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 andWilliam 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 theRebellion: 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
