1. Hampton Court: its associations: its twofold interest.—2. The characteristics of the early sixteenth-century architecture as represented in Wolsey's building.—3. The size and extent: the view from the roofs.—4. The outer Green Court: the Base Court: the Clock Court: the "Consessionary."—5. Wren's work in the Clock Court: the side-courts.—6. The great Hall: the great Watching Chamber: the Horn-room.—7. Wren and his style: the Fountain Court: the east front: the south front: the King's staircase and its decoration: the interior of the rooms.—8. The architect: Wolsey probably his own architect:Wren's plans: the extent of his designs: Defoe thereon: the work incomplete but characteristic.—9. Different judgments on the alterations made by Wren: Horace Walpole: "The Beauties of England and Wales: "Wren's characteristic merits
1. The creation of Wolsey's house: its magnificence under Elizabeth.–2. A long popular dwelling-place of English rulers: two names most prominent among its makers: Wolsey and William III.: Wolsey's greatness: as Statesman and Churchman: his achievements and his failure: the closeness of his connection with Hampton Court: the business transacted there: the King's constant visits and familiarity: Cavendish on his sudden appearances, and on the masque of foreign men: the festivities at the King's coming: Shakespeare's use of this in Henry VIII.: the gift of the Palace to the King: lodgings for King and Queen, and for Anne Bullen: treaties and ambassages: the reception of the French Envoys in 1527: Cavendish's description thereof: the Frenchmen fain to be led to their beds: Wolsey's fall.—3. Henry in possession: his new building: he hears of Wolsey's death from Cavendish: Henry and Anne Bullen at Hampton Court: Anne gives way to Jane: birth of Edward Prince of Wales: his baptism and his mother's death: Anne of Cleves: Catherine Howard: Catherine Parr.—4. Edward VI.: honeymoon of Philip and Mary: Mary's needlework and that of her mother: the poet of the needle.—5. Scandals about Queen Elizabeth: her personal appearance: a Pomeranian's account of her state: her many guests: Paul Hentzner: his account of the Palace in 1598: revels, and the boyling of brawnes: the Queen's last visit.—6. James I.: masques and revels: visitors from Denmark and Germany: Queen Anne: Charles I. and his pictures: his counsellors: his last visit before the troubles: his sojourn after Naseby: Sir Thomas Herbert's account: Cromwell watching King and Parliament: Charles's escape: Cromwell's occupation of the Palace.—7. The Restoration: Charles II.'s life at Hampton Court: his marriage: his Court.—8. The Beauties of the Court: characteristics of Lely's work: the history of the ladies.—9. Charles and Verrio: James II.—10. William III.: was he a hero? The greatness of his surroundings: his diplomacy: the succession:his private character: his grant of lands to his favourites: the de Witts: Glencoe: his unpopularity: his unconstitutional action.—11. His work at Hampton Court:
</noinclude>Queen Mary and Kneller: the Beauties: other portraits: William's fondness for Hampton Court: Anne's sad memories there. 12. George I.: his plays: Defoe's account of the Palace
1. The Medieval garden: the Tudor garden: its remains at Hampton Court: the Mount garden: the parks.—2. Elizabeth and her garden: the symmetrical taste: the decorations: Bacon's idea of gardens.—3. The Rebellion a break in English horticulture: Cromwell: Charles II.: the imitation of Versailles: Le Nôtre: Evelyn's description of the gardens: Queen Mary's bower.—4. William III.'s changes: his personal interest: the Royal gardeners: the wilderness: the Maze: Latin poem thereon: Queen Mary's collection of plants: the oranges: the gates: suspension of the works on the Queen's death: the new plans: the great Parterre: the Lion gates.—5. The gardens under George I.: the Frog Walk: the passion for Nature: Thomson's description of a garden: the changes under the Landscape gardeners.—6. The fish and fowl: the great vine: the characteristics of the gardens
1. Wolsey's chapel and his train of Churchmen: Cavendish's description.—2. Henry's alterations: the Royal pew: present condition of the chapel: Wren's work: historical associations: baptism of Edward VI.: funeral of Jane Seymour: the preachers: James I.: the destruction at the Rebellion: William and Mary: the King keeps his hat on: the early Hanoverian neglect: the Queen's private chapel.—3. The religion of the Palace: the Hampton Court Conference: the introductory discussion: James's knowledge of theology: the assembly on Monday: the "Turkey gowns": the Catechism: the translation of the Bible: the part played by James himself: his judgment on the Conference: the later history of religion in the Palace
1. The interest of the art collections: the china: the glass mostly destroyed.—2. The tapestries: embroidered hangings: beds: Wolsey's collection of tapestry: the great Watching Chamber: an unidentified subject: the triumph of Fate or Death: characteristics of the work: the Seven Cardinal Virtues and the Seven Deadly Sins: Flemish work: the Horn room: Bernhard van Orlay: the history of Abraham: its value: the different subjects: the richness of treatment.—3. Tapestries under Queen Elizabeth: in the Commonwealth: at the Restoration: under George I.: needlework: famous beds: carved chairs.—4. The pictures: general classification: the panel pictures in the Confessionary.—5. The Tudor pictures: Elizabeth's porter: scenes from the reign of Henry VIII.: portraits of the King: other persons of the age: the Holbeins: Sir Antonio More: Mary Queen of Scots: the four portraits of Elizabeth.—6. The collection of Charles I.: James I.'s pictures as illustrations of the history of his time: Vandyke, a prince of Court painters: Rubens: minor artists: the great works in Charles I.'s gallery.—7.The Triumph of Julius Cæsar, by Mantegna: the history of the purchase: the condition and the position of the pictures: characteristics of Mantegna's work, illustrative of the Renaissance: the dignity of ancient Rome: an account of each scene of the Triumph: other works of Mantegna with the same idea.—8. Other Mantuan acquisitions in Charles's gallery: fifteenth-century painters: Jerome Bosch: sixteenth century: Giulio Romano: Milanese school: Venetians: the Shepherd of Giorgione: "The Concert:" Lorenzo Lotto: minor masters: Tintoretto: Dosso Dossi: Correggio: Albrecht Dürer: Mabuse.—9. The Georgian age: portraits of Madame de Pompadour and Benedict XIV.: the House of Hanover: Gainsborough's portraits of Hurd, Fischer, Colonel St. Leger, Hoppner's Lord Moira: the West gallery: West's merits and defects: the Death of Wolfe: the collection as a whole.
1. Hampton Court in literature: Thomson's rhapsody.—2. The "Rape of the Lock": Pope's fondness for the Thames: his country inspiration limited to its banks: the origin of the poem: its three foundations: the "Rosicrucian doctrine of spirits": Marmontel's Sylphs and Pope's "The Expedition to Hampton Court": the game of ombre: the severed lock: Pope's letters: the life of a Maid of Honour.—3. Lord Hervey's life: Miss Bellenden and Miss Lepel: Queen Caroline: George II. and his family: Prince Frederick: the hasty drive to St. James's: Queen Caroline's death: later visits of George II.: changes since his time: the Royal fondness for Hanover: English character of Hampton Court
Residents of later days: the families to whom the Crown has given apartments: the Wellesleys: Lady Mornington, the "mother of the Gracchi": the caretaker of the Palace: its condition to-day: its romantic interests: Charles I.: Catherine Howard: the White Lady: Mrs. Penn: ghost stories: the artistic pictures on the verge of the twentieth
century: a picture of the future by William Morris
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1930, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 93 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
