sea-fights, William III. some glorifications of himself. The Hanoverian additions are of a different kind. Severe critics might say that the Hampton Court galleries have been regarded as the rubbish-heap of the royal palaces. But this would be a short-sighted judgment. Much that is of very considerable historical interest has been added to the galleries within the last century. There are, in the first place, a few interesting portraits which have no special English connection. Two of these cannot fail to attract attention.
No. 429 is a charming replica of Drouais' portrait of Madame de Pompadour, now in the possession of Lord Rosebery. This has been very unfairly criticised. Artificial and mincing no doubt it is, but so was its subject. The colour is exquisitely pure, the tone exquisite; an undefinable charm lingers on the face, so sweet, so prettily set in its quiet mobcap. The dress of figured brocade, the tambour frame in front, add to the decorative effect of a very charming picture.
Another equally interesting portrait is that by Battoni of the reforming Pope Benedict XIV., a happy presentment of a keen and kindly face. It is pleasant to have at Hampton Court so good a memorial of so enlightened and beneficent a man. There are many other portraits of foreign statesmen and kings, among them a pretty Louis XIV. when young, in armour, ascribed to Mignard.
English royalties, of course, claim attention. There is a not unpleasing portrait of Queen Caroline, George II.'s "fat Venus." George himself appears in four
