really better. Our experience has always been that when we look at the old Gothic work we are quite convinced that it is the more beautiful and appropriate, and when we look at Wren's Renaissance we are equally convinced the other way about. This, no doubt, is because each is thoroughly good Art!

The beautiful old garden, with its yew trees, adds no little to the east view. Perhaps Caius Gabriel Cibber's sculpture is not all that could be desired, yet it looks rich and handsome, and we don't feel inclined to quarrel with anythingespecially if it happens to be a lovely autumn afternoon, when everything at Hampton Court looks at its best! On such a day one will naturally wander along

the waterways towards the Grand Canal, and through the gardens and great avenues towards the Thames. Or, passing through the gateway at the end of the east front, the fine south elevation comes in view, with the " Privy garden" and its raised terraces forming a delightful foreground. Here indeed one is tempted

to linger; but no one should neglect visiting the beautiful old sunk garden, or "pond garden," as it was formerly called (Mr. Ernest Law suggests that the name should be revived): this is a genuine Tudor work, and has probably been but slightly altered from the days of Henry VIII. Some idea of this and the older part of the south front may be obtained from our sketch No. 3.

The interior of the Great Hall at Hampton Court (sketch 4) is said to be the noblest Tudor apartment in England. Whether it was partly erected by Wolsey and completed by Henry VIII., or was entirely the work of the latter, it is difficult to say. There would appear to be little doubt that the magnificent roof is the work of Henry VIII. Mr. Law seems to be convinced that the whole building was erected by Henry VIII., but Mr. John Belcher, who read a very learned paper upon Hampton Court before the Architectural Association in February 1898, thinks that Wolsey built the Hall but that the roof was added by Henry VIII. Looking at the Hall, it will be noticed that its proportions are more lofty than is usual with similar buildings of its date; and certainly the details of the roof are of a later character than those of the walls, more especially of the bay window, which is very pure Gothic, and its three-light windows have an earlier character than any portion of the building, their arches are rather acute-pointed, and the vaulting over them is purer and more graceful than any corresponding work in any portion of the Palace: not the slightest inclination towards Renaissance is to be seen, whereas in the great timber roof much of the ornament is quite developed Italian in character.