supported by columns of the Ionic order, with some antique bustos in
several niches; from hence you proceed to the great staircase, which is
finely painted with several fabulous stories from Ovid’s Metamorphoses:
In the dome Phaeton is represented desiring Apollo to grant him
leave to drive the chariot of the sun; in large compartments on the
staircase, are the transformation of Phaeton’s sisters into poplar
trees, with this inscription, _Magnis tamen excidit Ausis_; and Cycnus
changed into a swan. In several parts of the ceiling are represented
the signs of the Zodiac supported by the winds, with baskets of flowers
beautifully disposed: at the corners are the four Elements each
express’d by a variety of figures. Aurora is also represented with her
nymphs in waiting, giving water to her horses. In several parts of the
staircase are the figures of Music, Painting, and the other sciences.
The whole is beautifully disposed and heightened with gold, and from
this staircase you have a view of the back stairs painted with the
story of Meleager and Atalanta.
I. Having ascended the staircase, you enter first into the Queen’s
guard chamber, which is compleatly furnished with guns, pistols,
bayonets, pikes, swords, _&c._ beautifully ranged and disposed into
various forms, as the star and garter, the royal cypher, and other
ornaments. On the cieling is Britannia in the person of Queen Catharine
of Portugal, consort to King Charles II. seated on a globe, bearing
the arms of England and Portugal, with the four grand divisions of the
earth Europe, Asia, Africa, and America, attended by deities, making
their several offerings. On the outer part of this beautiful group,
are the signs of the Zodiac, and in different parts of the cieling are
Minerva, Mars, Venus, and other heathen deities, with Zephyrs, Cupids,
and other embellishments properly disposed; over the chimney is a
portrait of Prince George of Denmark on horseback, by Dahl; with a view
of shipping by Vandewell.
II. You next enter the Queen’s presence chamber, where Queen Catharine
is represented attended by Religion, Prudence, Fortitude and other
Virtues: she is under a curtain spread by Time, and supported by
Zephyrs, while Fame sounds the happiness of Britain; below, Justice is
driving away Envy, Sedition, and other evil genii. The room is hung
with tapestry, containing the history of the beheading of St. Paul,
and the persecution of the primitive Christians; and adorned with the
pictures of Judith and Holofernes, by Guido Reni; a Magdalen, by Sir
Peter Lelly; and a Prometheus by young Palma.
III. On entering the Queen’s audience chamber, you see the cieling
painted with Britannia in the person of Queen Catharine, in a carr
drawn by swans to the temple of Virtue, attended by Flora, Ceres,
Pomona, _&c._ with other decorations heightened with gold. The canopy
is of fine English velvet, set up by Queen Anne; and the tapestry
was made at Coblentz in Germany, and presented to King Henry VIII.
The pictures hung up in this room, are, a Magdalen by moonlight, by
Carracci; St. Stephen stoned, by Rotterman; and Judith and Holofernes,
by Guido Reni.
IV. On the cieling of the ball room King Charles II. is represented
giving freedom to Europe by the figures of Perseus and Andromeda; on
the shield of Perseus is inscribed _Perseus Britannicus_, and over
the head of Andromeda is wrote _Europa Liberata_, and Mars attended
by the celestial deities, offers the olive branch. On the coving of
this chamber is the story of Perseus and Andromeda, the four seasons,
and the signs of the Zodiac, the whole heightened with gold. The
tapestry, which was made at Brussels, and set up by King Charles II.
represents the seasons of the year; and the room is adorned with the
following pictures, the Roman Charity, after Tintoret; Duns Scotus, by
Spagnoletto; a Madona, by Titian; Fame, by Palmegiani, the Arts and
Sciences, also by Palmegiani; and Pan and Syrinx by Stanick.
V. The next room you enter is the Queen’s drawing room, where on the
cieling is painted the assembly of the gods and goddesses, the whole
intermixed with cupids, flowers, _&c._ and heightened with gold. The
room is hung with tapestry representing the twelve months of the year,
and adorned with the pictures of Lot and his daughters, after Angelo;
Lady Digby, wife of Sir Kenelm Digby, by Vandyke; a sleeping Venus, by
Poussin; a family in the character of Mark Anthony and Cleopatra, by de
Bray; a Spanish family, after Titian; and a flower piece by Varelst.
VI. In the Queen’s bed-chamber, the bed of state is rich flowered
velvet made in Spitalfields, by order of Queen Anne, and the tapestry,
which represents the harvest season, was also made at London, by
Poyntz. The cieling is painted with the story of Diana and Endymion,
and the room is adorned with the pictures of the Holy family, by
Raphael; Herod’s cruelty by Giulio Romano; and Judith and Holofernes,
by Guido.
VII. The next is the room of Beauties, so named from the portraits of
the most celebrated beauties in the reign of King Charles II. they are
fourteen in number, _viz._ Lady Ossory, the Duchess of Somerset, the
Duchess of Cleveland, Lady Gramont, the Countess of Northumberland, the
Duchess of Richmond, Lady Birons, Mrs. Middleton, Lady Denham and her
sister, Lady Rochester, Lady Sunderland, Mrs. Dawson, and Mrs. Knott.
These are all original paintings drawn to great perfection by Sir Peter
Lelly.
VIII. In the Queen’s dressing room are the following portraits, Queen
Henrietta Maria, wife to King Charles I. Queen Mary, when a child, and
Queen Catharine; these three are all done by Vandyke; the Duchess of
York, mother to Queen Mary and Queen Anne, by Sir Peter Lelly.
In this room is a closet wherein are several paintings, and in
particular a portrait of the Countess of Desmond, who is said to have
lived to within a few days of an hundred and fifty years of age; also a
portrait of Erasmus and other learned men. In this closet is likewise
the banner of France annually delivered on the second of August by
the Duke of Marlborough, by which he holds Blenheim house built at
Woodstock in Oxfordshire in the reign of Queen Anne, as a national
reward to that great General for his many glorious victories over the
French.
IX. You are next conducted into Queen Elizabeth’s or the picture
gallery, which is richly adorned with the following paintings: King
James I. and his Queen, whole lengths, by Vansomer; Rome in flames,
by Giulio Romano; a Roman family, by Titian; the Holy family, after
Raphael; Judith and Holofernes, by Tintoret; a night piece, by Skalkin;
the pool of Bethesda, by Tintoret; a portrait of Charles VI. Emperor of
Germany, by Sir Godfrey Kneller; the wise men making their offerings to
Christ, by Paulo Veronese; two usurers, an admired piece, by the famous
blacksmith of Antwerp; Perseus and Andromeda, by Schiavone; Aretine
and Titian, by Titian; the Duke of Gloucester, a whole length by Sir
Godfrey Kneller; Prince George of Denmark, a whole length by Dahl;
King Henry VIII. by Hans Holbein; Vandanelli, an Italian statuary, by
Correggio; the founders of different orders in the Romish church, by
Titian and Rembrant; a rural piece in low life, by Bassano; a fowl
piece, by Varelst; the battle of Spurs near Terevaen in France, in
1513, by Hans Holbein; two views of Windsor Castle, by Wosterman, and
two Italian markets, by Michael Angelo. In this room is also a curious
amber cabinet, presented by the King of Prussia to Queen Caroline.
There is here likewise Queen Caroline’s china closet, filled with a
great variety of curious china elegantly disposed, and the whole room
is finely gilt and ornamented; over the chimney are the pictures of
Prince Arthur, and his two sisters, the children of King Henry VII. by
Holbein; and in this closet is also a fine amber cabinet, presented to
Queen Anne, by Dr. Robinson, Bishop of London, and plenipotentiary at
the congress of Utrecht.
X. From this gallery a return is made to the King’s closet, the cieling
of which is adorned with the story of Jupiter and Leda. Among the
curiosities in this room is a large frame of needle work, said to
be wrought by Mary Queen of Scots, while a prisoner in Fotheringhay
castle; among other figures, she herself is represented supplicating
for justice before the Virgin Mary, with her son, afterwards King James
I. standing by her; in a scrawl is worked these words _Sapientiam
amavi et exquisivi a juventute mea_. This piece of work, after its
having lain a long time in the wardrobe, was set up by order of Queen
Anne. The pictures are, a Magdalen, by Carracci; a sleeping cupid, by
Correggio; contemplation, by Carracci; Titian’s daughter, by herself;
and a German Lady, by Raphael.
XI. You are next conducted into the King’s dressing room, where the
cieling is painted with the story of Jupiter and Danae; and adorned
with the pictures of the birth of Jupiter, by Giulio Romano; and of a
naked Venus asleep, by Sir Peter Lelly.
XII. On leaving the above room, you are conducted into the King’s bed
chamber, which is hung with tapestry representing the story of Hero
and Leander; the bed of state, which was set up in the reign of King
Charles II. is of fine blue cloth, richly embroidered with gold and
silver; and on the cieling that Prince is represented in the robes of
the garter, under a canopy supported by Time, Jupiter and Neptune, with
a wreath of laurel over his head, and he is attended by Europe, Asia,
Africa, and America, paying their obedience to him. The paintings are,
King Charles II. when a boy, in armour, by Vandyke; and St. Paul stoned
at Lystra, by Paulo Veronese.
XIII. The cieling of the King’s drawing room, which is next seen, is
finely painted with King Charles II. riding in a triumphal carr, drawn
by the horses of the sun, attended by Fame, Peace, and the polite arts;
Hercules is driving away Rebellion, Sedition and Ignorance; Britannia
and Neptune, properly attended, are paying obedience to the Monarch as
he passes; and the whole is a lively representation of the restoration
of that Monarch, and the introduction of arts, and sciences in these
kingdoms. In the other parts of the cieling are painted the labours of
Hercules, with festoons of fruit and flowers, the whole beautifully
decorated in gold and stone colour. The pictures hung up in this room
are, a converted Chinese, by Sir Godfrey Kneller; the Marquis of
Hamilton, after Vandyke, by Hanneman; Herodias’s daughter, by Carlo
Dolci; a Magdalen, by Carlo Dolci; and a Venetian Lady, by Titian.
XIV. You next enter the King’s drawing room, where the painted cieling
represents the banquet of the gods, with a variety of fish and fowl.
The pictures hung up here are, the portraits of his present Majesty,
and the late Queen Caroline, whole lengths; Hercules and Omphale,
Cephalus and Procris, the birth of Venus, and Venus and Adonis, the
four last by Genario; a naval triumph of King Charles II. by Verrio;
the marriage of St. Catharine, by Dawkers; nymphs and satyrs, by
Rubens and Snyders; hunting the wild boar, by Snyders; a picture of
still life, by Girardo; the taking of the bears, by Snyders; a night
piece, being a family singing by candle light, by Quistin; a Bohemian
family, by de Brie; divine love, by an unknown hand; and Lacy, a famous
comedian in King Charles the Second’s time, in three characters, by
Wright.
Many of the paintings in this room are best seen at noon by the
reflection of the sun; the carving of this chamber is very beautiful,
representing a great variety of fowl, fish and fruit, done to the
utmost perfection on lime wood, by Mr. Gibbons, a famous statuary and
carver in the reign of King Charles II.
XV. In the King’s audience chamber, the canopy, which was set up in
the reign of King Charles II. is of green velvet, richly embroidered
with gold, and on the cieling is represented the establishment of the
church of England at the restoration, in the characters of England,
Scotland and Ireland, attended by Faith, Hope, Charity, and the
Cardinal Virtues; Religion triumphs over Superstition and Hypocrisy,
who are driven by cupids from before the face of the church, all
which are represented in their proper attitudes, and highly finished.
The pictures hung up in this room are, our Saviour before Pilate, by
Michael Angelo; the Apostles at our Saviour’s tomb, by Scavoni; Peter,
James and John, by Michael Angelo; and the Duchess of Richmond, by
Vandyke.
XVI. The King’s presence chamber is hung with tapestry containing the
history of Queen Athaliah, and the cieling is finely adorned with
painting, Mercury is represented with an original portrait of King
Charles II. which he shews to the four quarters of the world introduced
by Neptune; Fame declaring the glory of that Prince, and Time driving
away Rebellion, Sedition, and their companions. Over the canopy is
Justice in stone colour, shewing the arms of Britain to Thames and
the river nymphs, with the star of Venus, and this label, _Sydus
Carolynum_, at the lower end of the chamber is Venus in a marine carr
drawn by tritons and sea-nymphs. The portraits hung up are, Henry
Duke of Gloucester, brother to King Charles II. and his governess the
Countess of Dorset, both by Vandyke; and father Paul, by Tintoret.
XVII. The King’s guard chamber, which you next enter, is a spacious and
noble room, in which is a large magazine of arms, consisting of some
thousands of pikes, pistols, guns, coats of mail, swords, halberts,
bayonets, and drums, disposed in a most curious manner in colonades,
pillars, circles, shields, and other devices by Mr. Harris, late
master gunner of this castle; the person who invented this beautiful
arrangement of arms, and placed those in the great armoury in the Tower
of London. The cieling is finely painted in water-colours: in one
circle is Mars and Minerva, and in the other Peace and Plenty. In the
dome is also a representation of Mars, and over the chimney piece is
a picture of Charles XI. King of Sweden, on horseback, as big as the
life, by Wyck.
At an installation, the Knights of the garter dine here in great state
in the absence of the Sovereign.
XVIII. You next enter St. George’s chamber, which is particularly set
apart to the honour of the most illustrious order of the garter, and
is perhaps one of the noblest rooms in Europe, both with regard to the
building and the painting, which is here performed in the most grand
taste. In a large oval in the centre of the ceiling King Charles II. is
represented in the habit of the order, attended by England, Scotland
and Ireland; Religion and Plenty hold the crown of these kingdoms over
his head; Mars and Mercury, with the emblems of war and peace stand on
each side. In the same oval Regal Government is represented upheld by
Religion and Eternity, with justice attended by Fortitude, Temperance
and Prudence, beating down Rebellion and Faction. Towards the throne is
represented in an octogon St. George’s cross incircled with the garter,
within a star or glory supported by Cupids, with the motto,
HONI SOIT QUI MAL Y PENSE.
and besides other embellishments relating to the order, the Muses are
represented attending in full consort.
On the back of the state, or Sovereign’s throne, is a large drapery, on
which is painted St. George encountering the dragon, as large as the
life, and on the lower border of the drapery is inscribed,
VENIENDO RESTITUIT REM,
in allusion to King William III. who is painted in the habit of the
order, sitting under a royal canopy, by Sir Godfrey Kneller. To the
throne is an ascent by five steps of fine marble, to which the painter
has added five more, which are done with such perfection as to deceive
the sight, and induce the spectator to think them equally real.
This noble room is an hundred and eight feet in length, and the whole
north side is taken up with the triumph of Edward the Black Prince,
after the manner of the Romans. At the upper part of the hall is Edward
III. that Prince’s father, the conqueror of France and Scotland, and
the founder of the order of the garter, seated on a throne, receiving
the Kings of France and Scotland prisoners; the Black Prince is seated
in the middle of the procession, crowned with laurel; and carried by
slaves; preceded by captives, and attended by the emblems of Victory,
Liberty, and other _ensignia_ of the Romans, with the banners of France
and Scotland displayed. The painter has given a loose to his fancy by
closing the procession with the fiction of the Countess of Salisbury,
in the person of a fine lady, making garlands for the Prince, and the
representation of the merry wives of Windsor.
At the lower end of the hall is a noble music gallery, supported by
slaves, larger than the life, in proper attitudes, said to represent a
father and his three sons, taken prisoners by the Black Prince in his
wars abroad. Over this gallery on the lower compartment of the ceiling
is the collar of the order of the garter fully displayed. The painting
of this room was done by Verro, and is highly finished and heightened
with gold.
XIX. You are next conducted to St. George’s or the King’s chapel, which
is no less royally adorned. On the ceiling is finely represented our
Lord’s ascension; and the altar-piece is adorned with a noble painting
of the last supper. The north side of the chapel is ornamented with
the representation of our Saviour’s raising Lazarus from the dead, his
curing the sick of the palsy, and other miracles, beautifully painted
by Verro; and in a group of spectators the painter has introduced his
own effigy, with those of Sir Godfrey Kneller, and Mr. Cooper, who
assisted him in these paintings. The east end of this chapel is taken
up with the closets belonging to his Majesty and the Royal family. The
canopy, curtains, and furniture are of crimson velvet, fringed with
gold; and the carved work of this chapel, which is well worthy the
attention of the curious, is done by that famous artist Gibbons, in
lime-tree, representing a great variety of pelicans, doves, palms, and
other allusions to scripture history, with the star and garter, and
other ornaments finished to great perfection.
From St. George’s chapel you are conducted to the Queen’s guard
chamber, the first room you entered; for this is the last of the state
apartments at present shown to the public; the others being only opened
when the court resides at Windsor. They consist of many beautiful
chambers, adorned with the paintings of the greatest masters.
In passing from hence the stranger usually looks into the inner or horn
court, so called from a pair of stag’s horns of a very extraordinary
size, taken in the forest and set up in that court, which is painted in
bronze and stone colour. On one side is represented a Roman battle, and
on the opposite side a sea fight, with the images of Jupiter, Neptune,
Mercury and Pallas; and in the gallery is a representation of King
David playing before the ark.
From this court a flight of stone steps lead to the King’s guard
chamber; and in the cavity under these steps, and fronting this court,
is a figure of Hercules also in stone colours. On a dome over the
steps, is painted the battle of the Gods, and on the sides of the stair
case is a representation of the four ages of the world, and two battles
of the Greeks and Romans in fresco.
_St. George’s chapel_, among the buildings of this noble palace we
have mentioned the chapel of St. George situated in the middle of the
lower court. This antient structure, which is now in the purest style
of Gothic architecture, was first erected by King Edward III. in the
year 1337, soon after the foundation of the college, for the honour
of the order of the garter, and dedicated to St. George, the patron
of England; but however noble the first design might be, King Edward
IV. not finding it entirely completed, enlarged the structure and
designed the present building, together with the houses of the dean and
canons, situated on the north and west sides of the chapel; the work
was afterwards carried on by Henry VII. who finished the body of the
chapel, and Sir Reginald Bray, knight of the garter, and the favourite
of that King, assisted in ornamenting the chapel and compleating the
roof.
The architecture of the inside has always been esteemed for its
neatness and great beauty, and in particular the stone roof is reckoned
an excellent piece of workmanship. It is an ellipsis supported by
Gothic pillars, whose ribs and groins sustain the whole ceiling, every
part of which has some different device well finished, as the arms of
Edward the Confessor, Edward III. Henry VI. Edward IV. Henry VII. and
Henry VIII. also the arms of England and France quarterly, the cross
of St. George, the rose, portcullis, lion rampant, unicorn, &c. In
a chapel in the south isle is represented in ancient painting, the
history of John the Baptist, and in the same isle are painted on large
pannels of oak, neatly carved and decorated with the several devices
peculiar to each Prince, the portraits at full length of Prince Edward,
son to Henry VI. Edward IV. Edward V. and Henry VII. In the north isle
is a chapel dedicated to St. Stephen, wherein the history of that
saint is painted on the pannels and well preserved. In the first of
these pannels St. Stephen is represented preaching to the people; in
the second he is before Herod’s tribunal; in the third he is stoning;
and in the fourth he is represented dead. At the east end of this isle
is the chapter house of the college, in which is a portrait at full
length, by a masterly hand, of the victorious Edward III. in his robes
of state, holding in his right hand a sword, and bearing the crowns
of France and Scotland, in token of the many victories he gained over
those nations. On one side of this painting is kept the sword of that
great and warlike Prince.
But what appears most worthy of notice is the choir. On each side are
the stalls of the Sovereign and Knights companions of the most noble
order of the garter, with the helmet, mantling, crest, and sword,
of each Knight set up over his stall on a canopy of antient carving
curiously wrought, and over the canopy is affixed the banner or arms of
each Knight properly blazon’d on silk, and on the back of the stalls
are the titles of the Knights, with their arms neatly engraved and
blazoned on copper. The Sovereign’s stall is on the right hand of the
entrance into the choir, and is covered with purple velvet and cloth
of gold, and has a canopy and compleat furniture of the same valuable
materials; his banner is likewise of velvet, and his mantling of cloth
of gold. The Prince’s stall is on the left, and has no distinction
from those of the rest of the Knights companions, the whole society,
according to the statutes of the institution, being companions and
collegues, equal in honor and power.
The altar-piece was soon after the restoration, adorned with cloth of
gold and purple damask by King Charles II. but on removing the wainscot
of one of the chapels in 1707, a fine painting of the Lord’s supper
was found, which being approved of by Sir James Thornhill, Verrio, and
other eminent masters, was repaired and placed on the altar-piece.
Near the altar is the Queen’s gallery, for the accommodation of the
ladies at an installation.
In a vault under the marble pavement of this choir, are interred the
bodies of Henry VIII. and Jane Seymour his Queen, King Charles I. and
a daughter of the late Queen Anne. In the south isle, near the door of
the choir, is buried Henry VI. and the arch near which he was interred
was sumptuously decorated by Henry VIII. with the royal ensigns and
other devices, but they are now much defaced by time.
In this chapel is also the monument of Edward Earl of Lincoln, Lord
high Admiral of England in the reign of Queen Elizabeth, erected by his
Lady, who is also interred with him. The monument is of alabastar, with
pillars of porphyry.
Another, within a neat screen of brass work, is erected to the memory
of Charles Somerset, Earl of Worcester, and Knight of the garter, who
died in 1526, and his lady, daughter to William Earl of Huntingdon.
A stately monument of white marble erected to the memory of Henry
Somerset, Duke of Beaufort, and Knight of the garter, who died in 1699.
There are here also the tombs of Sir George Manners, Lord Roos; that of
the Lord Hastings, Chamberlain to Edward IV. and several others.
Before we conclude our account of this ancient chapel, it will be
proper to observe that King James II. made use of it for the service
of popery, and mass being publicly performed there, it has ever since
been neglected and suffered to run to ruin; and being no appendage to
the collegiate church, waits the royal favour to retrieve it from the
disgrace of its present situation. _Delices de Windsore._